Berklee

College of
Music
The International Institution
for the Study of
Modern American Music

Berklee College of Music is a non-profit. coeducational institution of

higher learning incorporated under the General Laws of the Common-
wealth of Massachusetts. The College is accredited by the New Eng-
land Association of Schools and Colleges. and authorized under
Federal law to enroll non-immigrant alien students. and to train
Veterans under the G.1.Bill of Rights. Information in this catalog is
accurate as of date of issuance. The right is reserved to make
changes in detail as circumstances require.

Berklee College of Music admits students of any race. color. national and ethnic origin to
all the rights. privileges. programs. and actIvItIes generally accorded or made available
to students at the College. Berklee does not discriminate on the basis of race. color.
national and ethnic origin ,n admin1strat1on of ,ts educational policies. admission
policies. scholarship and loan programs. and other school administered programs The
ant1-d1scrim1nat1onpolicies of Berklee are as required by Title VI of the Civil Rights Act
and Title IX of the 1972 Education Amendments
 Lawrence Berk. Founder

2
Administration

Officers Board of Trustees

Lee Eliot Berk President Lee Eliot Berk (Ex Officio)
Lawrence Berk Chancellor Herbert Baer
Robert Share Administrator Willis Conover
and Provost of the College William M. Davis
W1ll1amE. Falconer
Richard Bobbitt Dean of the
Quincy Jones
College Gregory Larkin
Lawrence Bethune Dean of Arif Mard1n
Students Allan T. McLean
David Matayabas Registrar Roderick Nordell
Fr. Norman O'Connor
Staff Calvin Perry
Alma Berk Director, Public Albert E. Sloan
Information Richard Wilton
Steven Lipman Director of James Zafr1s, Chairman
Admissions
Advisory Board
Joanne Parshley Alumni
John Corley
Coordinator Harry Ellis Dickson
Russell Green Veterans Kalman Novak
Counselor Clifford Weeks
Joseph Ferrari Director of
Financial Aid National Advisory Committee
Dave Brubeck
Jacquelyn Clark Bursar
Alan Hovhaness
Samuel J. McNamee Comptroller Henry Mancini
Robert Mc Hugh Housing Nicolas Slonimsky
Director & Supervisor
of Buildings International Advisory
Norman Silver Office Manager Committee
Joachim Berendt, Germany
John Voigt L1branan
Roy Carr, Great Britain
Randy Bell Director M1roslav Hermansky, Czechoslovakia
of lnstituttonal Research Herman Kosla. Israel
Marilin Miller Assistant Ahmed Mencan, Malaysia
Registrar Arrigo Pol1llo, Italy
Frank Turziano Manager,
Berklee Performance Center
Denise Pagourgis Director
of Publications

Copyright 1980
Berklee College of Music
11 40 Boylston Street
Boston, Massachusetts 02215

3
 Boston's Back Bay &
Vicinity
1 Berklee College of Music 6 Gardner Museum
2 Prudential Center 7 Charles River Esplanade
3 Boston Public Library 8 The Music Shell
4 Symphony Hall (Esplanade Concerts)
5 Boston Museum of Fine 9 M.BTA. Station
Arts 10 Musicians Union

Berklee College of Music 1slocated in the very heart of the cultural

Back Bay section of Boston. Nearby 1sSymphony Hall. the Museum of
Fine Arts. the Gardner Museum. the Boston Public Library and many
cultural attractions and concert facil1t1esthat feature Jazzas well as
other musical styles. Berklee·s own acoustically acclaimed
Performance Center is Just a block away from the famed Prudential
Center with its c1v1cauditorium. Public transportation via bus or
subway is only steps away from Berklee.
Boston 1swell known as a young person's city that hosts most of the
major recording artists and shows on tour throughout the country.
The many Boston clubs and concert halls have given birth to some of
the nation's most popular performing and recording groups; and also
provide an excellent opportunity for stuc!ent mus1c1ansto gain
experience and earn their education.

4
 Contents
3 Administration
6 Berklee College of Music
8 The Berklee Approach
9 Curriculum
9 Program Offerings
10 The First Year Curriculum
11 The Upper Year Curriculum
12 Major in Performance
14 Major 1nArranging
16 Major in Jazz Composition and Arranging
18 MaJor in Composition
20 Major in Professional Music
22 Major in Film Scoring
24 Major in Electronic Music
26 Major in Audio Recording
28 Major in Traditional Performance
30 Major in Music Education
32 Five Year Dual Major in Music Education
34 Admission Requirements
34 The Degree Program
35 The Diploma Program
36 Admission and Registration Procedure
38 Geographical Distribution
39 Administration and Faculty
66 Description of Courses
66 Arranging and Scoring
70 Harmony
72 Ear Training
74 Analysis
76 Instrumental Studies
80 Instrumental Laboratories
81 Ensembles
85 Performance Studies
89 Composition
91 Counterpoint
92 Electronic Music
93 Film Scoring
94 Audio Recording
95 History of Music
97 General Music
99 Music Education
100 Academics
105 Summer Studies; Special Instruction
106 International Jazz Program
107 Artist Series
1 08 Berklee Performance Center
110 Community Service Programs
111 Personal Supervision and Counseling
112 Financial Assistance
114 General Information
116 General Regulations
119 Tuition and Fees
120 Calendar
 Berklee
College of
Music

Until Berklee College of Music was established in 1945. few oppor-

tunities existed for the study of the music of our time.
At Berklee. founder Lawrence Berk pioneered a curriculum that
applies fundamental principles to the development of practical career
preparation for today's professional music. These fundamentals have
equal application to a broad variety of musical styles. both classical
and contemporary. and are of special assistance to today's profes-
sional In music who is encountering the challenges presented by the
rapidly expanding musical repertory of the modern idiom.
Students at Berklee College of Music combine their study of these
theoretical and technical basics with intensive ensemble perfor-
mance and composing-arranging workshops which permit them to
hear their own works performed.
Jazz improvisation with Andy This innovative and comprehensive curriculum has secured for
McGhee
Berklee College of Music its role as an international center for the
education of career musicians. composers. arrangers and music
educators.

6
Control Room and Recording Studio

Woody Herman and his pianist/

arranger. Berklee graduate Alan
Broad bent. talk with students

7
The Berklee Approach

H1stor1callyand cont1nu1ng to the present time. America's contem-

porary music culture has flourished. experiencing unparalleled and
dynamic growth. More than ever before. music 1sa career alive with
opportun1t1es... interesting. varied. challenging. remunerative. The
range of secure and esthetically rewarding opportunities for well-
prepared music students has never been greater than 1t1stoday.
·This dynamic expansion in the pervasiveness of contemporary music
has been accompanied by its increasing technical soph1sticat1on and
also by greatly intens1f1edcompet1on. For the aspiring music profes-
sional. talent alone 1sno longer enough-a thorough and formal music
education under experienced educators and professional mus1c1ans
1sneeded.
The Berklee Approach prepares students for careers 1nmusic
through a broadly-based. vocationally-oriented curriculum that
focuses on both contemporary and traditional musical forms. Fre-
quent performance with ensembles that vary 1nmusical style and
level of mus1c1ansh1poccupies a key role in the education of Berklee
students. In add1t1onto practical mus1c1ansh1p.course offerings
emphasize the actual production of effective music. including Jazz
arranging. 1mprov1sat1on.recording studio techniques. popular vocal
arranging. song writing and the writing of background music for films
and other media productions.
Berklee's Primary Purpose is thus to prepare el1g1blecandidates for
careers as instrumentalists. arrangers. composers and teachers.
Depending on his or her maJor field. each student has the opportunity
to become:
a proficient instrumentalist, able to interpret a variety of musical
styles:
a creative arranger-composer, able to contribute to the evolution
and growth of our musical culture;
an inspiring teacher, able to present an organized approach to the
mastery of musical technique:
a multi-skilled professional, able to respond to any musical
challenge.

8
 Curriculum

Program Offerings
Berklee College of Music offers the Bachelor of Music degree as well
as a four-year program leading to the Professional Diploma. In either
program. career majors include Performance. Arranging. Jazz
Composition and Arranging. Composition. Professional Music. Film
Scoring. Electronic Music. and Audio Recording. The MaJor in Music
Education. as well as the Five Year Dual MaJor combining Music
Education with each of the above maJors. 1savailable to Degree
candidates only.
Both degree and diploma programs are designed to help students
achieve excellence in professional music. Intensive concentration in
musical subJects provides each student with the necessary tools for
developing his or her musical talent to the fullest. in order that there may
be thorough preparation to meet the highly specialized demands of a
career in professional music.
In the Degree Program. professional education is combined with
studies 1nliberal arts so that music may be perceived in the
substantial context of a more general culture. The Diploma Program
is devoted entirely to the study of music and does not include
academic courses required of degree candidates.
In both the Degree and Diploma programs the College offers the
option of a "student-created" maJor. From a wide variety of course
offerings. students may obtain appropriate curriculum guidance and
counseling to structure a maJor geared to a special interest or
musical strength.

Drummer Buddy Rich.

accompanied by Lawrence
Berk. attend ensemble class
conducted by Herb Pomeroy

9
 The
First Year
Curriculum
Berklee·s innovative First Year Program has at its heart a unique and
personalized placement process that maximizes each entering
student's learning potential. Through testing and personal
counseling. students from differing music backgrounds are placed in
appropriate study sequences geared to individual needs.
During this first year. all students follow a closely co-ordinated.
interrelated series of courses. Both Degree and Diploma candidates
. work in the same subject areas. except that Degree candidates also
take a required academic subject.
Spec1f1careas of study include harmony. theory/arranging. ear
training. listening/analysis. ensemble and private instrumental/vocal
study Each subJect is taught on six different skill levels: Basic (I & II).
Intermediate (Ill & IV). and Advanced (V & VI). After comprehensive
testing. students are assigned to appropriate levels within each
course area.
Students may change levels at any time according to demonstrated
ability. thus assuring meaningful progress on an individual basis.
Each student will complete the equivalent of one. two or more
semesters in each course and the amount of work completed during
the first year will determine subsequent placement into second year
courses.
In this manner. Berklee·s unique. flexible First Year Program insures
meaningful progress and provides continuing incentive for individual
initiative and ability. The Program provides a solid musical
foundation. and gives entering students the skills. experience. and
Ear Training Laboratory perspective essential in choosing a career maJor.

10
 The
Upper Year
Curriculum
The Berklee Upper Year Curriculum is designed to prepare the
student for a successful career as a professional musician and/or
teacher. The immediate concern is with the practical application of
contemporary teaching methods in a stimulating and productive
atmosphere.
The following maiors-unless otherwise indicated-may be selected
by either Degree or Diploma candidates.
Selection is made during the second semester of attendance. With
the help of a Faculty Advisor. the student has the opportunity to
examine his musical and educational objectives and select a career
maior from a curriculum designed to meet the varied challenges of
today's dynamic music profession. Each study sequence 1sdesigned
to produce a graduate whose professional skills are commensurate
with the goals of the Program and Major.

Noted film composer John

Williams discusses sequence
from "Jaws" score with Berklee
students.

1l
 Major in Performance
The Performance MaJor is designed to prepare students for a playing
career in any or all of many contemporary musical styles. 1nclud1ng Jazz.
pop, rock. theater or studio work. Study on the principal instrument. or
voice. includes intensive private InstructIon. laboratory classes.
partIcIpatIon in a wide variety of ensembles. and public performance.

Clark Terry solos with student

band directed by Herb Pomeroy

Instructor Charlie Mariano

performs with student ensemble

12
 Credits
Concentrate Courses Degree Diploma
Performance Ear Training 2 2
Harmonic Cons1derat1ons in Improvisation 2 2
Jazz Improvisation 4 4
Approved Styles Survey 2 2
Approved Electives 6 6

Credits
Required Courses Degree Diploma
Arranging 8 8
Harmony 10 10
Ear Training 8 8
Listening/ Analysis 4 4
Compos1t1on 4
Counterpoint 4
Acoustics of Music 6
Conducting 2
History of Music 4
English Composition/Literature 6
History of Western Civilization 6
H1story of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree Diploma
Private Study 24 24

Ensemble/Lab 12 12
(Maximum of 8 add1t1onalcredits may be
used for general elective credit)

Credits
General Electives* Degree Diploma
Selected from a variety of course offerings to
acquire minimum total graduation credits 0-12 30-42

*Variable according to levels achieved during the first year. advanced

placement. transfer credit and/or possible deficiencies.

13
Major in Arranging
The Arranging Major is for students preparing for careers as
professional arrangers. The program provides a broad background in
fundamental arranging skills. as well as in-depth study of numerous
musical styles. This major is designed to enable the student to
develop the musical expertise needed to create or re-create the
various styles of contemporary music In a professional manner. The
performance of student arrangements provides aural awareness of
the arranging techniques studied in the classroom.

14
 Credits
Concentrate Courses Degree Diploma
Chord Scale Voicings for Arranging 2 2
Commercial Arranging for Large Ensemble 2 .2
Commercial Arranging for Small Ensemble 2 2
Pop Style Vocal Arranging 2 2
Arranging in the Rock Idiom 2 2
Adv. Commercial Arr. for Large Ens. 2 2
Directed Study 2 2
Approved Electives 10 10

Credits
Required Courses Degree Diploma
Arranging 8 8
Harmony 10 10
Ear Training 8 8
Listening/ Analysis 4 4
Composition 4
Counterpoint 4
Acoustics of Music 6
Conducting 2
History of Music 4
English Compos1tion/L1terature 6
History of Western C 1vil1zat1on 6
HIstory of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree Diploma
Private Study 8 8
(Maximum of 8 additional credits may be
used for general elective credit)
Ensemble/Lab 6 6
(Maximum of 8 add1t1onal credits may be
used for general elective credit)

Credits
General Electives* Degree Diploma
Selected from a variety of course offerings to
acquire minimum total graduation credits 14-20 38-44

*Variable according to levels achieved during the first year.

advanced placement. transfer credit and/or possible deficiencies.

15
 Major in Jazz Composition & Arranging
The Jazz Composition and Arranging Major is designed for
students who have a strong interest in developing writing skills in
the Jazz idiom. Courses in the program are organized with the dual
purpose of exposing students to standard and experimental
techniques in the works of the great jazz composers. and providing
the musical/technical resources needed to develop individual Jazz
writing styles.

Gary Burton and

Composer-in-residence.
Michael Gibbs

Michael Gibbs conducts student

ensemble in concert of his own
works

16
 Credits
Concentrate Courses Degree Diploma
Jazz Composition 4 4
Reharmonization Techniques/
Modal Harmony 2 2
Chord Scale Voicings for Arranging 2 2
Survey of Jazz Comp./ Arranging 2 2
Big Band Arr.I Score Analysis 2 2
Directed Study 2 2
Approved Electives 10 10

Credits
Required Courses Degree Diploma
Arranging 8 8
Harmony 10 10
Ear Training 8 8
Listening/ Analysis 4 4
Compos1t1on 4
Counterpoint 4
Acoustics of Music 6
Conducting 2
History of Music 4
English Compos1t1on/L1terature 6
History of Western C1vll1zat1on 6
H 1story of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree Diploma
Private Study 8 8
(Maximum of 8 add1t1onal credits may be
used for general elective credit)
Ensemble/Lab 6 6
(Maximum of 8 add1t1onal credits may be
used for general elective credit)

Credits
General Electives* Degree Diploma
Selected from a variety of course offerings to
acquire minimum total graduation credits 14-20 38-44

*Variable according to levels achieved during the first year.

advanced placement. transfer credit and/or possible def1c1enc1es.

17
Major in Composition
The Ma1or 1n Compos1t1on 1s intended for students who wish to
acquire a working knowledge of the principal compos1t1onal
devices that form the basis of the musical masterworks of our
time. Compos1t1on courses provide the opportunity for analysis and
development of important writing tec·hn1ques in both trad1t1onal
and contemporary idioms.

Berklee Jazz/Rock Ensemble

performs with Boston
Symphony Orchestra

18
 Credits
Concentrate Courses Degree Diploma
Style Analysis 2 2
20th Century Analysis Elective 2 2
Scoring for Strings 2 2
Scoring for Full Orchestra 2 2
Contemp. Techniques in Comp. 4 4
Directed Study 4 4
Counterpoint 4 4

Credits
Required Courses Degree Diploma
Arranging 8 8
Harmony 10 10
Ear Training 8 8
L1sten1ng/Analysis 4 4
Compos1t1on 4 4
Counterpoint 4 4
Acoustics of Music 6
Conducting 2 2
HIstory of Music 4 4
English Compos1t1on/L1terature 6
History of Western C1v1l1zat1on 6
HIstory of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree Diploma
Private Study 8 8
(Maximum of 8 add1t1onal credits may be
used for general elective credit)
Ensemble/Lab 6 6
(Maximum of 8 additional credits may be
used for general elective credit)

Credits
General Electives* Degree Diploma
Selected from a variety of course offerings to
acquire mInImum total graduation credits 18-24 34-40

·variable according to levels achieved during the first year,

advanced placement. transfer credit and/or possible def1c1enc1es.

19
 Major in Professional Music
This ma1or 1s intended for students preparing for a career
in professional music. Such swdents may be interested primarily in
arranging/composition or in plerformance. or they may wish to
structure an 1nd1v1dual1zedprogram related to a unique
combination of interests. The flex1bil1ty of the ma1or in Professional
Music permits a wide choice ·of sub1ect areas from the many
available music electives.

Berklee alumnus Joe Lavano

(nght) solos with Woody
Herman Orchestra

At Newport Jazz Festival

bandleader Buddy Rich with
Faculty member Jeff Stout. and
Alumnus Pat LaBarbera

20
 Credits
Concentrate Courses Degree Diploma
MaJors In Professional Music are not required to
select a single area of concentration

Credits
Required Courses Degree Diploma
Arranging 8 8
Harmony 10 10
Ear Training 8 8
Listening/ Analysis 4 4
Compos1t1on 4
Counterpoint 4
Acoustics of Music 6
Conducting 2
History of Music 4
English Compos1t1on/L1terature 6
History of Western C1vil1zat1on 6
HIstory of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree Diploma
Private Study 8 8
(Maximum of 8 add1t1onal credits may be
used for general elective credit)
Ensemble/Lab 6 6
(Maximum of 8 add1t1onal credits may be
used for general elective credit)

Credits
General Electives* Degree Diploma
Selected from a variety of course offerings to
acquire minimum total graduation credits 38-44 68-74

·variable according to levels achieved during the first year.

advanced placement. transfer credit and/or possible def1c1enc1es.

21
Major in Film Scoring
This major offers the compositional devices. scoring techniques. and
technical information needed for the composition of music for films.
Student proJects are performed and recorded under studio
conditions. and then synchronized to film and analyzed. Included in
the major are studies of the psychological bases of music for specific
film situations. as well as techniques on the Moviola related to click-
track synchronization. editing, free timing, and overlaps.

Don Wilkins. Chairman of the

Berklee Film Scoring Depart-
ment. demonstrates the use of
"Mov1ola" in synchronizing
dialogue and video with musical
sound track

22
 Credits
Concentrate Courses Degree Diploma
Intro. to Film MliSic Comp. 2 2
Film Composition 4 4
Film Music Editing 2 2
Directed Study 2 2
Scoring for Strings 2 2
Contemp. Techniques in Comp. 4 4
Counterpoint 4 4
Approved Electives 4 4

Credits
Required Courses Degree Diploma
Arranging 8 8
Harmony 10 10
Ear Training 8 8
Listening/ Analysis 4 4
Composition 4 4
Counterpoint 4 4
Acoustics of Music 6
Conducting 2 2
History of Music 4
English Composition/Literature 6
History of Western Civil1zat1on 6
H1story of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree Diploma
Private Study 8 8
(Maximum of 8 add1t1onal credits may be
used for general elective credit)
Ensemble/Lab 6 6
(Maximum of 8 add1t1onal credits may be
used for general elective credit)

Credits
General Electives* Degree Diploma
Selected from a variety of course offerings to
acquire minimum total graduation credits 14-20 34-40

*Variable according to levels achieved during the first year.

advanced placement. transfer credit and/or possible def1c1enc1es.

23
Major in Electronic Music
.
This maior provides a thorough and practical course of study 1n
electronic music. lnd1v1dual courses cover theory and appl1cat1on of
synthesis techniques from basic to advanced levels. Regular.
supervised hands-on sessions 1n the electronic music studio are an
integral part of the program. Included in the major is part1c1pat1on
in weekly synthesizer ensembles that provide "real-time" performing
experience.

Michael Rend1sh. Chairman of Electronic Music Department.

discusses synthesizer techniques.

24
 Credits
Concentrate Courses Degree Diploma
Electronic Music 4 4
Advanced Electronic Music 4 4
Cont1nuat1on Study 8 8
Basic Electronics 2 2
Music Performance Electronics 2 2
Music Synthesizer Electronics 2 2
Audio Recording Survey 2 2

Credits
Required Courses Degree Diploma
Arranging 8 8
Harmony 10 10
Ear Training 8 8
Listening/ Analysis 4 4
Compos1t1on 4
Counterpoint 4
Acoustics of Music 6 6
Conducting 2
History of Music 4
English Compos1t1on/L1terature 6
History of Western C1vil1zat1on 6
H1story of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree Diploma
Private Study 8 8
(Maximum of 8 add1t1onal credits may be
used fo('general elective credit)
Ensemble/Lab 6 6
(Maximum of 8 add1t1onal credits may be
used for general elective credit)

Credits
General Electives* Degree Diploma
Selected from a variety of course offerings to
acquire minimum total graduation credits 14-20 38-44

·variable according to levels achieved during the first year.

advanced placement. transfer credit and/or possible def1c1encies.

25
Major in Audio Recording
The Audio Recording Maior is for students who wish to gain a
practical working knowledge of recording and sound reinforcement
techniques while developing a solid musical background. Through
a series of inter-related concentrate courses. students are exposed
to all facets of studio engineering and record production. Studio
sessions. mix-down labs. location recordings. and live concerts
provide practical. professional experience.

Audio Recording Department

Chairman Joe Hostetter
demonstrates a multi-track
recording console 1n one
of Berklee·s two professionally
equipped Recording Studios

26
 Credits
Concentrate Courses Degree Diploma
Audio Recording 4 4
Sound Reinforcement 2 2
Mixdown Lab 4 4
Directed Study 4 4
Studio Production Project 2 2
Studio Equipment Maintenance 2 2
Basic Electronics 2 2
Approved Electives 4 4

Credits
Required Courses Degree Diploma
Arranging 8 8
Harmony 10 10
Ear Training 8 8
Listening/ Analysis 4 4
Compos1t1on 4
Counterpoint 4
Acoustics of Music 6 6
Conducting 2
History of Music 4
English Composition/Literature 6
History of Western Civilization 6
H1story of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree Diploma
Private Study 8 8
(Maximum of 8 additional credits may be
used for general elective credit)
Ensemble/Lab 6 6
(Maximum of 8 add1t1onal credits may be
used for general elective credit)

Credits
General Electives* Degree Diploma
Selected from a variety of course offerings to
acquire minimum total graduation credits 14-20 30-44

*Variable according to levels achieved during the first year.

advanced placement. transfer credit and/or possible deficiencies.

27
 Major in Traditional Performance*
The Trad1t1onal Performance Ma1or·• stresses the mastery of
instrumental technique and the development of solo and ensemble
skills needed for the interpretation and performance of standard
repertory. Students receive 1ntens1vetraining in trad1t1onal and
contemporary 1d1omsthrough part1c1pat1onin a variety of band.
chamber orchestra. and studio experiences.

Supervisor of Woodwind
Instruction. Joseph Viola

·Degree Program only

.. Not available for strings. voice. or
electric bass

28
 Credits
Concentrate Courses Degree
Repertory & Materials 4

-Credits
Required Courses Degree
Arranging 8
Harmony 10
Ear Training 8
Listening/ Analysis 4
Compos1t1on 4
Counterpoint 4
Acoustics of Music 6
Conducting 2
History of Music 4
English Compos1t1on/L1terature 6
History of Western C1vll1zat1on 6
History of Art 2
Academic Electives 18

Credits
Instrumental Studies Degree
Private Study 28
Ensemble/Lab 12
(Maximum of 8 add1t1onalcredits may be used for
general elective credit)

Credits
General Electives* Degree
Selected from a variety of course offerings to acquire
minimum total graduation credits 8-20

·variable according to levels achieved during the first year.

advanced placement. transfer credit and/or possible def1c1enc1es.

29
Major in Music Education
The Music Education MaJor 1sdesigned to prepare qualified
students to teach all aspects of public school music. Traditional
and innovative approaches are used to develop competence in
both instrumental and vocal areas. The Berklee approach to
teacher-preparation training encompasses the mastery of many
musical styles-from classical to contemporary-so that graduates of
the program are fully qualified to provide instruction according to
varying student needs and interests.
The Berklee College of Music MaJor in Music Education is
approved by the Interstate Certif1cat1on Compact. Students who
complete the teacher education program meet all requirements for
certification in Massachusetts and are automatically eligible for
reciprocal cert1ficat1on in all states participating in the Interstate
Certification Com pact.

V1s1t1ngelementary school students enJOYsynthesizer

demonstration.

30
 Credits
Concentrate Courses Degree
Elementary Teaching Methods 3
Secondary Teaching Methods 3
Vocal/Instrumental Materials 4
Observation 2
Practice Teaching/Seminar 6

Credits
Required Courses Degree
Arranging 8
Scoring 4
Harmony 10
Ear Training 8
L1sten1ng/ Analysis 4
Com posItIon 4
Counterpoint 4
Acoustics of M usIc 6
Conducting 2
History of Music 4
English Compos1t1on/L:terature 6
History of Western C1v1l1zat1on 6
H Istory of Art 2
Psychology 6
Philosophy of Educaf1on 6
Academic Electives 6

Credits
Instrumental Studies Degree
Private Study 12
(Maximum of 2 add1t1onal credits may be used for
general elective credit)
Instrumental Classes 12
Ensemble/Lab 4
(Maximum of 2 add1t1onal credits may be used for
general elective credit)
Mus. Ed. Ensemble Workshops 4
Recital Class

Credits
General Electives* Degree
Selected from a variety of course offerings to acquire
mInImum total graduation credits 0-4

·variable according to levels achieved during the first year.

advanced placement. transfer credit and/or possible deficiencies.

31
The Five Year Dual Major in Music Education
The Five Year Dual Major in Music Education provides students with
the unique opportunity for simultaneous training 1nsecondary school
music and any of the other principal majors currently available at the
College.
The Five Year Dual Major combines major concentrate courses in
Performance. Arranging. Compos1t1on. Film Scoring, Jazz
Composition and Arranging, Electronic Music or Audio Recording
with standard Music Education subjects. allowing qualified students
to earn a degree in two major fields of study. The Music Education
Dual Major thus offers the advantage of two professional objectives:
thorough preparation for a public school teaching pos1t1oncombined
with the acqu1s1t1onof spec1f1cprofessional skills 1nan add1t1onal area
of career opportunity.
As with the Four Year Program. students who successfully complete
the Five Year Dual Major in Music Education meet all requirements
for part1c1pat1cin1napproved teacher education programs. and are
automatically el1g1blefor cert1f1cat1onin Massachusetts. as well as
reciprocal cert1f1cat1on1nall states participating in the Interstate
Cert1f1cat1onCompact.

32
Concentrate Courses Credits
Elementary Teaching Methods 3
Secondary Teaching Methods 3
Vocal/Instrumental Materials 4
0 bservation 2
Practice Teaching Seminar 6
Concentrate Courses as outlined
in 4-Year Program 16-24.

Required Courses Credits

Arranging 8
Scoring 4
Harmony 10
Ear Training 8
Listening/ Analysis 4
Compos1t1on 4
Counterpoint 4
Acoustics of Music 6
Conducting 8
History of Music 4
English Composition/Literature 6
History of Western C1vil1zat1on 6
History of Art 2
Psychology 6
Philosophy of Education 6
Academic Electives 6

Credits
Instrumental Studies Degree
Instrumental Classes 12
Private Study 12-24*
Ensemble/Lab 8-1 2·
(Maximum of 2 - s·
additional credits may be used for
General Elective requirements)

Credits
General Electives* Degree
Optional. May be selected from a variety of course offerings.
1fneeded for minimum total graduation credits. 0-4

·variable according to major

33
Admission
Requirements

The
Degree
Program
Applicants for admission to the Degree program are expected to
have had a minimum of two years of musical study and/or significant
experience in some phase of music.
Graduation from an accredited high school or preparatory
school is the normal academic prerequisite for admission to the
Degree program.
Other requirements. as specified on the official College application
form. include:
1 letters of reference
2 scores of college entrance examinations. These examinations
are given by the applicant's secondary school or by direct
arrangement with:
The College Entrance Examination Board
Box 592. Princeton. N.J. 02 540 (Eastern Office)
Box 1025. Berkeley. Calif. 94 701 (Western Office)
or
The American College Testing Program
Box 168
Iowa City. Iowa 52240

34
 The college annually accepts a significant number of applicants
transferring from other 1nst1tutions.Transfer credits may be accepted
from an accredited 1nst1tutionof higher education. However. credit
will not be allowed for courses In which the applicant has received a
grade lower than "C-." or its equivalent. and transfer placement In
music courses will be determined only by examination. In all cases. at
least four semesters of fullt1me study must normally be spent at
Berklee to qualify for the Degree.
CLEP Examinations The national program of placement and credit
by examination-known as the College Level Examination Program
(CLEP)-has been approved by Berklee College of Music as a means
for establishing equivalent course credit In certain academic courses.
Applicants who have completed CLEP exams in general education
subject areas listed in the College Catalog may submit their scores
by matl to the Admissions Office. and request credit by examination in
such courses. Requests for CLEP credit by examination in academic
subjects may also be made during the registration period through the
Office of the Registrar.
High School Equivalency Certificates are not an automatic substi-
tute for the High School Diploma. and the recognition of such equIva-
lency documents is subject to careful evaluation. Applicants who are
not high school graduates will be considered for the Degree program
upon submission of a State High School Equ1valency Certificate.
Residents of states In which such an arrangement is not in effect
may consult their State Board of Education for information.

The
Diploma
Program
Applicants for admission to the Diploma program are expected to
have had a minimum of two years of musical study and/or s1gn1f1cant
experience In some phase of music. Other requirements are:
1 graduation from an approved secondary school or
2 the completion of at least 1 2 units In an approved secondary
school or a High School Equ1valency Certificate.
No college entrance examination board scores are required of
Diploma applicants.
The 2-Year Certificate Program Diploma students who successfully
complete the first two years of the Diploma program are eligible to
apply for a Cert1f1cate.This request may be submitted to the Registrar
subsequent to the recording of grades for the fourth full-time semes-
ter of work.
Student cafeteria at Berklee

35
Admission
and Registration
Procedure

The Office of Admissions. Berklee College of Music, 1140 Boylston

St.. Boston. Massachusetts (02215). Is in charge of all matters con-
cerning adm1ss1on.Each applicant should obtain an application form
from this office. Since the number of new students that can be admit-
ted to Berklee each year is l1m1ted.students should complete the
application procedure at their earliest convenience.
Pre-Registration of Entering Students Upon notif1cat1on of
acceptance applicants are required to submit a S100 payment in
order to be considered an entering student. The payment confirms
the applicant's intent to attend the College. and secures his place in
the class. The payment is not refundable. and may not be applied to
any other semester.
This payment by the entering student becomes a permanent pre-
regIstratIon deposit for the subsequent semester of study (see Pre-
Reg1strat1onof Continuing Students) It Is therefore not creditable
against the entering student's expenses for the semester.
Pre-Registration of Continuing Students Pre-registration of
continuing students for a subsequent semester of study is
announced periodically by the College. At that time. continuing
students make course selections from the College's current Course
Offering Brochure. Faculty Advisors are available to assist in
evaluating the desirability of course selections for establishing a
particular career objective. Continuing students not completing the
prescribed procedures In accordance with the published deadline
date are charged a S35 late regIstratIon fee. Continuing students not
wishing to pre-register for a subsequent semester of study and giving
the College timely not1f1cat1onIn accordance with the published
deadline - or who are graduating - are entitled to a refund of their
permanent S 100 pre-registration deposit. Otherwise. the deposit Is
not refundable.
Registration Registration takes place immediately prior to the starting
date of each semester. For entering students. regIstratIon consists of
orientation. testing and consequent placement at the appropriate
level In each First Year subJect area, and opportunity for meeting with
Faculty Advisors. Students are not permitted to register later than ten
class days after the start of the semester. No student Is permitted to
attend any class for which he Is not off1c1allyregistered.
Advanced Placement examinations are given during regIstratIon for
all entering students. These examinations are an integral part of the
extensive testing program which determines the appropriate level for
all new students.

36
Payment of Tuition Tu1t1onand fees are payable in full on or before
the starting date of each semester. Payment of tu1t1onand fees 1spart
of regIstrat1on: accordingly, no student's reg1strat1on 1scomplete until
all tuition and fees for the current semester have been paid. Checks
should be drawn to the order of Berklee College of Music. Where
applicable. the same policy applies to students resident with the
College (see Dormitory Residence.)
Foreign Students Persons who are c1t1zensof foreign countries may
apply for adm1ss1on1nthe normal manner. but all foreign applicants
must consult their United States consular officer abroad regarding
1mm1grat1onregulations. and present the proper documents to
qualify for a student visa The applicant must also give evidence of an
adequate knowledge of English to the consular officer. and must
present a FORM 1-20 which confirms adm1ss1onto the school. The
1-20 form will be sent after the student 1snot1f1edof acceptance and
has submitted the payment required for classif1cat1on as an entering
student

ne11dee

37
Geographical Listing
of Students

Domestic 2 Oklahoma 8 England

10 Oregon 1 F1J1Islands
4 Alabama 160 Pennsylvania 1 Finland
4 Alaska 8 Puerto Rico 28 France
5 Arizona 58 Rhode Island 13 Germany
6 Arkansas 9 South Carolina 3 Greece
79 Cal1forn1a 1 South Dakota 2 Holland
10 Colorado 10 Tennessee 1 Hong Kong
95 Connecticut 17 Texas 5 Iran
14 Delaware 1 Utah 8 Israel
4 District of 13 Vermont 8 Italy
Columbia 5 V1rg1nIslands 2 Jamaica
24 Florida 31 V1rgin1a 65 Japan
12 Georgia 13 Washington 1 Korea
10 Hawa11 9 West V1rg1nia 6 Malaysia
62 Illinois 14 Wisconsin 1 Malta
21 Indiana 1 Wyoming 7 Mexico
5 Iowa 6 Netherlands
6 Kansas Antilles
4 Kentucky 1 New Zealand
3 Louisiana Foreign 4 Norway
28 Maine 2 Peru
42 Maryland 7 Argentina 5 Phil1p1nes
746 Massachusetts 2 Aruba 1 Rhodesia
52 Michigan 5 Australia 2 Singapore
16 Minnesota 3 Austria South Africa
8
1 M1ss1ss1pp1 2 Bahamas 7 Spain
16 Missouri 7 Belgium 12 Sweden
2 Nebraska 5 Bermuda 22 Switzerland
4 Nevada 17 Brazil 1 Tanzania
25 New Hampsh1r, 62 Canada 3 Thailand
147 New Jersey 4 Chile 2 Trinidad
4 New Mexico 3 China (Taiwan) 1 Tunisia
292 New York 2 Colombia 2 Turkey
20 North Carolina 1 Costa Rica 32 Venezuela
2 North Dakota 1 Czechoslavak1a 1 Yugoslavia
62 Ohio 4 Denmark

8er~:ee
't

38
 Administration
and Faculty

Lee Eliot Berk Robert Share

President Administrator and Provost
A.B .. Brown University. J.D .. of the College
Boston University. Piano with Advanced studies in Composi-
Margaret Chaloff. Special tion, Boston Un1vers1ty.Profes-
Studies. Harvard University sional 1nstrumental1st and
School of Law. Legal Advisor to arranger for television, theatre
the National Association of Jazz and orchestra. Authorized
Educators (affiliate. Music teacher of the Schillinger Sys-
Educators National Conference). tem. Educational consultant to
Past President of the European Jazz Federation. Ad1u-
Massachusetts Assoc1at1onof d1cator. lntercolleg1ate Jazz Fes-
Jazz Educators. Consultant to tivals at M1am1.St. Louis, Notre
municipal agencies sponsoring Dame. Villanova, Georgetown.
Berklee President. Lee Elrot programs of modern music. Case Institute, Kansas Univer-
Berk. Is congratulated by Administrator and analyst of sity. Guest lecturer, School of
ASCAP President Stanley inst1tut1onal requirements In Jazz, Lenox Mass. Special con-
Adams at presentation of the fields of law. real estate. sultant to the Music Committee of
Deems Taylor First Prize Award insurance. finance. and the President's People to People
for his book. Legal Protecuon investments. First prize. AS CAP program and to the Music Divi-
for the Creatwe Musician. - Deems Taylor Award for Best sion of Voice of America, United
(1970 photo) Book in Music. Legal Protecuon States Information Agency.
for the Creative Musician. Board of Advisors. Internat1onal
Jazz Festival, Montreaux,
Lawrence Berk
Switzerland.
Chancellor
Founder and first President of Richard Bobbitt
the Berklee College of Music. Dean of the College
D. Mus. Ed. (Honorary). Berk- BS., Davidson College: B M ..
lee College of Music. B.S.. Boston Conservatory of Music;
Massachusetts I nstItute of Tech- M.M. (Compos1t1on), Ph.D. (His-
nology. Special studies with the tory/ Theory). Boston Un1vers1ty.
late Joseph Schillinger: Theory. Composition and theory with
Arranging and Compos1t1on as Alan Hovhaness, Nicolas Slon-
applied to background music for imsky, Stefan Wolpe and Walter
films and dramatic programs. Piston. Musicology with Karl
Professional pianist. radio and Ge1ringer and Otto Kinkeldy.
theatre orchestras. Staff Arranging/ composItIon
arranger. NBC and CBS. Com- with Eddie Sauter. Associate Dean.
poser-arranger. theatrical pro- Boston Conservatory 1960-61:
ductions and films (N.Y.). Direc- Director, 1 9 61-63. Former Visit-
tor. special musLc programs. ing Lecturer in Theory, North-
U.S. Navy. Advisory Board. Inter- eastern Un1vers1ty.Theorypubl1-
collegiate Jazz Festivals. Board catIons by Yale Journal of Music
of Trustees. American Music Theory, Music Review, Music
Foundation. Board of Governors. Educators Journal and the
M.I.T. Stein Club. Guest Lecturer. Journal of Research in Music
Science m Music, M.I.T. Education. Author, "Harmonic
Regional Representative, Schil- Technique in the Rock Idiom"
linger Society of New York. Advi- (Wadsworth). Member, Examin-
sor to newly established schools ing Board of the Schillinger Insti-
of Modern Music: Japan, Israel, tute. Pi Kappa Lambda National
Switzerland, Austria. Honor Society, and American
Musicological Society.
39
Larry Bethune Deborah Ahn
Dean of Students Piano
B.M .. Berklee College of M~ic; B.M .. Berklee College of Music;
studies. Royal Academy of M'us1c studies. Hui University.
and Trinity College. London. Experienced private instructor;
Former Instructor in Percussion. professional classical
N.J. Public Schools and principal engagements in concert and on
percussionist for New Jersey Radio Seoul. Korea.
State Philharmonic; staff
John Aldrich
percussionist for Lou Richert.
Composition
Inc. Composer-arranger for
B.M., Berklee College of Music;
the Sentries. The Next Exit.
special studies. State University
and other groups; film scores for
of New York. Extensive nightclub
WGBH-TV and Blacks1des. Inc.,
experience; professional
Boston. President. October
composer of commercial jingles.
Mountain Productions.
Richard Allen
David S. Matayabas
Theory, Arrangmg. Ensemble
Registrar
B.M .. Berklee College of Music.
B.M. (Composition). Boston Con-
Special studies at the Baldwin-
servatory of Music. Awarded the
Wallace Conservatory of Music
Arthur B. Whitney Medal for high-
(Berea. Ohio). Private study in
est honors. Graduate studies.
composition and theory with
Boston Conservatory. Experi-
George Russell. Compositions
enced professional bassist in
for a wide variety of media
symphonic. musical theater. and
include: chamber works. sym-
Jazzidioms. Extensive radio, tele-
phonic works. concert bands.
vision. and recording experi-
Jazzand rock groups, and elec-
ence. Former instructor in bass
tronic music scores for docu-
for the Preparatory School and
mentary film. Professional
Adult Extension Department of
engagements with numerous
The New England Conservatory
Jazzand rock groups. Musical
of Music. Former principal bass.
director of local college theatre
Rhode Island Philharmonic
productions Extensive private
Orchestra. Performances with
teaching experience. Member of
the Boston Pops under Arthur
the National Association of Jazz
Fiedler.
Educators. Recipient of 1975
Alma Berk National Endowment for the Arts
Director. Public lnformatton Jazz/Folk/Ethnic Composition
Private studies in Piano and Fellowship Grant.
Theory, Professor Sigmund
John Amaral
Worthy. Executive Secretary.
Gwtar. Ensemble
Judge Jenny Leitman Barron.
B.S. University of Southern Cali-
Coordinator of Course Materials.
fornia; studies. Pasadena City
Massachusetts Department of
College. Guitar with William Lea-
Education. University Extension
vitt. Howard Roberts. Johnny
D1vis1on.Executive Secretary,
Smith. Professional engage-
Commissioner of Insurance.
ments in Los Angeles and New
State of Massachusetts. Office
England area; recordings for
Manager. Standard Surety and
United Recording Corp. West-
Casualty Company. Wall Street.
ern Recordings. Inc .. and Rondo
New York City Special music
Recordings.
studies. New York; former
member Local 802 AF. of M.
Copyist NBC. Director. former
Newton branch of the Berklee
College of Music.

40
Dean Anderson John Armstrong
Chairman. Percussion Department Theory. Ensemble
B.M .. University of M1am1:M.M .. B.M. Berklee College of Music:
New England Conservatory of undergraduate studies at Yale
Music. Percussion with Fred University. Professional
Wickstrom. Stanley Leonard. Al performing pIanIst with various
Payson. Everett Firth. Former groups. Extensive recording
Instructor in Percussion. Univer- experience.
sity of M1am1.Atlantic Union Col-
Laurence Baione
lege: Clinician for Ludwig Inter-
national Percussion Symposium. Guitar. Ensemble. Theory
B.M .. Berklee College of Music
Performances with American
Graduate studies In guitar with
Wind Symphony. Greater M1am1
W1ll1amHams. Howard Un1ver-
Philharmonic. Boston Pops.
sIty. Principal guitar. U.S Army
Boston Symphony, Boston
Band Washington. D.C. Profes-
Opera Company and Boston
sional performing art 1stwith
Ballet.
numerous Jazz.concert. and
James Anderson recording ensembles Rec1p1ent.
Gwtar. Ensemble. Theory Downbeat Hall of Fame
Undergraduate studies. Rutgers Scholarship Award.
University: B.M .. Berklee College
of Music. Performances with David Bazinet
professional groups. including Theory. Piano
radio and telev1s1onappear- BA. University of Connecticut:
ances. Performing artist for B.M .. Berklee College of Music.
variety of recordings. Experienced private instructor
and professional performing
Richard Appleman artist.
Chairman. Bass Department:
Theory. Arrangmg. Ensemble John Bavicchi
B.M .. Berklee College of Music. Compos1t1on.History
Studies. Navy School of Music. B.M .. New England Conservatory
Professional performing and re- of Music: graduate studies In
cording artist in New England Compos1t1on at Harvard Un1ver-
area. Extensive theatre and show sIty with Walter Piston. Conduc-
band experience. Appear- tor. Belmont Community Chorus.
ances with Worcester Symphony Arlington Philharmonic Society
and various Jazzand Jazz/rock Chorus and Orchestra. Com-
groups. including Papa's N1te poser of numerous works for a
variety of media. 1nclud1ng trios.
Life. Children at Play. Lin B1v1ano
Orchestra. The Fringe. Jade and string quartets. chamber pieces.
Sarsaparilla and Boston works for orchestra. concert
Connection. band. sonatas for cello and
piano. v1ol1nand harpsichord.
Richard Applin two pianos and unaccompanied
Compos1t1on. Theory, Ensemble clarinet. Compos1t1ons published
B.M .. Berklee College of Music. by Oxford Un1vers1tyPress. Ren-
Extensive teaching experience In frew Press. New England Music
guitar. theory and composItIon. Center. Nell KJOS.and Ensemble
Professional performing artist. Publ1cat1ons:composItIons
recorded on CRI. Coronet.
John Arcaro
AS.O.L .. M.IT. and Medea
Piano. Ensemble
Records. Recipient of National
B.M .. Berklee College of Music:
I nstItute of Arts and Letters
undergraduate studies.
Award in recognItIon of creative
University of Massachusetts.
work in music.
Extensive private teaching
experience. Professional
performing artist in the New
England area with variety of
groups.

41
Edward C. Bedner William Bresnahan
Piano. Theory Guitar
B.M. (History and Literature of Alumnus. Berklee College of
Music). M.M. (Piano) and doc- Music. Professional performing
toral studies in piano. Boston artist throughout New England
University. Piano at New England area; many years experience as
Conservatory of Music with private instructor in guitar.
Lucille Monaghan and David Former staff guitarist for CBS
Barnett and at Boston University (WEE!) radio.
with Edith Stearns and Bela William Brinkley
Boszormenyi-Nagy. Awarded Guitar
grant for study at Tanglewood. B.M. Berklee College of Music;
Extensive solo recital experience undergraduate studies at West
including television appearances Georgia College and Southern
and performances. Technical Institute. Private
Randy M. Bell studies with Mick Goodrick.
Director of Institutional Professional performances with
Research various jazz. rock and disco
Alumnus. Berklee College of groups. Guitarist with David
Music; undergraduate study. Ruffin and Motown.
University of Arkansas. Down Professional recording artist.
Beat Hall of Fame Scholarship Whitman Browne
Winner. Music Director. BEJAY Bass
Recording Studio. Extensive B.M .. New England Conservatory
performing and compositional of Music; studies. University of
experience. His Woodwind Lowell. Extensive concert per-
Quintet was performed by formances with symphonic
players of the Denver and jazz groups. Appearances
Symphony. Compositions with Buddy DeFranco. Bobby
published by SEESAW Music Rydell. Anita O'Day. Dorothy
Corporation. Member. ASCAP. Donegan. and on Channels 2 &
5 TV. Recording experience
Ronald Bentley on Columbia Records.
Coordinator of Instrumental
Studies James Burt
Alumnus. Berklee College of Film Sconng. Theory. Ensemble
Music. Ed.M .. Antioch University Diploma. U.S. Naval School of
Special theory studies Music; studies. Eastman School
with Frank Ward and Les Hur- of Music; Berklee Alumnus. Pro-
witz. Clinician for National fessional performing artist.
Assoc. of Jazz Educators & Appearances with the Four Sea-
MMEA. Professional perform- sons. Ike and Tina Turner. Tony
ing artist. Bennett. Clark Terry.
Larry Brenner David Callahan
English Conducting. Composition
BA. Herbert H. Lehman College; B.M .. Boston Conservatory of
MA. Brown University. Editor-1n- Music; M.M .. University of Mas-
Chief and Founder ofWIP sachusetts. Former Instructor.
(Works in Progress). a literary University of Massachusetts. and
arts magazine. circulated in Assistant Conductor of the Uni-
bookstores and universities versity Symphony Orchestra.
throughout the country and Established professional
represented at the Providence conductor.
and New York City Book Fairs.
Author of several manuscripts
of poetry and short stories. as
well as record reviews for the
Columbia Record Club.

42
Stephen Carter Kim Cissel
Guitar. English Theory. Arrangmg. Ensemble
BA. University of Massachu- B.M .. Berklee College of Music.
setts. Guitarist with numerous Alumnus. U.C.L.A. Film
groups including Blues Children, Composition with Earle Hagen.
Jimmy Eagle. Woody Johnson. F1rstTrombone with Tommy
Former instructor, Paul Monte Dorsey Band; performing artist
Studios. Professional with various groups. leader of
engagements for WGBH-TV and own big band. Original
WBZ-TV; recordings for Eastern composition performed by The
Sound Recordings and Spotlight Chamber Orchestra of Los
Productions. Angeles.
Jerry Cecco Wayne Clifton
Arranging. Ensemble Guitar. Ensemble
Alumnus. Boston University; Diploma. Berklee College of Music.
brass studies with Gerald Former Instructor of guitar.
Goguen. Former Director of ensembles and History of Music
Instrumental Music. atJ.D.S. School of Music.
Franklin/Hopedale schools and Extensive professional studio
Instructor in Brass. Hopkinton work and professional
schools. Professional performing performances.
artist; leader of own group.
Recordings with Ace. Fleetwood. Mitchell Coodley
Continental and Professional Theory
Sounds. Music Director for NYC Berklee Alumnus; under-
productions appearing in Boston graduate studies at University of
area. California. Private studies with
Dennis Cecere Gary Burton. Pat Metheny. Mick
Keyboard Theory. Ensemble Goodrick. Steve Swallow.
Professional performing artist Toured with Gary Burton
with experience in variety of Quartet. Professional composer
idioms. Experienced private and performer. Extensive
instructor. Alumnus. Berklee teaching experience 1nclud1ng
College of Music. position as AdJunct Lecturer at
Brooklyn College.
Charles Chapman
Guitar. Ensemble George Cordeiro
Studies. Mercer Community Composition
Gollege. Experienced private BM. Berklee College of Music;
instructor and professional M.A.. Boston Conservatory of
performances with Kaye Ballard. Music. Extension courses
Frank Fontaine and numerous taught at Boston Conservatory
clubs. Alumnus. Berklee College and Boston Un1vers1tyin Jazz
of Music. History and lmprov1sat1on.
Instructor. Brookline School of
Robert Chesnut Music 1nHarmony. Compos1t1on
Arranging and Woodwinds. Professional
Special Studies. New England performances with numerous
Conservatory of Music under bands. Composer for Black and
Whitehurst. Lenom. Fischer; White Film Company.
arranging and composition with
W. Sargent and S. Endicot.
Undergraduate studies. Chicago
Conservatory. Experienced pro-
fessional arranger and performer
both in U.S. and foreign coun-
tries; published composer.
Director of private teaching and
arranging service; Former Edu-
cational Director of Youth School
of Music in Roxbury. Mass.

43
Jeff Covell Norman David
Piano. Theory Ensemble
B.M .. Berklee College of Music; BA. McGill University; music
private studies with Charles studies, Berklee College of
Banacos. Extensive private Music. Woodwind study with
teaching experience. Perform- Jean Laurendeau. Ecole
ances with Lionel Hampton and Jeunesse Musicale of Montreal.
as theatre musician for and Sir George University.
numerous Broadway productions. Montreal. Experienced private
instructor. Professional
Charles Cox
performer. appearing with own
Piano.
groups. and in theatrical
B.M .. Boston Conservatory;
productions.
Diploma. New England Conserv-
atory. Professional Jazzand clas- William Davies
sical pianist: recordings for Piano
Decca. Ace Recording. and PSI B.S.. Temple University;
Recording Studio. Accompanist A.M., Harvard University. Private
for Dinah Washington, Ed Ames. studies with Josef Wissow.
Johnny Mathis. Andy Williams Dennis Sandole. Founder and
and Tom Jones. Professional President of CSCS. Inc.
arranger. Choral Director for Educational Publishers. Taught
Duke Ellington's First Sacred at Weston. MA high school.
Concert in Boston. Graduate of Weston Adult Education
the Faust School ofTuning. Program and Boston University.
Member of the Piano Techni- Extensive professional
cians Guild. performances.
William H. Curtis Alan Defino
Bass Guitar. Ensemble
BM .. Boston University: gradu- A.A., Orange County Commu-
ate studies. Harvard University. nity College: B.M. Berklee
Principal bassist under Emil College of Music. Professional
Arcieri. Boston Civic Symphony performing artist with Dick
and Richard Burgin. New Eng- Haymes and numerous perform-
land Philharmonic. Scholarship ing groups. Extensive private
award Tanglewood Advanced teaching experience.
Orchestra under Serge Kousse-
Stephen Defuria
vitsky Authorized Teacher of the
Audio. Electronic Music
Schillinger System; author of
Undergraduate studies.
A Modern Method for Stnng
Montclair State College: studies
Bass. and First Steps to Ear
in advanced synthesis at Boston
Traintng. Principal bassist with
School of Electronic Music.
Boston Philharmonic; perform-
Professional performances with
ances with Boston Pops under
various bands as leader and
Arthur Fiedler.
arranger: private instructor in
John Damian electronic music. Arranged.
Guitar. Ensemble programmed and performed on
B.M. Berklee College of Music: recordings for A & R Studios in
AAS., New York City Commu- New York; arranged, performed.
nity College. Extensive club and and recorded for commercials
theater appearances. aired on WNEW/FM (NY);
established audio consultant.
David Demers
Piano. Theory
B.M .. Berklee College of Music.
Professional performing artist
with a variety of commercial
groups.

44

(
Marie Diamond Ben Elkins
History of Art Theory. Ensemble
AB .. Wellesley College; graduate B.M .. Berklee College of Music.
seminars at Radcliffe College Former instructor 1nbrass and
and Harvard University. Lecturer Director of Stage bands with Nor-
in Art History, Boston Museum of wood. Needham and Stoughton
Fine Arts and Isabella Stewart Public Schools. Professional
Gardner Museum; former recording artist. Appearances
Visiting Lecturer. Boston with Stan Kenton. Roland Tapley
College. Michael Sassoon and Chester
Schmidt.
Robert Doezema
Theory, Composition Paul Elman
B.M., Berklee College of Music; Woodwinds
studies, University of Michi- B.M .. Berklee College of Music;
gan. Professional performing B.S. Point Park College; A.A..
artist with variety of general bus- American College in Paris;
iness and commercial groups. studies, Michigan State
University. Performances with
Anastasia Dolan
various groups. including
Voice
Philharmonic Choir of Paris. Hal
B.S. (candidate). University of
Mel ntyre Orchestra. Arnie
Massachusetts; Speech Therapy
Lawrence. Urbie Green.
studies with Salvatore Pace;
Televised jazz concerts on
private studies with Robert
WKAR-PBS. Recipient. Charlie
Gartside. Extensive experience
Parker Scholarship.
as private instructor of voice.
Lyricist in collaboration with Alan Ett
Richard Wright. Las Vegas; Woodwmds
various professional per- BA. University of North Carolina;
formances as soloist. and M.S .. New England Conserva-
singer/ guitarist. tory: undergraduate studies.
University of Miami. Extensive
Dean Earl
private instruction in Boston
Piano
area and Ravenscroft Private
Alumnus, Berklee College of
School. Improvisation and
Music. Wide professional experi-
Theory Workshops and classes
ence including engagements
at Commonwealth Private
with Sonny Stitt. Charlie Parker,
School. Concert appearances
Ben Webster. Active arranger
with Sammy Davis. Liza Minelli.
and performer in theater music
Neil Sedaka. Mitzi Gaynor.
and jazz idiom.
Spinners and the Pointer
Sisters.
Alex Elin
Piano. Theory Randolph Felts
B.M., Berklee College of Music; Arrangmg. Theory. Woodwmdc-
studies. University of India- B.A.. University of Richmond.Per-
na. Professional performing art- forming artist with symphonic
ist with variety of groups. includ- and jazz groups. Former
ing Woody Herman. Gladys Knight Instructor. Brookline Music
and The Pips. School and public schools of
North Reading and Dover. Alum-
nus. Berklee College of Music.

45
 John M. Ferrara Jeffrey Friedman
Piano. Arrangmg. Theory. Arrangmg
Ensemble B M .. Berklee College of Music.
B M .. Berklee College of Music. Extensive Club date
Instructor. Rhode Island School performances. Arrangements for
of Music; arranger for AAA Luz Morales. The Tod
Recording Studios. Boston. Edmondson Orchestra and Giles
Appearances with Buddy Rich. St. Germain. Piano/vocal
Chico Hamilton. Philly Joe Jones. arranging for Screen Gems-
Bob Crosby, Arnie Lawrence and Columbia Publications.
Chubby Jackson. Professional Established private instructor.
performing artist. Leader of own band .
. Garrison Fewell Chris Frigon
Gwtar. Ensemble Theory. Compos,t,on. P:ano
B.M .. Berklee College of Music. B.M .. M.M .. Boston University.
Extensive experience as private Composition/counterpoint with
Pedal steel guitarist Buddy
instructor Appearances as Gardner Read. Hugo Norden;
Emmons shown demonstrating
soloist in 1az2/class1cal guitar piano with Edwin Behre. W1ll1am
the instrument he donated to
concerts. Leader of own group. Chaisson. Leon Tumarkin.
the Berklee Guitar Department.
Instructor and composer 1n
Standing 1sMichael Ihde. Charles Free
residence. Adamant School for
guitar instructor Theory. Ensemble. Gwtar
Pianists. Concert soloist. Active
B.M .. Berklee College of Music;
composer; awarded first prize at
studies. Jefferson Davis College
American Accordion
and University of Southern Miss-
Musicological Society.
issippi. Established private
International Composition
instructor. Appearances with
Competition. Member. P1Kappa
variety of club and general
Lambda and Leschetzky
business groups.
Association.
James S. Frejek
Gregory Fritze
Gwtar. Ensemble
Composition. Theory. Brass
Berklee alumnus. Guitar studies
B.M .. Boston Conservatory of
with Johnny Smith. Dennis San-
Music; M.M .. Indiana University.
do le. Staff arranger-guitarist.
Compos1t1onwith Thomas
U.S. Naval Training Center Band
Beversdorf; tuba with Harvey
and Naval Academy Band.
Phillips. Chester Roberts. Former
Former instructor 1nguitar. U.S.
Associate Instructor. Indiana
Naval School of Music. Staff
University and Instructor in
arranger. MCPB-1V Baltimore;
Brass. Boston Public Schools.
guitarist for WPLN. Nashville.
Professional performing artist
Experienced private guitar
with Boston Ballet Orchestra and
instructor.
orchestras throughout U.S.
Mark French Author. "Quintet for Brass
Guitar. Ensemble Instruments" (Minuteman Press).
Professional Diploma. Berklee Recipient of Whitehall
College of Music. Established Musicianship Award ( 1972) and
private instructor. Performer and Walt Disney Fellowship Award
arranger for various professional (1977).
groups. Recording experience.
George Garzone
Ensemble. Saxophone
Professional performing artist
with Tom Jones. Buddy Rich.
Englebert Humperd1nck.
Extensive private teaching
experience. Alumnus. Berklee
College of Music.

46
Norman A. Gaudet Michael Gibbs
French Composer m Residence
AB. Boston College MA, Diploma. Berklee College of
Harvard University. Special Stud- Music; B.M .. Boston Conserva-
ies. Sorbonne University, Paris. tory of M usIc; private study with
Former Instructor in French. Mas- Gunther Schuller. Recipient of
sachusetts Bay Community Col- 1961-1 963 full scholarships to
lege. Newton High School and Tanglewood and Lenox School
Dracut (Chairman of Dept.) Pub- of Jazz. Arranger /composer for
lic Schools. Instructor. Newton many groups including Gary Bur-
Junior College. ton. Stan Getz. Stanley Clarke.
Film scores for "Madame Sin."
Tony Germain
"Secrets" and "Intimate Reflec-
Theory. Ensemble
tions" and composer of music for
B.M. (Piano). Berklee College of
telev1s1on.Recorded albums:
Music. Professional performing
"Tanglewood '63," "Just Ahead."
artist. Television appearances on
"In the Public Interest." "The
WGBH-TV, Nick Cluney Show
Only Chrome Waterfall," Scored
and Bob Braun Show, Cincinnati.
"Apocalypse" for London Sym-
Recordings for Acuff-Rose
phony Orchestra under Michael
Publishing Co .. Nashville.
Tilson Thomas.
Tennessee. Musical Director for
"Jacques Brei is Alive and Well Yolanda Goldman
and Living in Paris." Charles Spamsh
Playhouse. Alumna. Boston Un1vers1ty.
Harvard University. Universidad
Bruce Gertz
de San Carlos de Guatemala.
Bass. Ensemble
University of Madrid. Spain.
Diploma. Berklee College of
Former instructor of Adult
Music; studies. New Eng-
Education courses In Spanish at
land College. Bass with Anthony
Wellesley Senior High School.
Evangelista. Professional perform-
Assistant Professor of Spanish at
ing artist with both Jazzand gener-
Lasell Junior College. Board
al business groups. Appearances
member. Pan American Society
with Ted Brown Quartet. New Eng-
of New England; member,
land Opera Chamber Group. Radio
American Assoc1at1on of Teachers
performances. WBUR; recordings
of Spanish and Portuguese
with AAA and Dimension Sound.
Peter Gordon
Douglas Getschal
Audio Woodwind, Theory. Arrangmg.
Ensemble
B.M .. Berklee College of Music.
Freelance arrangements for BA. MacOuarie Un1vers1ty.
Frankie Valli and The Four Australia; B.M . Berklee College
of Music. Extensive professional
Seasons. Engineered sound
performing. arranging, and
requirement/ reI nforcement
recording experience
systems for performances by
throughout Australia. Southeast
Chick Corea. BSO. Lou Rawls.
Asia. and Canada. Leader of own
Buddy Rich Orchestra. Maynard
group appearing throughout the
Ferguson. Tony Bennett and
New England area.
Chuck Mangione. Vice
President. American Speaker Gil Graham
Systems Member. ASCAP. Percusswn
AA. Fort Scott (Kansas)
Community College; music
studies. W1ch1taState University
and Un1vers1tyof Missouri
Private studies with Chuck
Flores. Sonny Igoe. Fred Buda.
Wide teaching experience as
private instructor. Appearances
with Larry Coryell and Roland
Kirk. Leader of own group.
47
 Harold Grossman Clarence Hammond
Instrumentation. Theorv. Jazz Psvchologv
Workshop BA. M.A .. Western M1ch1gan
B.M .. Berklee College of Music; Un1vers1ty:Ph.D .. University of
graduate studies. New England Wisconsin. Licensed Psycho-
Conservatory of Music. Special logist: former Assistant
compos1t1on studies. Carnegie Professor of Psychology.
Institute ofTechnology; arrang- Framingham State College:
ing with Russ Garcia and Kloman Research Assistant. University
Schmidt. Former instructor in of W1scons1n. Psychological
brass instruments in public Counselor. State University
schools of the Boston area. of New York.
A_rranger-performer. Reprise
Judith Evans Hanhisalo
Records; guest trumpet solo
H,storv of Art
appearances including Polymnia
A.B .. A.M .. Boston University.
Choral Society. Co-author of
Lecturer. Boston Museum

- --
Country Blues Song Book (Oak
of Fine Arts; Researcher. Gard-
Publ1cat1ons.)
ner Museum. Former Instructor
John Hagon 1nArt History, Boston Univer-
Oscar Peterson v1s1tsfilm Music Education. Conductmg sity. Framingham State Col-
editing lab with administrator B.M .. University of Wisconsin; lege. Instructor. School of the
Robert Share M.M .. Boston University; Worcester Art Museum. Boston
symphonic and operatic College. Member. Archaeo-
conducting with Attilio Poto; logical Institute of America.
opera workshop with Boris
Herbert Hankinson
Goldovsky. Southeastern
Bass
Massachusetts U n1vers1ty;
Undergraduate studies. Boston
studies 1norchestration and
Conservatory of Music;
arranging with Gardner Read.
Conducting with Attilo Poto.
Former Supervisor of Vocal and
Appearances with Wellesley
Instrumental Music. Wild Rose
Symphony. Melrose Symphony.
Public Schools. Wisconsin:
Newton Symphony. Portland
Director of Instrumental Music at
Symphony and Arthur Fiedler.
Barnstable High School.
Professional performances and
Hyannis. and Instructor at Dean
recordings throughout the
Junior College and Bowdoin
Boston area. Toured with Milton
College. Extensive conducting
Berle show.
and performing experience.
George Hargan
Kevin Haines
Theorv. Arrangmg.
Theorv. Ensemble
Ensemble
B.M .. Berklee College of Music.
B.M .. Berklee College of Music;
Former lead trombone with
graduate studies in Music Edu-
Tommy Dorsey Orchestra.
cation. Lowell State College:
Performances with Frank Sinatra.
theory studies. Philadelphia Aca-
Jr .. Al Martino. Bob Newhart.
demy of Music. Former Instructor
Diana Ross. Bobby Vinton. The
1ntheory and brass. Arlington
Four Tops and various
Academy of Music and Bedford
theater /variety groups.
High School. Professional per-
Commercial arranger and
forming artist with Billy Maxted
transcr1pt1on spec1al1stfor
Orchestra; appearances with
numerous rock/soul and show
Eddie Arnold. Sesame Street
bands. Experienced private
Singers. Angelo P1ccard1and on
instructor.
WBZ-TV. Boston.

48
Walter Harp Les Harris
H1storv. Soc1ologv Director of Tutonal Services
A.B .. Harvard University; M.A.. Graduate. U.S. Naval School of
Un1vers1tyof New York. Former Music; private studies with
consultant on education. Centre George L..Stone. Professional
Research Associates of Newton; experience with variety of Jazz
tutor 1nsocial studies. Harvard groups including Toshiko. Char-
University and Teaching Assist- lie Shavers. Herb Pomeroy: staff
ant. Radcliffe College. Instructor mus1c1anat Storyville with per-
1nSociology. Newbury Junior formers such as Chris Connor.
College. Former Research Con- Lee Kon1tz.Zoot Simms. Exten-
sultant 1nAmerican History, sive teaching experience 1nNew
Smith College. England area: Berklee alumnus.
James S. Harper Peter Hazzard
Chairman Academics Chairman. H1storv and
English Analvs1s Department
B.A.. Southwestern University; B.M. Berklee College of Music:
A.M .. Ph.D .. Boston Un1vers1ty. special studies. Boston Univer-
Former instructor at Boston Un1- sity. Composer of sound tracks
vers1ty, College of Basic Studies for educational and commercial
and Division of General Educa- films. as well as variety of
tion; lecturer Boston University chamber and orchestral works;
College of Liberal Arts. Member. compos1t1ons published by SEE-
B1bl1ography Committee for SAW Music Corp Leader of own
"Literature and Psychology" group and arranger for various
Journal. recorded ensembles. Assistant
Conductor. Arlington Philhar-
Robert Harrigan
monic Symphony Orchestr1.
Guitar
Member. ASCAP.
Undergraduate studies. Boston
College. Professional perform- Wes Hensel
ing artist. Extensive private Theorv. Ensemble
teaching experience. Alumnus. Undergraduate stud1es.Un1ver-
Berklee College of Music. s1tyof Southern California. Notre
Dame Un1vers1ty.Former instruc-
Daniel Harrington
tor. University of Utah. Profes-
Ensemble
sional performing artist for many
B.M. Berklee College of Music;
years with name groups
B.S. Bryant College. Toured
including Benny Goodman. Boyd
with Tommy Dorsey Orchestra.
Raeburn. Les Brown. Staff
Professional engagements with
trumpet with Las Vegas
Sonny and Cher. Ben Vereen.
Showrooms. Flamingo.
Ch1ta Rivera. Enzo Stuarte.
Tropicana. Sands. Thunderbird
Jerry Lewis. Phyllis Diller.
and Dunes hotel orchestras.
Experienced private instructor.
William Hill
English. Gullar
B.A.. M.A.. Un1vers1tyof Maine.
Former Instructor. Un1vers1ty
of Maine. Professional per-
forming artist. Extensive private
teaching experience.

49
Gregory Hopkins Joe Hunt
Theory. Arranging. Ensemble Percussion. Ensemble
B.M .. Michigan State University. Undergraduate studies. Indiana
Former Instructor. Detroit Public University, Mannes College. and
Schools. Professional performing New School for Social Research
artist with Motown and groups in Extensive professional experi-
Detroit area. Arranger and Jazz ence. including engagements
trumpet with Billy Maxted and with George Russell. Stan Getz.
Buddy Rich orchestras. Per- Jim Hall. Gary Burton and Bill
former and arranger on RCA. Evans. Recordings with Gary
McFarland. Bobby Hackett. Les
Joe Hostetter
Elgart. and various rock-Jazz
Chairman.
groups. Percussionist with
Audio Recordmg Department
Broadway theatre orchestras.
B.S in Music Education. Kansas
State University; Diploma. U.S. Michael Ihde
Navy School of Music. Studies in Guitar. Ensemble
Studio Technology at the Institute BM .. Berklee College of Music
of Audio Research. N.Y.C. Exten- Former instructor in Guitar.Pub-
sive professional location record- lic Schools of New Jersey and
ing experience since 1 960. Massachusetts. Professional en-
Former band director in Kansas gagements with top 40 bands
public schools. Professional throughout New Jersey and
instrumentalist and arranger with New England area. Film com-
various name and local bands poser and recording artist.
throughout the U.S. Life Member
Andrew Jaffee
of Phi Mu Alpha Sinfonia.
Theory, Arranging. Ensemble
Member of the Audio Engineer-
B.A. St. Lawrence Un1vers1ty:
ing Society. Member of the
M.M .. University of
National Council of Recording
Massachusetts; private theory
Engineers.
study with Hugo Norden.
Peter Hume Former Assistant Director of
Theory, Arranging. UM ass Jazz Workshop:
Ensemble Instructor in Piano and
BM. Berklee College of Music; Composition. Professional
studies. Georgetown University performing artist and leader of
Guitarist/bassist for Washing- ten-piece group in New
ton. D.C. groups in Washington England area.
National Cathedral and
David Johnson
Georgetown University Chorus.
Theory, Ensemble
Professional recording artist.
B. Mus. Ed.. Hartt College of
Guitarist/arranger for
Music. Alumnus. Boston
Georgetown University drama
Conservatory of Music. Extensive
productions and for Miss
private teaching experience in
Massachusetts Pageant.
brass and electronic media.
Various Jazzclinics and
workshops. Performances with
Steve Wonder. Jerry Lewis.
Sandler and Young. Mills
Brothers, Tommy James and the
Shondells. and various groups.
Recorded with Columbia and
Dawn artists.

50
Jeronimas Kacinskas Deanna Kidd
Conducting Music Education
Graduate. Klaipeda Conserva- B.S. (Music Education). Lowell
tory; Music Education. State Con- State College; M.M .. Boston Con-
servatory of Music. Prague servatory of Music. Voice studies
(Praha) Composition with Jaros- and coaching with Gladys Miller.
lav Kricka;,conducting with Pavel Allan Rogers. Terry Decima. Pro-
Dedecek; quarter-tone composi- fessional appearances with Boris
tion with Alo is Haba. Goldovsky and the Boston Opera
Co .. and on TV in Boston. New
Ed Kaspik
York and Washington. D.C.
Percussion. Ensemble
Former chairman of Elementary
B.M .. DePaul University. Former
Music Dept. and Instructor in
Percussion instructor in Public
music. Lexington Public Schools.
Schools of Belmont and Bedford.
and at Cambridge Center for Richard Kimball
Adult Education. Former Psvchologv
Instructor. Chicago Summer BA Tufts College; M. Div ..
Youth Program for under- Harvard University; M. Ed. D.
privileged students. Perform- Ed. (candidate). Boston
ances with U.S. Navy Band University. Former instructor.
Program. Roxbury Community College;
guidance counselor. Boston
Robert Kaufman
University Metropolitan College
Percussion
and Head Counselor. Boston
Berklee Alumnus. Studies with
Un1versity Tanglewood Institute.
Fred Buda. Alan Dawson.
Chaplain and counselor.
Alexander Lepak (Hartt College
Juvenile Court of Somerville.
of Music). and Pete Magadini
Lecturer in Psychology and
of Los Angeles. Performances
Philosophy. Emerson College
with Chuck Mangione. Sal
and Newbury Junior College.
Salvidor. Dwight Mitchell.
Willie Ruff and Jonny Dee Kohanna
Hammond Smith. Former Voice
Instructor in the Wellesley and BA. Bennington College.
Newton School systems. Alumna. Berklee College of
Extensive private instruction Music. New England
over the past 10 years. Conservatory, Dalcroze School
of M usIc. Private study in
James Kelly
Composition with Henry Brant.
Gwtar. Ensemble
Features participant. "Women's
Berklee alumnus. Former in-
Jazz Festival." Kansas City.
structor in guitar at Roger
Professional performing artist
Williams College. Appearances
with own band. Eclipse.
with numerous groups through-
Extensive private teaching
out New England. Professional
experience
performing artist with a var-
iety of jazz/rock bands. in- Raymond S. Kotwica
cluding Street Noise and Chairman. Trumpet Department
Nova. B.M .. Boston University. Private
study under George Mager.
Lead trumpet. Schubert Theatre.
Recognized authority on breath
control and embouchure prob-
lems. Former brass instructor in
Greater Boston public schools.
Author of Chord Studies for
Trumpet.

51
 Robert Lacey John LaPorta
Chairman, Music Educauon Improvisation
Departmem B.M., M.Mus.Ed, Manhattan
BS.Ed., Lowell State College: School of Music. Private studies
M.Ed., Ed.D .. Boston University. with William Dietrich, Joseph
Former Supervisor of Mus1c,L1t- G1gl1ott1,Leon Russianoff, Robert
tleton, Harvard and Stow, Mass.: Morns, Ernst Toch, Alexi is Haieff.
Former Director of Music, Ran- Performances under Igor Stra-
dolph. Senior State Supervisor of vinsky, David Broekman.
Music Education, and Visiting Gunther Schuller, Leonard Bern-
Professor in Music Education. stein. Saxophonist with Woody
Lowell State College Graduate Herman. Instructor Stan Kenton
School and Fitchburg State Col- Stage Band Clinics. Author:
'lege. Chairman, Arts and Developing the School Jazz
Human1t1esCommittee, Mass. Ensemble, A Guide to lmprov1sa-
Department of Education Curric- uon, Ear Trammg-Phase 1,
ulum Coordinator, Mass. State Developing Sight-reading Skills
Music Curriculum Guides. m the Jazz Idiom, A Gwde to
Jazz Phrasing and Interpretation,
Tony Lada
and many other publications.
Trombone, Arranging, Ensemble
AS CAP Award Winner since
B.M., Berklee College of Music:
1968. Member, Berklee Faculty
M.M. (candidate). New England
Saxophone Quartet
Conservatory of Music. Profes-
sional performer with many William G. Leavitt
groups including Tony Bennett, Chairman, Gwtar Department
Supremes, Temptations, Sammy Former staff guitarist, arranger
Davis. Jr. Tours with Buddy Rich, and music director for CBS
Woody Herman, Glenn Miller and Radio In Boston. Many years of
Hugo Winterhalter. radio, telev1s1onand recording
experience with a variety of
artists. Author of A Modern
Method for Guitar, Classical
Studies for Pick-Style Guitar,
Melodic Rhythms for Gwtar, and
The Guitar -Phase 7, a method
for class instruction.
David Lindsey
Theory, Arranging, Ensemble
B.S., New Mexico State
University: B.S. and M.S ..
Northeast Missouri State
University: B.M .. Berklee College
of Music. Trombonist with Buddy
Rich. Louis Bellson.
Appearances with Jerry Lewis,
The Fifth Dimension, Sandler
and Young, Billy Eckstein.
Former instructor. Rhode lsla,1d
School of Music. Member, The
College Music Society.

52
Steven Lipman Richard Lowell
Director of Adm1ss10ns.Theory Theor:y,f nsemble
B.M .. Berklee College of Music; Diploma: Berklee College of
undergraduate studies. New Music. Special studies, Navy
York College of Music. Former School of Music; trumpet with
instructor in instrumental music Donald Rheinhart. First trumpet
and stage band. Stoughton. under Frederick Fennell; profes-
Mass. Public Schools and wood- sional performances with Frank
wind instructor In Brockton. Sinatra Jr. and Buddy Greco.
Mass. Public Schools. Profes- Experience in variety of ensem-
sional performer in New York and bles and theater orchestras.
New England area.
Joyce Lucia
Andre Lizotte Voice
Clarinet B M .. Lowell University; M M ..
Professional clarinetist with New New England Conservatory of
England Opera Theater. Gol- Music; Vocal Study, Berkshire
dovsky Opera Theater. Metropol- Music Center. Tanglewood
itan Opera Company. and 19 77-1 9 7 8. Performances with
numerous ballet companies the Boston Symphony Orchestra
including American Ballet The- and Boston Pops. Recording and
ater. and Boston Ballet. Perform- radio experience. Extensive
ances with Boston Symphony professional singing
Orchestra. Boston Philharmonia. engagements in Jazzand pop.
Solo appearances in South
WilliamJ. Maloof
America. Europe. and the West
Chairman. Composition
Indies. Former Instructor in clari-
Department: Theory,
net. Mount St. Charles Academy.
Composition
Member of the New England
Wind Sinfonia. Principal clarinet.
B.M.. Graduate Studies, Boston
University. Guest Conductor
Opera Company of Boston.
Boston Public School Symphonic
Jessica Locke Band and Orchestra; Conductor
Voice U.S. Naval Training Dance Band
B.A.. Ohio State University; M.M.. and Concert Orchestra. Com-
New England Conservatory of poser of band. orchestral. choral,
Music. Professional performing chamber. and stage works. Com-
and recording experience. missioned works in variety of
Extensive private teaching media. First Prize Contemporary
experience. Recipient. New Composition Award by the Ind-
England Conservatory iana State University/Indianapolis
Scholarship for gifted students. Symphony 6th Annual Music Fest-
ival. Works widely played. including
Ralph Lombardi performances by the Boston Sym-
Arranging, Composition. phony Orchestra (Youth Concerts)
Theory
and the Indianapolis Symphony.
B.M., Berklee College of Music;
studies. Lansing (M1ch1gan)
Community College and Central
Michigan University. Bass with
Gene Rebeck, Dan Pliskow and
Steve Swallow. Appearances
with variety of groups from GB to
Jazz.Professional performing
artist.

53
Charlie Mariano Donald McDonnell
Jazz Workshop. Ensemble. Theory. Arrangmg. Ensemble
Theory B.M .. Berklee College of Music;
Saxophonist-arranger with Stan special woodwind studies.Pea-
Kenton and Shelly Manne. body Conservatory of Music.
Formed own Quartet with Principal woodwind chair with
Toshiko and performed widely In U.S. Army Band. Fort Meade.
U S.. Japan. France. Sweden MD. Professional performing
and Denmark. Featured soloist experience In Baltimore. Wash-
on many top Jazzrecordings ington. D.C. and Boston areas.
including performances with Theory studies at Boston
Charlie Mingus and Elvin Jones Un1vers1ty.
(Impulse Records). Toshiko-
Thomas McGah
Mariano Quartet (Candid
Theory, Compos1t10n.History
Records) and Don Sebesky's
B.S. Lowell State College; M.M ..
album on Regina Records. "Por-
Boston University. Private
trait of Charlie Manano." Instruc-
study in theory and composItIon
tor at numerous Jazzsummer
with Hugo Norden; trombone
clinics. Cultural and Educational
with Kauko Kahilla. Former in-
Exchange specialist to Malaysia
structor in Somerset and Milton
for United States Information
public schools. Professional per-
Agency. Berklee Alumnus.
forming artist and composer.
Michael Marra Specialist in film-study
Piano. Ensemble programs.
B.M. Berklee College of Music.
AndyMcGhee
Professional performing artist.
Woodwmds .Ensemble
Engagements throughout New
Diploma. New England Conserv-
England area including Holiday
atory of Music. Saxophonist-
and Sheraton Inn chains and
arranger with Lionel Hampton
The Point After. Jazz perform-
and Woody Herman. Perform-
ance clinics In colleges of
ances with Sammy Davis. Jr ..
Boston area.
Louis Armstrong. Tony Bennett.
Thomas Martin Danny Kaye Show and series of
Voice. Ensemble youth concerts.
BA. Boston College; B.M ..
Berke M cKelvey
Berklee College of Music.
Theory, Ensemble
Professional vocal ensemble
B.M. Berklee College of Music;
performances throughout the
studies at Principia College.
New England area; recording
UCLA and Univ~rsity of
for GIA records. Arranger/
Cal1forn1aat Berkley. Instructor.
coach for 1973 Ms.
California public schools and
Massachusetts production.
Musical Director of Jazz/rock
Vocalist/accompanist with
combos In Chr1st1anScience
various groups.
Center of Boston. Arranged for
Matthew Marvuglio or1g1nalrock musicals. Extensive
Theory, Composition. Flute experience as professional
BM .. Berklee College of Music; recording artist with Larry Groce
graduate study, Boston for RCA/Daybreak. Warner
Conservatory. Counterpoint Bros .. and Motown.
and composItIon with Hugo Performer/ arranger for
Norden. Composer. recitalist; Grammy-nominated "W1nn1ethe
professional performances Pooh for President." and a series
with various theatre orchestras. of recorded children's books for
Compos1t1ons include works Disneyland Records.
for wind ensemble. chorus and
Modal Etudes for Woodwinds.
Co-author of Workbook for
Trad1t1onal Harmony

54
Mike Metheny Gregory Mooter ")
Theorv. Trumpet. Bass. Ensemble
Ensemble Undergraduate studies.
B.S.. Music Education. University C1nc1nnat1College Conserva-
of Missouri: M.A .. Northeast tory of Music and Ohio State
Missouri State. Voted University. Numerous pro-
"Outstanding Trumpet Soloist" fessional performances in
for 1975/1976 Mid-America Boston and Mid-West Private
Jazz Festival. Co-host of the "Jazz InstructIon in Ohio and New
Place Magazine" on KCUR-FM. England Area. Professional
Kansas C Ity. Professional performing artist In variety of
performing artist with M 1ke 1d1oms.
Gibbs. Marvin Stamm. Carl
Robert Mover
Fontana. Pat Metheny.
Ensemble
Larry Monroe Private studies with Ted Rosen.
Chairman. Performance Studies Lee Kon1tz.Joseph Ma1n1eri,Jak1
Department Byard. Joe Allard. Professional
B.M .. Berklee College of Music. performing artist. appearing as
Former member. 8th Air Force leader and member with variety
Band. Westover. Mass .. and 16th of groups. Appearances with
Air Force Band. Madrid. Spain. Charles Mingus, Newport Jazz
Performances with Burt Festival, as well as various
Bacharach. Buddy Rich. Tony festivals throughout Europe.
Bennett and other groups. Pro- Recording artist with C ho1ce.
fessional appearances in Europe Vanguard and Ch1scuro.
and throughout U.S. Co-leader. Extensive private teaching
arranger and saxophonist with experience.
Berklee Faculty Concert Jazz
Lou Mucci
Orchestra.
Trumpet. Ensemble
George Monseur Professional performing artist for
Supervisor of Conduct mg: many years with variety of name
Conducttng. Solfege groups including Red Norvo.
BM., Arizona State University: Glenn Miller. Benny Goodman.
M.M .. New England Conserva- Claude Thornhill. Recordings
tory of Music. Conducting with with Gil Evans. Miles Davis. John
Leopold Stokowsky, Leonard LaPorta, and others Staff musI-
Bernstein. Leon Barz1nand Attilio cIan with CBS and ABC
Poto Former Instructor in
Craig Najjar
Conducting. Boston Conserva-
Theorv. Ensemble
tory of Music. National and
B.M, Berklee College of Music.
1nternat1onal engagements.
Alumnus, New England
1nclud1ngTanglewood Festival
Conservatory and Boston
Orchestra, National Radio/TV
Conservatory of Music. Private
Orchestra of Athens, National
study with Hugo Norden and Bill
Symphony of Costa Rica,
Evans. Professional arranger.
International Musical Festival of
p1an1st/vocal1st. Host of own
Caracas. Former Music Director
show on WJMO Radio Rec1p1ent
of National Symphony Orchestra
of American Pop Song Festival
of Ecuador.
Honorable Mention for both
"Top 40" and "Pop Song"
categories.

55
Wayne Naus Kit N ienkirchen
Ensemble. Theory Theory. Arrangmg. Ensemble
B.M .. Berklee College of Music. Diploma. Berklee College of
Professional performing artist Music. Extensive playing
with Buddy Rich. Lionel Hamp- experience with club and
ton. Maynard Ferguson. Con- concert groups. Arranger for
cert appearances with Tony variety of ensembles and
Bennett. Ella Fitzgerald. Band composer of locally-produced
cl1n1cperformances through- film scores. Experienced private
out U.S. and Canada. instructor.
Barrie Nettles William Norine
Theory. Arrangtng. Ensemble Percussion. Ensemble
Alumnus. Berklee College of B.S. Un1vers1tyof Minnesota;
Music. special studies. Naval M M .. New England
School of M usIc. Staff Arranger. Conservatory of Music; studies.
Army Band of the Pac1f1c;former Un1vers1tyof Wisconsin.
Administrative Assistant. Frank Percussion with Marvin
Music Corp .. and Music Thera- Dahlgren. Paula Culp. and Fred
pist for trre State of Pennsylvania. Buda. Performed with the
Extensive performance and Minnesota Opera Company.
recording experience. Profes- and University of Minnesota
sional arranger and composer. Concert Band Ensemble.
Carnegie Hall debut in 1975
John Neves
with Urb1e Green and the
Bass. Electnc Bass. Ensemble
Un1vers1tyof Minnesota Jazz
Professional bassist with many
Ensemble. Author. "A New
groups. including Stan Getz.
Approach to Percussion" and
Marion McPartland. Maynard
"Ten Fugues-Virtuoso Studies
Ferguson. Herb Pomeroy and
for the Drum Set".
U.S Army Special Services
Band. Staff musIcIan. Playboy Christopher Noyes
Club. Many years teaching expe- Electromc Music
rience in New England area. B M .. Berklee College of Music;
studies. Emerson College.
Professional composer of
commercials and film scores.
Composer of electronic music
score recorded for Fulton
Enterprises. Experienced
electronics technician.
Brian O'Connell
Chairman. Voice Department
BS .. Lowell State College;
M.Mus. Ed. (candidate). Boston
Conservatory of Music. Former
instructor. public schools of Los
Angeles. California. and East
Bridgewater. Massachusetts.
Former Music Director. Cam-
bridge Chorale.
Richard Odgren
Piano
B.M .. Berklee College of Music;
studies. Worcester Junior Col-
lege. Leader of own group In
Worcester area. Former arranger
for U.S. Navy Concert Jazz En-
semble and TV commercials.
Professional performing artist.

56
Steve Olenick Frederick T. Pease
Theory. Arrangmg. Ensemble Chairman. Arrang,ng
Diploma. Berklee College of Department
Music. Studies with Robert BA, Cornell University; B.M.
Moran. Former member. (Music Education). Berklee Col-
International Dues Band. lege of Music; Professional
Extensive composing credits for arranger with experience in the
telev1s1onand radio. 1nclud1ng Jazzand commercial 1d1oms;
theme music "Sports Weekly". arrangements for Buddy Rich
"World Cup Soccer" and "Boston Orchestra; co-leader. arranger.
Marathon 79"forWGBH-TV. and drummer with Berklee Fac-
Professional performing artist. ulty Concert Jazz Orchestra; lec-
turer on modern arranging peda-
Neil Olmstead
gogy at education conferences;
Piano. Ensemble
professional engagements with
B M. Berklee College of Music;
Herb Pomeroy, Ray Sant1s1.
M.M .. New England Conserva-
Charlie Mariano, Lee Konitz.
tory of Music; Diploma. Ecole
Member, ASCAP. Rec1p1entof
d'Art Americaines. Studies with
grant from National Endowment
Nadia Boulanger. Hugo Norden.
for the Arts (1975) for Jazz
Professional performing artist
composItIon.
with various jazz and general
business groups; extensive William Perich
private teaching experience. Woodwmds, Ensemble
B.S.. Wayne State Un1vers1ty.
Robert Owsinski
Instrumentalist on recordings
Audio Recordmg
with The Supremes, Smokey
A.A., Ryder College; studies In
Robinson and The M 1racles.
Compos1t1on, Berklee College of
Martha and the Vandel las,
Music. Advanced studies In
Marvin Gaye and others.
master tape deck. recording
Various other professional
consoles and automation
performances with numerous
systems. MCI Service School;
groups. Private instruction in
Cert1f1cateIn Electro-Acoustics,
flute. clarinet and saxophone.
Synerget1c Audio Concepts.
Professional guItarIst. sound Isham Peugh
techn1c1an and recording Trombone
engineer. Album credits include B.Mus.Ed .. W1ch1taState Un1-
Atlantic. Mercury and Del1te versIty: MA. Un1vers1tyof Iowa.
records. Member. Audio Professional performances with
Engineering Society. W1ch1taSymphony, Gatlinburg
Summer Opera Festival and a
Jacques Paoli
variety of concert groups In
Piano
Philadelphia area. Former brass
BA, Sorbonne University.
specialist. public schools of
Paris, France. Professional per-
Philadelphia and Band Director,
forming artist with variety of
Penn Yan Academy. New York.
groups. Alumnus. Berklee Col-
Member, Board of Directors.
lege of Music.
Pierre Monteux Conducting
Charles Pattison School and American Sym-
English phony Orchestra League.
BA. University of Minnesota;
Stephany Pisek
MA, Kenyon School of Letters;
Piano, Theory
Ph.D. (candidate). Indiana Uni-
B.M, Berklee College of Music;
versity. Former Instructor,
M.M. New England Conservatory
Indiana Un1vers1tyand Un1ver-
of Music; graduate studies In
sIty of Notre Dame.
Theory.Harvard University.
Professional experience as
accompanist for Boston Ballet
and numerous vocal/dance
studios. Extensive private
teaching In Boston area.
57
 Thomas Pisek Stephen Prosser
Cha1rman. Trombone I Brass Voice. Arrangmg.
Department Ensemble
B.M .. Texas C hrist1an U n1vers1ty; B.M .. Berklee College of Music;
M.M .. University of Houston. studies. Penn. State University.
Former instructor. public schools Professional performing artist
of Houston and Fort Worth. Trom- with various rock. club and show
bone with Gordon Sweeney and bands. Arranger and composer
Al Lube. Performances with for variety of groups including
Houston Symphony. Fort Worth Wisdom. Crash Whiplash and
Ballet Orchestra. Texas Boys D.O.A.'s.
Choir and various entertainment
Kenneth Pullig
groups. Theory and Compos1t1on
Arrangmg. Theory. Ensemble
·with Michael Horv1t.
B.S.. {Mus Ed.) University of
Stephen F. Plummer Connecticut: B.M .. Berklee Col-
Piano. Theory, Solfege lege of Music. Professional per-
B.M .. M.M. Boston Un1vers1ty: forming artist with many groups
Professional Diploma in Piano. including the Cantata Singers.
School of Contemporary Music. the New Opera Theater. and the
Boston. Piano with Leon Tumar- Cambridge Symphonic Brass
kin. Former Director of the Choir Ensemble.
and Instructor in Piano. Kimball-
Union Academy; Instructor 1n Roberta Radley
Theory. Piano. Organ. Music Theory. Arranging. Keyboard
Guild Studios at Natick. Awarded B.M .. Berklee College of Music;
Hersey Memorial Scholarship 1n studies. Philadelphia College of
Theory at Boston U n1vers1ty: Art and Boston Museum School.
member S1nfon1aand P1Kappa Experienced private instructor.
Lambda. Compos1t1ons for a vari- Stewart Rembert
ety of chamber groups-brass choir. Ensemble
woodwind quintet. etc. B.M .. Berklee College of Music;
Herb Pomeroy studies at Loyola Un1vers1tyand
Un1vers1tyof New Orleans.
Arrangtng. Theory. Ensemble.
Extensive club work with own
Jazz Workshop
quartet in New Orleans area.
Undergraduate studies. Harvard
University. Featured Jazztrumpet Michael Rendish
and arranger with Charlie Parker. Chairman. Electromc
Stan Kenton. Lionel Hampton. Music Department: Film Scor,ng
Charlie Mariano. Recordings B.M. {Compos1t1on). Berklee Col-
include Capitol. Roulette. and lege of Music. Special studies.
United Artists Leader of Herb Boston Conservatory. Profes-
Pomeroy Orchestra ..Featured on sional pianist and arranger for
Jazz with Herb Pomeroy. weekly various ensemble groups and
series on WGBH TV: perform- recording sessions; arranger
ances and recordings with and performer on Jazz in the
Orchestra. U.S.A.: represented Class room record series; works
United States Information performed at Brookline Library
Agency as Cultural and Educa- Music Assoc1at1on Series. Rec1p-
tion Exchange Spec1al1stto 1entof Down Beat Hall of Fame
Malaysia. Berklee alumnus. Scholarship Award. Studies 1n
Electronic Music. Catholic Un1-
vers1ty of America. Composer of
sound tracks for documentary
films. MENC and NASM cl1nic1an
1nelectronic music and Jazz
1mprov1sat1on.

58
 John Repucci Edgar Saindon
Theory. Arranging. Bass Piano. Ensemble
B.Mus. Ed.. Lowell State College. B.M .. Berklee College of Music.
Berklee Bass with William Curtis. Leslie
Martin. Professional engage-
Percussion studies with Alan
Dawson; vibes with David
ments with Worcester Sym- Samuels. Professional per-
phony. Concord Choral Society. forming artist throughout New
Performances with Elmer Bern- England area. including thea-
stein. Urb1e Green and various ter and studio experience.
groups throughout New England. Leader of own group.
Pamela Reswick Luciano Salvatore
Theory. Arrangmg. Ensemble Piano
B.M .. Berklee College of Music; B M .. Berklee College of Music;
special studies. Cleveland M.M. (candidate). Boston
Institute of Music. Former University. Extensive
vocalist and professional performances with many groups.
performing artist with groups in Special studies and research in
the mid-west area; composer of teaching methods for the visually
radio commercials In Cleveland. handicapped. Experienced
Private teaching experience In private instructor.
guitar and arranging.
Raymond Santisi
Joseph Rogers Piano
Guitar. Ensemble Undergraduate studies. Boston
B.M .. Berklee College of Music. Conservatory of Music. Featured
Guitar instructor for many years. Jazzpianist on Capitol. Prestige.
Professional performer In Sonnet. Roulette. United Artists
numerous 1d1oms.including Records; pianist and arranger
appearances as club date with Herb Pomeroy Orchestra
musIcIan In both GB and and Serge Chaloff Sextet; per-
Jazz/rock styles. formances with Buddy DeFranco.
Stan Getz. Jimmy Rushing. Cole-
Robert Rose
man Hawkins in Scandinavia and
Arrangtng. Theory. Ensemble
Europe. Instructor at National
Professional Diploma. Berklee
Stage Band Camps. Extensive
College of Music. Professional
theater and TV experience. Au-
performing artist and teacher In
thor. "Jazz Originals for Piano."
the Boston area. Appearances
Berklee alumnus. Rec1p1ent.1977
with Diana Ross. Arranger for
National Endowment for the
Sounds Unl1m1tedand various
Arts Compos1t1on Award.
radio-TV commercials.
Stefan Schindler
Randy Sabien
Philosophy
Chairman.
BA. D1ck1nsonCollege; PhD ..
Stnng Depanment
Boston College. Former In-
B.M .. Un1vers1tyof Wisconsin;
structor. Dickinson College
studies at Berklee College of
and Boston College. Author
Music and Un1vers1tyof Illinois.
of many psychological and
Private studies with Rupert
philosophical publ1cat1ons.
Hohmann. Paul Rolland and
Rec1p1entof Woodrow Wilson
Donald Miller. Private instruction
Fellowship. 1970. Former
and numerous clinics on string
Admin1strat1ve L1a1sonfor the
ImprovIsatIon. Professional
Office of Regional Centers,
performing artist. Recorded
Massachusetts Department of
commercials and recorded
Education.
album with Chicago band "The
Ship"

59
 William Scism
Theory. Arranging. Ensemble
B.M. Berklee College of Music
Studies with Carmine Caruso.
Principal arranger for U.S. Army
Band. Fort Monmouth. N.J. Per-
formances with New Jersey State
Orchestra. theater orchestras
and studies in the Boston area.
Professional performing artist.
Michael Scott
Theory. Arranging. Ensemble
B.M .. Berklee College of Music:
undergraduate studies. Univer-
sity of Missouri. Engagements
Paul Schmeling with Les Elgart. and with own
Chairman. Piano Department:
group In radio and telev1s1on
Theory. Ear Training. Piano
appearances throughout New
B.M .. Boston. Conservatory of
England. Tours with University of
Music: M.M. (candidate). Boston
M Issouri concert and stage
Un1vers1ty:special stud1es.Uni- bands. Winner 1970 Mid-western
versIty of Pittsburgh. Theory with
Collegiate Jazz Festival com-
Artin Arslanian: piano with KatJa
poser/ arranger award. Private
Andy. Leon Tumark1n. Bela
instructor in saxophone in U.S.
Nagy. Professional experience
Army Band. Bedford Public
includes staff pIanIst WBZ-TV
Schools and Kansas City, Mo.
and numerous theatre produc-
tions. Appearances as accom- Larry Senibaldi
panist with Tom Jones. Gordon Gwtar
McCrae. Bobby Hackett. Charlie Principal guitarist for theater pro-
Ventura. ductions including Colonial.
Schubert and Carousel theaters.
Fred D. Schmidt
Professional recording exper-
Chairman. General Music
ience. Soloist with variety of Jazz
Department: Arranging. Theory
groups.
B.M .. Boston University: gradu-
ate studies at Lowell State. Fram- Thomas Sheehan
ingham State. Boston State. and Piano repair I Maintenance
Boston University. Former Direc- BM. Berklee College of Music:
tor of Instrumental Music. studies. Piano Technicians· Guild
Uxbridge Public Schools. Profes- Seminar. Extensive concert
sional trombonist with Boston appearances with the David
C1v1cSymphony. Worcester C1v1c Bromberg Band and the
Symphony, Buddy Morrow. War- Ou1na1mesBand. Recorded with
ren Covington and Ted Herbert. Columbia and Elektra artists.
Jackson Schultz PaulJ. Smith
Arranging. Theory. Ensemble History and Political Science
B.M .. Berklee College of Music: A.B .. Wheaton College (Illinois):
composItIon studies. University A.M .. Ph.D. Boston University.
of Colorado. Former Instructor. Former Lecturer in History,
Montessori School. Cambridge. Boston University College of Lib-
Founder and leader of eral Arts and Instructor. Metro-
"Cambridgeport Jazz Ensemble." politan College. Boston
Private instructor. guitar. theory, University.
and arranging. Freelance work
for Kenyon & Echart. Film credits
include "Desert Maneuvers" and
"Dream Film." Rec1p1entof Art
and Humanities Grant of the
Cambridge Council.

60
 Continuation Study in
Description Arranging 2
Emphasis on individualized
of Courses instruction for students seeking
the opportunity to further
absorb techniques covered in
Arranging 2. Written
arrangements and score
Arranging and analysis projects required.
Scoring Chord Scale Voicings for
Arranging
Freshman Theory/ Arranging Five and Six part writing for
A variably paced Freshman instruments. Application of
Program course designed to voicings in 2nds. 3rds. and
allow the student to cover as 4ths. Upper structure triads.
much of the sequential clusters and other non-
Arranging Department materials mechanical voicings derived
as is educationally appropriate. from chord scales. Extensive
Pacing is determined by initial score analysis.
placement testing. continued
Continuation Study in Chord
counseling. and demonstrated
Scale Arranging
ability. Instruction may include
materials from Theory. Arranging Emphasis on individualized
1. and Arranging 2. instruction for students seeking
Variable credit (Depends on the opportunity to further
level I placement) absorb techniques covered in
Chord Scale Voicings for
Arranging 1
Arranging. Written arrange-
Basic music theory and review ments and score analysis
of fundamentals. including projects required.
rhythmic/melodic dictation.
Commercial Arranging for
scale and chord structure. and
Large Ensemble
terminology. Arranging studies
of transposition techniques. the Emphasis on various ensemble
rhythm section. principles of styles. Use of doubling
melodic analysis. and two-part instruments and practical
writing. voicings. Commercial string
6 credits writing as applied to studio
orchestras. Use of transposed
Arranging 2
scores.
Principles of melodic
Commercial Arranging for
embellishment and harmonic
Small Ensemble
continuity. Complete discussion
of close and open position Small group arranging
harmonization in three and four techniques applied to popular
parts. Principles of harmonic and standard repertory. A
tension and approach variety of instrumental
techniques. Background writing. combinations is explored.
Students produce and hear
arrangements for various
instrumental combinations.

Note: All music courses carry 2

credits unless otherwise
mdicated

66
Pop Style Vocal Arranging Scoring for Percussion 1
Vocal arranging techniques in Survey of the idiophonic.
popular and Jazzstyles. Un- membrane. and accessory
accompanied writing. piano and families of percussion
instrumental accompaniments. instruments. the1r
vocal backgrounds. Vocal demonstration. and discussion
notation and problems in group of notation. range. techniques.
writing. and effects. Scores from
Broadway shows, studio
Rock Arranging for the
orchestral, chamber and solo
Recording Studio
pieces.
Writing for the rhythm section.
Scoring for Percussion 2
one. two. three and four part
writing for winds. brass. strings Scores from differing styles and
and voices. Analysis of popular idioms will be analyzed and
song forms and various rock students will compose original
arrangements. Discussion is works for percussion which will be
related to recording techniques performed by a departmental
that pertain to the rock arranger. ensemble.
Scoring for the Rhythm Section Scoring for Strings
Scoring for the various Discussion of string instru-
instruments of the Rhythm ments. their special effects
section. Independent use of the and proper notation. Principles
rhythm section and use with other of string orchestration and voic-
instruments. Rhythmic devices ing techniques.
and special effects analyzed with
Scoring for Woodwinds
recordings and scores.
A study of the woodwind/
saxophone family. Examination of
tone color. solo-ensemble
character and vo1cings.

67
Jazz Arranging for Small A Survey of Jazz Composition
Ensemble and Arranging
Jazz arranging techniques for the A comprehensive study of the
rhythm section and various small evolution of Jazzarranging and
group instrumental composition from the 1920's to
combinations. Emphasis on the present. Score analysis of
developing complete rhythm representative works by Fletcher
sectional sound with or without Henderson. Duke Ellington. Gil
winds. Evans. Thad Jones and others.
Extensive listening. Written
Arranging in the Rock Idiom
arrangements not required.
Arranging instrumental back-up
Advanced Commercial
music for vocalists. Problems of
Arranging for Large Ensemble
group vocal arranging are also
considered. Materials are drawn Problems of writing for studio
from contemporary standard orchestra including woodwinds
rock repertory. and strings. Staging and pacing
of acts. Collaboration with
Big Band Arranging and
choreographers on music for
Score Analysis
dance. Orchestration and
Analysis of scores by analysis of current harmonic
contemporary big band practices.
arrangers such as Bill Holman.
Advanced Jazz Arranging for
Thad Jones. Manny Albam.
Small Ensemble
Graham Collier. Oliver Nelson.
etc. Library assignments and Continuation of course material
class discussion. Written In Jazz Arranging for Small
arrangements and score Ensemble. Performance of
analysis projects required. student arrangements In class.
D1scuss1onof form. improvised
Continuation Study in Big
solos. and new developments In
Band Arranging
notational practice for small Jazz
Emphasis on individualized ensembles.
instruction for students seeking
Advanced Jazz Arranging for
the opportunity to further
Large Ensemble
absorb techniques covered in
Big Band Arranging. Written Analysis and application of
arrangements and score principles found in music of Gil
analysis projects required. Evans. Thad Jones. McCoy
Tyner. Extended appl1cat1onof
Jazz Arranging for Large
modal and serial contrapuntal
Ensemble
techniques to jazz ensemble
Analysis of scores for the large arrangements.
Jazzensemble. Emphasis on
Arranging for Theatre
understanding of basic material
Orchestra
as a source of ideas for
orchestration, ensemble color. Arranging for vocalists.
and texture. Development of instrumentalists. and theatre
individual techniques. Final productions.
project required.
Arranging for the High School
Jazz Ensemble
Principles of writing for high
school Jazzensembles with
standard and mixed
instrumentation. Range
problems, rhythm section parts.
special considerations for high
school musicians. examination
of published scores.

68
Scoring for Instrumental Contemporary Arranging and
Ensembles in the Secondary Composition
School
An overview of techniques
Orchestration for wind. string and encountered to date. the
percussion instruments as used at primary objective being to place
the secondary school level. each technique in proper
Principles of score musical perspective. Develop-
layout/arranging for concert ment of individual creativity
band. marching band and high through conferences with the
school orchestra. instructor. Written projects.
Arranging for Contemporary Scoring for Full Orchestra
Chamber Jazz Ensemble
Orchestration techniques for full
The arranging of original tunes. symphony orchestra. Illustra-
combining both traditional Jazz tions from representative scores.
techniques and contemporary
Developing Short Cuts in
compositional concepts.
Arranging
Analysis of taped examples.
A practical approach to
Line Writing
developing speed when arranging
Arranging for large ensemble for all size ensembles. Discussion
groups utilizing avaliable note of abbreviations and shortcuts
voicings and linear techniques. used by arrangers and methods
used to produce completed
Arranging in the Style of
arrangements with or without a
Duke Ellington
score in a short period of time.
Analysis and application of the
Directed Study in Arranging
band style of Duke Ellington.
Emphasis on individualized
instruction which will give
student writers the chance to
absorb technical material and
apply it to various arranging
situations with the musical
guidance of the instructor.

69
Harmony Harmony4
Extension of principles of
modern chord progression.
Freshman Harmony Deceptive resolution. Melody-
A variably paced Freshman Harmony relat1onsh1ps.
Program course designed to allow Extended endings and turn
the student to cover as much of arounds. Modulations. Line
the sequential Harmony Depart- cliches. Minor key progressions.
ment materials as is educationally Correction and/or reharmoniza-
appropriate. Pacing is determined tions of standard progressions.
by initial placement. testing, Reharmonization Techniques
continued counseling, and and Modal Harmony
demonstrated ability.
Variab°leCredit (Depends on Principles of modal chord
Level I Placement). progression and melody writing.
Modal interchange. Use of pedal
Harmony 1 point and ostinato. Key area and
Basic harmonic theory. Intervals. extended reharmonization with
diatonic triads. root motion. voice-leading. Constant
chord symbols. Roman numeral structure progressions. Hybrid
analysis. Principles of chord structures.
progression. inversions. and Harmonic Consideration in
linear harmonic continuity.
Improvisation
Blues harmony.
3 credits A course designed to explore the
relationship between
Harmony2 improvisation and harmonic
Continued exploration of context. Analysis of harmonically
modern chord progression. sophisticated tunes using
Dominant and secondary analytical techniques from
dominant relationships. Chord Harmony 4. The use of chord
patterns. Passing diminished scales in improvisation and
chords. Minor key chord analysis of recorded jazz solos.
progression. Sub-dominant Discussion of specific harmonic
minor. idioms and their related
3 credits improvising styles. Tunes by
Coltrane. Hancock. Corea and
Harmony3 Shorter. among others. will be
Extension of principles of included.
modern chord progression. Linear Derivation of Harmony
Analysis and synthesis of
progressions found in current Analysis of two-part Bach
popular music. Substitute inventions. themes. sequences.
dominant chords. Modulations. tunes. modulation. Related
Blues progressions. Diminished writing proJects and their
chord patterns and appropriate performance.
substitutions. Harmonic Analysis of
Contemporary Song Styles
Analysis of Jazztunes and more
soph1st1catedsong material.
Related chord scales. 3 & 4
part non-mechanical voicings.
partial structures. voicings in
4ths. upper structure triads.
Performance of tunes and
writing of original materials.

70
Harmonic Analysis of Rock Advanced Modal Harmony
Music
Modal chord progression.
A study of rock harmony, bass Analysis of modal jazz and
lines and melodies as practiced popular tunes. Voicings with
in the various periods and types characteristic modal tones. and
of rock music. Recorded original composition of modal
examples and published music melodies.
will be analyzed with an
emphasis on characteristic Contemporary Trends in Chord
harmonic devices. Influential Progression
performers and groups wrll be Analysis of contemporary tunes
discussed at length. from various musical per-
Linear Harmony spectives. Harmon1zat1onas a
function of melody, inner lines.
Working with maJor tonality and overall musical context.
harmonic functions as an Use of these concepts along
outgrowth of linear melodic with principles of reharmon-
tendencies. Emphasis rn aural ization and modulation. rn
development. identification of writing and scoring tunes.
characteristic chord progres-
sions, and reharmonization of Post Be-Bop Harmonic
tunes. Innovations

Advanced Harmonic Concepts Survey and harmonic analysis

of music growing out of the Be-
An extension of Departmental Bop Jazzera. Extensive study of
Harmony sequence with John Coltrane, Miles Davis.
emphasis on newer con- Wayne Shorter and Thelonius
cepts to enable students to Monk. Discussion of blues
write and understand tunes in forms and modal harmony as
the style of Mike Gibbs, Chick used In the 1960's. Application
Corea. of harmonic concepts through
composition of original music.

llefklee

71
 transcrIptIons of the rhythms In
Ear Training recorded materials (Baroque.
Latin. Disco. Jazz. etc.).
Freshman Ear Training Solfege 1, 2
A variably paced Freshman Development of s1ghtsing1ng
Program course designed to skills using the movable DO
allow the student to cover as method. Rhythm. pitch. and
much of the sequential Ear intervals drills in G. F, and C
Training Department materials as clefs. Part singing.
Is educationally appropriate.
Harmonic Ear Training 1, 2
Pacing Is determined by initial
placement testing. continued ldent1f1cat1onof chord
counseling. and demonstrated progressions. Root motion,
ability. guide tone resolution,
Vanable Credit (Depends on melody/harmony relat1onsh1ps.
Level I Placement) Acqu1s1t1onof d1ctat1onskills.
Ear Training 1 Advanced Ear Training 1 , 2
Development of basic ear L1sten1ngto and identifying
traInIng skills through singing intervals in tonal and non-tonal
and dictation studies. Triadic situations. Intended to bridge
harmony studies and basic the gap between "relative pitch"
modern rhythms. Melodic and hearing by interval alone.
studies In maJor keys. Preparation for singing atonal
3 credits music.
Ear Training 2 Atonal Solfege 1, 2
Cont1nuat1on of Ear Training 1. A continuation of solfege which
Modern rhythm studies. will concentrate on atonal
diatonic seventh chord music. Books used include the
harmonic studies. melodic "Modus Novus." and the choral
studies in maJor keys. works of Webern.
3 credits
Fundamentals of Transcription
Ear Training 3
A course designed to teach the
Continuation of Ear Training 2. student how to transcribe
Ear training skills developed recorded material. Emphasis on
through singing and dictation small instrumentation and vocal
drills. Minor mode studies. music as found in Jazz,pop. and
Secondary dominant studies. rock. Techniques taught for
Basic record copying proJects transcribing melody. harmony,
involving a variety of musical and bass lines.
styles.
Popular Song Transcription
Ear Training 4
A course designed to teach
Cont1nuat1on of Ear Training 3. the student how to transcribe
Modal singing and dictation songs and arrangements com-
studies. Interval studies and 2 mon In current popular music.
and 3 part dictation. Basic Most proJects are chosen by the
atonal music studies. student in his/her area of
musical interest. ProJect pre-
Rhythmic Ear Training
sentation in class.
An ear traInIng course designed
Transcribing Jazz Solos 1, 2
to improve the student's ability
to sight-read and notate Record transcriptions of Jazz
rhythms. The course begins with solos from various periods.
recognition of simple. common Classroom analysis and
rhythmic phrases and discussion.
progresses to complete practical

72
Performance Ear Training for Performance Ear Training for
Winds. Strings & Mallets 1. 2 Voice 1. 2
Performance Ear Training for Ear tra1n1ngwith an emphasis on
Keyboards 1, 2 practical performance
experience. Recognizing pitch.
Performance Ear Training for rhythm. harmony. and timbre by
Guitar 1, 2 ear. Some d1ctat1on. Some non-
Performance Ear Training for syllabic sight singing.
Percussion 1 . 2

Tony Bennett performs with

Berklee Concert Jazz Orchestra

73
Analysis The Music of John Lennon
A brief review of Lennon's early
years. Pre-Beatie influences.
Freshman Listening/ Analysis Analysis. projects. and possible
performances of his music.
A course designed to acquaint
Lennon's philosophical and
the student with the principal
political/world involvement
elements of music through
through music and lyrics. Brief
analytical listening. Students are
examination of his poetry.
exposed to numerous musical
styles on a variety of levels. The Music of John Coltrane
Rhythmic Analysis Historical and analytical survey
of Coltrane's music. Emphasis
Aspects of rhythmic structure in
on the various facets of his style
musical analysis on various
and his interactive development
architectonic levels. Analytical
with other important musicians.
procedures of Grosvenor Co_oper
Extensive examination of
and Leonard Meyer. Illustrations
Coltrane's compositions.
from variety of composers.
including Haydn. Beethoven. The Music of Charles Mingus
Stravinsky. Joplin. Ellington and
An investigation of the basic
Len non-Mc Ca rtn ey.
elements discovered in the
Analysis of Bass Line Patterns compositional and arranging
style of Charles Mingus.
Detailed analysis of bass line
Categorization and analysis of
patterns and rhythms. Primarily a
various works.
lecture course; recordings and
slides are used to supplement Style Analysis of Baroque to
lectures. Intended for bass Nao-Classic Music
players and composer I
Research into compositional
arrangers. Emphasis on a
practice and stylistic distinctions
creative and original approach
in music from the Baroque to
to bass-pattern studies.
Neo-Classical periods. Analysis
Analysis of Current Jazz of representive works.
Trends
Style Analysis of 20th Century
A survey of the more popular Music
jazz groups with an emphasis
Early 20th Century to the pre-
on why they are successful.
sent. Examination of the devel-
Exploration of the types of
opment in mainstream. serial.
music they play. media's
electronic. aleatoric and
influence on popularity. cultural
experimental composition.
and ethnic influences. and
audience targeting. The Symphonies of Beethoven
The Music of Miles Davis The evolution of Beethoven's
musical language as evidenced
A course tracing the develop-
by the micro-structure and
ment of the music of Miles
macro-structure of symphonies I
Davis. Examination and
through IX.
discussion of the evolution of
his playing and writing styles. The Beethoven String Quartets
Concentration on the listening
Comparative study and analysis
and analysis of 1mprov1sed
of the principal Beethoven quar-
solos. tunes. forms. harmonic
tets. Relationship of Beethoven's
practice and the development
quartets to his work as a whole.
of jazz.
Examination of the outstanding
compositional characteristics of
this important body of literature.

74
Analysis of Contemporary Symphonic Form in
Compositional Techniques the 20th Century
An analysis of 20th Century A survey of 20th century
compos1t1onal techniques and symphonic literature. An
their relationship to the Jazz examination of the use of
composer. Included will be the classically-oriented forms and
music of Ives. Messiaen. their relative importance. with
Penderecki. Riley and others. the various composers. The
individual approach to
Bartok's Chamber Music
instruments. the growing
Score analysis. discussion and popularity of the Concert Band
study of Bartok's chamber as a medium. and the general
works. Comparison of formal concept of what constitutes a
characteristics. scoring and symphony.
compos1t1onal practices.
Analysis of Sonata Fonns
Early Chamber Music of
A comparative. historical study of
Arnold Schonberg
sonata forms from the Baroque
Analysis of the early tonal and period to the present. Selective
free atonal techniques in Schon- analysis of representative works by
berg's pre-1923 compositions. Scarlatti. Haydn. Mozart.
Examinations of the causes and Beethoven. Schubert. Chopin.
effects of pre-serial techniques Brahms. Debussy. Sessions.
on 20th Century composition. Carter. Emphasis on historical
development and evolution of the
Traditional Musical Forms
sonata form. A term paper as final
in the 20th Century
project is required.
A comprehensive survey of the
The Music of Charles Ives
forms In which music has been
written from the Renaissance An analysis and exploration of the
and Baroque through to the music of a uniquely American
20th Century. Passacaglia. composer through a study of both
fugue. sonata. rondo and all his large orchestral works and
other forms are historically various quartets. sonatas and
traced and analyzed to show songs. There will be an emphasis
their adaptations to each period on the many compositional
of musical composition. aspects of his writing. including
poly-tonality. poly-rhythms. and
The Symphonies of Jean
use of quarter-tones.
Sibelius
The American Avant-Garde
Analysis of the development of
the Sibelius style from the First A survey and in-depth analysis of
through the Seventh Symphon- the music of composers who have
ies. Methods by which the worked in the United States and
Finnish master utilized tone. color. whose efforts have taken them
motive. development. beat modu- into experimental areas of
lation and modal counterpoint. creating.
Popular String Styles
Survey of Jazz.rock. and folk string
players. Players discussed include
Stephan Grapelli. Vassar
Clements. Jean-Luc Ponty. and
Richard Green. Presentation will
include listening and analysis of
transcribed solos.

75
Instrumental Trombone
Development of basics-
Studies breathing. embouchure.
articulation. and slide technique-
to provide the foundation for
The instrumental program at creative musical expression.
Berklee is designed to equip Studies: Arban. Blazevich. Bozza.
each student with the per- Boutry and others as prescribed.
formance skills necessary for Representative solos and
the professional musician. ensemble literature. both
Private instruction. technique
traditional and contemporary.
classes. and repertory/materials
Concentration on professional
sessions are combined with
performance in modern idioms.
participation in performance
ensembles and/or instru- Saxophone
mental labs.
Theory of tone production.
breathing and embouchure.
Studies: Karg-Elert. Lacour.
Private Instruction Diemente. 'Technique of the
Private lesson instruction Saxophone" by Joseph Viola.
provides students with individual Loyon and Bozza. solos by lbert.
guidance in developing Diemente. Hartley and Mule.
technique. learning repertory. Concentration on all phases of
and acquiring a sense of professional work: orchestral.
musical direction. The content dance band and small group.
of private lesson material is Analysis of recorded solos.
established by each instrumental Application of contemporary
department. and supplementary technique to playing of jazz and
material may be developed by classical music.
individual instructors.
Piano
Problems of phrasing. control.
Technique: scales. arpeggios
and technical flexibility are
chords. and tone-control.
examined in detail for the
Technical studies and
purpose of developing the skills
traditional piano literature at all
necessary for competent
levels. Jazz and popular
performance.
materials at all levels including
Additional. elective instrumental voicing techniques. improvi-
study is available in accordance sation, sight-reading. transposi-
with the Outline of Courses for tion and stylization. Advanced
each program of study. study in modern chord
2-4 credits per semester. progression and reharmoniza-
according to program tion. Both large and small
group repertory. Analysis of
Trumpet recorded solos.
Theory of tone production.
breathing and embouchure.
Studies: Arban. Berman. St.
Jacome. and Schlossberg.
Selected etudes. Representative
solo and ensemble literature.
Concentration on professional
repertory and solo/sectional
performance with professional
bands and studio ensembles.

76
String Bass-Electric Bass Violin, Viola, Cello
Technique: All aspects of playing Technique: the study of tra-
are explored through study of d1t1onaland contemporary
basic pos1t1ons,scales, scales, progressions, chord
arpeggios, and concepts of sequences and articulations.
improvisation. Attention is given Studies: Suzuki, Whistler, Mazas,
to creating bass lines, Kreutzer, Rode. Solo and duo
establishing time relationships, repertory. Principles of pro-
bowing and picking techniques, fessional performance in
and producing electronic effects. the jazz idiom.
Studies include standard
repertoire, tra nscri pt1ons, Tuba
orchestral studies, selected solos, Tone production, breathing,
contemporary compositions and embouchure development. Scales
jazz group solo techniques. and arpeggios. Studies: Arban,
Guitar Schlossberg, Blume. Solo and
ensemble repertory. Role of the
Scales, arpeggios, chords, sight tuba as a sectional instrument in
reading and rhythm guitar. jazz and studio ensembles.
Theory of modern harmony
(progressions, voicing, chord- Flute
scale relationships) as applied Theory of tone production,
to improvisation and other solo breathing and embouchure.
techniques. Studies: A Modern Studies: Taffanel, Gambertas,
Method for Guitar by Wm. G. Koehler, Boehm, and Soussman.
Leavitt and selected traditiona I Prescribed solos and sonatas.
literature. Pick-style approach etudes, symphonic literature and
required for minimum of four orchestral repertory. The flute as a
semesters or equivalent. doubling instrument in studio
Percussion
ensembles. Analysis of recorded
solos by name performers in
Snare technique: basic and professional music.
advanced rudiments. Studies:
Pace, Chapin, Stone, Allbright. Oboe
Leavitt, Wilcoxen and Gardner. Theory of tone production,
Emphasis on modern jazz breathing, embouchure.
technique concentrates on the Studies: Vade Mecum Andraud,
Goldenberg method as well as the Debondue, Hewitt, Gillet, Barret,
four-mallet principle. Timpani: "Complete Oboe Method."
Freise and Goodman. Selected Solos from the traditional
solos, orchestral literature, and literature. The oboe as a
repertory. All majors in percussion doubling instrument in studio
must eventually perform on ensemb.les.
mallets and timpani. Special
studio and Jazzperformance Clarinet
techniques. Theory of tone production,
Voice breathing and embouchure.
Studies: Eugene Gay, Lazarus,
Fundamental principles of tone Klose, Kroepsch, Cavallini,
production and breath control. Rose, and selected duets. Solo
Standard vocalise materials and works: Brahms Sonatas. Mozart
studies. Techniques of group Concerto, Debussy Rhapsody,
singing and exploration of Nielsen and Copland Concertos.
stylistic interpretation. Appro- and pertinent orchestral reper-
priate repertory in jazz, popular tory. The clarinet as a doubling
and traditional idioms. instrument in studio ensemble.
Analysis of recorded solos by re~
presentative artists.

77
Bassoon Basic Keyboard Technique 1
Tone production. breathing. For non-piano maJors. Comping.
embouchure. Studies: M1lde. harmonic continuity. Triads.
Weissenborn. P1ard.Selected seventh chords; melody and
solos and ensemble passages accompaniment. Standard song
from the repertory. Reed form; blues.
making and fixing. The bassoon
Basic Keyboard Technique 2
as a doubling instrument
in studio ensembles. Continuation of Basic Keyboard
Technique 1 for non-piano
French Horn
majors. Advanced comping.
Theory of tone production. voicing; additional melody/ac-
breathing and embouchure. companiment techniques.
Fundamental materials and
studies. solos from the traditional Flute Class For Music Education
Iiterature by representative Majors
composers. Problems of Functional study of the flute.
professional studio playing and Technical fundamentals of class
sectional phrasing in jazz instruction in music education
ensembles. Use of representative elemen-
tary/secondary school methods
and materials.
Class Instruction 1 credit
Keyboard Class for Music Clarinet Class
Education Majors
Functional study of the clarinet.
Intended for majors in Music Fundamentals of embouchure
Education. A graduated method formation. fingering. breathing.
piano study for the beginning 1 credit
student dealing systematically
with note reading. rhythm. and Clarinet Class for Music
technique. Materials range from Education Majors
separate hand studies to simple
Functional study of the clarinet
two-voice pieces and include
Technical fundamentals of class
simple melodies with chordal
instruction in music education
accompaniment. transposition.
Use of representative elemen-
choral-style accompaniments and
tary/secondary school methods
sight reading of open score vocal
and materials.
arrangements.
1 credit
1 credit. each semester

78
 Percussion Class for Music
Education Majors
Functional study of percussion
instruments. Technical fundamen-
tals of class 1nstruct1on in music
education. Use of representative
elementary/secondary school
methods and materials.
1 credit
Guitar Class for Music Education
Majors
Functional study of the guitar.
Technical fundamentals of class
Double Reed Class for Music
instruction in music education.
Education Majors
Use of representative elementary/
Functional study of double reed secondary school methods
instruments. Technical fundamen- and materials.
tals of class instruction in music 1 credit
education. Use of representative
String Class
elementary/secondary school
methods and materials. Functional instruction in violin.
1 credit viola. cello and acoustic bass.
Basic technique. Ensemble
Trumpet Class
practice.
Functional study of trumpet. Solo 1 credit
and ensemble practice.
String Class for Music Education
1 cred!{
Majors
Trombone Class
Functional study of stringed
Functional study of the trombone. instruments. Technical fund-
Solo and ensemble practice. amentals of class instruction in
D1scuss1onof other lower brass music education. Use of
instruments. representative elementary/
1 credit secondary school methods
and materials.
Trumpet Class for Music
1 credit
Education Majors
Functional study of the trumpet.
Technical fundamentals of class Repertory/ Materials
instruction 1nmusic education.
Use of representative Woodwind Repertory 1,2
elementary/secondary school
Brass Repertory 1,2
methods and materials.
1 credit String Repertory 1,2
Trombone Class for Music Guitar Repertory 1,2
Education Majors Keyboard Repertory 1,2
Functional study of the trombone.
Percussion Repertory 1,2
Technical fundamentals of class
instruction in music education. Courses for ma1ors in trad1t1onal
Use of representative performance designed to routine
elementary/secondary school the instrumentalists 1nthe
methods and materials. performance of standard classical
1 credit literature.

79
Instrumental Guitar Performance Lab
Performance laboratory for
Laboratories freshmen guitar principals
emphasizing group performance
in a variety of musical idioms.
The Instrumental Laboratory
Program consists of small Advanced Guitar
instrumental groups organized Performance Lab
within the instrumental
Performance laboratory for upper-
department. A variety of
semester guitar principals
subject areas such as sight-
emphasizing group performance
reading. accompaniment
in a variety of musical idioms.
techniques and stylistic
1 credit
interpretation are offered on
different levels. The labs Guitar Chord - Soloing 1
reinforce and expand upon
Introduction to chord-soloing.
materials covered in private
Playing and writing chord solos.
lessons. and also prepare
students for participation in the Guitar Chord - Soloing 2
Ensemble Program.
In-depth study of chord-soloing
Keyboard Lab - Comping 1, 2, 3 techniques. including rehar-
monization and walking bass lines.
Instrumental Laboratory for Piano
principals emphasizing comping Advanced Sight
studies and the application of Reading - Guitar
these techniques to the jazz
Intensive sight reading applying
ensemble.
the techniques of speed learning.
Keyboard Lab - Reading 1, 2, 3 Variety of available materials.
Instrumental Laboratory for Piano Guitar Comping/Chord Soloing
principals emphasizing studies in
Techniques for developing
a variety of musical idioms.
mobility in the execution of chord
Keyboard Lab - Repertoire voicings. Rhythm patterns for
backing soloists. Improvisation of
Instrumental laboratory for Piano
chord solos using standard tunes.
principals emphasizing the study
of various keyboard techniques Advanced Guitar Voicings
applied to standard. popular. and
Chord-voicing mobility applied to
jazz tunes.
structures in thirds. fourths. fifths
Guitar Lab - Chords 1, 2 and cluster combinations.
Instrumental laboratory for Guitar Rhythm Guitar Lab
principals emphasizing chord
Performance of right hand
studies. voice leading. and
rhythms in jazz. rock and Latin
physical development on the
idioms. Comping with walking
guitar.
bass. Use of upper structure triads
Guitar Lab - Reading 1, 2 in jazz-rock.
Instrumental laboratory for Guitar Show /Theater Guitar Lab
principals emphasizing reading
Performance and study of guitar
studies in a variety of musical
books from Broadway shows.
styles.
night clubs and recording
sessions.

Note: All labs carry ½ credit unless

otherwise indicated

80
Guitar lmprov/Repertory Percussion Performance Lab
Harmonic analysis of tunes for Performance laboratory for
improved understanding of Percussion principals emphasiz-
melody/harmony relationships in ing group percussion perform-
improvisation. Discussion of ance in a variety of musical idioms.
chord scales. Memorization of Beginning Mallet Technique
tunes.
An introductory course to mallet
Rock Guitar Lab percussion. Topics include 4
Reading and performance of right mallet grip. sticking, vibraphone
hand rhythms. solo and pedaling and mallet dampening.
arrangements in the rock idiom. Basic reading skills and chord
Use and analysis of electronic voicing ideas are also discussed.
effects. Arranging for bass and Intermediate Mallet Technique
drums.
Rehearsal of quartet and quintet
Country Guitar Lab material for mallet ensemble.
Performance of material from Detailed method for interpreting
"Country Guitar Styles" including chord symbols and efficient use
single note solos, pedal steel style. of 4 mallets.
four finger-picking and Western Intermediate Im prov/ Mallets
swing.
Concepts of improvisation along
Guitar Synthesizer Lab with their execution will be the
Applications, scope and main fo_cus.Tension-resolve
limitations of guitar synthesizers. patterns and the choice and
Discussion of performance application of modes will be the
techniques and related problems. principal topics.
Hands-on experience with the Advanced lmprov /Mallets
ARP Avatar.
Improvisational concepts and their
Classical Guitar Chamber application to various styles of
Music 1 tunes.
Sight reading literature written or Advanced Mallet Technique
transcribed for classical guitar.
This lab is primarily concerned
Classical Guitar Chamber with expanding and increasing the
Music 2 4 mallet technique. Topics include
Sight reading more advanced stickings. 4 mallet rolls and
literature written or transcribed for independence.
classical guitar. Listening Concepts - Mallets
Beginning Percussion Lab Analytic listening applied to
For beginning percussion players. performance situations. Emphasis
Covers the use of snare drum. on aural recognition of chord
bass drum, cymbals. tambourine, tensions and intervallic structure.
triangie. simple mallet music·and Solo Technique - Mallets
tyrrpani in an ensemble setting.
The vibes as a solo instrument.
Percussion Lab Techniques such as dampening.
Chart Reading 1 , 2 left hand accompaniment.
Instrumental laboratory for voicings. reharmonization will be
Percussion principals covered.
emphasizing the study and
interpretation of drum set parts for
the Jazzensemble

81
 Polyrhythm 2
Review of polyrhythmic concepts.
New material dealing with longer
spans of time. Broken time
perception. and drum set
interpretation.
Solo Transcription - Drum Set
Analysis of style through the
transcription of 4 to 8 measure
phrases. as well as complete solos
of different drummers.
lmprov/Composition -
Drum Set
A study of the intricate
relationship between
Marimba Performance Lab improvisational and compositional
A lab for advanced percussionists ski IIs. and how they relate to
specializing in interpretations and various formal structures.
transcriptions of Baroque and
Advanced Percussion
Classical literature.
Recital Lab
Introduction to Timpani
Weekly student performances for
Emphasis on intervallicrncog- class critique. Solo literature for
nition. setting the pitch. tone mallets. tympani and multiple
concepts. rolls. dynamics and percussion. Chamber and
sticking. Performance of two symphonic excerpts.
timpani etudes. audition/recital preparation.
Intermediate Timpani Lab
Techniques of tuning while
playing. Experience with repertory.
and intermediate to advanced
etudes for 3 to 4 dru·ms.
Polyrhythm 1
Rhythm and meter studies;
including basic figures. metric
modulation and superimposition.

82
 Advanced Trombone
Performance Lab

Berklee Ten trombones performing music

specially written for the group.
Participants are urged to
contribute compositions and/ or
arrangements.
Bass Lab - Basics 1 , 2
Instrumental laboratory for Bass
principals emphasizing the basic
techniques and styles of bass
playing in a variety of musical
idioms.
Bass Lab - Lines 1 . 2
Instrumental laboratory for•Bass
principals emphasizing the
Woodwind Lab - Sectional 1, 2 construction and performance of
bass line·s through chord changes
Instrumental laboratory for in standard, popular, and jazz
Woodwind principals emphasizing tunes.
the development of the woodwind
section for the jazz ensemble. Vocal Reading Lab 1 , 2

Woodwind Lab - Reading 1, 2, 3 Vocal Laboratory for voice

principals emphasizing reading
Instrumental laboratory for studies in a variety of musical
Woodwind principals emphasizing idioms.
reading studies in a variety of
musical styles. Vocal Lab - Sectional 1, 2
Trumpet Lab - Sectional 1, 2, 3 Introductory peformance
laboratory for voice principals
Instrumental laboratory for Brass emphasizing fundamental choral
principals emphasizing the performance techniques in a
development of the brass section variety of musical idioms.
in the jazz ensemble.
Trumpet Lab - Reading 1, 2, 3
Instrumental laboratory for Brass
principals emphasizing reading
studies in a variety of musical
styles.
Trombone Lab - Reading 1 , 2
Instrumental laboratory for
trombone principals emphasizing
reading studies in a variety of
musical styles.
Trombone Choir
Large trombone ensemble
performing mostly traditional
music.

83
Ensembles Latin Ensembles
Performance of Latin-American
music. Exploration of different
The Ensemble Program consists Latin rhythms
of a variety of mixed
instrumentation performance General Business
groups. The program is Emphasis on tunes and
designed for students with procedures for General
demonstrated performance Business or Club Date work.
capabilities. including those
qualified students pa rtici pati ng Concert Band
in the Instrumental Lab
Rehearsal and performance of
Program. While the Lab
contemporary works for concert
Program concentrates on
band. Two concerts a year in
teaching specific performing
which the band may be joined
skills. the Ensemble Program
by soloists or choral groups.
provides actual performing
experience emphasizing the Contemporary Wind Ensemble
application of those skills.
Playing rriodern pieces written
Specific ensembles include the specifically for this ensemble by
following: students. Unique chamber
woodwind and percussion
Buddy Rich Band
instrumentation.
Big Band Ensemble playing
Dixieland Ensembles
arrangements from the Buddy
Rich Band Library. Improvisation and learning of
songs in the Dixieland style.
Woody Herman Band
Trombone Ensembles
Big Band Ensemble playing
arrangements from the Woody All-trombone group. with
Herman Band Library. rhythm section. playing
contemporary Jazzand rock
Count Basie Band
arrangements.
Big Band Ensemble playing
Special Saxophone Sectionals
arrangements from the Count
Basie Band Library. Emphasis on use of woodwind
doubling in the reed section.
Thad Jones - Mel Lewis Band
Experimentation with different
Big band ensemble performing voicings and colors.
arrangements from the Thad
Saxophone Quartets
Jones - Mel Lewis band library.
Traditional saxophone quartet
Louis Bellson Band
playing music by a variety of
Big Band arrangements from composers.
the Louis Bellson Band Library.
Jazz/ Rock Ensembles
Large Theater Orchestra
Performance of student works:
Playing "Broadway" show variety of musical styles in the
scores. Experience in theater jazz/rock 1d1om.
orchestra playing. Shows vary
each semester.
Small Theater Orchestra
Playing "Broadway" show
scores written for smaller Note. All ensembles carry 1 credit
instrumentation. unless otherwise indicated.

84
Flute Ensembles Keyboard Improvisation
Workshops
Unique flute section with
rhythm section; special D1scuss1onand playing of
arrangements in Jazz1d1om. contemporary. be-bop. and
other styles of music for
Percussion Ensembles keyboards and rhythm section.
Conventional and experimental work on 1mprov1sat1onand
combinations of percussion comping in the piano trio style.
instruments performing original Use of original material and
Jazzworks as well as trad1t1onal standard Jazzcompos1t1ons.
and contemporary compos1t1ons Rhythm Section and Vocal
for percussion.
Rhythm sect1on(s) with
Guitar Ensembles vocalists. Some arrangements:
Groups of four to eight guitars head charts
performing special arrange- Clarinet Choir
ments of standard and original
works 1nall Jazzand contemp- Emphasis on trad1t1onal
orary styles. literature for clarinet: clarinet
choir materials: three. four. and
Brass Choir five part music; reading and
Large brass group performing interpretation.
trad1t1onal brass choir music. ½ credit

Brass Quintet Flute Choir

Trad1t1onal brass quintet play- Emphasis on trad1t1onal

ing music of a variety of literature for the flute. flute
composers. choir material: three. four. and
five part music. reading and
Trombone Choir interpretation.
½ credit
Large trombone group playing
trad1t1onal music. Woodwind Ensembles
String Ensembles Woodwind trios. quartets. and
quintets playing trad1t1onal and
String trios. quartets. and large
contemporary music.
string orchestra. playing
trad1t1onal and contemporary Woodwind Jazz Ensembles
string music
Professional level performa nee
Vocal/Instrumental Ensembles s1tuat1onsfor woodwind doubles
Reading skills required in a variety
Top '40. Show Band. N1te Club
of musical styles and 1d1oms
type material Some two. three.
and four part vocals as well as Repertory Workshops
solos: head charts.
Harmonic analysis and
Improvisational Styles Ensembles performance of standard and
contemporary Jazzrepertory
Performing ensembles with
emphasis on various 1mprov1sa- Jazz Workshop
t1onal 1d1omsfrom be-bop to
more modern interpretations Improvisational workshops
dealing with 1mprov1sat1onin
the Jazz1d1om

85
Small Jazz Ensembles Project Bands
(organized to play student
Small group playing in Jazz.
arrangmg pro1ects)
rock. swing and Latin 1d1oms.
Ensemble playing and some Recording Bands
soloing. Line Writing Bands
Jingle Writing
Large Jazz Ensembles Show Bands
Big Bands of varying sizes and Film Scoring
instrumentations playing Small Ensembles
arrangements in contemporary Large Ensembles
1d1oms. Ensembles in the Recording
Jazz Composition Ensemble Studio

Performance of student proJects Rhythm Sectionals

of contemporary multi movement Brass Sectionals
jazz pieces. Polytonal music. and Sax Sectionals
some free form. String Sectionals
Large Ensemble Sessions
Synthesizer Ensembles Vocal/Instrumental Groups
Vocal Groups.
Exploration of the integration of
the synthesizer 1nperformance Vocal Ensembles
with conventional instruments. Jazz Choirs
Trad1t1onal Chorus
Chorale
S1ght-Read1ng Ensembles

86
 Fundamentals of Improvisation
Performance for Bass
Studies Application of scales and modes
to improvisation on the bass.
Recordings are utilized to discuss
Fundamentals of Improvisation and analyze major bass styles
for Guit~r 1 and performers. Course is
Discussion and performance of designed to help prepare bassists
various melodic embellishment for rhythm section labs.
and comping techniques. Topics The Bass in the Rhythm Section
include: anticipations. delayed
attacks. comping. diminution, The training of bass players in the
augmentation. repeated notes. various styles and techniques
added chord tones, passing tones. utilized by contemporary rhythm
neighbor tones, appogiaturas. sections. Performance with
interval expansion and contraction. complete rhythm section for
application of techniques
Fundamentals of Improvisation discussed. Materials chosen to
for Guitar 2 cover variety of forms used in
contemporary music. Some
A discussion and performance of
repertory development.
improvisation as applied to form
and composition of solos. Topics Bass Performance Styles
include: arpeggios. guide tones,
Students will transcribe and
repetition and sequence,
perform solos. lines. etc. of major
phrasing, chord scales, diatonic
bass players in jazz. Projects will
major. minor seventh, dominant
be chosen to reflect many
seventh. minor sixth. minor
different styles found throughout
seventh flat five. and diminished
the history of jazz. Emphasis on
chords.
major innovators: Mingus.
Guitar Performance Styles Chambers, Pettiford. etc.
Analysis of contemporary guitar Fundamentals of Improvisation
styles and effects. Lectures by for Percussion
experts in various styles. Focus on Analysis of the major percussion
jazz. rock and country as well as styles of the last twenty years
styles of specific artists. Emphasis Survey, discussion and perform-
on performance. Assignment of ance of standard repertory.
student projects. Melodic/harmonic analysis
The Guitar in the Rhythm Section and their application to maflet
instruments. Course is designed
The training of guitarists in the to help prepare percussion-
various styles and techniques ists for rhythm section labs.
utilized by contemporary rhythm
sections. Performance with The Drum-Set in the Rhythm
complete rhythm section. Section
Materials chosen to cover variety The training of drummers in the
of forms used in contemporary many styles and techniques used
music. Some repertory by contemporary rhythm sections.
development. Application of various techniques
through performance with
complete rhythm section.
Materials chosen from variety of
sources.

87
The Piano in the Rhythm Section Advanced Improvisational
Techniques
The training of pianists in the
various styles and techniques Performance/analysis of original
utilized by contemporary rhythm Jazztunes. Students use their
sections. Performance with own compositions as well as
complete rhythm section. specially prepared tunes. A
Materials chosen to cover variety variety of improvisatory forms
of forms used in contemporary are covered.
music. Some repertory Improvisation in the
development. Latin/ Jazz Idiom
Chamber Music For Pianists Performance and analysis of Latin-
Emphasis on communicative. American music and related
support techniques for the pianist song forms. Recorded examples
when performing with others. of important players. Discussion
Class performance of materials of inner and outer form. Rhyth-
brought by visiting students from mic and melodic perform-
various departments. Study of ance dictation.
performance practices from other Improvisation in the
periods and reviews of Jazz/Rock Idiom
records/tapes. Three required
recital performances. Analysis and performance of rock
and jazz/rock songs. Recorded
Contrapuntal Jazz Improvisation examples of important players.
for Pianists Discussion of inner and outer
Emphasis on the walking bass line form. Rhythmic and melodic
through the study of a series of performance dictation.
rhythmic/melodic motives. Improvising on Standard Songs
Simultaneous linear or chordal
improvisation in the right hand. Performance of standard tunes.
Student analysis of transcriptions Analysis of improvisational
and weekly class performance. principals through the use of
chord scales. guide tones and
Piano Accompaniment other techniques. Principals
Techniques of form.
Extensive listening and analysis Jazz Interpretation
of accompaniment (comping)
techniques utlizing taped The purpose of this course is to
examples of professional players develop a personal and individual
in a variety of styles. Use of style. jazz style. This will be
rhythm and voicing techniques accomplished through an
in contrast and imitation in a emphasis on improvisational and
supportive role. Emphasis on the interpretative techniques.
student's ability to interact Activities will include hearing.
successfully with the solo analyzing. and playing selected
instrumentalist or vocalist. transcribed solos of well known
jazz artists. Individual and group
Improvisational Techniques improvisation will be an integral
Discussion and illustration of part of each class meeting.
various approaches to
improvisation in several types of
music. Included will be
recordings and transcriptions of
major artists.

88
Vocal Improvisation in the Jazz Jazz Vocalese
Idiom
Singing and analysing
Contemporary pitch and rhythmic instrumental solos. Study of
exercises for the voice. Style forerunners of vocalese. includ-
analysis of various recording ing Eddie Jefferson. Lambert.
artists. including Ella Fitzgerald. Hendricks & Ross. Manhattan
Sarah Vaughn. Al Jarreau. George Transfer. Comparison of variations
Benson. Sonny Rollins and others. in tempo. phrasing and voice
Course projects based on in class inflection to instrumental versions.
performance. improvisation on
Voice Class for Instrumentalists
standard tunes.
Instruction and practice in vocal
Advanced Techniques of Voice
production for the non-voice
Production
principal. Designed to acquaint
Analysis and performance of instrumentalists with basics of
extended technique in voice singing. and to improve their
production geared toward free arranging/composition skill when
functionality in contemporary writing for voice. Class
singing. Emphasis on the athletics participation with emphasis on
of singing as applied to vowel fundamentals of breathing.
format. body alignment. resonance and vowel sounds.
maintenance of vocal health and
Workshop for the Jazz Vocalist
the kinetics of breathing.
Techniques acquired in the class A workshop in which vocalists
will be applied to individual learn and demonstrate their
repertory. performance skills before an
audience. Topics to be covered
Vocal Performance
include researching materials.
Preparing a student to perform building a repertory. applying a
vocally on a professional level. proper style. developing a stage
Microphone technique. how to presence. and organizing an
introduce a song. pacing of accompaniment. Classroom
material to suit different types of projects followed by actual
lounges. clubs. and show rooms. performa nee.
Concert and solo performances.
Popular Singing Styles
group singing for commercials.
How to rehearse and prepare lead A survey of well-known singers
sheets. including Cleo Laine. Stevie
Wonder. James Taylor. Joni
Diction for Singers
Mitchell and others. Listening and
Rules for pronunciation of discussion of techniques and
German. French. Italian. and styles. through the use of
English using the International recordings and scores.
Phonetic Alphabet. Learning to culminating in an in-class
pronounce single words and performance The class is open to
phrases. Application of phonetic all vocalists (not necessarily vocal
symbols to song lyrics in each majors) and accompanists.
language

89
Jazz Improvisation 1, 2 Recital Seminar
Each class includes analysis and Students perform two twenty-
performance of common Jazz m,nute recitals for which they will
forms and devices. Materials are be responsible for organ1z1ngand
chosen to cover the variety of preparing music of their own
forms used in Jazzand to provide a choosing. Consultation with the
repertoire of tunes most common instructor on an ind1v1dualbasis
to the Jazzmus1c1an.Recordings concerning programming.
and solo analysis of master performance and audience
players exemplify devices and response.
techniques universally employed
Recital Class for
by Jazzmus1c1ans.Each class will
Music Education Majors
contain a small Jazzgroup where
students wtll be able to apply the A performance class for Music
techniques that are discussed. Educaton maJors. Students
Classes will be offered on multiple prepare for solo and ensemble
levels from basic to advanced presentations intended to
depending on the proficiency of demonstrate prof,c,ency on their
the part1c1pants. principal instrument.

Performance & Analysis of Ragtime and Fingerpicking Guitar

Be-Bop Music Analysis and performance of
Analysis and performance of Ragtime and Delta Blues. music by
music ,n the style of Parker. M1ss1ss1pp1 John Hurt. Merle
G1llesp1e.Clifford Brown. Kenny Travis. Chet Atkins. Reverend Gary
Dorham and others. Standard Davis. Emphasis on student
progressions and transcribed performance. research. and
solos from music of the 40's and bu,ld,ng a repertory of
50's are analyzed and performed. representative pieces.

Performing Harmony Conducting 1

Workshop 1, 2 Techniques of conducting vocal
Playing harmony parts (2nd. 3rd. and instrumental mus,c.
and 4th) to a given melody by ear Fundamental beat patterns.
through the use of guide tones. Discussion and study of
Discussion of chord progressions terminology. problems of tempo.
used ,n popular and standard phrasing and art,culat,on.
songs. 1 credit.

Calypso & Steeldrum Band Conducting 2

Performance The course assumes basic beat
Origin and development of the pattern knowledge and covers
steeldrum ensemble. Performance three areas: 1) symphonic
of music for steeldrum band. conducting with an instrumental
Analysis. d1scuss1onand soloist (concerto). 2) symphonic
reproduction of representative conducting with a vocal soloist
compositions (operatic aria) and 3) symphonic
conducting of a maJor modern
Commercial Band Workshop work involving complete meter
How to play and manage a general changes. Works used include a
business Job. What you are romantic piano or v1ol1nconcerto.
expected to know as a sideman an operatic excerpt and a piece
and as a leader. Analyzing such as Petrouchka. or The Rite of
audience response as well as Spring.
s1m1lartt1esin the night club and 1 credit.

90
 Conducting 3 Composition
Continuation of Conducting 2.
This course Is designed for the
student who wishes to further his Traditional Harmony
abil1t1esin conducting. and Composition 1
Emphasizes refining conducting Trad1t1onal harmony and basic
skills and expanding repertory. compositional procedures.
Rehearsal Techniques Concentration on modal and
tonal triadic harmony. Figured
Students rehearse ensembles with bass. principles of voice-leading.
prepared materials of their own chorale and homophon1c
choosing. D1scuss1onand analysis textures.
to follow each rehearsal.
Traditional Harmony
Conducting 1, 2, 3, 4 for Music and Composition 2
Education Majors
Cont1nuat1on of Compos1t1on 1.
Techniques of conducting.
Advanced trad1t1onal harmony
Fundamental beat patterns.
and 1ntermed1atecompos1t1onal
D1scuss1onand study of
procedures. 7th chords. altered
terminology, problems of tempo.
chords. modulation.
phrasing and articulation. Geared
to the needs of music educators in Contemporary Techniques in
the public schools. Laboratory Composition 1, 2
sessions provide practicum In
vocal and instrumental situations. Specific techniques of
7 credit. Each semester trad1t1onal 20th Century
composItIon. Technical devices
Directed Study in Conducting such as quartal harmony. serial
writing. polytonal1ty. and
Intended for students interested
contrapuntal techniques are
in professional orchestral
illustrated and described.
conducting. Course will include
Assignments are directly related
Noted jazz pianist Teddy Wilson more advanced baton work. and
to each of these aspects of
and son, Berk lee student Steven detailed discussion of the relat1or
composItIon and are performed
Wilson at the Berklee of the conductor to the score
in class.
Performance Center. and to the orchestra.
Jazz Composition 1
A systematic approach to the art
of composing in the Jazz1d1om.
Exploration of melodic.
harmonic. and rhythmic
principles. Standard Jazzsong
forms. Analysis of Jazzstandards.
Arranging considerations
applied as a means of enhancing
a composItIon. ProJects for small
Jazzgroup required.

91
Jazz Composition 2 Composing for the Small Jazz
Ensemble
Compos,t,on of extended Jazz
pieces for large ensemble Appl,cat,on of contrapuntal.
Exam,nat,on of representative mot,v,c. and developmental
works by various important Jazz techniques to compos1t1on for
composers O,scuss,on of form small Jazzensemble. Weekly
and content as ,t applies to analysis proJects illustrate a variety
extended compos1t1on ,n Jazz. of topics. Emphasis on study of
Composition of a ten minute representative works from both
piece for large Jazzorchestra the European and Jazztrad1t1ons.
required. including compos1t1ons by Bartok.
Ives. Stravinsky. Coltrane.
Advanced Jazz Composition
Ellington. Oliver Nelson and Monk.
Development of an 1nd1v1dualstyle Ensemble performance of
of compos1t1on related spec,f,cally proJects.
to Jazzand use of Jazzperformers.
Composition of Popular Songs 1
Emphasis on new forms and
development of new techniques An exam1nat1onof different song
ProJects required. styles and probable reasons for
their success. Lyne writing 1nthe
Chord Scale Composition
popular song idiom. Students
An exam,nat,on of the tonal compose their own songs and
poss1bil1t1esof the chromatic scale arrange them for class
and the related harmonic and performance.
melodic devices available to the
Composition for Jazz Orchestra
Compos,t,on for Jazzorchestra A
seminar for advanced students.

!8erklee

Berklee Jazz Trombone Choir

under the d1rect1on of Phil
Wilson

92
Compositon of Popular Songs 2 Choral Composition
Continuation of Composition of Traditional scoring techniques
Popular Songs 1. Students for full chorus, with and without
arrange and produce a instrumental accompaniment. A
demonstration tape of an original trad1t1onal-style choral
song in the recording studio. composition is required as a
class project.
Directed Study in
Sonata Composition Techniques in
Classical-Romantic
Sonata form. The composition
Composition
of an extended 3-movement
sonata for Piano or for Solo Study and application of
Instrument and Piano. variation techniques from
Mozart through Brahms.
Directed Study in
Analysis of representative works.
Orchestral Composition
Class projects include the
The composition of an extended composition of a short work in
work for full contemporary trad1t1onal variation form.
orchestra. Intended to
demonstrate the student's ability
to handle large orchestral
groups in a characteristic and
coherent manner.

93
Counterpoint

Traditional Species Counterpoint

Two-part counterpoint. Species
and free counterpoint in
trad1t1onal style. Modal
counterpoint. modulating
counterpoint.
Traditional Two-Part Canon
and Invention
Continuation of Trad1t1onal
Species Counterpoint. Two-part
canon and two-part invention.
Traditional Three-Part Fugue
Three part counterpoint; three part
fugue.
Traditional Four-Part
Fugue and Motet Four-Part Jazz Counterpoint
Four part counterpoint; four part The extension of harmonically
fugue; motet in 16th Century style. controlled counterpoint to four or
more parts. Four-part writing with
Two-Part Jazz Counterpoint
direct application to arranging or
Writing two-part harmonically compos1t1onal techniques in the
derived counterpoint through the contemporary Jazzand commer-
study of canons. inventions and cial styles of writing. An introduc-
their relat1onsh1p to the modern tion to interval based melodies
idioms. Two-part counterpoint in with appropriate harmon1zat1on
arranging and composItIon. and contrapuntal1zat1on.
D1scuss1onof contrapuntal
Three-Part Jazz Counterpoint
control of chord progressions.
Introduction to and study
Advanced Contrapuntal Forms
of three-part counterpoint as an
extension of harmonically An advanced course in trad1t1onal
controlled two-part counterpoint counterpoint intended for maJors
in canonic form and the fugue. In Compos1t1on. Higher contra-
D1scuss1onof three-part motIvIc puntal forms. Study In round.
developmental devices. Special mirror fugue. passacagl1a. and
emphasis on three-part counter- other variation forms.
point as an arranging or compo-
20th Century Counterpoint
s1t1onaltechnique In both the Jazz
and commercial styles of writing. 20th Century Counterpoint
including polytonal. nond1atonic.
linear dissonant counterpoint;
rhythmic and ImItatIve devices;
contemporary fugue.

94
 Principles of Electronic
Electronic Music Music Synthesis 2
Continued study of synthesis
Introduction to Electronic Music techniques applied to medium-
Techniques sized synthesizers. Channel-to-
channel overdubbing techni-
This course traces the
ques. Special tape effects (echo,
develoRment of electronic music
canon. speed variation) and
from mus1que concrete to
editing technique. Continued
today·s synthesizers and
aural analysis/synthesis Ap-
computers. Apprec1at1on of the
plication to film scoring. com-
literature. styles and techniques
mercials. broadcast IDs. etc.
Recorded examples and
Supervised weekly "hands-on"
demonstrations. Topics include
practice sessions with syn-
special tape effects and editing,
thesizers and professional tape
concepts of music synthesis.
equipment.
types of synthesizers and the, r
use. modern concert. film and Advanced Electronic
commercial applications. Music Synthesis 1
Designed for the student
desiring an overview. but not Further synthesis techniques
intent on pursuing electronic applied to a large studio synthe-
music as a major course of sizer. Multi-channel recording
study. and overdubbing. metrical
editing and musique concrete.
Principles of Electronic Application to projects in
Music Synthesis 1 arranging and/or composition.
Supervised weekly "hands-on"
Basic concepts and techniques practice sessions with syn-
of electronic music synthesis.
thesizer. multi-channel tape
Emphasis on performance/
equipment and mixer console.
application of these techniques
to portable synthesizers. Aural
analysis/synthesis problems.
Supervised weekly "hands-on"
practice sessions with
synthesizers.

95
 --
Advanced Electronic
Music Synthesis 2
Film Scoring
Use of large synthesizer and
multi-channel mixing and Survey of Film Scoring
recording equipment. Applica- Techniques and Procedures
tion to arranging and/or
This course Is intended for non-
composition projects. Psycho-
film scoring majors to give them
acoustic implications of
an overview of the mechanics of
synthesis techniques Super-
synchronization and the
vised weekly "hands-on" ses-
psychological impl1cat1ons of
sions with synthesizer, mixer
applying music to film. Analysis
console and multi-channel
of spec1f1cdramatic situations
tape equipment.
will be followed by
Continuation Study in demonstrations of scoring
Principles of Electronic Music techniques such as click tracks
Synthesis 1 . 2 and picture recording.
Procedures for composing and
Continued application of recording film music will be
electronic music techniques discussed.
studied in Principles of Electronic
Music Synthesis 1. Supervised Introduction to Film Music
weekly "hands-on" practice Composition
sessions with studio equipment. A course intended to provide a
Continuation Study in Advanced better understanding of music
Electronic Music Synthesis 1, 2 and its relationship to the visual
image. Designed to give
Continued application of supplementary backgound in
electronic music techniques composition. orchestration and
studied in Advanced Electronic conducting prior to taking Film
Music Synthesis 1. Supervised Composition 1
weekly "hands-on" practice
sessions with studio equipment. Film Composition 1

Writing for the Synthesizer 1 Writing music for specific film

situations. The significance of
A basic course for arrangers composition and orchestration for
and/or composers who have attaining certain psychological
not concentrated in electronic results. Thorough exposure to the
music and wish to become use of cl 1cktracks for
oriented to synthesizer synchronization. Students
capabilities. Examinations of conduct their projects which are
typical resources. timbres. recorded and later previewed with
ranges. effects and notational the film for analysis.
procedures. Appl1cat1on to
transcriptions for synthesizer or Film Composition 2
groups that include synthesizers. Compos1t1on of film music by use
Writing for the Synthesizer 2 of a stop watch instead of click
tracks. Projects also deal with
A continuation of Writing for the conducting to a stop watch or the
Synthesizer 1. Detailed projected picture. Advanced
discussions of multiple synthe- techniques such as overlaps and
sizer usage. Incorporation of double tracking and their
advanced forms and composi- psychological s1gn1f1cance.
tional techniques. Notation and
employment of electronically
processed acoustical sources.
Performance of student works.

96
Survey of Film Music
Audio Recording
A detailed study of the history
and development of film music
from the silent film era to the Survey of Audio Recording
present. Weekly discussions of Techniques
the principal film composers with
students presenting research A generalized overview of
recording studio technology and
reports on their music. Class
presentations and extensive procedures. Topics include
score analysis of musical studio set-up. equipment. editing
examples. concepts. mixing. and studio
management. These materials
Film Music Editing are particularly applicable to the
A technical course including studio musician, arranger. or
class instruction, semi-private lab producer. Not recommended for
work and individual editing students planning a Major in
projects. Practical experience on Audio Recording.
both vertical and flatbed editing Audio Recording 1
equipment.
Introduction to audio recording
Directed Study in and the recording studio. A non-
Film Scoring technical approach. Topics of
Analysis of a major film and its significance to the future studio
score. Students will compose and musician. producer. musical
conduct original music, with the director or manager. and school
guidance of the instructor, for a music teacher.
complete film of reasonable Audio Recording 2
length. The score will be recorded
Technical aspects of the recording
and synchronized to the film and
screened on an individual basis studio including calibration and
with the instructor. alignment of equipment. editing.
session set-ups. mixing. console
flow logic. patchbay application,
and theory of microphone design
and placement. For students with
an interest in audio engineering.
Directed Study 1, 2 in
Audio Recording
Directed study and practicum in
the recording studio including
concert recording. Designed for
the career-oriented studio
engineer. Scheduled time will be
arranged by appointment with the
instructor.
M ixdown Lab 1
The course is intended for
students who expect to be in a
professional recording studio as
a musician. writer. or producer. A
prerequisite for those with a
career goal in audio engineering.
Study of console functions when
mixing from a multi-channel
recording to two-channel stereo.
Includes the control of channel
levels. multi-band equalization.
pan pots. reverberation.
compressors and limiters. and
97 the uses of the patch bay.
Mixdown Lab 2 Recording Studio Production &
Projects
Continuation of Mixdown Lab 1.
The course is intended to make This course will include all aspects
the student aware of flexibility and of a recording project. Depending
limitations of the console. on the nature of the project.
recorders. and all auxiliary preparation may include: song
equipment. so that the musical and talent selection. recording
goals of the producer or client can and overdub sessions. mixdown
be interpreted and implemented. sessions. and editing the master
tape so that it is ready for
Sound Reinforcement
mastering and pressing.
Systems 1, 2
Survey of Recording Consoles
Investigation of equipment used
for musical sound reinforcement. A technical study of makes and
Small. large. portable. and fixed models of recording consoles
systems. Specifications will be most commonly used in
based on0'1e nature of the music professional studios. This lecture
performed. kinds of musical course will compare methods of
instruments. size of the operation. features. advantages/
performing group. and the nature disadvantages and flexibility.
of the performance location.
Studio Equipment Maintenance
Studies will include the experience
of assisting the Performance A study of equipment
Center's audio staff at concerts. maintenance in the modern
recording studio. Routine
preventative maintenance.
equipment calibration. proof of
performance, trouble shooting,
and basic repair.
Recording Studio Workshop
Demonstration of recording
techniques and procedures in the
studio. A recording project
throughout the semester will
provide practical training and
experience in audio recording.
Writing Radio and Television
Commercials
Preparation and layout of
commercials for radio and
television. Rehearsal and
recording procedures for vocal
and instrumental sound tracks.

98
 Survey of Alto Saxophone
History of Styles
Music An analysis of the history of the
alto sax in jazz. Analysis of the
various styles of major players.
Development of Western In-depth study of Hodges. Parker.
Music: Middle Ages Adderley and others through
Through Baroque tapes and transcription. Course
A survey of the major styles in will also cover the usual alto sax
Western music from about 600 AD doubles. flute and clarinet.
to the conclusion of the Baroque.
Survey of Trumpet Styles
This includes a summary of
ancient music. Audio-visual A study of the development of
examples of scores and jazz trumpet playing. Analysis
photographs of related art works. through recordings and
transcriptions of various styles
Development of Western Music:
and periods. Study of important
Classical to Modern Times
innovators from Armstrong and
A survey of the major styles in Beiderbecke to the present.
Western music from the early
Classical period to the present. Survey of Song Forms
Audio-visual examples; correlation A study of the popular song styles
of characteristics of each period of the 20th century.
with activities in related arts. Contemporary songs from a
Chamber Music of the variety of idioms (folk. musicals.
Romantic Period pop groups. etc.) are compared
and contrasted with their
Historical analysis and predecessors from classical and
examination of the chamber romantic literature. Emphasis on
literature of the 1800-1900 the evolution of modern song
period. Survey of the form and forms. Example: comparisons of
content of representative works by the works of Schumann. Brahms,
Schubert, Schumann, Brahms, R. Strauss with songs by
Saint Saens, Franck and Gershwin. Porter. Bernstein.
Tchaikowsky. Lennon and McCartney.
Jazz From Its Origins To The Survey of Guitar Styles
Present
A survey of contemporary guitar
A survey of music in the jazz idiom
players and styles as well as
from its origins to the present.
related doubling instruments.
Chronological examination of the
Emphasis on major players and
principal musicians and
various playing styles through
composers. Analysis of the more
tapes and transcriptions.·
influential soloists, groups, and
composers through the use of Duke Ellington:
tapes and scores. Students are An Historical Survey
expected to develop a knowledge
of the various periods, styles, and A chronological survey of the
forms of Jazz music. music of Duke Ellington and the
development of the Ellington
The Bop Masters orchestra. Special emphasis will
An in-depth survey of the principal be directed toward the effect of
instrumental soloists, vocalists, particular personnel on
vocal groups, and arranger- Ellington's arranging and
composers of the Be-Bop period. compositional style. In addition to
A variety of ensemble groups will extensive listening and some
be examined through tapes and score analysis. material for class
recordings. will be drawn from album notes.
magazine articles. and books.

99
Survey of Tenor Saxophone Survey of Drum Styles
Styles
A study of the development of the
An analysis of the history of the Jazzdrummer. Analysis through
tenor saxophone in Jazz. recordings and transcriptions of
Emphasis on the various playing various playing styles. In-depth
styles of the maJor players. In- studies of Catlett. Roach. Rich
depth studies of Hawkins. Young. and others.
Coltrane. Rollins and others.
through tapes and transcriptions. Survey of Vocal Styles
Included are soprano and A study of the development of the
baritone saxophonists. jazz vocalist. Analysis through
Survey of Trombone Styles recordings and transcriptions of
various singing styles. In-depth
A study of the development of studies of Ella Fitzgerald.
Jazztrombone playing. Analysis Lambert. Hendricks and Ross and
through recordings and other notable contributors to the
transcriptions of various styles of development of Jazzvocalizing.
playing. In-depth studies of
Teagarden. Hams. Johnson and Survey of Flute Styles
others. A survey of flute styles. both
Survey of Bass Styles traditional and jazz. Directed
listening to flute repertory from
A study of the development of Baroque. Classical. Romantic and
Jazzbass playing. Analysis Modern periods. Recordings
through recordings and include performances by Rampal.
transcriptions of various playing Kincaid. Marion. Galway and
styles. In-depth studies of DeBost. Jazz artists: Bud Shank.
Blanton. LaFaro. Mingus and Frank Wess. Hubert Laws and Enc
others. Dolphy.
Survey of Piano Styles
A study of the development of
Jazzpiano playing. Analysis
through recordings and
transcriptions of various playing
styles. Study of the important
innovators in the field.

100
General Music Introduction to Piano Technolgy
Principles of the tuning and repair
Legal Protection of Musical of acoustic pianos and Fender-
Materials Rhodes electric keyboard.
Lecture/ demonstration with
The securing and maintaining of emphasis on current methods of
rights under common law and piano construction and survey of
statutory copyright. including the tuning techniques.
panoply of protected rights and
their infringement. Public domain Basic Electronics
considerations. performance A comprehensive survey of
rights. right to prohibit all but "fair electronics for the contemporary
use." Problems of joint. co- musician stressing functional
authored. and commissioned analysis for the novice. A typical
works and of sale. license or vacuum tube AB type audio
assignment. and divis1bil1ty. amplification system will be
Organized protection through systematically developed from
ASCAP and BMI. Tax aspects of input systems to speaker
owning copyrights. The function enclosure. General analysis of
and operation of the Musicians· vibrato. reverberation and other
Union. ancillary systems Typical
The Music Business problems. probable remedies.
Recommended. but not required
A seminar designed to provide an for students also anticipating
understanding of business electives in electronic music and
practice as related to the music recording.
industry. Topics covered include:
contracts. union regulations. Music Performance Electronics
dealing with booking agents. Introduction to audio processing
personal managers. publishers circuitry as it applies to music
and producers. instrument sales. performance. Discussion of
operating a music studio and amplifiers. mixers. pedals. time
store. and other aspects of the delay effects. equalizers. passive
music business. Guest lecturers. and active circuit elements. Ohm's
Musical Instrument Repair law. operational amplifiers. test
equipment. and modifications to
Problems of repair with respect to guitars and amplifiers. Each
brass. woodwind. string and student constructs a project he
percussion instruments. can use in performance.
Laboratory sessions.
Music Synthesizer Electronics
Guitar Repair
Introduction to synthesizer
Introduction to the adjustment circuitry. VCA. VCO. LFO. VCF.
and maintainance of the guitar noise sources. envelope
and bass. Discussion of the generators. envelope followers.
acoustical and electrical sample and hold. phase locked
properties of various types of loops and pitch to voltage
fretted instruments. Setting action. conversion. Keyboard. Joystick.
intonation. truss rods. and pickup ribbon. microphone. guitar. and
height. Pickup 1nstallat1on.filing microprocessor controllers. Mix-
frets. gluing cracks and ers and patching. Each stu-
mod1f1cat1ons. dent builds his own synthesizer.

101
Theatrical Production
Music Education
This course covers the staging of
musical productions. selection of
material. budgeting. organization Elementary Classroom
of the production departments. Methods
Responsibilities related to
sets/lights. costumes. auditions Methods and materials for the
and rehearsal schedule. Study of instruction of general music in
various styles encountered in the elementary school.
musicals. Preparation of lesson plans.
formulation of principles for
Music Copying & Calligraphy planning an entire music
curriculum. Selection and
Fundamentals of music
calligraphy The techniques of part presentation of songs for the
extraction and score layout. Use of child voice; directed listening.
music copying pens. choice of Development of techniques for
manuscript papers and types of instruction in the notation of
ink. Survey of copying styles in rhythm and melody.
both traditional and popular 3 credits
music. Class projects. Secondary Classroom Methods
Administration and curriculum
organization of instrumental.
choral. and general music
classes. Problems of the
adolescent voice. Methods for
the presentation of theory.
history and appreciation
classes. Special emphasis on
organization and development
of the school Stage Band. Co-
ordination of the elementary
and secondary music programs.
Guest lectures.
3 credits
Vocal Methods and
Materials 1 , 2
For majors in Music Education.
Performance of vocal and
instrumental works suitable for
public school music. Students
participate in the conducting of
selected works. Basic principles
of singing: breathing. tone
production. fundamentals of
articulation. diction.
7 credit. each semester

Instrumental Methods
and Materials
Survey of method books used for
private and class instruction in
the various instruments. Detailed
examination of music for band.
orchestra. and mixed ensembles
at beginning. intermediate and
advanced levels of performance.

102
 Methods and Materials for
Marching Band
Academics
Fundamental techniques for
developing and training the high English Composition/
school marching band. Basics of Literature 1, 2
marching. patterns of motion.
Techniques for the writing of
planning. writing and rehearsing
concise and lucid themes as a
half-time performances. Students
means of developing clarity and
plan and write complete half-time
coherence in discussion and
projects.
essays. The analysis of assigned
Observation 1, 2 readings provides an
Assigned observation experi- introduction to the various
ence in the elementary and literary forms. Emphasis on the
secondary schools of the meanings of communication.
greater Boston area. A Introduction to Poetry
minimum of 30 hours each
semester (including classroom This course will focus on the
practice) is required. elements of poetry: the
Preparation and classroom relationships between meaning
presentation of representative and rhythm. meaning and sound.
class lessons. meaning and form. These topics
1 credit. each semester will be explored in the context of
a survey of poetry. both
Practice Teaching/Seminar 1, 2 traditional and modern.
Student teaching experience in Writing Poetry 1
elementary and secondary
schools. A minimum of 1 5 An intensive writing workshop
weeks full-time practice (seminar format) in which the
teaching in assigned schools is student concentrates on the
required. Weekly discussion writing of Poetry. Techniques
periods and individual include sonnet forms and
conferences. Critique and eval- syllable counts (Marrianne
uation of problems encounter- Moore). the use of mythology
ed in student teaching assign- (Elliot and cummings). and the
ments in the public schools. use of biblical sources (Wallace.
Course projects directly related Stevens. Eliot and cummings).
Peter Hazard conducts Berklee to situations in the field.
Symphonic Band. 3 credits, each semester Writing Poetry 2
A continuation of Writing Poetry 1
with an emphasis on the
development of the individual style
and craft acquired in the first
semester. Both thematic and
structural development will be
stressed.
Theater of the Absurd
A study of twentieth century
drama and playwrights. including
the works of Beckett. Ionesco.
Genet. Pinter, and Albee.

Note: All academic courses carry 3

credits unless otherwise md1cated.

103
Creative Writing 1 Reviewing Records and
Live Performances 2
An IntensIve workshop focusing
on techniques and devices This course will concentrate on
applicable to prose writing. such the actual writing of reviews
as point of view. character every week. Students will
development. dialogue. interior broaden the scope and
monologue. psychological times. strengthen the stylistic devices
previously learned. Each
Creative Writing 2 student will write reviews of
An intensive workshop intended to different types of music.
further develop skills learned in Between Poetry and Music 1
Creative Writing 1 and to explore
more soph1st1cated techniques. An exploration of the
devices. and concepts. such as relat1onsh1p between modern
epiphanies. development of non- poetry and contemporary
rectilinear time. symbols. American music. Comparison of
archetypes. etc. the meaning of terms common
to music and poetry. Exam-
Reviewing Records and ination of correlative mus1cal-
Live Performances 1 poetIc devices and procedures
Analysis of specific record and for the creation of dramatic
live performance reviews in lyrical feeling. Student composi-
such diverse periodicals as tion of poetry and music.
"Down Beat". "Stereo Review".
Between Poetry and Music 2
"Rolling Stones". "The New York
Times". and local newspapers in Continuation of studies begun in
·order to discover methods and Between Poetry and Music 1.
techniques of reviewing. Emphasis on experimental
Discussion of the musician- writing as a means of under-
oriented review and the standing specific techniques.
reviewer's responsibility to the Analysis of music and poetry
public and to his art Students together. especially In larger
will write several different types works. Student projects.
of reviews directed at different
The Later Novels of
audiences.
Hermann Hesse
A study of S1ddartha.
Steppenwolf. Narcissus and
Goldmund. and The Glass Bead
Game. relating these works to
Hesse's interest in Freudian and
Jungian psychology. Eastern
rel1g1onand mysticism. and
music.
The Satiric World of
Evelyn Waugh
A study of the newly-discovered
diary and the major novels of
one of England's outstanding
20th Century writers.

104
Contemporary American History of Art 2
Literature
Late Gothic to Contemporary
Selected reading of the major Periods. European art from the
prose. drama. and poetry of this end of the Middle Ages through
century. The course will include a the Renaissance. Mannerism. the
wide range of authors and styles. Baroque. Rococo. Neoclassicism.
and will demonstrate the Romanticism. Realism. Impres-
relationship of the writers to sionism.Post-Impressionism.
contemporary music. Abstraction. American art from the
Colonial period to today. Slide
Analysis of Song Lyrics
lectures and Museum viewing.
The course will focus on 1 credit
techniques for both the analysis
History of Western Civilization 1
and the construction of song
lyrics. Among topics considered A survey of the history of
will be: metric patterns in Western man from the time of the
language: the development of Ancient Greeks ( 1000 B.C.) to the
"neutral" rhythm patterns as a Renaissance ( 1660 A.D.). Intro-
pivot point between lyrics and duction to the methods and aims
music: supportive elements of of historical studies. Exam-
language; supportive relation- inations of the major cultures
ships between language and within the context of their chrono-
music: the development of clear. logical position in history.
specific images: simplicity of
History of Western Civilization 2
presentation.
A survey of the history of
Writing Song Lyrics
Western man from 1660 A.D. to
A workshop to provide practical the present. Methods and aims
application of methods discussed of historical studies. Examinations
In Analysis of Song Lyrics. of the major cultures within the
Emphasis will include use of the context of their chronological
thesaurus and rhyming dictionary; position in history.
development of clusters; relation-
U.S. Urban History
ship between form, rhyme and
language rhythm. Interactive A survey of the growth of
support between melody and American cities emphasizing the
lyrics. Lyrics and the arranger,. development of a distinctively
urban culture between 1830
History of Art 1
and the present. including the
Prehistoric to Gothic periods. A emergence of labor movements.
survey of painting, sculpture and and the changing social
architecture from the Ancient Near functions of music and the arts.
East. Egypt. Greece. Rome and
Recent and Contemporary
Byzantium. Slide lectures
History
supplemented by viewing works at
the Museum of Fine Arts. Seminar on selected topics of
1 credit historical significance of the
20th Century. Topics include:
origins of the World Wars.
problems of nuclear prolif-
eration. the Cold War. Vietnam.

105
Israel and the Old Testament Christianity and the
Roman Empire
The development of the unique
Jewish perception of history as A history of the first three
seen by the Hebrew prophets. centuries of Christianity. from the
An overview of the Old life of Jesus to the conversion of
Testament as a reflection of the Constantine. Topics include: the
culture of ancient Israel. The mission of St. Paul. organization
spiritual awareness of history and discipline in the primitive
that contributed to the survival church. the evolving position of
of the Jews. Christianity in the Roman Empire.
from persecuted sect to favored
Freedom and Authority in
religion.
America
French 1, 2
An introduction to U.S. Social
History which focuses on key Grammar and composition.
periods of conflict in the 19th and Basic reading selections.
20th centuries. including the Emphasis on pronunciation and
industrial revolution. slavery and foundational conversational
abolition. the Depression. and the training.
war in Vietnam.
French 3, 4
Ideologies and Modern Politics
Continuation and expansion of
An examination of the French 2. More advanced gram-
relationship between ideology mar. composition. and con-
and pragmatism in 20th Century versation. Reading selections.
governments. Topics include
Spanish 1, 2
Fascist Italy. Nazi Germany.
Soviet Russia. Communist Basic grammer. composition. and
China; USA Britain. France. reading selection. Emphasis on
pronunciation and conversational
International Relations
Spanish.
A study of the elements of
Acoustics of Music 1, 2
national power. the tasks of
diplomacy, and the use of Study of the general nature of
international law. Student the production. transmission.
reports include case studies on and effects of vibrational
the resolution of international pheno_mena.Resonance.
differences. both historical and harmonic partials. and the
current. relation of acoustical laws to the
structure of intervals. scales.
Development of Political
and tuning systems. Lectures.
Thought
demonstrations. and problems.
A survey of political thought
Urban Sociology in America
from the time of the Greek city-
state to the modern totalitarian A survey of American Sociology
regimes. Class discussions which uses urban material to
focus on the historical context encourage students to explore
and theoretical content of such their own surroundings. while
important figures as Aristotle. employing the tools of socio-
Augustine. Machiavelli. Locke. logical analysis.
Marx. and Hitler.
Philosophy of Education
A philosophical inquiry into the
meaning and purpose of
education. with special emphasis
upon educational theory. the
development of craftmanship
and human wholeness. and the
cultural significance of the
pursuit of wisdom.

106
Philosophy of Religion Oriental Philosophy: Hinduism
The historical and interpretative A philosophical inquiry into the
examination of the major cosmology and psychology of the
religions of man. with emphasis world's oldest living religion.
on their social setting and Focus upon the BHAGAVAD GITA
ethical principles. and the Hindu notions of
evolution. reincarnation. maya.
Ethics
Atman-Brahm.an. Kundalini. the
The historical and comparative Chakra system. the various yogas.
study of ethical theory. A study and enlightenment. Some
of the principal schools of reference to the symbolism of
ethical theory. and the problems Hindu mythology and art. and also
of personal and social behavior. to the distinction between esoteric
and exoteric teachLngs.
Introduction to logic
Oriental Philosophy: Buddhism
The processes and presupposi-
tions of reflective thinking. The An inquiry into the basic ideas of
procedure of philosophical Buddhism. considered as a
analysis. and the nature of metaphysical. religious. and moral
formal reasoning. philsophy Reference to the life of
Gautama Buddha. the Four Noble
Aesthetics
Truths. the Eight-Fold Path. and
An inquiry into the meaning of the Buddhist notions of Suchness.
art and beauty. The function and Emptiness. Nirvana. and
understanding of symbols in the Enlightenment.
world of sight and sound.
Oriental Philosophy:
Taoism and Zen
An inquiry into the philosophical.
moral. and religious significance
of Taoism and Zen Buddhism.
References to the Tao as both a
metaphysical fact and a way of
life; the concepts of Yin and
Yang; the limitations of logical
and dualistic thinking; Zen as
both a meditative art and a
method of living. Some
reference to the history of Zen.
Lao Tzu's TAO TE CHING. and
the writings of the
Zen masters.
General Psychology
A survey of the history. theory.
and application of general
psychology. The study of human
behavior. factors in psychologic-
al development. methods of
measurement.

107
 Child and Adolescent Introduction to Jungian
Psychology Psychology
The effect of learning principles A philsoph1cal inquiry into the
upon child and adolescent psychology of C.G. Jung. with
behavior. application of reference to his friendships with
educational problems to musical Freud and Hesse. and his
growth. motIvatIon in learning. concepts of Individuation.
and the relation of social Archetypes.and the Collective
psychology to classroom Unconscious. Jung's reflections
situations. upon Anima-Animus. the
Shadow. Mandala symbolism.
Foundations of Creativity
life after death. analysis of
An investigation into the dreams. neurosis. psychotic
psychological and philosophical fantasies. and religious
sources of creativity. and its symbolism.
phenomenology. The approach
Jungian Psychology and
will be inter-disciplinary in that
Philosphical Mysticism
attention will be given to clinical
aspects of creatIvIty. Emphasis A comparative analysis of
will not be on bulk absorption of Jungian psychology and Taoism.
facts but on the synthesizing of Buddhism. Astrology. and the
self through dialogue which will Oabalah. Correlation of Jungian
develop around the themes archetypes with the signs and
Bassist Charles Mingus and generated. planets of the Zodiacal Mandala.
piano instructor James and with the paths and spheres
Williams perform for Berklee of the Oabalistic Tree of Life.
students

108
Summer Studies;
Special Instruction

The Berklee 7-week Summer Evaluation Program is of particular

interest to high school students who desire to determine their
potential for a successful career In music. While in high school. the
student is required to divide his energies over a broad and
diversified range of subject areas. and consequently is unable to
devote concentrated time to the study of music. This special
summer program offers total immersion in a broadly-based music
study curriculum that provides a unique opportunity for the
evaluation and development of individual capacities essential to the
realization of musical competence.
The Berklee College of Music seven-week Evaluation Program is of
great importance to parents. teachers. and guidance counselors
who need assistance in determining the true scope of a student's
musical capabil1t1es prior to enrollment in a formal program of
education In music. The curriculum is designed to assess the
musical talent. capacity and growth potential of the student contem-
plating music as a vocation or field of serious study. Special
techniques and testing procedures measure student aptitude
and strength of talent. You are eligible to enter the Evaluation
Program 1fyou are at least sixteen years old and have some musical
background. Studies consist of Private Instrumental Instruction.
Theory/Arranging. Harmony. Ear Training. Instrumental Labs and
Ensembles. A complete record of progress Is maintained. and an evalu-
ative report on each student Is prepared at the end of the term.
The Berklee 7-Week Summer Comprehensive Program is open to
college students. teachers. and professional musicians who wish to
expand their knowledge of the field of modern music. This program
offers specialized study of practical. effective skills which may be
applied to broad areas of musical activity. Teachers are shown
advanced theory concepts and modern methods for developing
and training Jazzensembles. and professional musicians are provided
with specific techniques for the improvement of their musical
facility. The curriculum includes Private Instrumental Instruction.
Theory/Arranging. Harmony, Ear Training. Instrumental Labs and
Ensembles.
12 Week Summer Full-Credit Program is an accelerated program
where students can earn the equivalent of one full-semester credit
in music subjects. Admission procedures for continuing Degree or
Diploma candidates are the same as those required of regular full-
time students. With few exceptions the curriculum is identical to that
offered during the regular school year.

109
 International
Jazz Program

The tremendous impact of Berklee·s international program has been

felt in every corner of the world from Kumasi. Africa to Hong Kong
and Malaysia. In cooperation with the United States Information
Agency and the Music Committee of the President's "People to
People" Program. Berklee is in constant correspondence with jazz
devotees from all over the world. supplying information and
answering individual questions and problems about jazz. Tape
recordings of original compositions. scores and parts. and
educational materials have been sent by Berklee to 43 countries.
As the 1nternat1onaleducational center for the study of jazz. Berklee·s
distinguished roster of graduates include representatives of six
continents. many of whom return-to their native land to fill the great
need for teachers in this modern idiom.

Alma Berk. Director of Public

Information. with foreign
students from Rhodesia. Japan
and Nigeria

110
Artist Series

Berklee·s outstanding faculty of music professionals and educators

continually make themselves available to all students in the College.
Through the Faculty Artist Series. more than 100 lectures.
demonstrations. informal rap sessions. etc .. are presented annually
by the faculty on subjects ranging· from "How To Audition" to "The
Music of John Lennon" to "The Future of Jazz".
This student/faculty interaction provides a unique opportunity for
heightening musical awareness. obtaining exposure to specialized
knowledge. often with immediate practical implications. and for
establishing meaningful relations within the College.
Berklee is also fortunate to be located in an outstanding urban center.
which both supports and attracts a wide variety of professional
musicians. Through the College's Visiting Artist Series. many of these
professionals are invited to share their expertise with the Berklee
student body in settings both formal and informal.

Barry Manilow (r); Musical

Director and Berklee alumnus Vic
Vanacore (I.); and Instructor Jon
Aldrich meet with Berklee
students.

111
 The Berklee Performance Center
The Berklee College of Music's new Performance Center has already
taken its place as one of Boston's major performance halls. Housed in
the historic. newly-renovated Fenway Theater. the Performance
Center seats 1227 in its main hall. The Berklee Performance Center
also contains classrooms. rehearsal halls. a music library for
performing groups and a professionally-equipped recording studio
for direct pick-up from the performance hall.
The Berklee Performance Center permits faculty and student
groups to perform in a maJor concert hall in one of America's
foremost cities. More than one hundred faculty/student concerts
are presented annually. encompassing a wide variety of
performance styles. All events at the Performance Center are open
Mercer Ellington and the Duke to the public. and all groups appearing there are publicized exten-
Ellington Orchestra sively by the College's Office of Public Information. The College

Alumna Toshiko Akiyoshi leads Buddy Rich and his Killer Force
the Ak1yosh1/Tabackin Orchestra.
 Cleo Laine and Johnny
Dankworth
also provides the Berklee Pavilion. an open-air performance area
for seasonal outdoor concerts. as well as two informal Recital Halls
in which approximately 400 student concerts and recitals are
scheduled each year.
The Berklee Performance Center also presents a wide variety of recog-
nized performing artists. The College's own Jazz Masters Concert
Series features outstanding Jazz performers. including the orchestras
of Buddy Rich. Woody Herman. Stan Kenton. Thad Jones and Mel
Lewis. the Duke Ellington Orchestra. Kenny Burrell. Art Farmer. John
Lewis and Hank Jones. Phil Woods. the Gary Burton Quartet. and
others. Concert producers also bring a number of artists to the
Berklee concert hall stage. including recent performances by Dizzy
Gillespie. Cleo Laine. Gato Barbieri. Herb Ellis. Dexter Gordon.
Weather Report. the Crusaders. Charles Aznavour. Jean-Luc Ponty .
.Marian McPartland. Roy Eldridge. Ron Carter. Lou Rawls. and
Stephan Grappelli.

Jean Pierre Rampa! Chuck Mangione

 Community
Service
Programs

Berklee has been responsive to the needs of the surrounding

community in Boston through a broad Community Services Program.
In its Secondary School Tutorial Program, Berklee students over the
last few years have provided Boston inner-city high school students
with free music instruction to assist in the preparation for future
higher education in music.
In the College's Prison Tutorial Program of individual instruction and
ensemble performance, volunteer students have worked in
cooperation with the Massachusetts Department of Correction to
provide an innovative program of instruction for inmates. In the
Community Services Ensemble Program. Berklee performing groups
have visited numerous organizations for veterans and for the
impoverished, elderly, and infirm to enrich their lives with a series of
free clinic/concert programs.
These programs. which have provided many Berklee students the
opportunity for a neighborhood involvement that is consistent with
and relevant to their professional career training, are supplemented
by the numerous concerts programmed by the College annually.
Most of these concerts are open free of charge to the public and
feature Berklee students as participants.

Berklee provides instruction to

local high school students
as part of the College's
Community Services Program

11 4
Personal
Supervision
and Counseling

Curriculum Counseling for all students 1sthe responsibility of the

Office of Curriculum Counseling. Counselors in this office supervise
testing and placement relative to the first year of study, and provide
curriculum guidance and advice for all students. Students are
assisted 1nthe selection of vocational obJectives through evaluation
of 1nd1v1dualprogress. and 1nthe review of their choice of major field.
The Tutorial Office is the principal source of assistance for students
experiencing d1ff1culty with course material or any other pertinent
aspect of their college work. Tutors are made available on a regular or
occasional basis at no charge.
Personal Counseling 1salso provided for students who wish to
discuss problems of a personal nature. Appointments with a
counselor may be arranged through the Adm1n1strator or the Office of
the Dean of Students
Progress Reports The faculty of Berklee 1sconcerned with the
spec1f1cprogress of each student. At the end of each eight-week
period. all instructors are required to advise the Administration
regarding students whose mid-term record 1nd1catesa need for
tutoring or other remedial assistance. Where appropriate. these
reports are forwarded to parents. and the student 1snot1f1edof the
necessity for improving his academic standing in spec1f1ccourses.
The Tutorial D1vis1onof the Office of Student Services 1sthe principal
source of additional assistance in such matters.

11 5
 ..

Financial
Assistance

The Berklee College of Music Financial Aid Program includes the

Federal Supplemental Educational Opportunity Grants. National
Direct Student Loans and the College Work-Study Program. To apply
for consideration for these programs it is necessary to submit a
Financial Aid Form (FAF) through the appropriate College
Scholarship Service Office each year. preferably by March 31st
Financial Aid Forms are available from high schools and colleges.
The funds in the three Federal programs administered by Berklee
College of Music are limited and awards are based on need as
determined by the College Scholarship Service and Federal
regulations. The actual amount of each award is governed by the
number of qualified applicants who share in the overall amount
allocated to the College by the Federal government.
Programs available through other sources are the Basic Educational
Opportunity Grant Program. the Guaranteed Student Loan Program.
State Scholarships or Grant Programs. and community scholarship,
grant and loan programs.
Students who do not have a baccalaureate degree may apply for a
Basic Educational Opportunity Grant The Financial Aid Form
(FAF) may also be used as the application for a Basic Educational
Opportunity Grant or a separate application. available from high
schools and colleges. may be utilized.
The Guaranteed Student Loan Program is generally available to
students from participating banks and lending institutions in the state
in which you are a legal resident. Information and applications may
be obtained from your local bank or lending institution.
Many states conduct a scholarship or grant program for residents in
need of financial assistance. Although the Financial Aid Form (FAF)
may be used to apply for a state scholarship or grant in many states.
one should contact the State Scholarship Office in his state for
specific information.
There are numerous scholarship, grant and loan programs available
in many communities. High school guidance offices and local civic.
social and community organizations should be contacted for
information.
Should you desire a financial aid packet or further information. please
write to:
Office of Financial Aid
Berklee College of Music
1 140 Boylston Street
Boston. Massachusetts 02 21 5

11 6
Scholarships and Awards
The General Scholarship Fund. A general scholarship fund is
maintained by the College for students with outstanding musical
ability who are in need of financial assistance. The Financial Aid
Form of the College Scholarship Service serves as the basic
application for the scholarship program.
The Berklee Annual Fund Proceeds from annual contributions from
alumni. parents. corporations. and friends are allocated in part to
the College's General Scholarship Fund.
Lawrence and Alma Berk Fund for the Superior Musician. A fund
established by the donors to recognize outstanding mus1c1ansh1p
.
. The Scholarships and Awards indicated below are presented by the
Faculty Scholarship Committee to upper class students in
recognition of superior academic achievement. outstanding
musicianship. and concert participation.
The Berklee Jazz Masters Series. Proceeds from this concert series.
sponsored by the College. are awarded annually in the names of
such artists as Woody Herman. Buddy Rich. Art Farmer. Duke
Ellington. Hank Jones. Laurinda Almeida and Phil Woods as
scholarships to outstanding students.
Berklee Faculty Association Awards. A series of awards presented
annually by the faculty in recognition of outstanding musicianship.
The Joe Venuti Memonal Scholarship Fund. An annual award to
encourage and assist outstanding student violinists.
The Richard Levy Scholarship Fund. A permanent trust established
in 1967. the proceeds from which are awarded to majors in
Composition according to financial need and proven ability.
The Harris Stanton Scholarship Fund. A permanent trust
established in 1971. the proceeds from which are awarded to
outstanding Guitar majors.
Youth Concerts at Symphony Hall Trust Fund. A permanent trust to
fund an annual award for·outstanding musicianship.
The Lennie Johnson Scholarship Fund. A permanent trust
established in 1973. the proceeds from which are awarded to
needy and deserving students.
The Peter Kaleta Scholarship Fund. A permanent trust established
in 1976. the proceeds from which are awarded to needy and
deserving students.
Teaching fellowships are offered each year to qualified Juniors and
Seniors. Applicants for this type of assistance must be at least 21
years of age· and have had extensive musical training and/or
experience.

11 7
 General
Information

Facilities The physical plant of Berklee College of Music is located

in the heart of the cultural Back Bay area of Boston. Four fine and
substantial physical structures house all classrooms and rehes3rsal
studios. private teaching and practice studios. recital hall. book
store. administrative offices and various student service and
residence facilities. Three electronic keyboard rooms. three
professional multi-track recording studios. a completely equipped
electronic synthesizer studio. a film scoring and editing lab and a
new tape-response laboratory for programmed instruction in ear
training provide students with excellent teaching aids and the
opportunity for self-instruction. The Berklee Performance Center. a
1200 seat concert hall. features all the modern lighting, sound and
projection systems desirable for a contemporary performance
center.
A Library is maintained which contains a significant collection of
scores. reference volumes. miscellaneous anthologies. recordings.
Woody Herman accepts works on the history and theory of music. and works relating to the
Honorary Doctor of Music academic courses. Berklee students are eligible for a Boston Public
Degree from Chancellor Library card which gives them access to one of the nation's
Lawrence Berk foremost music collections. The Boston Public Library is located
within six blocks of the school.
The Berklee Ensemble Library contains works by noted professional
arrangers. as well as those by faculty members and outstanding
students. All musical styles are represented. By performing material
from the libraries of Woody Herman. Buddy Rich. Louis Bellson.
Thad Jones/Mel Lewis. Duke Ellington. and others. students
become acquainted with a vast variety of material which greatly
assists in the successful transition from the classroom to a
professional career.
Dormitory Residence is normally required of all male and female
first year students under twenty-one years of age unless they are
Chancellor Lawrence Berk
commuting to school from their own homes. Dormitories for
(center) with Rollins Griffith
students are maintained by the College. Room and board expenses
(left) and Arthur Fiedler (right)
are given under 'Tuition and Fees" in this catalog. Detailed
information regarding accommodations and rates may be obtained
by writing directly to Housing Director. Berklee College of Music.
Placement Berklee undergraduates are encouraged to gain
practical experience and professional contacts are made through
faculty members. prominent visiting musicians. and professional
groups seeking replacements. Students· schedules may be
adjusted. when practicable. to permit them to undertake
professional engagements.
A complete placement service is maintained for graduates in Music
Education. Information regarding the availability of new teachers may
be obtained by writing:
Division of Teacher Placement
Berklee College of Music
Mabel Mercer with Chancellor 11 40 Boylston St.
Lawrence Berk Boston. Massachusetts 0221 5

11 8
 Veterans Berklee College of Music Is approved by the Massachusetts
Board of Higher Education to provide education In music to service
men and women under the GI Bill of Rights.
The function of Berklee·s Veterans Counseling Service Is to provide
information regarding veterans' programs. local and national. and to
interpret the pol1c1esand procedures of Berklee as related to
veterans.
Mail to dormitory residents may be addressed to the College, but all
other students should plan on having mall directed to their Boston
address. Although mailbox facll1t1esare provided. the School cannot
assume respons1b1l1tyfor the delivery of incoming mall to non-
dormitory residents.

Duke Ellington congratulates

Berklee graduate

Left to Right: Thad Jones

Lawrence Berk. George Wein.
John Hammond, and Mel
Lewis

Left to Right: John Williams,

Lee Berk, Buddy Rich.

119
General
Regulations

Conduct Students who fail to comply with the regulations of

Berklee College of Music may be asked to withdraw from the
college any timed uri ng the school year. Behavior_unbecoming a
student of the college is considered grounds for dismissal.
Prompt and regular attendance Is required in each course. The
only acceptable excuse for absence from either a class or a private
lesson is Illness. accident. or some other comparable emergency of
a serious nature.
Whenever a student Is absent. It Is his respons1bil1ty to arrange
with each of his instructors to make up the work missed. A student
who is consistently absent from classes may be required to
withdraw from the course.
Leave of absence If. because of financial. family. or health reasons.
a student is required to absent himself for a short period of time.
but with the expectation of returning. he should apply for a leave of
absence.
Leaves of absence for professional reasons may be granted by the
Admin1strat1on with the approval of the Office of the Registrar.
Students should secure permission before making any contract or
commitment to persons or organIzatIons outside the college. In no
case should the time of absence or absences exceed a total of two
weeks per semester.
Withdrawal and Refund All students who withdraw from Berklee
must submit written not1f1cat1onto the Office of the Registrar before
any refunds will be made. Refunds are made on the basis of assessing
20% of the semester's tuition per week (or portion thereof) of
attendance. Students w1thdraw1ng before the end of the fourth week
of the semester are entitled to a refund of part of their tuition. After
the fourth week. no refunds will be made. Absence from classes does
not reduce a student's financial obl1gat1on nor constitute withdrawal.
During a 12-week summer semester. refunds are made on the
basis of assessing 25% of the semester's tuItIon per week (or
portion thereof) of attendance. Therefore. no refunds are made
after the third week of school.
During a 7-week summer semester. refunds are made on the ba1s
of assessing 33 1/3% of the semester's tuition per week (or
portion thereof) of attendance. Therefore. no refunds are made
after the second week of school.
Further. the College requires the written consent of a parent or
guardian of any student under 21 years of age who desires an
approved withdrawal. Dorm residents with an approved withdrawal
receive only a meal allowance refund for the remaining weeks In
the contract term.

120
Students forced to withdraw for medical reasons may. upon
presentation of verification of their disability. receive a pro-rated
adjustment of tu1t1onfor the semester 1nwhich they are registered
and. 1fapplicable. a pro-rated adjustment of the dorm fee for the
remaining weeks 1nthe contract term. No adjustment 1smade for
temporary absence. nor 1sany refund made 1fa student 1s
suspended. or d1sm1ssed.or leaves school without formally
w1thd raw1ng.
Change of Program Changes of program must be approved
subsequent to a formal pet1t1onfor change by the student.
Requests must be made prior to the opening of the semester
during which the change 1sto take place. Change of program
includes the transfer from Diploma to Degree. or vice-versa. Pet1t1ons
for change are available in the Office of the Registrar or Curriculum
Counselor's Office.
Examinations Credit will not be given for a course unless all
scheduled Mid-Term and Final examinations are taken. In the event of
absence from an examination. a make-up exam must be taken at the
convenience of the instructor. A grade of "lncF" will be recorded 1nall
classroom courses (and of "NC" for instrumental studies) where
incomplete examinations are not made up within the first two weeks
of the following semester. Exception to the ruling 1spossible only 1f
the course instructor pet1t1onsfor special consideration on behalf of
the student.
A fee of S5 must be paid for all make-up examinations. whether they
be lecture course. laboratory. or instrumental prof1c1ency
examination.
In all cases. students unable to be present for an exam1nat1on must
so notify the faculty member in charge of the exam1nat1on.
Not1f1cat1onmust be given on or prior to the date of the exam1nat1on.
If no such not1f1cat1on1sgiven. a grade of "NC" (or 'F) 1s
automatically recorded for the course.
Grades for completed courses are evaluated according to the
following system:
letter % grade point
grade equivalent index
A 93-100 4.0
A- 90-92 3.7
B+ 87-89 3.3
B 83-86 3.0
B- 80-82 2.7
C+ 77-79 2.3
C 73-76 2.0
C- 70-72 1.7
D 60-69 1.0
F (falling) below 60 0.0
Semester Grades are recorded on the student report cards and
permenent grade-report forms in accordance with the above value
scale.
W Withdrew
INC Incomplete
NC No Credit
NA Not Averaged

121
Scholastic Probation Students with an overall Grade Point
Average below 2. 0 or who carry less than 75% of their recommended
credit load at the completion of a semester will be placed on general
probation the following semester. In order to be removed from
probation. a minimum GPA of 2.0 must be earned by the end of the
probation semester.
It Is further necessary to maintain a Grade Point Average of 2. 7 in
concentrate courses within a chosen maJor field. Students with a GPA
below 2. 7 in concentrate courses for two consecutive semesters will
be required to select an alternate maior
Any student on general probation who becomes liable for further
probation in a subsequent semester may be required to withdraw
from the college.
Scholastic Suspension Any student required to withdraw from the
college because of scholastic reasons must remain out of the college
for one regular semester before readmission may be considered.
After readm1ss1onfollowing scholastic suspension. the student will
remain on probation until the requIsIte GPA's have been earned at the
completion of the semester.
Expulsion Failure to satisfy the terms of probation after readmission
following scholastic suspension will result in permanent expulsion
from the college.
Dean's List Students averaging honor grades for any given
semester are placed on the Dean's List. An overall Grade Point
Average of 3. 7 and above entitles to First Honors: 3.3-3.6. Second
Honors.
Graduation Requirements Candidates for the 4 Year Degree must
complete a minimum of 134 credits (140 for Music Education
maiors).
Candidates for the 5 Year Dual Mai or must complete a minimum of 168
credits. (This total may be greater, depending upon choice of
maiors.)
Candidates for the Diploma must complete a minimum of 11 2
credits.
All candidates must complete proficiency requirements as specified
for their principal instrument.
All candidates seeking to graduate in a spec1f1cmaJor field must
complete a required proJect in the chosen area of concentration. as
described and approved by the Department Chairman. For Music
Education maJors. this will include completion of all observation and
student teaching requirements.
Graduation requirements unique to each program and major a·re
published periodically by the college.
A Student Handbook Is distributed to all students during Reg1strat1on
periods It Is a comprehens.ive statement of college policy and
contains more complete 1nformat1on regarding school regulations.

122
Tuition and Fees

Tuition: 1982-83 School Year

Degree Program, including all class, private and
ensemble instruction (per semester) $1695
Professional Diploma Program, including all class,
private and ensemble instruction (per semester) 1610
Tuition: 1982 Summer Sessions
12 Week Semester (Degree Program) 1365
12 Week Semester (Diploma Program) 1280
7 Week Summer Program 835
Individual Course Fees
Class Instruction (per credit hour) 120
Ensemble (per semester) 120
Private Instruction (per semester) 240
Dormitory Fees
(Includes breakfast and dinner seven days per week)
Fall or Spring Semester 1245
12 Week Semester 990
7 Week Summer Program 630
Deposits
Tuition 100
Housing 75
General Facilities Fee
Each Semester 50
12 Week Summer Semester 40
7 Week Summer Program 30
Miscellaneous Fees
Application Fee (non-refundable)
Regular School Year 25
Summer Session 10
Registration Fee (per semester) 10
Late Pre-Registration 35
Graduation Fee 20
Make-Up Examinations (each) 5
Transcripts-Each (first copy without charge) 2

123
Calendar

Fall Session 1981-82 1982-83

Registration Sept. 1-4 Sept. 7-10
Instruction Begins Sept. 8 Sept. 13
"Columbus Day Oct. 12 Oct. 11
·veterans Day Nov. 11 Nov. 11
Thanksgiving Recess Nov. 26-29 Nov. 25-28
Examinations Dec. 16-22 Dec. 15-21
Christmas Recess Dec. 23-Jan. 11 Dec. 22-Jan. 10
Spring Session
Registration Jan. 12-15 Jan. 11-14
Instruction Begins Jan. 18 Jan. 17
"Washington's Birthday Feb. 15 Feb. 21
Spring Recess Begins Mar. 13 Mar. 12
Instruction Resumes Mar. 22 Mar. 21
Examinations:
Seniors- Apr. 30-May 6 Apr 29-May 5
Other- May 10-14 May 9-13
Graduation May 15 May 14
Summer Session Summer '82 Summer '83
Registration May 27-28 June 2-3
Instructions Begins June 1 June 6
*Independence Day July 5 July 4
Examinations Aug. 16-20 Aug. 22-26
Special 7-Week
Summer Session Summer '82 Summer '83
Registration June 24 June 23
Instruction Begins June 28 June 27
*Independence Day July 5 July 4
Instruction Ends Aug.13 Aug. 12

* ClassesSuspended

124
Notes

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Notes
Notes
Notes