What follows is a list of forty goals (objectives) for the
students in the jazz program with a statement about why those
goals are important to achieve. This is followed by specific
activities that are designed to help reach the stated
objectives—and the procedures used to evaluate the degree of
success in reaching those goals. The degree to which some
goals are reached will be more objectively observed than
others, such as in the case of written quizzes, papers, or the
completion of worksheets. Many goals could be considered
attitudinal in nature and very subtle to evaluate over just
one year. However, when students graduate from the New Trier
High School jazz studies program after spending four years in
the various jazz ensembles, it is desirable that all of the
following goals will have been met to some acceptable degree.
OBJECTIVES
1. Any student at New Trier High School may participate in
the Jazz Studies Program, regardless of the instrument they
play.
2. Every student who qualifies through audition to be in a
New Trier Jazz Ensemble will be placed in an ensemble of
musical peers with equal ability.
3. A student will exhibit professional attitude and
behavior during rehearsals and performances.
4. A student will become an independent thinker and
self-motivated worker while becoming a team player through
directing and/or taking part in productive sectional
rehearsals, and performing, whenever possible, without a
conductor.
5. A student will become aware of his or her skill level on
their instrument in relation to their potential.
6. A student will appreciate the efforts of their peers
and/or have an opportunity to be appreciated by their peers.
7. A student will become aware of the "pros" and
"cons" of competitive and noncompetitive performance
events.
8. A student will understand, appreciate and perform a wide
variety of jazz ensemble literature.
9. A student will become aware of past and present jazz
performers, ensembles, composers, and compositions.
10. A student will be instructed in basic jazz history.
11. A student will learn how to become a proficient
sight-reader of music.
12. A student will learn to take care of the printed
musical parts issued to them.
13. A student will learn an amount of music theory related
to the proficiency level of improvisation they seek to attain.
14. A student will perform all twelve major and relative
dorian minor scales on their instrument.
15. A student will be encouraged to use or purchase
"play-a-long" recordings to help develop
improvisational ability. Students will be required to purchase
the appropriate "Jazz Conception" book by Jim
Snidero.
16. Saxophonists, whenever possible, will also be able to
perform on either the clarinet or flute.
17. A student will identify by ear the difference between
major, minor, dominant-seventh, augmented, and diminished
chords, and perform those chord structures on his or her
instrument.
18. A student will become aware of career or employment
opportunities or college-major options available to them in
the field of music.
19. A student will be informed of the various college and
university schools of music.
20. A student will engage in performance tours or
off-campus concerts whenever possible.
21. A student will perform with professional musicians.
22. A student will either perform a well-crafted improvised
solo, or know what constitutes such an improvised solo.
23. A student will be given the opportunity to perform in a
combo setting.
24. A student will have the opportunity to become aware of
the skill-level of other jazz musicians their age and of high
school jazz ensembles outside of New Trier, and to interact
with students from other high schools.
25. A student will be informed of the opportunities for
summer music camp experiences.
26. A student will have the opportunity to be exposed to
the teaching styles of other music educators.
27. A student will be encouraged to arrange or compose
music and will be exposed to new music by guest composers.
28. A student will regularly present his or her musical
skills on television, radio, and Internet.
29. A student will become aware of the various jazz-related
websites that exist on the Internet.
30. A student will have his or her talents broadcast live
on the Internet.
31. A student will have his or her talents recorded on
compact discs.
32. A student will have the opportunity to get practical,
hands-on experience in a video and audio production studio.
33. A student will be exposed to current technology in
music notation, accompaniment, and sequencing software.
34. A student in the jazz program will be exposed to the
procedures of organizing the annual New Trier Jazz
Festival.
35. Interested students will be provided the opportunity to
become Student Directors of the New Trier Jazz Festival.
36. A student will understand principles and techniques of
electronic sound reinforcement.
37. Interested students will have the opportunity to plan
aspects of jazz concerts such as stage and lighting design.
38: A student will be responsible for helping to promote
audience attendance at jazz concerts.
39. A student in every jazz ensemble will be provided with
the opportunity to declare that class an academic
"Major".
40. A student enrolled in a jazz ensemble must be
concurrently enrolled in a band (wind ensemble) if they play
wind and percussionist instruments, or in an orchestra if they
are bass players. (Pianists and guitars are exempt.)
COURSE DESCRIPTIONS (See Appendix)
SUGGESTED INSTRUMENTATION (See Appendix)
OBJECTIVE 1: Any student at New Trier High
School may participate in the Jazz Studies Program, regardless
of the instrument they play.
Why is this important? Students who did not begin the
study of jazz in the middle schools should not feel that it
is too late to begin playing jazz. While jazz ensembles are
auditioned, the MUSIC IMPROVISATION CLASS (combo) is open to
any student who enrolls, regardless of the instrument they
play.
Activities: A MUSIC IMPROVISATION CLASS will be offered
and promoted in the "Course of Studies." This class
will meet once a week after school for at least one hour and
be taught by highly qualified professional musicians who are
experienced in teaching the art of music improvisation. These
groups will focus primarily on improvisation rather than
playing written melodic lines. Students will receive academic
credit and a grade for participation. A public performance
will be held at least once a year for all MUSIC IMPROVISATION
CLASSES.
Evaluation: Students enrolled in a MUSIC IMPROVISATION
CLASS will meet regularly and perform with a combo when
appropriate. Grades will be based on attendance.
OBJECTIVE 2: Every student who qualifies through audition
to be in a New Trier Jazz Ensemble will be placed in an
ensemble of musical peers with equal ability.
Why is this important? Students who perform with
other students of equal ability in a performance group will
move at the same pace and eventually achieve a greater level
of proficiency.
Activities: Four full and viable jazz ensembles with
complete instrumentation will be provided and taught by a
certified music teacher with expertise in jazz. The Freshman
Jazz Ensemble will primarily study and perform music at a
"Grade 3" level of difficulty. The Concert Jazz
Ensemble, consisting primarily of sophomores, will study
and perform music at "Grade 3 and 4" levels of
difficulty. The Lab Jazz Ensemble, consisting primarily
of juniors, will study and perform music at a "Grade
4" level of difficulty. The Jazz Ensemble I,
consisting primarily of seniors, will study and perform music
at a "Grade 4 and 5" levels of difficulty. (See
the Appendix for the suggested instrumentation of jazz
ensembles.)
Evaluation: Four jazz ensembles will be provided by the
school comprised of students of equal ability.
COURSE OBJECTIVE 3: A student will exhibit professional
attitude and behavior during rehearsals and performances.
Why is this important? Jazz ensembles that rehearse
in an organized and efficient manner will perform in
concerts with a high degree of musicianship. An attitude of
support and respect for others in the ensemble is important
if sectional rehearsals are to be productive, if less
experienced improvisers are to experiment with improvisation
in a nonthreatening environment, and if the atmosphere
during ensemble rehearsals is to be positive. These highly
regarded attitudes and behaviors are generally associated
with and demonstrated by successful professional musicians
and are traits which our students should emulate.
Activities: Class discussions about the role of
positive and negative attitudes will take place. Guest
professional musicians will be brought to the campus to
discuss their opinions about attitude and behavior. Examples
of both good and bad showmanship will be discussed.
Evaluation: Observers of rehearsals and concerts will
observe a sense of purpose, pride, and enthusiasm from the
students about the music performed and the organizations
performing such music.
OBJECTIVE 4: A student will become an independent thinker
and self-motivated worker while becoming a team player through
directing and/or taking part in productive sectional
rehearsals, and performing, whenever possible, without a
conductor.
Why is this important? Any students who leave high
school without learning how to think for themselves and work
without supervision are at a disadvantage, either in college
or in the workplace, regardless of the career path they
take. Students also learn that working as a team allows them
and the group to achieve higher goals and standards. Good
musicians also can see how their individual part fits into
the overall musical product. Proficient professional-quality
jazz musicians must also be able to perform without a
conductor.
Activities: Sectional rehearsals will take place during
or outside of the school day and will be conducted by the
students themselves working on musical concerns that they
identify on their own as well as those suggested by the
director.
Evaluation: The productivity of sectionals will be
evaluated by the director and the students involved as
evidenced by the improvement heard following the sectional.
Students will exhibit self-motivation. When a jazz ensemble
performs without a conductor on stage, the final musical
product will be equal to a performance as if a conductor were
employed.
OBJECTIVE 5: A student will become aware of his or her
skill level on their instrument in relation to their
potential.
Why is this important? Honest self-awareness of one’s
abilities and attitude in relation to one’s potential can
be a motivating force for improvement.
Activities: Students will regularly complete "Self
Evaluation" questionnaires at the completion of each
grading period. Private interviews with the teacher and every
student in the jazz program will take place at the end of each
semester to discuss a student’s "Self Evaluation."
Evaluation: Quarter and semester grades will be
determined by considering student "Self Evaluation"
forms and teacher observation.
OBJECTIVE 6: A student will appreciate the efforts of their
peers and/or have an opportunity to be appreciated by their
peers.
Why is this important? Certain students who excel
should be recognized for their success or efforts.
Activities: At the end of each school year, awards
will be given to outstanding instrumentalists. The recipient
of some of the awards will be selected by students in the
ensemble, while some will be selected by the director. These
awards include The Woody Herman Award, The Louie
Armstrong Award, The Frank Schalk Award, Spring Ticket Sales
Award , and Special Jazz Directors Awards.
Evaluation: Awards will be presented at the end of
the year.
OBJECTIVE 7:. A student will become aware of the
"pros" and "cons" of competitive and
noncompetitive performance events.
Why is this important? While the philosophy of the
New Trier Music Department does not find educational value
in participating in music contests or festivals that are
considered competitive in nature, students need to have the
information, or "pros" and "cons," of
such festivals in order to form their own opinions.
Activities: Class discussions primarily in the Freshman
Jazz Ensemble will take place in which the structure,
philosophy and execution of competitive music events is
provided. Whenever possible, another music educator or
student teacher who supports the competitive philosophy will
be made available for questioning.
Evaluation: Students will write papers either
supporting or opposing competitive music events. These
papers will be evaluated on their defense of their
philosophy.
OBJECTIVE 8: A student will understand, appreciate and
perform a wide variety of jazz ensemble literature.
Why is this important? Jazz is a truly American
musical art form with its own unique language of
interpretation and expression. A well-educated jazz musician
must be able to perform in a wide range of musical styles—or
be able to enter into discussions with other musicians about
various musical styles, genres, or performance media. By
performing a wide range of styles, students can be better
consumers of music as they decide what concerts to attend,
what recordings to purchase or listen to, or which artistic
organizations to support.
Activities: Literature to be rehearsed for and
performed in every concert will include selections in at
least the following styles or forms at various tempi: Swing,
Ballad, Latin, Blues (major and minor), Fusion, Be-Bop,
Waltz, Mixed or Multimeter, Rock (slow and fast)
Contemporary, and other accepted forms of jazz.
Literature to be rehearsed and performed will include
selections from the following jazz eras: Dixieland, Bebop,
Swing, Funk, Contemporary, and other acknowledged eras of
jazz history.
Evaluation: Concerts will be programmed and
successfully performed using the music studied.
OBJECTIVE 9: A student will become aware of past and
present jazz performers, ensembles, composers, and
compositions.
Why is this important? An understanding of the jazz
performance styles that precede today’s music is important
in giving authentic performances of older-style music. By
hearing or seeing past jazz performers, our students will be
exposed to performers that they themselves may want to
emulate or to recordings that they want to purchase for
study.
Activities: Video and audio recordings by jazz
artists will be studied during class time. These recordings
will range from historical footage to current recordings.
Evaluation: Historical video and audio tapes will be
seen/heard during jazz ensemble classes. Discussions in and
out-of-class with individual students, and successful
performances of older-style music will evaluate their
understanding of the music studied.
OBJECTIVE 10: A student will be instructed in basic jazz
history.
Why is this important? An understanding of jazz history
is important if our students are to converse intelligently
with other jazz musicians, and appreciate the unique nature of
jazz music as an art form.
Activities: Discussions about jazz history will take
place on a regular basis, primarily in conjunction with the
performance of older-style music. Video tapes on jazz history
will be shown whenever possible.
Evaluation: Written or oral tests will be employed.
OBJECTIVE 11: A student will learn how to become a
proficient sight-reader of music.
Why is this important? The ability to perform music
on sight is generally regarded as one of the best indicators
of a student’s ability to process and understand music. In
auditions, both at New Trier and in a student’s future
musical experiences, sight-reading plays an important part
in determining in which ensemble they will be placed.
Students who learn by "rote" teaching will be at a
disadvantage when compared to students who have a thorough
understanding of fingerings, note values, articulations,
dynamics, and the "road signs" that designate
expressive musical flow.
Activities: Ensembles will sight-read whenever
possible during rehearsals. Sight-reading will be required
in all auditions for ensemble or initial chair placement as
well as "challenges" used to determine seat
placement. The Freshman Jazz Ensemble will sight-read
at least 150 selections during the school year.
Evaluation: Students will successfully sight-read in
private auditions and with their musical peers in ensembles.
The Freshman Jazz Ensemble will sight-read at least
150 selections.
OBJECTIVE 12: A student will learn to take care of the
printed musical parts issued to them.
Why is this important? When an individual’s music is
lost or destroyed, it creates significant problems during
rehearsals and makes home practice impossible. Students who
learn to take care of their instrument and music, thus
displaying traits associated with being a responsible young
adult, are more likely to succeed in their various career
paths.
Activities: Students will sign a contract making them
financially responsible to replace lost or destroyed music.
Evaluation: Less music will be lost, and the music that
is lost will be replaced by the students in a timely and
previously agreed-upon fashion.
OBJECTIVE 13: A student will learn an amount of music
theory related to the proficiency level of improvisation they
seek to attain.
Why is this important? An understanding of music theory
is the most basic component in understanding the
"right" and "wrong" notes to play when
improvising. Students who wish to be outstanding improvisers
must, in addition to having technical command of their
instrument, also possess a command of scale and chord
structure: the basic components of music theory.
Activities: There will be lectures, demonstrations, and
playing activities focusing on the major, minor, whole-tone,
blues, bebop, and dominant-seventh scales; major and minor
chord structures through the ninth chords. Class warm-ups will
include the performance of scale sheets that focus on the
previously mentioned scale and chord forms.
Evaluation: Written tests will be employed.
OBJECTIVE 14: A student will perform all twelve major and
their relative dorian minor scales on their instrument, and
several "blues" scales.
Why is this important? Knowing how to play scales is
one of the building blocks to creating a successful jazz solo.
Successfully performing all the major scales and their
relative dorian minor scales demonstrates a technical command
of the instrument. While the ability to play and understand
the use of all minor scales in solos is important, the dorian
minor scales can be used often by beginning improvisors. The
most often used "blues" scales are equally
essential.
Activities: Scales will be used during the class
warm-up periods of jazz rehearsals, particularly in the Freshman
Jazz Ensemble. The following "blues" scales will
also be used during warm-ups: (concert key) Bb, F, and Eb.
Evaluation: Students will individually demonstrate
their ability to play major, dorian and selected
"blues" scales from memory on their instrument.
OBJECTIVE 15: A student will be encouraged to use or
purchase "play-a-long" recordings to help develop
improvisational ability. Students will be required to
purchase the appropriate "Jazz Conception" book by
Jim Snidero.
Why is this important? Practicing with play-a-long
recordings has long been regarded as an important
educational experience. These recordings of jazz standards
or practice drills provide rhythm sections of
professional-quality pianists, bassists, and drummers for
the student to play with outside of class time.
Activities: The New Trier library will provide the
complete set of CDs and accompanying books in the Jamey
Aebersold’s "Jazz Aids" series, and the complete
set of "Jazz Conception" books by Jim Snidero for
students to check out for three-day periods. Students will be
expected to take advantage of this resource, allowing them to
select which CD is best for them to purchase. As part of class
expectations, students will be required to perform for the
class one or more selections accompanied by a recording that
they either own or have obtained from the library. Play-a-long
recordings will be ordered for individual purchase by students
who wish to own their own copies of the Aebersold series. All
students will be required to purchase the appropriate
"Jazz Conception" book.
Evaluation: Students will perform for the class one or
more selections accompanied by a play-along recording.
OBJECTIVE 16: Saxophonists, whenever possible, will also be
able to perform on either the clarinet or flute.
Why is this important? The authentic performance of a
significant amount of the more difficult jazz ensemble music
requires that saxophonists also play flute and/or clarinet.
Activities: Pieces of music that utilize the clarinet
and/or flute will be studied and performed whenever possible.
Beginning in the freshman year on a regular basis,
saxophonists will be told that they must be able to double on
a woodwind instrument before they can be considered for
participation in Jazz Ensemble I.
Evaluation: All members of the saxophone section in Jazz
Ensemble I will maintain a significant level of skill in
playing the flute or clarinet in addition to their primary
saxophone. Selections using woodwind doubles will be performed
by jazz ensembles whenever possible.
OBJECTIVE 17: A student will identify by ear the difference
between major, minor, dominant-seventh, augmented, and
diminished chords, and perform those chord structures on his
or her instrument.
Why is this important? If a student is to be an
adequate improviser, then it is equally important to be able
to hear and play these basic jazz chord structures besides
having the theoretical knowledge of them.
Activities: An ensemble pianist or guitarist will
play on the instrument major, minor, dominant-seventh,
augmented, and diminished chords while others in the
ensemble will be asked to identify those structures, either
on a sheet of paper to be graded or verbally to the class.
Members of the ensemble will be required to arpeggiate the
previously mentioned chord structures on their instrument.
Evaluation: Aural tests will be employed.
OBJECTIVE 18: A student will become aware of career or
employment opportunities, or college major options available
to them in the field of music.
Why is this important? The field of music has always
provided ample opportunities for students to be gainfully
employed following high school or college. Students can only
enter into a music-related profession with ample information
with which to make a well-informed choice.
Activities: Class discussions will take place on the
topics of vocations and avocations in music performance,
music education (all levels), arts management, recording
technology, church music, military music, music composition,
music arranging, music copying, and music critic or
editorial writer for newspapers or magazines. Guest
lecturers, including college student teachers, who are
successful in their areas of expertise will make
presentations to ensemble classes. A workshop entitled,
"So you are thinking about being a music major"
conducted by qualified instructors will be offered each year
of the New Trier Jazz Festival.
Evaluation: Students may graduate from our jazz
studies program and enter vocations or avocations in the
field of music.
OBJECTIVE 19: A student will be informed of the various
college and university schools of music.
Why is this important? Students should not consider
their participation in high school performance groups as
their final goal in music. In order to encourage students to
consider post-high school music studies on their instrument,
materials and recordings will be made available from the
various schools for them to study. When necessary, students
will be allowed to miss jazz rehearsals to attend college
recruiters that visit New Trier.
Activities: A collection of CDs recorded by college
jazz ensembles will be maintained in the school’s library. A
collection of music school brochures and catalogues will be
maintained in the College Counselling Office.
Evaluation: Interested students will take advantage of
reviewing the written and recorded resources that are provided
by college music schools.
OBJECTIVE 20: A student will engage in performance tours or
off-campus concerts whenever possible.
Why is this important? Performance groups that
perform away from their school environment, either across
town or in another country grow in maturity, both personally
and musically.
Activities: Whenever it is deemed appropriate by the
director and school administration, jazz groups will travel
beyond the New Trier Township to perform as ambassadors, both
musically and as student representatives of New Trier High
School.
Evaluation: Tours or off-campus performances will take
place whenever appropriate.
OBJECTIVE 21: A student will perform with professional
musicians.
Why is this important? Students need to know the
skill-level, work ethic, and types of personal traits
necessary to become a successful professional musician.
Former students have later pursued contacts made with
professional musicians while at New Trier that have resulted
in employment opportunities.
Activities: Guest artists will be utilized to perform
with and for our jazz students. Whenever possible,
discussion sessions will take place between the artists and
our students, in addition to performances.
Evaluation: Guest artists will perform with and for
our students.
OBJECTIVE 22: A student will either perform a well-crafted
improvised solo, or know what constitutes such an improvised
solo.
Why is this important? Performing a truly improvised
solo displays the highest form of jazz creativity: that of
spontaneous composition. Virtually anyone listening to a
jazz solo has some opinion about what could be regarded as a
"good" or a "bad" solo. Students need to
know the components of both good and bad solos and be given
the opportunity to experiment with soloing. Student who
choose not to solo will at least be equipped with the
understanding of what makes a solo "good" and know
why they like certain solos rather than others.
Activities: Every student in the jazz program will be
given an opportunity to perform a solo during rehearsals and
concerts.
Evaluation: Improvised solos performed by our students
will improve over the course of the school year, or their time
at New Trier.
OBJECTIVE 23: A student will be given the opportunity to
perform in a combo setting.
Why is this important? While playing in a jazz
ensemble teaches how to interpret music written in a jazz
style, it often does not provide enough opportunity to
either solo or interact musically with a rhythm section.
Playing in a combo provides this important setting for
musical development. It also makes students more responsible
as individuals and provides another opportunity to develope
skills in teamwork.
Activities: Skill-based Music Improvisation
Classes (combos) are offered to provide additional
out-of-school time for students to practice and study the
art of soloing in a jazz style. These classes will be taught
by professional musicians from the Chicago area who are
highly regarding as expert teachers and jazz soloists. The
class will be relaxed, with the focus on creativity and
"jamming." The class may or may not have a public
performance. All classes take place during the first
semester, and those groups that have maintained the best
attendance and work ethic will be given the opportunity to
keep their class together for after-school study during the
second semester.
Evaluation: Skill-based Music Improvisation
Classes with appropriate instrumentation will be
organized each year. Role will be taken on a regular basis
with grades issued on the basis of attendance.
OBJECTIVE 24: A student will have the opportunity to become
aware of the skill-level of other jazz musicians their age and
of high school jazz ensembles outside of New Trier, and to
interact with students from other high schools.
Why is this important? A wise musician knows that
there are many others beyond his or her immediate area that
have the same or much higher skills. Possessing this
knowledge is critical to students who are considering either
a career in music or becoming a college music major. Unless
opportunities are provided for our jazz students to see and
hear the products from jazz programs at other schools, they
can easily take for granted the music program provided them
at New Trier.
Activities: Every student will be expected to devote
an entire day to the operation and running of the
noncompetitive New Trier Jazz Festival. More than
1,000 students from 40 different high schools attend this
festival, usually held on the first or second Saturday in
February. New Trier students have the opportunity to hear 40
concerts during that day presented by high school and junior
high school jazz ensembles displaying a wide range of
abilities.
Students will be encouraged to participate in such
activities as the annual DePaul University Jazz Workshop,
the district and state-level activities provided by the Illinois
Music Educators Association, audition for the Grammy
High School Jazz Ensemble, or activities sponsored by
the International Association of Jazz Education.
Discussions will take place during class time about the
various summer jazz camp opportunities that exist. By
attending these camps while at New Trier, our students can
meet students from other schools, be exposed to different
teaching styles, keep their performance skills active during
the summer, perform in environments different than those at
New Trier, take music theory/history/improvisation classes,
and participate in a host of other educational activities.
Evaluation: Discussions in and out of class between
our students and directors will evaluate the degree to which
interaction has taken place and the impact that such
interaction has made on our students.
OBJECTIVE 25: A student will be informed of the
opportunities for summer music camp experiences.
Why is this important? The summer is a prime time for
students to either lose ground on their instrumental
abilities or improve in their musical development. Attending
a summer music camp is one of the best methods of improving
during the summer months.
Activities: Class discussions will take place in
February about the various types of music camps, costs, and
other information provided by music camps. Scholarships will
be made available to students with financial needs.
Evaluation: Students who are interested will attend
summer music camps.
OBJECTIVE 26: A student will have the opportunity to be
exposed to the teaching styles of other music educators.
Why is this important? There are many ways of saying
(or teaching) the same thing. As in any school, our music
faculty has various strengths and weaknesses. By exposing
our students to non-New Trier music teachers, they can be
exposed to the pedagogical strengths that other teachers can
provide them.
Activities: At least eight highly successful college
or high school jazz educators are employed each year to
teach our students at our annual noncompetitive New Trier
Jazz Festival. Another four to six clinicians are
brought to the school to present master classes and
special-topic seminars to our students. Highly qualified
students will be encouraged to audition for the all-district
and all-state ensembles sponsored by the Illinois Music
Education Association.
Evaluation: Students will have access to guest
directors.
OBJECTIVE 27: A student will be encouraged to arrange or
compose music and will be exposed to new music by guest
composers.
Why is this important? Musical expression can take
more forms than just the performance of another person’s
music. The act of arranging and composing music demonstrates
command of the mechanics of music theory, an understanding
of instruments and their roles in the total musical product,
and an opportunity to demonstrate self-expression and
creativity.
Activities: Any students who compose or arrange for a
jazz ensemble and provide a readable score and set of parts
will have their piece rehearsed and, in most cases, given a
public performance. Whenever possible, these
compositions/arrangements will be recorded using the
facilities of SOUNDTRAKS. Each year professional composers
will be commissioned to write for Jazz Ensemble I.
These individuals will serve as models for our students to
emulate.
Evaluation: Student compositions and arrangements
will be rehearsed and, whenever possible, performed in
public. Jazz Ensemble I will commission new music for
premier performances.
OBJECTIVE 28: A student will regularly present his or her
musical skills on television, radio, and Internet.
Why is this important? By videotaping concerts and
broadcasting them to the community, our students can copy
those tapes off the air for self-assessment and future
enjoyment. They can also appreciate the amount of work it
takes to present a television broadcast.
Activities: By using the student-run facilities of
SOUNDTRAKS, every New Trier concert is broadcast on television
to cable-equipped homes in the school community.
Evaluation: Televised performances of New Trier
concerts will take place.
OBJECTIVE 29: A student will become aware of the various
jazz-related websites that exist on the Internet.
Why is this important? An understanding of the
potential for information available to jazz students on the
Internet is helpful for them to become lifelong learners who
can stay aware of new trends in jazz performance and
education.
Activities: Students will be taken to a computer lab
at the school and be given the opportunity to not only
explore the New Trier Music Department’s webpage,
NTJAZZ.COM, and the school’s website, site but also
explore numerous jazz-related links. They will compile a
list of services or information on those various Web pages
and be encouraged to locate additional jazz-related web
sites that can be linked to our New Trier web page.
Evaluation: Students will complete worksheets that
question their knowledge of the school’s various websites
and the jazz-related websites and links that are discussed
or observed in class.
OBJECTIVE 30: A student will have his or her talents
broadcast live on the Internet.
Why is this important? The technology utilized by
SOUNDTRAKS allows concerts to be broadcast live from our
auditorium directly on-line using the Internet. This allows
our students the opportunity to learn about this technology
and have their talents seen and heard worldwide.
Activities: Using the SOUNDTRAK’s web server and
video/audio mixing facilities all jazz concerts will be
broadcast live on the Internet. Archive files of concerts
will also be available for downloading for at least one year
following a concert.
Evaluation: Concerts will be broadcast live and
archived on the Internet at ntjazz.com.
OBJECTIVE 31: A student will have his or her talents
recorded on compact discs.
Why is this important? The art of recording is a
valuable skill for any musician. Being able to play an
instrument well when being recorded builds self-confidence.
Having a student’s skills recorded for personal evaluation
and posterity is beneficial as well. Having live musicians
to record is a tremendous training tool for students who my
someday seek a career in the recording industry as
engineers.
Activities: Using the SOUNDTRAKS recording
facilities, all concerts will be recorded and at least one
compact disc will be produced each year. These CDs will be
engineered by students at all stages of production.
Evaluation: CDs will be produced each year featuring
all of the curricular jazz ensembles and selected other
small groups.
OBJECTIVE 32: A student will have the opportunity to get
practical, hands-on experience in a video and audio production
studio.
Why is this important? While career opportunities in
audio/video production are certainly open to students who
wish to pursue them, anyone can be more successful in their
future career if they know how to creatively use mass-media
production techniques.
Activities: Any student who wishes to do so can have
access to the music departments student-run, 48-channel,
digital audio production studio and eight-camera video
production studio. This facility, called SOUNDTRAKS, is
located on the third floor of the music building, between
the two instrumental rehearsal rooms. Past students have
engineered audio recordings resulting in compact discs as
well as video projects that have been shown on the school’s
television channel, public television, and even received
national awards. Most of the school’s concerts are
broadcast live on television and the Internet, including all
fourteen hours of the New Trier Jazz Festival.
Students are welcome to propose independent audio and video
projects to explore on their own using the facilities of
SOUNDTRAKS.
Evaluation: SOUNDTRAKS will continue to operate with
sufficient student support.
OBJECTIVE 33: A student will be exposed to current
technology in music notation, accompaniment, and sequencing
software.
Why is this important? Much of the labor-intensive
aspects of making or composing music has been made easier
with the advent of creative hardware and software programs.
By making the activity of composing music easier, more
students can participate at a higher level.
Activities: There will be class demonstrations of such
computer programs as Band-In-A-Box (music
accompaniment), Finale or Sibelious (music
notation), Professional Composer (music composition),
and such hardware as VIVACE (music accompaniment) and the TAP
Machine (rhythm practice). Students may use these programs
outside of class time by contacting their director to arrange
a time.
Evaluation: Class discussions during and after
demonstrations will be used to evaluate the effectiveness of
presentation.
OBJECTIVE 34: A student in the jazz program will be exposed
to the procedures of organizing the annual New Trier Jazz
Festival.
Why is this important? Many students have seen such
events as the New Trier Jazz Festival or the Chicago
Jazz Festival and questioned how such events can be
organized. By hearing about many of the behind-the-scenes
details, students will have a better appreciation for such
events that they might attend in the future—or perhaps
develop an interest in careers in Arts Management, where the
planning and execution of such events is expected for
successful employment.
Activities: Through class discussions before and
after the New Trier Jazz Festival, students will be
informed of the process involved in organizing such a unique
and large community event. This will include discussions of
budget, logistics, internal and external communications, and
other factors that go into planning the festival.
Evaluation: Extended class discussions will take
place in Freshman Jazz Ensemble following the New
Trier Jazz Festival. Those students will be expected to
write a paper answering the question, "What did you
learn from participating in the New Trier Jazz Festival?"
OBJECTIVE 35: Interested students will be provided the
opportunity to become Student Directors of the New Trier
Jazz Festival.
Why is this important? Future leaders in the
corporate or musical world can be taught now by providing
hands-on experiences in promotion, organization, and
management of a large project or group of people.
Activities: Students are given significant
responsibilities in planning, organizing, and running the New
Trier Jazz Festival. Several students who work on the
festival from the start of school are designated Festival
Student Directors. On festival day they supervise a work
force of over 100 jazz students as we bring more than 1,000
people into our building during the day to perform and
attend clinics—and more than 1,500 people into Gaffney
Auditorium for the traditionally sold-out evening concert.
Without the help of these Student Directors, a project on
the magnitude of the highly successful New Trier Jazz
Festival would be impossible for the faculty to plan and
execute. Areas needing planning include ticket sales,
concert promotion, food service, security, parking,
merchandising (T-shirt and CD sales), stage managing,
hosting and transportation of guest artists, audio/video
recording of concerts, hosting of clinicians,
budgeting/accounting of finances, and setup/cleanup issues.
Evaluation: Student Directors will be successfully
utilized in the planning and execution of the New Trier
Jazz Festival.
OBJECTIVE 36: A student will understand principles and
techniques of electronic sound reinforcement.
Why is this important? Being knowledgeable about the
electronic production or reinforcement of sound/music allows
students to be better performers, as they can take advantage
of the potential of sound reinforcement for being a positive
and negative aspect of their performance. Based on their
experience in the jazz program, students may even desire to
enter sound-reinforcement fields as vocations or avocations
following graduation.
Activities: Jazz ensemble students will actively
assist in setting-up and dismantling the sound system used
in Gaffney Auditorium for jazz concerts. Discussions about
microphone placement and the roles of various equipment used
for sound reinforcement will take place during class time
and in small groups outside of class time.
Evaluation: A correctly operating sound system will
be used during jazz concerts assembled and operated by
students.
OBJECTIVE 37: Interested students will have the opportunity
to plan aspects of jazz concerts such as stage and lighting
design.
Why is this important? A jazz concert can be a more
unique experience when visual elements such as special
lighting can be employed. Using the Gaffney Auditorium’s
computer light system, creative lighting can add a special
dimension to a jazz concert and give a selective number of
students an opportunity to experiment with visual effects
and stage design. This offers a practical connection between
what students learn in their theater tech classes and what
the students are able to present in live concerts rather
than theatrical productions.
Activities: Special lighting effects will be designed
and operated by students in jazz concerts using the school’s
computerized lighting equipment. Meetings will take place
between the lighting designers and the director to determine
the creative parameters the students may employ in their
lighting design.
Evaluation: Lighting effects designed and operated by
students will be used in jazz concerts.
OBJECTIVE 38: A student will be responsible for helping
to promote audience attendance at jazz concerts.
Why is this important? Students need to know that
audiences do not "just happen" and that it takes
work to generate an interest on the part of non-parents to
attend concerts. Without an audience a concert is just a
"play-through" rehearsal. People who have a ticket
in hand are more likely to attend a concert if the weather
is inclement, and the stress of standing in line to buy
tickets at the door is relieved.
Activities: A ticket sales contest among students in
the jazz program will take place prior to most Fall Jazz
Concerts and all Spring Jazz Concerts. Students
will have the option of selling tickets in advance of the
concert with a prize awarded to the student who sell the
most tickets, and another prize awarded in a drawing of
ticket sellers. A plaque will be placed in the trophy case
engraved with the name of the individual who sells the most
tickets to the Spring Jazz Concert.
Evaluation: Tickets will be presold for various jazz
concerts with incentives provided to encourage sales. A
perpetual plaque will be given to the student selling the
most tickets to the Spring Jazz Concert.
OBJECTIVE 39: A student in every jazz ensemble will be
provided with the opportunity to declare that class an
academic "Major".
Why is this important? Students deserve the
opportunity to get "major" credit on their report
card and high school transcript. Since the work load and
expectations in our "capstone" performance
ensembles equals that of many colleges, students who wish to
do so should get credit for doing this advanced level of
work. Also, students who are planning to major in music in
college may wish to have the identification of high school
music major appear on their transcripts.
Activities: Students who chose to be a
"Major" in a jazz ensemble will satisfy the basic
course requirements and complete additional requirements of
completing three of the following activities, each with the
approval of the director:
1. Attend and review four jazz concerts per semester. One of
these concerts can be a program in which that student
performs, and one can be another New Trier jazz concert. Two
concerts must be off campus.
2. Perform a "recital" of two selections
accompanied by a recording of a rhythm section either out of
their Snidero Jazz Conception book, or Jamie Aebersold’s
play-a-long series.
3. Plan and execute a "special project" with the
approval and assistance of the director.
Evaluation: Students will complete the requirements for
"Major" credit and be graded according to published
criteria.
OBJECTIVE 40: A student enrolled in a jazz ensemble must be
concurrently enrolled in a band (wind ensemble) if they are
play wind or percussionist instruments, or in an orchestra if
they are bass players. (Pianists and guitars are exempt.)
Why is this important? Young players will learn the
basic skills of musicianship and broad repertoire in a large
ensemble (band or orchestra). Participating in a jazz
ensemble will teach students how to take those basic skills
and adapt their articulation and "feel" to a jazz
style.
Many students at the ninth grade level do not know what
they will major in when they later go to college. They may not
discover that until as late as their senior year. Students who
participate in both a jazz ensemble and a concert band (or
orchestra for bass players) will be better prepared for
acceptance into reputable music schools after high school. A
student who plays in band (or orchestra) and jazz ensemble
will be much better prepared to make value judgements about
the quality of more types of music for the rest of their life.
Since traditional band and orchestra repertoire does not
support the full time participation of guitarists or pianists,
those students are exempt from this requirement.
Activities: Students will be counseled in the
"Program of Studies," by their Freshman Advisor
Chairs and their current middle school music teachers that
concurrent enrollment is required.
Evaluation: With the exception of guitarists and
pianists, all students enrolled in a jazz ensemble will also
be enrolled in a concert band or orchestra.
