DMA Study Guide: Jazz and Contemporary Media

Written Exam
DMA students at Eastman are required to take a written Comprehensive Exam as part of their graduation requirements. This
culminating academic event functions as the standard for all DMA students regardless of their curricular interests or area of
specialty. The exam is taken upon completion of all course work. While there are substantive opportunities to respond to jazz‐
specific topics, JCM candidates are also expected to address issues and questions drawn from traditional Western music history,
theory, and repertoire.

The exam is divided into four sections:

I ‐ Terms – A list of twenty to twenty‐five terms is given and the candidate must write twenty brief specific definitions or
descriptions. About one paragraph or one blue‐book page‐length for each term is generally appropriate. Terms are drawn from
Western music topics at large as well as Jazz‐specific themes and subjects. (For a list of non‐jazz terms, see practice exams housed in
the Theory Office located on the 4th floor of the ESM Annex.) The list below provides a brief sample of the type of jazz terms used
on the exam.

Blanton/Webster Band
Mahavishnu Orchestra
AACM
Carolina Shout
Altered Dominant
Benny Goodman Trio
Billie Holiday
Stride Piano
Thelonius Monk
Chant of the Weed
Carlolina Shout
Hot Five, Hot Seven

II ‐ Essay The candidate may write one long essay or two short essays for this part of the exam. Jazz‐specific and traditional music
history topics will be addressed. A sample list of questions is listed below:

Compare and contrast the elements and performance practices between bebop and swing. Provide specific repertoire, recordings,
and representative artists.

Discuss the influence of Miles Davis as a leader and the effect on the musical language of his sideman.

Discuss three important recordings of Body and Soul and the transformation of the melodic, harmonic, and formal elements in each
recording

Discuss the development of the rhythm section in swing, bebop, modal, free, and jazz‐rock.

Compare and contrast the musical traits between Louis Armstrong and Bix Beiderbecke
Part III – Jazz Analysis and Skills
The candidate must demonstrate their knowledge of jazz theory, orchestration, harmony, and improvisation for this portion of the
exam. Sample questions are listed below:

A. Theory Skills

Re‐harmonize a standard melody – using a five part, drop‐2 techniques (rootless voicing) in a saxophone soli w/ logical voice leading
Write a solo using specific modes (chord/scale relationship)
Harmonize a tune in the style of Chick Corea, Keith Jarrett, Duke Ellington, etc.
Harmonize a 16‐bar melody using cross‐scoring techniques
Compose jazz counterpoint against a given melody
Compose a contrafact on a ‘standard’ harmonic rhythm
Given a motive, compose a jazz solo (illustrate logical development)
Re‐harmonize a given harmonic progression

B. Analysis

Transcribed solo by improvisers such as:

Charlie Parker
Lennie Tristano
Herbie Hancock
Ornette Coleman
Bill Evans
Wayne Shorter
Coleman Hawkins

Scores by composers such as:

Gunther Schuller
Duke Ellington
Bob Brookmeyer
Bill Holman
George Russell
Gil Evans score
Claude Thornhill
Thad Jones
Clare Fischer
Bud Powell (ie Glass Enclosure)
Wayne Shorter

Part IV –Score ID The candidate is given four scores from the traditional Western music repertoire (there are no jazz options for this
portion of the exam) and is expected to provide specific and insightful analysis and commentary for each piece. In addition, the
candidate is expected to identify each piece (or excerpt) with regard to style, period, approximate date of composition, and likely
composer.

Oral Exam

Upon successful completion of the written comprehensive exam, the JCM doctoral candidate is required to take an oral exam. This
exam provides an opportunity for the candidate to speak extemporaneously about jazz topics and other aspects of their musical
outlook and perspective. A committee of four faculty members serves as evaluators and generally is comprised of a Music Theory
professor, a Musicology professor and two members of the JCM faculty. The focus of the oral exam is to assess the candidate’s
knowledge of jazz music, its repertoire, performers, composers, discography, theoretical principles, etc. The candidate will also be
expected to demonstrate knowledge of traditional music theory and music history as related to jazz music, its syntax, vocabulary,
repertoire, etc. The candidate will be expected to address jazz topics such as significant improvisers, composers, recordings, groups,
stylistic periods, repertoire, etc.