Jazz Ensemble 4
Subject is not scheduled Not scheduled
|174JZA4||ZK||8||28 exercise hours (45 min) of instruction per semester, 179 to 219 hours of self-study||English, Czech||summer|
Name of lecturer(s)
Learning outcomes of the course unit
The student has the ability to listen, cooperate and prioritise the common interest over the promotion of his own opinion. Demonstrates a strong capacity for self-motivation and self-discipline. Is flexible and able to acquire knowledge quickly in real time and uses their imagination, intuition and emotional understanding, thinks and works creatively, flexibly and adaptively. Possesses a cultivated and experienced knowledge of improvisational techniques and processes and has the ability to apply them freely in a variety of contexts. Demonstrates a high level of improvisational proficiency.
Mode of study
Prerequisites and co-requisites
The course Playing in a Jazz Ensemble serves for practical practice of all knowledge and skills acquired during the study of other subjects. It is a kind of verification that the student can use the acquired knowledge and skills in practice. Playing in an ensemble is one of the basic skills of a jazz musician.
The student practices his/her group musical interaction and communication skills and the ability to become an organic part of an ensemble of any style. The goal is to adopt an approach where the benefit of the whole is paramount to individual interest, i.e., the ensemble member plays to support the sound of the whole rather than drawing attention to himself or herself.
The course Playing in a Jazz Ensemble is designed so that individual ensemble projects are devoted to the work of a particular jazz great from any era of jazz development, or have a differently defined specific compositional and arranging focus.
- KURT ROSENWINKEL - ensemble dedicated to the work of this jazz composer
- JIM BLACK - ensemble dedicated to the work of this jazz artist
- BJORK - an ensemble dedicated to the work of this supra-genre artist
- IMPROVISATION - COMPOSITION WORKSHOP - an ensemble dedicated to creating music on the spot
Recommended or required reading
Recordings of the music of the artist whose work will be the subject of the ensemble project.
AEBERSOLD, Jamey. Combo rehearsal guidelines. New Albany: Jamey Aebersold, 1980.
BJORK. Vespertine [sound recording on CD]. London: Bjork Overseas Ltd., 2001.
ROSENWINKEL, Kurt. The Next Step [sound recording on CD]. New York: Verve, 2000.
Audio recordings in MP3 format stored in the teacher's private archive and in the Department of Jazz Music at HAMU:
BLACK, Jim. Alasnoaxis.
Assessment methods and criteria
The student is evaluated based on his/her work in a particular ensemble. The depth of mastery of the repertoire, the ability to participate in the collective work of the ensemble, the quality of the musical performance itself (interpretation and improvisation) are evaluated.
Other requirements: 100% attendance - the lessons take place in blocks of three consecutive days
No schedule has been prepared for this course
The subject is a part of the following study plans
- Jazz Interpretation (Mg) (required main subject)