By David Ernst

I would like to express my anger, disgust, but most of all, my sadness at the news that the jazz studies major has been “suspended,” but in essence cut. As a School of Music student, I am not surprised when the university on the whole chooses to overlook the assets that it has in the music department. But I must say I am dismayed that this same behavior of shallow imagination and intellectual narrowness continues within the school itself, not only with the Music Dean Toni-Marie Montgomery, but also with certain members of the faculty, which I find most astounding.

Let’s assess some of the “problems” that the classical faculty might have had with the jazz studies major and illuminate how ridiculous they indeed are. First, there are no new incoming freshmen. This is both fact and fiction. On one hand, the 13 applicants who were considered for admittance to the jazz studies major did not have enough classical ability or had lower academic scores than average. But they are being held to a standard that no other student at Northwestern is being held to. As a voice major who also got into the Weinberg dual-degree program, my 1290 SAT score probably wasn’t enough to get me in on its own.

Also, I certainly didn’t have to pass a jazz audition to get accepted to my classical voice major, which is essentially what jazz students have to do to get into their program. This is a ridiculous school policy. Weinberg faculty did not decide which engineering students should get into NU by their essays.

I vividly remember the sight of various classical piano majors auditioning for schools such as NU and Oberlin, sobbing after their auditions because they could not improvise “Happy Birthday” in various keys, which by the way, is a much easier task than any improvisation on John Coltrane’s “Giant Steps.” And the classical pianists who flub “Happy Birthday” still get in. And they should, because they’re good at what they do. But this standard should be applied to jazz applicants as well.

The second problem is one that seems to be shared by both the dean and the faculty. It is the intellectual arrogance that jazz music is somehow no longer valid. Well, NU teaches a course on rock ‘n’ roll, music that wouldn’t exist without the African Diaspora and the creation of jazz and blues. Also, to some of the classical faculty, jazz is no longer relevant. Well, more people around the world listen to jazz music than the latest in 20th and 21st century classical compositions. If jazz music isn’t legitimate, then neither is the music of Webern, Xenakis, Penderecki and Boulez. Look, if I want to listen to a math problem, I’ll visit my ninth grade geometry class. If the classical faculty wants to talk about the relevance of genres of music, and which modes are sickly and dying, they need to take a closer look in the mirror.

The third and last problem is one that lies with the dean. Perhaps, like the organ and church music degree program, the end of the jazz studies major offers a chance to move some money around to where it looks the best. Dean Montgomery was brought in by NU to bring the school more prominence by focusing on the things it did the best, and in turn raise money for the school and advocate on its behalf.

Although I applaud the dean for her sincere attempts to raise money for the school, it appears she has done little to advocate on the school’s behalf to the university. She has been a master at creating the appearance of a thriving artistic community with various concerts in Washington, D.C., while quietly standing by the university’s decision to turn a blind eye to the school’s needs. I am sure the dean is wonderful at raising money. I just fear that under her continued leadership, there won’t be much of a music school left to raise money for.

As an American university, it is imperative that we teach American art. Jazz is a critical piece of our American identity, and it reminds us that cultural arrogance in any form, be it Beethoven or Coca-Cola, makes our world a little less different, and a little more gray.