ABSTRACT

NON-CURRICULAR ELEMENTS IN A SUCCESSFUL UNIVERSITY JAZZ

PERFORMANCE PROGRAM: A STUDY OF UNT, IU, AND CSULB

By

Andrew J. Ninmer

May 2014

This project report examines the importance of non-curricular elements in a

successful collegiate jazz performance program. In order to understand what makes a

program successful, this paper first reviews the history of three successful jazz

programs—Indiana University (IU), University of North Texas (UNT), and California

State University, Long Beach (CSULB)—and evaluates the components that led to their

success. After a brief introduction of these three programs, the non-curricular elements

that help to form each successful university jazz performance program are examined.

Oftentimes, non-curricular elements are perceived as non-essential and therefore their

benefits are not fully realized. Using IU, UNT, and CSULB as a benchmark, this project

report examines their approaches to non-curricular ideas. This study will provide an

understanding of how a prospective student might prepare for and benefit from these

elements as part of a comprehensive collegiate jazz performance program.

NON-CURRICULAR ELEMENTS TO A SUCCESSFUL UNIVERSITY JAZZ

PERFORMANCE PROGRAM: A STUDY OF UNT, IU, AND CSULB

A PROJECT REPORT

Presented to the Bob Cole Conservatory of Music

California State University, Long Beach

In Partial Fulfillment

of the Requirements for the Degree

Master of Music

Concentration in Jazz Studies

Committee Members:

Jeff Jarvis (Chair)

Robert Frear, M.M.
Alicia Doyle, Ph.D.

College Designee:

Carolyn Bremer, Ph.D.

By Andrew J. Ninmer

B.M., 2012, University of Illinois at Urbana-Champaign

May 2014
 UMI Number: 1528009

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 ACKNOWLEDGMENTS

Thanks to Jeff Jarvis, Robert Frear, and Dr. Alicia Doyle for their constant

support and guidance throughout this process. It is because of them that I have

completed this journey while gaining so much along the way.

Special thanks to Jeff Jarvis and Coralie Prince for interviewing for this

project report. Thank you to Lee Coduti for his wisdom, encouragement, and

guidance throughout every step of writing this paper.

Finally, thank you to my wonderful family and friends for providing me with

never-ending encouragement and strength to help me finish in a timely manner,

amidst preparing for a recital, working, teaching, performing, and being a full-time

student.
 TABLE OF CONTENTS

Page

ACKNOWLEDGMENTS............................................................................................iii

CHAPTER

1. PREFACE...................................................................................................... 1

2. THE HISTORY AND DEVELOPMENT OF THREE LEADING

COLLEGIATE JAZZ PROGRAMS..................................................... 3

University of North Texas..................................................................... 3

Indiana University................................................................................. 6
California State University, Long Beach............................................... 9
Summary...............................................................................................12

3. VISIBILITY................................................................................................ 14

National Recognition............................................................................14
Festivals, Competitions, and Conferences............................................15
Recruiting.............................................................................................18
Notable Alumni....................................................................................19

4. COMMUNITY OUTREACH AND UNIVERSITY SUPPORT............... 21

Community Outreach.......................................................................... 21
University Support............................................................................... 22
Summary.............................................................................................. 23

5. OTHER BENEFICIAL ELEMENTS AND FACTORS............................ 24

Scholarships......................................................................................... 24
Graduate Assistant............................................................................... 25
Degrees Offered................................................................................... 25
Location................................................................................................25
Program Size....................................................................................... 26
Facilities...............................................................................................26
Summary...............................................................................................27
CHAPTER Page

6. CONCLUSION.......................................................................................... 28

APPENDIX: RECITAL PROGRAM......................................................................... 30

BIBLIOGRAPHY....................................................................................................... 31

v
 CHAPTER 1

PREFACE

At the time of publication, there are more than 120 American colleges and

universities that are offering degrees in jazz studies.1 The University of North Texas

offered the first jazz studies degree in 1946.2 In 1972, fifteen colleges offered a degree in

jazz studies and by 1982, this number had increased to seventy-two. Despite the rise in

popularity of jazz studies in academia since the 1970s, the degree is still relatively new to

higher education. While many studies have been conducted on the relevance of jazz as a

degree option in the collegiate setting, there is a dearth of information as to what makes a

jazz studies program successful.4 Unfortunately, jazz courses and curricular requirements

1The Thelonious Monk Institute of Jazz, “Jazz Education,” Jazz in America,

http://www.jazzinamerica.org/JazzResources/JazzEducation/Page (accessed March 10,
2014).

2 Jerry Drake, "University of North Texas College of Music,” Texas State

Historical Association, http://www.tshaonline.org/handbook/online/articles/xmu01
(accessed January 14, 2014).

3 The Thelonious Monk Institute of Jazz.

4 On the relevance of jazz as a degree option, see, for example, Alice Goldfarb
Marquis, “Jazz Goes to College: Has Academic Status Served the Art?” (paper presented
at the annual meeting of the Popular Culture Association/American Culture Association,
San Antonio, TX, March 26-29,1997); Bryce Luty, “Jazz Education’s Struggle for
Acceptance: Part 1,” Music Educators Journal 69, no. 3 (November 1982): 38-9, 53;
Ronald Roach, “Schools of Cool: Jazz Performance Education Providing a Different
Kind of Gig,” Black Issues in Higher Education 14, no. 24 (January 1998): 16-19,21;
Tony Whyton, “Birth of the School: Discursive Methodologies in Jazz Education,” Music
Education Research 8, no. 1 (March 2006): 1-17.

1
are often analyzed and scrutinized when judging the success of a university jazz program,

while non-curricular factors such as maintaining visibility, establishing a legacy of

consistency, and support within the university are often ignored. This paper provides an

examination of the factors outside of curriculum requirements that contribute to the

success of a university jazz studies program.

Before discussing the benefits of non-curricular activities such as maintaining

visibility, establishing a legacy of consistency, and support within the university, the

history of three historically successful jazz programs will be examined. These three

schools will then be used as a benchmark in evaluating components of non-curricular

strengths. Other methodologies include studying the effects of community outreach,

geography, performance opportunities, and program size.

2
 CHAPTER 2

THE HISTORY AND DEVELOPMENT OF THREE LEADING

COLLEGIATE JAZZ PROGRAMS

When it comes to understanding the components of a successful jazz program, it

is vital to assess some of the most established programs. Many of the best jazz programs

have a history of tradition and success. While each situation and school is unique,

examining characteristics of the programs many jazz educators consider to be the

frontrunners can help build an understanding of how they became—and continue to be—

successful.

University of North Texas

From its establishment as a university in 1890, music was part of the curriculum

at the University of North Texas (known then as the Texas Normal College and Teachers

Training Institute).1 One of the initial “nine full courses” offered in 1890 was a

“conservatory music course.”2 Over the course of the first half of the twentieth century,

the music program flourished, laying the groundwork for a successful jazz program. In

1923, the school became known as North Texas State Teachers’ College (NTSTC). By

1940, jazz was becoming a popular music in America and NTSTC alumni Harry Babasin,

Gene Roland, and Jimmy Giufffe were making their mark in the West Coast jazz scene.3

1Drake.

2 Ibid.

3 Ibid.
3
In 1942, Dr. Wilfred C. Bain (the head of the music department at the time) asked Gene

Hall, a graduate student in music, to write his thesis on proposals for a dance-band music

degree program at the university.4 Gene Hall’s thesis became the foundation for the

world’s first university degree in jazz (dance band), which was offered at NTSTC in the

fall of 1946.5 In 1947, after a year under the leadership of Charles Meeks (Charles

Meeks was a graduate student at NTSTC in the composition department), the dean of

music, Walter H. Hodgson, asked Gene Hall (by then an alumni) to direct the new

program, which he did until 1959.6 Of utmost importance to the jazz program at NTSTC

was the establishment of a “lab” band, in which students were given credit for

participation. This band was titled the Two O’Clock Lab Band, named for the time at

which it met.7

In 1950, North Texas State Teachers’ College became North Texas State College

(NTSC).8 By 1959, Gene left North Texas to teach at Michigan State University and was

succeeded by multi-instrumentalist and arranger Leon Breeden. In 1962, NTSC changed

4 David Joyner and John Murphy, “The History of Jazz at North Texas,”
University of North Texas Division of Jazz Studies, http://jazz.imt.edU/node/l 19
(accessed January 14,2014). Also see Gene Hall, “The Development of a Curriculum for
the Teaching of Dance Music at a College Level” (Master’s thesis, North Texas State
Teachers College, Denton, 1944).

5 Joyner and Murphy, “The History of Jazz at North Texas.”

6 Ibid.

7 Drake.

8 Briana Rhodes. “An Historical Investigation of the Development of Successful

Jazz Studies Programs at Indiana University and University of North Texas” (Master’s
thesis, University of Texas, Arlington, 2005), 38.

4
its name once again to North Texas State University.9 Under Breeden’s guidance, the

jazz program grew and achieved national recognition; from 1959-1981, the program

garnered nearly fifty national awards for individual and group performance.10 It was also

during Breeden’s tenure that the rehearsal time of the Two O’Clock Lab Band was

moved up an hour, giving it the name by which it is known today, the One O’Clock Lab

Band.11 In 1981, Neil Slater followed Breeden as the Chair of Jazz Studies.12 Under

Slater, the program added a graduate degree to its curriculum in 1983. In 1988 NTSU

changed its name to the University of North Texas. Through the early 1990s, more jazz

courses were added, and as a result the curriculum and program continued to grow.13

Today, UNT offers a Bachelor and Master of Music in Jazz Studies, as well as a

Doctorate of Musical Arts in Performance with local concentration in Jazz Studies.14

Although the University of North Texas is located in the city of Denton, with a

population of just over 110,000 residents, it is only about forty miles from the heart of

Dallas, where a thriving music scene can be found. Even before the jazz program was

established at UNT, the school was well-known for having a very strong music program.

As a result, great musicians and bandleaders such as Stan Kenton were already using

9 Rhodes, 40.

10 Joyner and Murphy, “The History of Jazz at North Texas.”

11 Ibid.

12 Ibid.

13 Rhodes, 42-4.

14David Joyner and John Murphy, “Degrees,” University of North Texas Division
of Jazz Studies, http://jazz.unt.edu/node/169 (accessed March 10, 2014).

5
North Texas’s college students for his touring band.15 The connection goes back to 1960,

when Kenton was one of the judges who awarded the Two O’Clock Lab Band first prize

at the Notre Dame Jazz Festival. Kenton began recruiting new band members out of

Denton because, in his opinion, they sight-read flawlessly.16 At one time, half of his

orchestra was made up of North Texas players.17 From its foundation in 1983, the

graduate program at UNT was recognized by U.S. News and World Report as a high-

quality program. U.S. News & World Report began ranking graduate jazz programs in

1994 and the UNT Jazz Studies program was ranked number one in 1994,1995,1996,

and 1997. After 1997, the publication stopped ranking graduate programs in music.18

Today, the jazz program at the University of North Texas has thirteen full-time

faculty, has been nominated for six Grammy awards, and has many successful alumni:

Jimmy Giufffe, Marvin Stamm, Ed Soph, Fred Sturm, Lyle Mays, John Riley, Mike

Steinel, Conrad Herwig, Jim Snidero, Ari Hoenig, and Norah Jones.19

Indiana University

In 1910, Charles Diven Campbell was appointed the founding head of the

Department of Music at Indiana University. By 1947, when Dr. Wilfred C. Bain was

appointed as the dean of the School of Music at Indiana University, the number of music

15 Drake.

16 John Morthland, “Out of Sync,” Texas Monthly (November 1992),

http://www.texasmonthly.com/content/out-sync (accessed March 1,2014).

17 Ibid.

18 Rhodes, 46-7.

19 Wiest, Steve, “The One O’Clock Lab Band,” University of North Texas
Division of Jazz Studies, https://jazz.unt.edu/node/176 (accessed January 14,2014).
majors had reached 296.20 As mentioned above, Bain was formerly the dean at North

Texas State Teachers College (NTSTC).21 At IU, just as at NTSTC, Bain was a supporter

of jazz as a degree option. In the fall semester of 1950, Indiana University introduced

jazz music into its curriculum. One course was offered, Dance Band, and was worth one

credit. The class rehearsed four hours each week and students were selected for the band

based on audition.22

In the 1950s, a vibrant jam session scene developed at the fraternity houses on

campus at Indiana University in Bloomington.23 Led mostly by students, these sessions

also attracted visiting players such as Cannonball and Nat Adderley, Wes Montgomery,

and Freddie Hubbard because of Bloomington’s close proximity to the thriving jazz

culture of Indianapolis. In 1953, the growth of jazz continued at IU when a small band

consisting of a majority of IU students entered a Metronome magazine Collegiate Jazz

Band Contest and won.24 Further attention was gained when, in 1959, a jazz band headed

by David Baker—a former student who graduated in 1954 with a degree in Music

20 Indiana University, “Historical Timeline,” Jacobs School of Music, http://

www.music.indiana.edu/about/timeline.shtml (accessed March 5, 2014).

21 Ibid.

22 Rhodes, 21.

23 Indiana University, “Jazz Department History,” Jacobs School of Music,

http://www.music.indiana.edu/departments/academic/jazz/history.shtml (accessed
January 15,2014).

24 Ibid.

7
Education from IU—and comprised of IU students was named the Best Band at the first

Notre Dame Jazz Festival.25

Throughout the early 1960s, more classes were being offered in jazz at IU: jazz

history, pedagogy, arranging, and improvisation. With the addition of these classes, jazz

specialists were hired as instructors. Edwin “Buddy” Baker and Roger Max Pemberton

were hired in 1960 and 1961 respectively, but both left shortly thereafter, in 1964. Jerry

Coker replaced Buddy Baker in 1964, but in turn he left in 1966. Upon Coker’s

departure, the leadership of the growing jazz program at IU was given to David Baker.

Baker was hired as an Instructor of Music and chairman of the new Jazz Division with

instructions to design and institute a degree-granting program in jazz studies.26 In 1971, a

on
Bachelor of Music in Jazz was offered at Indiana University. From 1971-1974,

additional jazz ensembles and classes were added to the degree program. During this

time, David Baker taught all of the classes with the aid of four teaching assistants28

Finally, the program had a dedicated leader (David Baker), several classes, and two

degree programs by the end of the 1970s (a Bachelor and a Master of Music in Jazz

Studies).29

Regarding the impetus for Indiana University to create a jazz program, and its

subsequent growth and success, David Baker elaborates:

25 Indiana University, “Jazz Department History.”

26 Rhodes, 24.

27 Ibid., 25.

28 Indiana University, “Jazz Department History.”

29 Rhodes, 29.

8
 I think there are some major things that never show up in the columns that have
' furthered jazz probably more than anything else in the institutions, and one of
them is the Civil Rights movement. Starting in the Civil Rights beginning, it’s
really prime to changing the environment, and changing the United States as well
as the world, then everybody wanted to have some courses that had to do with
African-Americans.30

In deciding to officially begin a jazz program, more was taught about the topic of jazz,

including its African-American roots.31

Today, the IU school of music (known since 2005 as the Jacobs School of Music)

and the jazz program to thrive.32 In addition to Baker’s international reputation, many of

his students became prolific jazz musicians and educators. The school has produced such

jazz greats as: Chris Botti, Randy Brecker, Jamey Aebersold, Michael Brecker, John
*5 'I

Clayton, Peter Erskine, and Jeff Hamilton. The jazz program at IU has maintained a

level of excellence thanks to many successful alumni and a widely acclaimed

reputation.34

California State University, Long Beach

On September 28,1949, Los Angeles-Orange County State College began its first

day of classes. One hundred and sixty students were enrolled for the first semester with

thirteen full-time faculty. After five name changes, the school became known as

30 Rhodes, 31.

31 Ibid.

32 Indiana University, “Jazz Department History.”

33 Indiana University, “Alumni,” Jacobs School of Music, http://www.music.

indiana.edu/ departments/academic/jazz/alumni.shtml (accessed January 15,2014).

34 Rhodes, 31.

9
California State University, Long Beach (CSULB) in 1972.35 In 1972, the chairman of

the music department, Dr. Gerald Daniel, hired John Prince to develop a commercial

music program. According to Coralie Prince, John’s widow:

John had taught stage band and a couple other classes at Long Beach City
College, Rio Hondo, Santa Monica City College, Los Angeles City College, and
Cerritos. He taught at the Stan Kenton Clinics, and played in the Kenton
Neophonic Orchestra.36

After two years of development, CSULB offered a new undergraduate degree in

^7
commercial music in 1974, and a Masters program was added in 1995. From the

beginning, faculty member John Prince faced numerous obstacles in developing the

program. Coralie Prince states:

Budget and lack of faculty were some of the obstacles that John faced. He
developed a strong, highly regarded program that attracted many students. Soon
he was teaching a course load for two and a half professors. He had a student
oo
secretary to help, but needed more faculty.

In addition to lack of faculty, John Prince faced funding issues:

Dr. Daniel was a great supporter, but John had to do a lot of fundraising and
grant writing to get the funds necessary for the program.39

35 California State University, Long Beach, “Our History,” Alumni Association,

www.csulb.edu/alumni/goldengrads/historical/ (accessed March 5,2014).

36 Coralie Prince, Interview with author, Email interview, Long Beach, March 10,
2014.

37 Jeff Jarvis, Interview with author, Email interview, Long Beach, March 6,
2014.

38 Prince.
39 Prince.
tv •

10
Despite these difficulties, Prince’s reputation and resolve built a solid foundation for the

jazz program at CSULB. Under Prince’s leadership, the top jazz ensemble performed at

the Playboy Jazz Festival at the Hollywood Bowl, and the Montreux Jazz Festival in

Switzerland in 1976 and 1980.40 The band also annually went to Berkeley Jazz Festival,

where they won numerous first place awards, and Prince even organized a jazz festival at

CSULB.41 After many years of success, Prince began having health issues and retired in

2002 from the program that he built. After Prince’s departure from CSULB, the jazz

program suffered somewhat. Jeff Jarvis admits:

A once flourishing program had deteriorated after John Prince’s health problems
and subsequent passing. A new Director of Jazz Studies was here for a few years,
then an interim Director of Jazz Studies, but the program continued to deteriorate
and the students had gradually abandoned the major, opting instead for classical
degrees.42

In the fall of 2005, Jarvis took over as the head of jazz studies at CSULB, having

experience as a jazz performer, publisher, author, and educator.43

When I started at CSULB there were seven jazz studies majors, four of whom
were vocal jazz students. My first goal was to immediately improve the quality of
the band in order to generate interest in the program again. The band was playing
at a community college level when I arrived, with a few standout players. When I
posted the first big band audition announcement, less than ten students signed up.
I went to the practice rooms, and when I heard an able player, I knocked on the
door and asked them to play in the top jazz band. I renamed the bands, had a logo
designed for the jazz program, and branded the program “Jazz At The Beach”- all

40 Prince.

41 Ibid.

42 Jarvis.

43 See www.kendormusic.com for more information on Kendor Music Publishing.

Also see Jeff Jarvis and Doug Beach, The Jazz Educator’s Handbook (Delevan: Kendor
Music, Inc., 2002).

11
 with the intent of developing an identity, sense of pride, and to draw attention in
the jazz education community. In my second year, the Concert Jazz Orchestra
won first place at the Next Generation Jazz Festival in Monterey.44

Under Jarvis’s leadership, the CSULB jazz ensembles won first place awards at the Next

Generation Jazz Festival in 2007 and 2009, and have been invited to perform concerts at

the Monterey Jazz Festival, The Los Angeles Jazz Institute, Jazz at Lincoln Center (NY),

and numerous national and international music education conferences.45

Today, the jazz program at CSULB continues to progress. In 2012, a generous

donation established the Beau and Jo France scholarship, which funds the addition of a

graduate assistant. This assistant directs the newly developed third jazz band, which

allows all instrumental jazz studies majors the opportunity to play in a large jazz

ensemble. Adding to the evolution of the jazz program at CSULB, many notable jazz

performers and educators are alumni: Tom Kubis, Andy Martin, John Patitucci, Basil

Poledouris, Jay Anderson, Sal Lozano, and Bill Liston 46

Summary

Possibly the biggest factor of UNT’s success and legacy is their pioneering

history. For several decades, UNT has set the standard and served as a model of how to

create and run a successful jazz program. In addition, University of North Texas’s jazz

program has had little turnover in leadership with a total of only four directors up to the

time of this report: Gene Hall (1947-1959), Leon Breeden (1959-1981), Neil Slater

44 Jarvis.

45 Ibid.

46 Bob Cole Conservatory of Music, “Alumni,” California State University, Long

Beach, www.csulb.edu/depts./music/main/alumni.html (accessed March 5,2014).

12
(1981-2008), and John Murphy (began in 2009).47 Both Breeden and Slater’s long tenure

have helped to build on the foundation that Hall put in place. Since the program began,

student interest has been consistent and the program has continuously grown. In contrast,

the jazz studies program at IU seemed to develop because of a number of catalysts: the

Civil Rights movement, a supportive administrator (Dean of the School of Music,

Wilfred Bain), an extremely high standard of jazz education, and a strong leader (David

Baker). As of spring 2014, Baker is still the Chairman of the jazz department at the

University where he first started as a student in the early 1950s.48 Finally, the CSULB

jazz program has gained national recognition mainly due to the strong leadership and

long tenure of John Prince (1974-2002) and Jeff Jarvis (2005-present). In addition, under

Jarvis, a sense of identity and renewed purpose has been instilled into the program.

Using these programs’ benchmarks, the next topic discussed will be to explain in greater

detail the non-curricular elements that may lead to a successful jazz program.

47 Rhodes, 46-7.

48 Ibid., 34.

13
 CHAPTER 3

VISIBILITY

Perhaps the single most important non-curricular element that is necessary to

achieve a standard of superiority is visibility. Often, many opportunities are afforded to

colleges and universities that have established a noteworthy jazz program. An active and

continuous presence at competitions, camps, festivals, and conferences are some of the

best means to gain recognition as a jazz program.

National Recognition

Much of the responsibility for visibility falls on the shoulders of the director of

the jazz department. It is the obligation of the director to encourage students to attend

summer camps, audition for musical work opportunities, and to submit recordings of their

groups or compositions to competitions. For example, at CSULB, Jeff Jarvis encourages

students to do all of the above.

The more we perform as a group or as individuals, the better. When one student
earns the chance to play at a high profile event, that individual reflects attention
back to the program; “He goes to Cal State Long Beach.”1

While availing oneself of these extra-curricular activities is optional, the student’s

institution is positioned for enhanced visibility and advancement. Someone who has

never heard of a school’s program might now be curious because of this person’s talents.

Having award-winning students or ensembles within a program is an achievement that

can be used as a selling point when trying to attract students and gain attention.

1Jarvis.

14
 Festivals, Competitions, and Conferences

If well prepared, taking one of the top ensembles to a festival or competition will

gain invaluable visibility and recognition. In terms of the jazz program at UNT, the 1960

Notre Dame jazz festival was certainly a catalyst to their success. As Leon Breeden, the

director of jazz studies from 1959-1981 said:

Notre Dame, I guess, was the most important. It was the first one I took the band
to, and the fact that Stan Kenton was there and he flipped over the band and came
down and hugged me and had tears in his eyes and said, “You guys have renewed
my favorite music.”2

When asked what gave the program at UNT credibility, Breeden also stated:

Well Notre Dame, we won the first two years there, and I think that kind of put
the band on the map to start with.3

At Indiana University, David Baker disagrees with the idea of going to jazz festivals:

We don’t go to festivals.. .1 don’t believe in them. I reluctantly go. If they’re

non-competitive, I will go to clinics.. .the thing that bothers me most of all is that
a school not with the resources.. .will spend an enormous amount of time on a
few pieces.. .because they’re interested in winning. Then it also creates a
situation that even when there are lots of groups.. .they listen to each other but
they listen to each other in a critical way. “Man, I sure hope they don’t beat us
out, we’re better than they are” and I find that unhealthy.4

Baker has a valid point in his assessment of an unhealthy competitive environment at

festivals. However, most university jazz programs do not have the luxury of such a

historically well-renowned program as IU. As in sports, many ensembles and jazz

programs are defined by their performance and placement in the ranks. Because of this,

2 Rhodes, 213.

3 Ibid., 222.

4 Ibid., 123-4.

15
competitions and festivals are often essential. In addition, choosing the right competition

or festival is vital. Perhaps one of the worst things a director can do is take his ensemble

to a small festival where success is a foregone conclusion.5 This type of contentment can

be a detriment to a jazz program. Picking a festival or competition that features bands

with similar proficiency levels is very important.6 Participation in this sort of festival

will hopefully motivate and inspire the students to play their very best.

At many of these festivals and competitions, there are prospective students in

attendance. A positive performance and actually hearing an ensemble live can help

students decide on a school. While traveling with an ensemble, reaching out to high

schools or colleges in the area is also an important recruiting tool. At CSULB, Jarvis

frequently collaborates with other schools.

I seek every possible opportunity to perform with groups from other secondary
schools and universities. These activities allow us to generate interest in our
program, give our students a chance to see where we “stack up” to other
university jazz programs, and provide community outreach.7

Often, lack of funding can be a huge deterrent toward having ensembles travel to

festivals or conferences. If the funds are not available to take an entire ensemble to a

conference, it is still important to have a jazz faculty representative attend. This is

especially true at jazz-specific conferences such as the Jazz Education Network

conference.8 Setting up a booth for the school and having recordings, videos, and flyers

5 Jarvis and Beach, 196-7.

6 Ibid., 196.

7 Jarvis.

See The Jazz Education Network, http://jazzednet.org/ (accessed March 5,

2014).
16
readily available is crucial to gain visibility. Additionally, having a faculty member give

a clinic on a specific area of their expertise gives those in attendance an association to the

school. Jarvis personally attends conferences and festivals on behalf of CSULB:

I frequently attend national and international conferences and events. As an

owner of a music publishing company, I have a unique opportunity to attend
events without having to request travel funds from CSU Long Beach. I also
attend many conventions having been hired as an all-state jazz director or guest
soloist. While there, I am personally working with potential CSULB jazz majors,
so I distribute lots of business cards and CDs of our top jazz ensembles.9

Leon Breeden went to festivals and adjudicated, thereby being a representative of UNT.

If a student inquired about the jazz program, Breeden answered any specific questions

about the program, as well as getting their mailing address and sending them a catalog.10

Similarly, at IU, Baker has drawn students because of his national and international

renown as a jazz educator.

Most of the people who chose to come here to be in jazz come here (IU)
because—look, I traveled all over the world. I’ve taught in Australia, New
Zealand, Japan, I’ve been to China,..., Mexico, taught in England, Germany,
France, Sweden, Norway,...so the name gets around.11

Thousands of students, musicians, and music lovers of all ages attend conferences and

festivals to receive clinics, attend performances, and to see what other schools are

offering.

9 Jarvis.

10 Mason, Colin M. “A Comparative and Historical Survey of Four Seminal

Figures in the History of Jazz Education” (D.M.A. Dissertation, University of Texas,
Austin, 2005), 49-50.

11 Rhodes, 121.

17
 Recruiting

A major component to the success university jazz programs is the ability to draw

potential students. At UNT, Leon Breeden had an interesting take on the subject of

recruiting:

I didn’t recruit. I never once asked a student to come to North Texas; never
once.. .1 can truthfully tell anybody they’re here because they want to be here.
Everyone in there wants to be there.12

Additionally, Baker had similar comments about his program at IU:

We recruit by our presence, where we go. We’ve not really had to do a lot of
active recruiting because the university has such a stellar reputation.. .All of us
recruit at a lower level simply by where we go when we do tours, when we go and
play gigs, when we go out and do lectures.. .By the time I started teaching I had
already won the Blue Star Award in Downbeat magazine, I had a Grammy
nomination, so people know me...And word-of-mouth is probably our greatest
ally. Because when people come in here, parents come to see their kids and then
they go back and tell other people about what we do here.13

Brent Wallarab, another faculty member at the University of Indiana concurred with

Baker and added:

Yeah, I’ve never really done a lot of recruiting. IU’s different. IU’s gonna be
like Berkeley or it’s gonna be like Eastman, or University of North Texas.. .1
might run into a really precocious young high school student who I know might
wanna go into music and I might say “hey look, you should look into Indiana
University, I think that that might be right for you” but IU doesn’t have a really,
really hardcore active recruiting program like a lot of colleges do.14

At CSULB, Jeff Jarvis has a different outlook on recruiting:

Even if “Jazz At The Beach” were the oldest, most established program
anywhere, I would still want to engage in active recruiting. Unlike secondary
school directors, college jazz band directors have the opportunity to select his/her

12 Rhodes, 49.

13 Ibid., 89.

14 Ibid., 179-180.

18
 student cohort. Even if I worked at one of the schools that pioneered the jazz
education movement, I cannot imagine simply waiting to see who showed up
from year to year. So I keep attrition rosters to monitor who will graduate each
year, helping me to focus my recruiting efforts on filling those positions at
audition time.15

The differences in recruiting styles are very different among these three schools. IU and

UNT both have a long-standing established program. Because of this, neither school

actively recruits. Rather, they gain interest from students by word of mouth, reputation,

and notable alumni. Jeff Jarvis at CSULB actively recruits not only because the program

is newer, but also because he wants control over who is coming into his jazz program.

As Wallarab at IU points out, there are only a handful of schools that do not actively need

to recruit in order to maintain a high level of success in their programs. While recruiting

is often viewed in a negative light, if the student gets the feeling that they are wanted in a

specific jazz program, it can be very encouraging.

Notable Alumni

Another defining component in gaining visibility for a university jazz program is

its alumni. At Indiana University, David Baker credits much of the success of the jazz

program to its notable alumni:

...We’ve got students, like one of my students... Jamey (Aebersold) now takes
the program all over the world. There was a time.. .we asked him to do twelve or
fourteen countries in the summertime. First I had no break or vacation at all
because we were teaching camps all over. Here, in the United States, we taught in
Northern Colorado, we taught in New Jersey, we taught in California, we taught
in New York, but then we took it out to the world. And.. .the overwhelming
number of faculty at the Jamey Aebersold camp came from Indiana University.16

Wallarab also adds:

15 Jarvis.

16 Rhodes, 122.
19
 .. .Places like IU has so many teachers out there in the field. So many other
college jazz programs all around the country are run by IU grads, so their students
are gonna find out about IU through their teachers who went to IU and so in a
way recruiting happens but not directly.17

In the history of each program there are numerous famous alumni, as mentioned earlier.

These musicians/composers/educators continue to represent their respective schools well

after they graduate.

Notable alumni, awards, and national recognition, and consistent successes are all

key elements in gaining visibility for a collegiate jazz program. Without visibility, it is

hard to grow to become a distinguished program in the collegiate jazz annals. While

recognition spanning the nation and the world is invaluable, so is the connection between

a jazz program and its local supporters.

17 Rhodes, 180.
20
 CHAPTER 4

COMMUNITY OUTREACH AND UNIVERSITY SUPPORT

Community outreach and university support are two issues that must be addressed

to keep a jazz program healthy. Without support from both the community and the

university, it is nearly impossible to maintain relevance as a program. Fortunately, there

are ways to bolster this relationship.

Community Outreach

Reaching out to the surrounding community by giving free clinics and

performances at local schools and venues is a great way to show that the jazz program

cares about the arts thriving within a community. This may also help to boost ticket sales

to the on-campus performances. One of the most important aspects in attracting students

is having scholarships to offer prospective candidates. Being visible within a community

will hopefully draw more individuals and/or organizations to make private monetary

donations directly to the jazz program. At Indiana University, “Friends of Music” is what

David Baker calls his donors.

Sometimes it’s alumni, sometimes it’s people who come see Bloomington is an
oasis. Bloomington, for a long time it was in one of the top ten places for people
to retire.. .Where else would you hear the Mozart Trio, you hear Janos Starker,
you hear Martina Arroyo, you hear all these people for free... We have like a
special academy even though people like to think we’re in the middle of a
cornfield.1

1Rhodes, 125.

21
At CSULB, scholarships are available because of the jazz program’s community

outreach.

The interest from a private gift funds a graduate assistant.. .Our largest
benefactor is the jazz station on campus, KKJZ, who gives the instrumental Jazz
Studies area $20,000.2

Hopefully, if a jazz program is willing to share its time and talent with the community,

the action will be reciprocated with admiration, donations, and gratification.

University Support

An issue that occasionally arises in university jazz programs is a lack of support

for the jazz program within a music department. Fortunately there are generally ways to

resolve a situation such as this. Proving that the program is functioning well and

provides value to the music department as a whole is vital. At UNT during Breeden’s

tenure, there was a lack of support for the jazz program.

We raised all our money ourselves, we had no budget, I had absolutely no budget.
For the first eight or ten years I typed every letter. I had no secretary, I typed
every letter personally.3

When asked what made the university take notice of the jazz studies program, Breeden

stated:

The performance of our kids, and the fact that we never went out and
embarrassed—I never let any kids be arrested for drunkenness or anything like
that.. .1 told them.. .“We’re going on an official trip. You’re part of the
university. You better act like it. You’re not supposed to take advantage of your
privacy. That’s yours on the weekends, do anything you want, but not on a trip
where we’re representing North Texas.”4

2 Jarvis.

3 Mason, 37.

4 Rhodes, 221.

22
The leadership of Breeden and the maturity of his students helped keep a reputation of

professionalism at UNT. At CSULB, university support is generally good, but a lack of

funding is a difficult obstacle. In comparison to other schools, Jarvis admits:

We have a modest budget and scholarship assistance.. .Having a background in

business has helped me stretch those funds so we can meet our essential
needs.. .The university has been generous in underwriting certain tour expenses
when our jazz groups have won prestigious awards and invitations to perform at
high-profile conventions, festivals, and events.5

As Jarvis mentions, winning awards has encouraged the university to fund more tours and

trips for the jazz ensembles. Success is often the best way to show the music department

and the university as a whole that the program is worthwhile. Another key element is

showing interest in other programs within the music and arts department. Attending non­

jazz concerts and recitals and collaborating with other music programs for events or

concerts are excellent ways to show support and respect for the other areas in the music

department.

Summary

Visibility, generosity, professionalism, and having award-winning ensembles are

ways to gamer university and community support. Through these methods, a program

will be able to prove their worth to the community and the university.

5 Jarvis.
23
 CHAPTER 5

OTHER BENEFICIAL ELEMENTS AND FACTORS

To this point, many facets of a successful jazz program have been revealed, but

there still remain a few more miscellaneous elements that need to be revealed.

Scholarships

Many students cannot afford to pay the full price of tuition at a college or

university. Being able to offer scholarships to the most talented and promising students

will not only benefit them financially, but it will be an attraction for them to attend the

school. It is important for the jazz director to utilize scholarships carefully, as many

prospective students have more than one college or university in mind for attending. At

IU, scholarships are a unique situation. David Baker elaborates:

You know,.. .everything here is either merit or need. They don’t set aside jazz
scholarships or whatever. If we need people, all I have to do is say that we need
people, and it’s according to how well they play, according to their need, so we’re
always in the pool of what is there. We have friends of music which provide
scholarships, we have scholarships which are named scholarships or whatever. I
don’t have to worry about it.1

As was mentioned earlier, CSULB is not in such a fortunate situation, as the music

department has very limited funds.

1Rhodes, 108.
24
 Graduate Assistant

Depending on the size of the program and degrees offered, ideally at least one

scholarship should be utilized for a graduate assistant. With the proper choice of

assistant, a jazz director can assign any number of tasks to this student, which will help to

ease the stress and work load of the director. In addition, the graduate assistant will gain

invaluable experience with running a collegiate jazz program.

Degrees Offered

Often the success of a school can depend on the various degrees that are offered.

While many schools only offer a bachelors degree in jazz performance, the colleges and

universities that offer an advanced degree generally have stronger programs. With older,

more experienced graduate students, the undergraduates are given peers to look up to and

emulate. These graduate students can help set an example and raise the standard of

excellence at a school. In addition to a master’s degree in jazz performance, a Doctorate

of Musical Arts, or D.M.A. is also offered at a select number of universities.2 While the

number of universities in the United States offering this terminal jazz degree is small

(thirteen), the programs offering them are some of the strongest in the country, such as

New England Conservatory, University of Miami, University of Northern Colorado, and

University of North Texas.

Location

One notable factor for all three of the universities that were mentioned earlier in

the paper was that they were all located within approximately fifty miles of a major

metropolis. These big cities tend to have more of a music scene than that of small college

2 See Jazz Doctorates, ramseycastaneda.com/jazz_dmas.html

25
towns. When starting a jazz studies program, it is important to consider outside playing

opportunities for the students. In addition, it is important to be able to hear live

professionals play nearby. This type of exposure to professional music making can drive

a student to loftier goals, as they strive to be able to do the same one day.

Program Size

The size of a program is imperative to operate with efficiency. When asked about

the size of the program at CSULB, Jarvis replied:

The ideal size of the student cohort is tethered to the size of the faculty.
Currently, we are at a size that allows our jazz faculty to devote the proper
amount of individual attention to our majors and participants. If, at some time in
the future, additional faculty is hired, I will increase the size of the program and
add more jazz courses.

With a program too large, faculty may not be able to give each student the individual

attention that they deserve. In addition, it is easy to feel insignificant or “lost in the

crowd” with such a large program. Finding the right balance of faculty/student ratio will

help cater to both the needs of the teachers and the students.

Facilities

Facilities also play a large role in having a strong program. At UNT, Breeden had

a difficult time incorporating his program into the existing facilities. Alumnus Ed Soph

elaborates:

The drummers were not allowed practice rooms for their drum sets, and when we
did find ways to “commandeer” skeleton keys to fit the old keyholes in the
building in which we were located, the Dean would personally come down with a
custodian and break the locks and put the drumsets out into the hallway.4

3 Jarvis.

4 Mason, 37.

26
At CSULB, Jarvis voices similar concerns:

Aesthetically, there have been numerous improvements in the CSULB Music

Center since I arrived in 2005. But at close inspection, our facilities are lacking.
Most high school and community college programs have far superior rehearsal
and performance venues, properly equipped classrooms, and so on.5

Lack of proper facilities can produce a negative learning environment. For example, if

practice rooms are not readily available, or are acoustically intolerable, a student may not

practice as much as they need in order to improve. Not only does having well-maintained

facilities keep current students engaged and inspired, it can draw prospective students to a

program.

Summary

The seemingly superfluous elements such as geography, scholarships, degrees

offered, program size, and facilities are just as imperative as having the proper classes

and curriculum. Even the smallest of details makes a difference in a jazz program’s

success or failure.

5 Jarvis.
27
 CHAPTER 6

CONCLUSION

When attempting to build a successful jazz program, there are more factors

involved than one may realize. As this paper has shown, not only are curricular elements

important; there is much more that must be well thought out. If the history of the jazz

programs at Indiana University, University of North Texas, and California State

University, Long Beach has taught us anything about how to maintain a successful

program, it is that every aspect is crucial to success. Maintaining visibility, and support

from the community and university are just a few of the many non-curricular features of

an effective program. Once this success is realized, marketing the program is of utmost

importance. Attending conferences, festivals, and tours is of paramount importance. It is

through these events that visibility is brought to a program because educators and

students from across the world are frequently in attendance. Winning one major

competition can make a program desirable. Using awards to market the benefits of a

program is invaluable to gain visibility and boost enrollment. From visibility to tradition,

awards to scholarships, community outreach to support within the university—all of these

elements are significant factors outside of class curriculum that contribute to the success

of a university jazz studies program.

28
 APPENDIX

RECITAL PROGRAM

29
 Program

Cool Eyes..............................................................................................Horace Silver

Watch What Happens...................................................................... Michel Legrand

Bury the Hatchet....................................................................................Drew Ninmer

Estuary Tom Harrell

Line for Lyons...................................................................................Gerry Mulligan

Intermission

Jihad Joe..............................................................................................Christian Scott

Big Butter and Egg M an.................................................................... Percy Venable

Koinonia................................................................................................Drew Ninmer

Journey to the Starts.................................................................................Tom Harrell

Hallucinations........................................................................................... Bud Powell

Musicians

Kyle Schafter, piano

Chelsea Stevens, bass
Gareth Price, drums
Chris Taube, guitar
Ramsey Casteneda, tenor sax/flute
Jason Fabus, alto sax
Taylor Covey, trombone

30
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