Dariusz Terefenko

Biography

Dariusz Terefenko teaches at the Eastman School of Music, where he began his career as a master’s student of jazz piano. After completing his M.M. in jazz piano performance (1998), he enrolled and finished a PhD in music theory (2004) with a dissertation on “Keith Jarrett’s Transformation of Standard Tunes.”

In addition to teaching for the Jazz and Contemporary Media Department, Terefenko is also Affiliate Professor of Music Theory.

His interests lie in the area of classical and jazz improvisation and ways they interact with one another. Terefenko’s recently recorded solo album, Evidence, offers his creative take on favorite jazz standards, jazz instrumentals, and own compositions.

Works / Publications

Jazz and Contemporary Media:

History of Jazz for Non-Jazz Majors MHS 281
Basic Jazz Theory JCM 201/202
History, Analysis and Theory of Jazz TH 202J
Aural Musicianship IV TH 262J
Analysis/Theory of Modern Jazz TH 205J
Functional Jazz Piano JCM 205/206
Jazz Pedagogy JCM 218
Styles and Analysis: Jazz Piano JCM 230
History of Jazz: JCM Majors JCM 241
Jazz Performance Workshop JCM 251/252

Music Theory:

Intro to Tonal Improvisation TH 263
Survey of Analytical Techniques TH 400
Intermediate Keyboard Skills TH 475
Advanced Keyboard Skills TH 476
What is Music Theory? TH 523

Teaching Initiatives:

Jazz and Contemporary Media:

Analysis/Theory of Modern Jazz, TH 205J implemented in Fall 2008 (original course)
History, Analysis and Theory of Jazz, TH 202J implemented in Spring 2007 (original course)
Aural Musicianship IV, TH 262J implemented in Spring 2007 (original course)
Styles and Analysis Piano, JCM 230 implemented in fall 2006 and spring 2007
History of Jazz: JCM Majors, JCM 241 implemented in 2005
History of Jazz for Non-Jazz Majors MHS 281 implemented in 2004
Basic Jazz Theory, JCM 201/202 implemented in 2004-05

Music Theory:

Intro to Tonal Improvisation, TH 263 implemented in 2004-2005 (original course)

Publications

      • Jazz Theory – From Basic To Advanced Study. Routledge – 2014 – 490 pages – Get a 20% Discount on Jazz Theory
      • Review of African Rhythms. By Randy Weston. The Scarecrow Press, 2009, published in Associations for Recorded Sound Collections, (Spring 2011)
      • Review of Analyzing Jazz: A Schenkerian Approach. By Steve Larson. Pendragon Press, 2009, published in Notes: Quarterly Journal of the Music Library Association (December, 2010)
        https://www.areditions.com/journals/notes/67.2Tear/Books/Terefenko.pdf
        http://muse.jhu.edu/journals/notes/summary/v067/67.2.terefenko.html
      • “A ‘Dearly Beloved’ Jazz Progression-Part Two,” Jazz Inside Magazine, Vol.9, No.1 (Spring, 2010)
      • “’Just In Time’ For Taking a Solo,” Jazz Inside NY, Vol.1 No. 10 (June, 2010)
      • “’Just One of Those Things’ You Need to Know About Four-Part Chords,” Jazz Inside NY, Vol.1 No. 8 (March, 2010)
        http://jazzinsidemagazine.com/publications/guide/march-2010
      • “A ‘Dearly Beloved’ Jazz Progression-Part One,” Jazz Inside Magazine, Vol.8, No.4 (Winter, 2010)
      • Review of The Story of Boogie-Woogie, A left Hand like God. By Peter J. Silvester. The Scarecrow Press, 2009, published in Associations for Recorded Sound Collections, (Spring 2010)
      • “Jazz Transformations of the ii7-V7-I Progression,” Current Research in Jazz 1, (2009)
        http://www.crj-online.org/v1/CRJ-JazzTransformations.php
      • Keith Jarrett’s Transformation of Standard Tunes: Theory, Analysis and Pedagogy. VDM Verlag Dr. Müller Aktiengesellschaft & Co. KG, Germany, (2009)
      • Review of: Horizons Touched, The Music of ECM. Edited by Steve Lake and Paul Griffiths. Granta Books, London, 2007, published in Associations for Recorded Sound Collections, (2009)
      • Review of: Miles Davis, Miles Smiles, and the Invention of Post Bop. By Jeremy Yudkin. Indiana University Press, 2008, published in Associations for Recorded Sound Collections, (2009)
      • Review of: Monk’s Music: Thelonious Monk and Jazz History in the Making. By Gabriel Solis. The Regents of the University of California, 2008, published in Associations for Recorded Sound Collections, (2008)
      • “Latin Music and Its Practical Application,” published in Wychowanie Muzyczne w Szkole (Music Education in School), Lublin, Poland, (May, 2007)
      • “Blues – mozliwosci rozwijania zdolnosci muzycznych mlodziezy” (The Blues – Exploring Its Potential in Music Education), published in Wychowanie Muzyczne w Szkole (Music Education in School), Lublin, Poland, (May, 2006)
      • “Wstepne Zasady Harmonizacji i Improwizacji Jazzowej” (Basic Rules of Jazz Harmony and Improvisation, transcript of the lecture given at the Academy), published in Dialog Akademicki, Pomeranian Academy Press, Slupsk, Poland, (September 2005)
      • “The Art of the Solo Piano Introduction – Formal Improvisation,” published in International Association of Jazz Educators 2005 report book, (2005)
      • Keith Jarrett’s Transformation of Standard Tunes – Ph.D Dissertation, Eastman School of Music, (2004)
      • Transcription Project: Ivan Lins’s Music, commissioned and recorded by Maria Schneider Orchestra, (2003)

Recordings

Evidence – Solo Piano (2010)

Conferences and Residencies

      • Invitational Consultation with Members of the Society for Music Theory’s Jazz Theory Special Interest Group – The NASM Annual Meeting – Boston, MA, (November 22, 2010)
      • Society for Music Theory Conference – Indianapolis, IN (November 5, 2010) – paper: “Counterpoint Pedagogy in the 21st Century”
      • Master-classes on Jazz Theory and Baroque Improvisation – Oswego, SUNY, NY (October 21, 2010)
      • Tritone Camp – Nazareth College, Rochester, (July, 2010)
      • J.S. Bach Conference – Kharkov, Ukraine (December 2-8, 2008) – papers: “Partimento Fugues – The Langloz Manuscripts,” “The Pedagogy of The History of Music Theory”
      • Society of Music Theory Conference – Nashville, TN (November 5-9, 2008) – paper: “Phrase Models and Prototypes of Form in Standard Tunes”
      • Visiting Professor of Jazz and Philosophy, Pomeranian University – Slupsk, Poland (May/June, 2008)
      • Tritone Camp – Nazareth College, Rochester, (July, 2008)
      • Residency – University of Lublin Poland (May 21-23, 2007);History of Improvisation, Evolution of Jazz Harmony; Big-band directing
      • Residency –University of Rzeszów, Poland (May 28-30, 2007); History of Improvisation;History of Jazz Styles
      • Twelfth Biennial International Conference on Baroque Music – Warsaw University, Poland (July 25 –29, 2006) – paper: “Keyboard Pedagogy in the Baroque Period-Improvising Partimento Fugues”
      • Czwarty Baltycki Festiwal Nauki (Fourth International Science Symposium) –Pomeranian Pedagogy Academy, Slupsk, Poland (May 25-27, 2006) – threepapers: “Multiculturalism in Jazz,” “Pedagogy of Jazz Improvisation,” “Latin Music and Its Origins”
      • Music Theory Society of New York State – Chair of Jazz Session (April, 2006)
      • Society of Music Theory Conference –Cambridge, MA (November 9-13, 2005) – paper: “Formal Improvisation in Keith Jarrett’s  “Come Rain or Come Shine””
      • The International Association of Jazz Educators Conference – Long Beach, CA (January 7, 2005) – clinic/paper: “The Art of the Solo Piano Introduction – A Formal Approach”

Dissertation Advising

    • Alexander H. Graham, DMA, Jazz Studies – Miles’ Styles: The Evolution of Ensemble Interactions and the Collective Aesthetic in the 1950s and 1960s.
    • Austin Gross, Ph.D, Music Theory – Bill Evans-Paradigms for Improvisation
    • Michel Callahan, Ph.D, Music Theory – Techniques of Keyboard Improvisation in the German Baroque and Their Implications for Today’s Pedagogy
    • Jason Titus, Ph.D, Music Theory – Miles Davis’ “So What” as Modal Jazz Case Study
    • Stefan Love, Ph.D, Music Theory – Towards a Theory of Jazz Phrase Rhythm
    • Kimberley Hannon, Ph.D, Musicology – Living Traditions: Multivalency in Contemporary Jazz Performance

Media

Selections from Evidence

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I Should Care

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Lazy Bird

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Lennie’s Pennies

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Extra Effort

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I’m Old Fashioned