Spring 2013 Schedule of Classes

 

 

Tuition for Jazzschool Institute courses is $475/unit for 12 units or more. Tuition for fewer than 12 units is $500/unit. New students must pay a one-time, non-refundable application fee of $100. All students must pay a registration fee of $50 per semester.

 

PLEASE NOTE: Tuition for Spring 2013 is due on or before November 30.  Students registering after the deadline will be charged a late registration fee of $50!

 

 

 

 

THE100A Jazz Theory and Improvisation (3 units, 3 hours lecture/lab)

A four-semester course covering jazz theory and improvisation techniques and styles based on the artistic practice of jazz masters, from the early twentieth century innovations of Louis Armstrong, to the contemporary artistry of Herbie Hancock, and beyond. Students gain a solid understanding of jazz theory and improvisation, from the fundamentals to chord/scale theory, soloing, reharmonization, and transcription and analysis. Theoretical concepts are illustrated with select recordings of leading jazz art­ists and applied to relevant exercises and repertoire in class. This course lays important groundwork critical in the development of individual style.

Instr. Jay Lehmann

M, W, F 9-10am

 

THE100B Jazz Theory and Improvisation (3 units, 3 hours lecture/lab – req)

The second in a four-semester course covering jazz theory and improvisation techniques and styles based on the artistic practice of jazz masters, from the early twentieth century innovations of Louis Armstrong, to the contemporary artistry of Her­bie Hancock, and beyond. Students gain a solid understanding of jazz theory and improvisation, from the fundamentals to chord/scale theory, soloing, reharmonization, and transcription and analysis. Theoretical concepts are illustrated by listening to select recordings of leading jazz artists. This course lays important groundwork critical in the development of individual style.

Instr.  John Gove

M 9am-12noon

 

COM301A Jazz Arranging – Small Ensemble (3 units, 3 hours lecture/lab – req)

An introductory course on basic jazz arranging techniques for the small ensemble. Students learn ranges and characteristics of instruments, rules for notating rhythm, how to lay out a score, how to write for the rhythm section, how to compose melodies and chord progressions, how to set a melody to chords, how to voice chorale-style chords, how to harmonize a moving melodic line with 2-5 voices, and various ways of addressing form. Required texts: Jazz Arranging and Composing – a Linear Approach, by Bill Dobbins. Students are assigned up to five arranging projects. The final project is an arrangement for 5 horns and rhythm section and is recorded.

Instr.  Erik Jekabson

M and F 10-11:30am

 

MUS100A Ear Training and Sight-Singing (3 units, 3 hours lecture/lab)

The first in a four-semester course designed to develop aural and visual perception of rhythmic, melodic and harmonic components of music. Course material is jazz-based.

Instr. Jay Lehmann

M, W, F 10:15-11:15am

 

 

HAR200A Western European Harmonic Practice from 1600 to 1820 (3 units, 3 hours lecture – req)

Focusing on compositions from the Baroque and Classical periods, this first-semester course covers preparatory material for the study of harmony, figured bass, harmonization of melodies, voice leading, cadences, theory of chord progression, chord progressions in the diatonic major and minor, chord inversions, and an introduction to analysis. Prerequisite: THE100A.

Instr. Jay Lehmann

M and W 11:30am-1pm

 

TEC100 Introduction to Music Technology (2 units, 2 hours lecture/lab – req)

An introduction to software tools available for sequencing, sampling, scoring/music notation, simple recording and production. This course also covers software and web-based services that assist with developing skills in basic musicianship. Introduction to Music Technology serves as a prerequisite for Basic Recording Techniques. The software reviewed in this course includes packages that are multi-platform (Windows and Mac) and web-based shareware.

Prerequisites: students must own or have access to a laptop computer.

Instr. Erik Jekabson

M, F 11:45am-12:45pm

 

MUS200A Ear Training and Sight-Singing (3 units, 3 hours lecture/lab – req)

The third in a four-semester course designed to develop aural and visual perception of rhythmic, melodic and harmonic components of music. Course material is jazz-based. Instr.  John Gove

Instr. John Gove

M 12:15-3:15

 

HIS480A Western European Art Music and Culture from Antiquity to 1750 (3 units, 3 hours lecture – req)

This course traces the development of Western European art music from the 10th century through the middle 18th century, focusing on the musical styles of the master composers of the Medieval, Renaissance and Baroque periods. Emphasis on the socio-economic and political conditions that gave rise to them.

Instr. Jay Lehmann

M and W 1-2:30pm

 

PRF204 Gypsy Jazz Ensemble (2 units, 2 hours lab)

An ensemble in the style of Django Reinhardt’s and Stephane Grappelli’s Quintet of the Hot Club of France. Beginning with their first record­ings in 1934, these two innovators forged a new genre — gypsy jazz or jazz Manouche — acoustic music combining pumping, infec­tious rhythm with virtuosity, inventiveness, and soul. Students learn the subtleties of the rhythm guitar technique known as la pompe, the special role of the bass in a drum-less rhythm section, as well as the distinctive impro­visational dialect intrinsic to the style. Instru­mentation: voice, violin, viola, cello, accordion, solo guitar, rhythm guitar and bass.

Instrs. Evan Price and Paul Mehling

M, 1:30-3:30pm; sectional, 12:30-1:30pm

 

COM300 Jazz Composition (3 units, 3 hours lecture/lab)

A concentrated writing course utilizing the compositional styles and techniques of the master composers as a point of departure in creating new work. Composers studied include Ellington, Parker, Silver, Mingus, Monk, Coltrane, Hancock, Henderson, Shorter, Brecker, Liebman, Grolnick, Pastorius, Towner and more. Melodic, harmonic and rhythmic techniques employed in the music of Mozart, Beethoven, Brahms, Debussy and other relevant past masters are also examined and applied to students’ work.

Instr. Mike Zilber

M, W 1-2:30pm

 

PRF409

Jazzschool Institute Advanced Jazz Workshop (2 units, 2 hours lab)

A performance ensemble for the advanced student focusing on important core innovations by post-bop luminaries including Wayne Shorter, Joe Henderson, Herbie Hancock, Chick Corea, Dave Liebman, Michael Brecker among others. Students are encouraged to bring in original work.

Prerequisites: rhythmic, melodic and harmonic fluency with the bop and post-bop language; familiarity with repertoire from the Great American Songbook.

Instr. Mike Zilber

M 2:45-4:45pm; sectional TBA

 

MUS104 Drum Set Technique for Non-Drummers (Elective – 1 unit, 1 hour lecture/lab)
Basic drum set technique as applied to jazz and related styles of music. All instruments and voice. Prerequisites: none.
M 3-4pm

Instr. Jeff Marrs

 

PRF111A

Vocal Jazz Ensemble(2 units, 2 hours lab – req/elective)

Repertoire includes historic arrangements from groups including Lambert, Hendricks & Ross and the Singers Unlimited as well as original charts and arrangements. Emphasis on singing close harmony parts, sight-reading, intonation and creating a stylistically relevant ensemble sound.

Instr.  Greg Murai

M 3-5pm

 

PRF220Jazz Strings Chamber Ensemble (2 units, 2 hours lab – req/elective)

A four-semester Performance class focusing on the art of playing jazz and improvisatory mu­sic on violins, violas, cellos and double basses. Repertoire includes material written and arranged by top composers in the jazz string world including Turtle Island Quartet, Darol Anger, Jean-Luc Ponty, Edgar Meyer and Evan Price. Latin, fiddle music, classical, pop and rock ‘n’ roll genres are also covered.

Instr.  Mads Tolling

M 4-6pm

 

PRF380 Saxophone Quartet (2 units, 2 hours lab – req/elective)

The traditional SATB configuration for soprano, alto, tenor and baritone saxophones. Repertoire covers styles from Baroque to bebop and beyond and addresses technical aspects relevant and unique to a woodwind quartet.

Instr. Bill Aron

M 4-6pm

 

PRF301 Odd Meter Ensemble (2 units, 2 hours lab – required/elective)

An ensemble exploring the application of odd meters to jazz standards. Includes techniques for incorporating odd grouping in solos. Swing and “straight 8th” rhythmic styles covered.

Instr. Jeff Marrs

M 4:15-6:15pm; sectional TBA

 

 

 

New Course!

ENG100 English Composition (3 credits, lecture req/elective)

A course in effective expository reading, writing and critical thinking. Includes writing analytical arguments, music reviews, manifestoes and revisions based on exemplary essays on music, the

entertainment industry, visual art and culture. Develops techniques used to express personal perspectives, experiences and ideas. ENG100 English Composition fulfills the Jazzschool Institute General Education requirement for English Composition.

Instr. Mary Ann Koory

T, Th 9:15-10:45am

 

THE200B Jazz Theory and Improvisation (3 units, 3 hours lecture/lab – req)

The fourth in a four-semester course covering jazz theory and improvisation techniques and styles based on the artistic practice of jazz masters, from the early twentieth century innovations of Louis Armstrong, to the contemporary artistry of Her­bie Hancock, and beyond. Students gain a solid understanding of jazz theory and improvisation, from the fundamentals to chord/scale theory, soloing, reharmonization, and transcription and analysis. Theoretical concepts are illustrated by listening to select recordings of leading jazz artists. This course lays important groundwork critical in the development of individual style.

Instr.  John Gove

T, Th 9:15-10:45am

 

ENG110 Introduction to Shakespeare: From Plays to Works (3 credits, lecture – req/elective)
A course examining selected Shakespeare plays and poetry including Twelfth Night, Othello, the Sonnets, and Antony and Cleopatra with an emphasis on their historical context – from the Renaissance to the present. In Shakespeare’s time, a play was considered commercial entertainment, not cultural enlightenment. The shift from Shakespeare’s theatre as raw commercial entertainment to its status today as preeminent drama is analogous to the evolution of jazz as early twentieth century entertainment found in brothels, bars and dance halls, to its status today as a serious art form. Working in seminar format, students consider problems of poetry, character and performance. Students attend a performance of one of the plays, schedule permitting. ENG110 Introduction to Shakespeare fulfills the Jazzschool Institute General Education requirement for English Literature.

Instr. Mary Ann Koory

T, Th 11am-12:30pm

 

THE200A Jazz Theory and Improvisation (3 units, 3 hours lecture/lab)

The third in a four-semester course covering jazz theory and improvisation techniques and styles based on the artistic practice of jazz masters, from the early twentieth century innovations of Louis Armstrong, to the contemporary artistry of Her­bie Hancock, and beyond. Students gain a solid understanding of jazz theory and improvisation, from the fundamentals to chord/scale theory, soloing, reharmonization, and transcription and analysis. Theoretical concepts are illustrated by listening to select recordings of leading jazz artists. This course lays important groundwork critical in the development of individual style.

Instr.  John Gove

T, Th 11am-12:30pm

 

MUS200B Ear Training and Sight-Singing (3 units, 3 hours lecture/lab -req)

The fourth in a four-semester course designed to develop aural and visual perception of rhythmic, melodic and harmonic components of music. Course material is jazz-based.

T, Th 11-12:30

Instr.  Jeff Denson

 

HIS100A Jazz History — The Roots of Jazz and Early Jazz, Pre-1900 – 1919 (3 units, 3 hours lecture – req)

This course examines the influences of West African, Caribbean, South American, Asian and European music and culture on the development of jazz pre-1900, and on the early music of New Orleans that became known to the world as jazz by 1917. The course focuses on the West African conceptual approaches, practices, and cultural conventions that form the foundation of jazz, and its origins in spirituals, blues, ragtime and other African American sacred and secular music. The development of jazz is studied within the historical context of American social forces including post-bellum segregation, the industrial boom and the Great Black Migration, World War I, and the invention of the radio

and sound recordings.

Instr. Anthony Brown

T 1-4pm

 

HIS100B Jazz History — Style and Culture in America from 1920 – 1940 (3 units, 3 hours – req)

A survey of early jazz styles, from the Jazz Age of the Prohibition era, through the reign of the swing bands and the jitterbug, to the pre-World War II modern jazz jam sessions in Harlem. The music of Louis Armstrong, Duke Ellington, Charlie Parker and many others is studied within the contexts of the post-World War I economic boom, the Great Depression, ballrooms and big bands, the rise of sound motion pictures, American musical theater and the Great American Songbook, among other socioeconomic and cultural touch­stones.

Instr. Nate Sloan

T 1-4pm

 

HIS200B

Jazz History — Style and Culture in America from 1960 – Present (3 units, 3 hours – req)

This course surveys the range of idioms and subgenres of post-Coltrane jazz, particularly the evolution of free jazz with the AACM, the 1970s New York Loft Scene, jazz in Europe, the music and ideas of Wynton Marsalis juxtaposed with the electronic fusion music of Miles Davis and his collaborators, Herbie Hancock, Weather Report, Chick Corea, et al, and the return of jazz to its dance origins. The steady influx of global influences from traditional and contemporary musicians from Africa, Asia, and the New World continues to infuse a diverse range of compositional styles, forms and instruments into the jazz world.

Instr. Jeff Denson

T 1-4pm

 

HIS205

The Beatles (3 units, 3 hours – elective)

An examination of the life and work of the incomparable English rock and pop group The Beatles, framing the group’s career in the context of the vibrant social, cultural, and political climate of the 1960s. Attention is given to the group’s impeccable songwriting, their rapid rise to fame, and their creative use of newly-available technology in the recording studio.

Instr. Jeff Denson

T, Th, 4:30-6pm

 

PRF240 Brazilian Jazz Ensemble (2 units, 2 hours – req/elective)

An ensemble focusing on the amalgam of Brazil­ian and American jazz styles of music and tech­niques. Open to instrumentalists and vocalists.

Instr. Silva

T, Th 4:30-6pm

 

THE201B  Form and Analysis of Jazz Standards (2 units, 2 hours lecture/lab – elective)

A course in an ensemble format focusing on form and analysis of jazz standards essential to the professional musician. Prerequisite: THE201A

Instr. Glenn Richman

T 8-10pm

 

 

 

 

THE100A Jazz Theory and Improvisation (3 units, 3 hours lecture/lab)

Instr. Jay Lehmann

M, W, F 9-10am

 

TEC101 Digital Recording, Editing and Mixing Techniques (3 units, 3 hours lecture/lab – req)

A one-semester course focusing on recording and mixing techniques using Digidesign ProTools software. Topics include recording audio, audio editing, using MIDI, mixing,

and using audio effects. Students complete several projects over the course of a semester.

Instr. Joe Bagale

W 9am-12noon

 

New Course!

PRF271 Bluegrass Ensemble (2 credits, 2 hours lab — req/elective)

An ensemble focusing on bluegrass-style technique and repertoire.

Instr. Bill Evans

W 10am-12noon; sectional 12-1pm

 

MUS100A Ear Training and Sight-Singing (3 units, 3 hours lecture/lab)

Instr. Jay Lehmann

M, W, F 10:15-11:15am

 

BUS400 The Working Musician (1 unit, 1 hour lecture)

A one-semester course focusing on marketing and publicity practices critical to the success of the professional musician.

Instrs. Sheryl Lynn Thomas and Terri Hinte

Jan 23 – Mar 13 Marketing

Mar 20 – May 8 Publicity

W 10:15-11:15am

 

HAR200A Western European Harmonic Practice from 1600 to 1820 (3 units, 3 hours lecture – req)

Instr. Jay Lehmann

M and W 11:30am-1pm

 

PRF110B, 210B, 310B, 410B Vocal Performance (3 units, 3 hours lab – req)

The fifth and seventh semesters in an eight-semester course covering a range of styles from the Great American Songbook to bebop, modal, world, contemporary popular, and free music. Students compose original material, write lyrics and create their own ar­rangements. Accompanied by a pianist and/or rhythm section, singers focus on interpretation, stage presence, improvisation, vocal technique, phrasing as well as cultivating a personal style. Students are expected to develop a repertoire of 100 songs over this four-year course.

Instr.  Laurie Antonioli

W 12noon-3pm

 

BUS300 Audio for Live Performance and Recording (1 unit, 1 hour lecture/lab – req)

An introductory overview of live performance audio systems and basic recording technology providing an explanation of the signal path from the source through the microphone to its even­tual destination of live show, loudspeaker or recording media. Strategies for successful live performance and interaction with live recording engineers are presented.

Instr. Lee Brenkman

W 12-1pm

 

PRF230 Latin Jazz Ensemble (2 units, 2 hours lab – req)

An ensemble based on the amalgam of styles and techniques that form and inform the multifaceted field of Latin Jazz.

Instrs. John Santos and David Belove

W 12:15-2:15pm; sectional, 11:15am-12:15pm or TBA

 

HIS480A Western European Art Music and Culture from Antiquity to 1750 (3 units, 3 hours lecture – req)

Instr. Jay Lehmann

M and W 1-2:30pm

 

COM300 Jazz Composition (3 units, 3 hours lecture/lab)

Instr. Mike Zilber

M, W 1-2:30pm

 

HIS330 Latin American Roots of Jazz (2 units, 2 hours lecture – req/elective)

A survey of the evolution and relevance of the Afro-Latino roots of jazz. This course examines the pan-American sociopolitical circumstances that brought Afro-Latino music and jazz together as branches of the same tree. Emphasis is placed on the historical development of the especially influential music of Cuba, New York and Puerto Rico. Students listen to rare recordings from 1900 to the present. Music is analyzed through lecture, listening and discussion and broadens an understanding of jazz from both stylistic and historical perspectives.

Instr. John Santos

W 2:30-4:30pm

 

PRF201 Miles Davis/Wayne Shorter Ensemble (2 units, 2 hours lab – req/elective)

An ensemble focusing on the repertoire of Miles Davis and Wayne Shorter.

Instr. Mike Zilber

W 2:45-4:45pm; sectional  4:45-5:45pm

 

MUS100B Ear Training and Sight-Singing (3 units, 3 hours lecture/lab – req)

The second in a four-semester course designed to develop aural and visual perception of rhythmic, melodic and harmonic components of music. Course material is jazz-based.

Instr.  John Gove

W, F 3:15-4:45pm

 

New Course!

MUS204 The Application of Eurhythmics to Jazz Repertoire (2 hours, 2 credits lecture/lab – elective)
Interpreting distinct rhythmic and melodic aspects of select repertoire through coordinated physical movement and the voice. Instrumentalists and vocalists gain a deeper understanding of the rhythmic and melodic underpinnings of significant jazz and related repertoire to facilitate performance. Note: students are advised to wear comfortable clothing to class.

Instr. Mads Tolling

W 4-6pm

 

MUS201 Keyboard Proficiency – Jazz Piano for Non-Pianists (1 unit, 1 hour lecture/lab – req)

An introduction to jazz piano technique ad­dressing voicings, voice leading, soloing and comping, as applied to standard jazz repertoire. Useful for composing and arranging. Prerequi­site: MUS101 or consent of instructor.

Instr. John Gove

W 5-6pm

 

BUS301 Legal Aspects of the Music Industry for Jazz Musicians (1 unit, 1 hour lecture – req)

An overview of the various legal issues in the music industry and the manner in which the law and technology has shaped the evolution of the industry.  Specifically, this course covers current legal issues faced by jazz musicians and jazz labels and the business practices that are being developed to address these legal issues. In addition to providing the students with an understanding of the principles of contract and copyright law, the course focuses on those topics relevant to jazz musicians today, including the role of agents and managers, live performance agreements, recording contracts, music publishing, producer agreements, licensing music for motion pictures, television and commercials, understanding royalty statements and the distribution and sale of music on the Internet.

Instr. Todd Gascon

W 8:15-9:15pm

 

 

 

 

New Course!

ENG100 English Composition (3 credits, lecture Req/Elective)

Instr. Mary Ann Koory

T, Th 9:15-10:45am

 

THE200B Jazz Theory and Improvisation (3 units, 3 hours lecture/lab – req)

Instr.  John Gove

T, Th 9:15-10:45am

 

ENG110 Introduction to Shakespeare: From Plays to Works (3 units, lecture – req/elective)

T, Th 11am-12:30pm

Instr. Mary Ann Koory

 

MUS200B Ear Training and Sight-Singing (3 units, 3 hours lecture/lab – req)

Jeff Denson

T, Th 11am-12:30pm

 

THE200A Jazz Theory and Improvisation (3 units, 3 hours lecture/lab)

Instr.  John Gove

T, Th 11am-12:30pm

 

PRF290B Practical Applications for the Rhythm Section (2 units, 2 hours – Elective)

A two-semester hands-on, interactive course for pianists, guitarists, bassists and drummers focusing on rhythmic considerations relevant to the rhythm section. Course covers the role of the individual and the rhythm section as a unit as applied to jazz, Afro-Caribbean, South American and world music styles past and present.

Instr. Jeff Denson, bass; Alan Hall, drums

Th 1-3pm(Sectional 3-4pm)

 

MUS110 Vocal Technique for Instrumentalists (1 unit, 1 hour lab – elective)

An introduction to vocal technique and song interpretation. Repertoire includes the Great American Songbook and standard and contemporary jazz. Covers basic stage

presence and microphone technique. Note: Instrumentalists may take up to 2 units of Vocal Technique for Instrumentalists.

Instr. Joyce Pricco

Th 1:30-2:30pm

 

New Course!

MUS191

Alexander Technique

Elective — 1 unit, 1 hour lecture / lab

A hands-on introduction to the Alexander Technique, a method used by musicians worldwide to prevent and resolve playing-related injuries, pain and/or stage fright. Inappropriate muscular tension and unconscious habits of misuse can interfere with technical facility, sound quality, freedom of expression and the joy of playing music. The Alexander Technique enables instrumentalists and vocalists to develop poise and ease of movement in practice and performance.

Instr. Laura Klein

Th 3:15-4:15pm

 

PRF240 Brazilian Ensemble (2 units, 2 hours – req/elective)

Instr. Silva

T, Th 4:30-6pm

 

HIS205 The Beatles (3 units, 3 hours lecture – elective)

Instr. Jeff Denson

T, Th, 4:30-6pm

 

New Course!

PRF272 The Music of Sting (2 credits, 2 hours lab — req/elective)
An ensemble focusing on the repertoire of Sting — from ‘The Police’ (1978) to the present.

Instr. Frank Martin

F 10am-12noon; sectional 12-1pm

 

 

 

 

THE100A Jazz Theory and Improvisation (3 units, 3 hours lecture/lab)

Instr. Jay Lehmann

M, W, F 9-10am

 

New Course!

PRF304 The Music of Art Blakey (2 units, 2 units lab – req/elective)

A performance ensemble focusing on the repertoire of Art Blakey.

Instr. Jeff Denson

F 10am-12noon; sectional, 12-1pm

 

PRF270 East Bay Funk Ensemble (2 units, 2 hours lab – req/elective

A performance ensemble focusing on the East Bay funk canon — the distinctive, rhythm-driven genre of music that emerged out of San Fran­cisco Bay Area-based bands from the late 60s to the present. Beginning with its source, the music of the “godfather of soul,” James Brown and his music director, Pee Wee Ellis, students study and perform repertoire by noted San Francisco Bay Area bands including Sly and the Family Stone, Cold Blood, Tower of Power, The Headhunters, Ray Obiedo and The V.W. Brothers, among oth­ers. The revolutionary and legendary contribu­tions of bassist Larry Graham are also covered.

Instr. Marc van Wageningen

F 10am-12noon; sectional 12-1pm

 

COM301A Jazz Arranging – Small Ensemble (3 units, 3 hours lecture/lab – req)

3 units, 3 hours lecture

Instr.  Erik Jekabson

M, F 10-11:30am

 

MUS100A Ear Training and Sight-Singing (3 units, 3 hours lecture/lab)

Instr. Jay Lehmann

M, W, F 10:15-11:15am

 

TEC100 Introduction to Music Technology (2 units, 2 hours lecture/lab – req)

Instr. Erik Jekabson

M, F 11:45am-12:45pm

 

MUS101 Piano for Non-Pianists (1 unit, 1 hour lab – req)

Entry-level keyboard technique for non-pianists covering scales, reading and playing basic repertoire. Serves as the prerequisite for MUS205B.

Instr. Katherine Westine

F 1-2pm

 

PRF308 Improvised Music Ensemble (Elective — 2 units, 2 hours lab)

An ensemble exploring the realm of ‘free’ improvisation. Students are introduced to various

techniques they may use to collectively compose in the moment. Focusing on listening and communication, students gain a deeper insight into their own artistic voice and discover a wider

spectrum of musical textures and compositional approaches. Considerations include listening

and communicating, style, form, motif, texture, meter and pulse, among others.

Instr. Jeff Denson

F 1-3pm; sectional 3-4pm

 

PRF250 Traditional North Indian Ensemble (2 units, 2 hours lab – req/elective)

An instrumental ensemble focusing on the rhythmic, melodic and harmonic underpinnings of traditional North Indian music. This ensemble fulfills the world music ensemble requirement. Instr.Verma

F 1:30-3:30pm (sectional 3:30-4:30pm)

 

MUS100B Ear Training and Sight-Singing (3 units, 3 hours lecture/lab)

Instr.  John Gove

W, F 3:15-4:45pm