Music Tech Degrees - Other Schools

Stanford Music Science & Technology

Music 101: Introduction to Creating Electronic Sounds (3-4 units)

Students to explore their creative voices by learning the practical nuts and bolts of making sounds with computers and professional audio equipment. Basic concepts include mixing and production techniques used in podcasts, documentaries, live performance, electronic music, and sound art. Students will create a midterm soundscape project as well as a final class project that is focused on their particular creative interests.

Music 155: Intermedia Workshop (3-4 units)

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit

Music 192A, B, C: Sound Recording (192A & B: 3 units each, 192C: 1-2 units)

This course serves as an introduction to the recording facilities and technology at CCRMA. Through studio based exercises and sessions students learn and practice various techniques to improve their audio literacy such as; studio operation and maintenance; microphone selection and placement giving regard to basic room and instrument acoustics; audio effects processing, concentrating on equalization and compression;other topics such as sample making/editing, mixing techniques, and audio software. Prerequisites: MUSIC 101 or consent of instructor.

Music 220A, B, C: Computer Generated Sounds (2-4 units each)

What are the basic tools that computer music researchers and artists use to create sound? This course will include a summary of digital synthesis techniques (additive, subtractive, wavetable, frequency modulation and physical-modeling), signal processing techniques for digital effects, (reverberation, panning, filters), and basic psychoacoustics. Programming experience is recommended, but not required. Course will use the ChucK computer music language. Majors (undergraduate or graduate) must take for 4 units. See http://ccrma.stanford.edu/.

Music 223: Composition for Electronic Musicians (3-4 units)

Composition for any combination of acoustic and electroacoustic instrumentation, computer-generated sound, invented instruments, sound-sculptures, and multi-disciplinary elements including theater and visual media. Project-based laboratory to advance original student works, supported by lectures on the fundamentals of composition. Concert performance of final works. Taught at CCRMA with a focus on engendering deliberate conversation on the enrichment of a cultural context for new media. Open to undergraduates and graduates.

Music 223B: Sonic Experiments in Composition (1-3 units)

The course will present post-1945 works with timbre serving as an organizing principle or compositional metaphor, in the context of historical works in which timbre plays a structural role. Composers considered may include: Alvin Lucier, Pauline Oliveros and other American experimentalists; Scelsi and his influence on the French Spectral school; the first and subsequent generations of French Spectralism; and contemporary composers of experimental music such as Peter Ablinger. Topics will include: process and form; timbre in relation to time and space; harmonicity and noise; and the influence of analog and digital technology on instrumental composition. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit for AII.

Music 223C: Tradition, Experimentation, and Technology in String Quartet Composition and Performance (1-3 units)

This course will explore string quartet composition and performance by focusing in on the act of composer-performer collaboration. It will investigate this relationship and its facets through the composition of a work for the Saint Lawrence String Quartet by Patricia Alessandrini based on the SLSQ's relationship with the Opus 76 quartets of Haydn employing Artificial Intelligence (AI) techniques, in addition to workshopping of student exercises and compositions. Students will have the opportunity to participate in the class as performers, composers, technologists, or musicologically, through analysis of the collaborative process informed by concepts such as agency, representation, interpretation, expression, and experimentation.

Music 223D: Sound Practice: Embodiment and the Social (2-3 units)

How can sound-making impact interpersonal relations and institutional practices? This class offers space to creatively re-think and challenge received relationships between artists, audiences, technologies, and environments. In class, we will create, perform, and analyze sound and music. We will explore sound¿s potential to catalyze social change via experimental and embodied approaches to sound-making. We will engage with sound practices that compose communal solidarity, augment and transform vocal identities, and potentially, alter how we listen to and live in the world. Readings/listenings include Björk, Maria Chavez, Donna Haraway, Pauline Oliveros, George Lewis, Meredith Monk, Maurice Merleau-Ponty, Hildegard Westerkamp, and Pamela Z.

Music 250A, C: Design of Digital Sounds for Interactive Performance (3-4 units each)

This lab and project-based course explores how we can physically interact with real-time electronic sound. Students learn to use and design sensors, circuits, embedded computers, communication protocols and sound synthesis. Advanced topics include real-time media, haptics, sound synthesis using physical model analogs, and human-computer interaction theory and practice. Course culminates in musical performance with or exhibition of completed design projects. A $50 lab fee will be added to your bill upon enrollment in this course. See http://ccrma.stanford.edu/.

Music 256A, B: Music Computing, Design (3-4 units each)

Creative design for computer music software. Programming, audiovisual design, as well as software design for musical tools, instruments, toys, and games. Provides paradigms and strategies for designing and building music software, with emphases on interactive systems, aesthetics, and artful product design. Course work includes several programming assignments and a "design+implement" final project. Prerequisite: experience in C/C++ and/or Java.See https://ccrma.stanford.edu/courses/256a/

CSU Chico

MUSC 293 History of Jazz

The historical and philosophical study of jazz from its African origins to the various forms in which it exists today.

MUSC 296 African American Music

A historical survey from the African heritage and Colonial times to the present. The types, forms, and styles of African American music are studied in relation to the African American experience.

MUSC 304 Music from a Global Perspective

A survey of world traditions concentrating on Africa, Asia, and the Americas. For students with a background in music.

THEA 354 Literature for Musical Theatre=

Through careful reading and study of major works in the Musical Theatre canon, this course examines this unique art form and the cultural factors that influenced its creation and evolution as well as the aspects of our contemporary society that are influenced by it

MUSC 341 Fundamental of Digital Audio

A study in the theory and practice of digital audio. Emphasis is on the application of digital audio workstations, multi-channel recording, digital sequencing, audio for the media, and digital signal processing.

MUSC 344 Audio Recording I

An in-depth study of audio recording systems, components, and philosophies. Emphasis is on the day-to-day workings of a recording studio, with experience in signal flow, acoustics, microphone theory, and multi-track recording techniques. Further emphasis is placed on critical listening and objective critique in audio, music, and production.

MUSC 342 MIDI and Synthesis

Creative projects in electronic media. Emphasis on digital techniques, including computer control of digital instruments.

MUSC 345 Audio Recording II

An in-depth study of audio recording systems and components. Emphasis will be placed on signal processing equipment, synchronization, and multi-tracking, with continuing experience in microphone placement, mixing, and editing techniques.

MUSC 441 (previously 343) Sampling and Sound Design

Creative projects in electronic media. Emphasis on digital techniques, including sampling and computer control of digital instruments.

MUSC 442 Advanced Electronic Media

Independent creative projects in electronic music.

Berklee NYC

First Semester (Fall) Core Courses (6 credits)

CMAT-567 Creative Media Ensemble (1 credit)

S==econd Semester (Spring)== Core Course (3 credits)

Electives (2–3 credits; optional)

===CMAT-504 Hip-Hop Production (2 credits)

CMAT-567 Creative Media Ensemble (1 credit)

Third Semester (Summer)

• Culminating Experience
• CMAT-695 Culminating Experience Seminar (6 credits)

Fourth Semester (required of students who opt in to the graduate internship program)

• GS-595 Graduate Internship (1 credit)

NYU

MPATE-UE 1001 Analog Recording Technology - 3 units

The physical aspects of sound, analog recording technology & studio production techniques are explained & demonstrated. Lecture topics include microphones, stereo recording, analog consoles, multi-track tape recording, equalization, compression, reverberation & mixing. Studio lab assignments are performed outside of class reinforcing weekly lecture topics

MPATE-UE 1003 Digital Recording Technology - 3 Units

Digital recording technology & production techniques are explained & demonstrated. Lecture topics engage analog to digital conversion, digital to analog conversion, digital signal theory & filter design, digital audio effects & mixing. Studio lab assignments are performed outside of class reinforcing weekly lecture topics.

MPATE-UE 1005 Studio Production Techniques - 4 Units

Principles covered in MPATE-UE1001 & MPATE-UE-1003 are put into practice with additional theory & techniques. Students perform various duties just as they would in a professional recording session. Studio Lab assignments are performed outside of class reinforcing weekly topics.

MPATE-UE 1008 Fund of Audio Tech I - 2 Units

An introduction to maintenance and troubleshooting concepts used in the recording studio. Procedures discussed are those necessary in utilizing sophisticated audio equipment and understanding essential aspects of studio design.

MPATE-UE 1010 Introduction to Audio for Video - (2 - 3 Units)

An introduction to the concepts & applications of audio production for video, television & film. Current production techniques frequently used in the post-production industry will be explored, with special emphasis on synchronization & audio production techniques including music editing, sound effects design, Foley, & dialog replacement.

E-UE 1011 Concert Recording - (2 - 3 Units)

Introduction to the concepts of live concert recording. Microphone selection, characteristics & placement as well as acoustic problems encountered in concert halls will be discussed. Students will have the opportunity to apply the lecture material by recording undergraduate rehearsals & recitals.

SAE

AUD100 PRINCIPLES OF SOUND

4 Credit Hours

Prerequisites: None

All Campuses: All class meetings are on-ground. This course introduces students to the science of sound, including basic acoustic measurements commonly used in real-world scenarios.

AUD110 MUSIC THEORY

4 Credit Hours

Prerequisites: None

Atlanta Campus: All class meetings are on-ground. All Other Campuses: 14 sessions on-ground, 1 asynchronous hour per week.

This course provides an overview of introductory concepts in music theory and notation and covers music terminology and the basics of rhythm, harmony, and chord progressions in popular music.

AUD120 STUDIO PRODUCTION

4 Credit Hours

Prerequisites: None

Atlanta Campus: All class meetings are on-ground. All Campuses: 14 sessions on-ground, 1 asynchronous hour per week.

This course introduces students to basic studio concepts and fundamental recording processes and equipment.

AUD200 SIGNAL PROCESSING

4 Credit Hours

Prerequisites: AUD100 and AUD120

Atlanta Campus: All class meetings are on-ground with the exception of the 1 asynchronous hour per week. All Other Campuses: 7 sessions on-ground, 7 sessions online, 1 asynchronous hour per week.

This course examines the audio signal processing that is commonly applied using analog and digital outboard processors and digital audio workstation plug-ins throughout the audio production process.

AUD210 ELECTRONIC MUSIC PRODUCTION

4 Credit Hours

Prerequisites: AUD100 and AUD120

Atlanta Campus: All class meetings are on-ground with the exception of 1 asynchronous hour per week. All Other Campuses: 7 sessions on-ground, 7 sessions online, 1 asynchronous hour per week.

This course explores the art and craft of electronic music production using industry-standard computer-based audio production environments.

=AUD220 STUDIO MAINTENANCE AND AUDIO/VISUAL TECHNOLOGY

4 Credit Hours

Prerequisites: AUD100 and AUD120

Atlanta Campus: All class meetings are on-ground with the exception of 1 asynchronous hour per week. All Other Campuses: 10 sessions on-ground, 4 sessions online, 1 asynchronous hour per week.

This course introduces the basic skills and practices of studio maintenance and audio-visual technicians.

AUD230 LIVE SOUND AND LIGHTING

4 Credit Hours

Prerequisite: AUD200

Atlanta Campus: All class meetings are on-ground with the exception of 1 asynchronous hour per week. All Other Campuses: 10 sessions on-ground, 4 sessions online, 1 asynchronous hour per week.

This course introduces the fundamental audio production and lighting techniques used in live sound reinforcement applications.

AUD240 AUDIO POST PRODUCTION

4 Credit Hours

Prerequisite: AUD200

Atlanta Campus: All class meetings are on-ground with the exception of 1 asynchronous hour per week. All Other Campuses: 7 sessions on-ground, 7 sessions online, 1 asynchronous hour per week.

This course introduces the processes, methods, and workflows involved in producing sound for picture.

AUD250 GAME AUDIO

4 Credit Hours

Prerequisite: AUD 200

Atlanta Campus: All class meetings are on-ground with the exception of 1 asynchronous hour per week. All Other Campuses: 7 sessions on-ground, 7 sessions online, 1 asynchronous hour per week.

This course focuses on the creation and integration of game audio within interactive environments.

AUD300 ADVANCED STUDIO PRODUCTION

4 Credit Hours

Prerequisites: AUD120, AUD200, and AUD210

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

This course explores advanced concepts and procedures as they relate to studio recording and production, including advanced equipment and digital audio workstation operation, mixing techniques and approaches, music production, control surface workflows, and session procedures.

=AUD330 ADVANCED LIVE SOUND AND LIGHTING

4 Credit Hours

Prerequisites: AUD230

All Campuses: 7 sessions on-ground, 7 sessions online, 1 asynchronous hour per week.

This course introduces advanced skills and concepts in audio and lighting production, including large-scale production signal flow, microphone techniques, and amplification.

AUD340 ADVANCED AUDIO POST PRODUCTION

4 Credit Hours

Prerequisite: AUD240

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

This course examines advanced audio post-production workflows as they pertain to film, TV, commercials, and other forms of visual media, including surround recording techniques, advanced digital audio workstation routing and configuration, field recording, and production audio.

AUD350 AUDIO PROGRAMMING FOR INTERACTIVE MEDIA

4 Credit Hours

Prerequisite: AUD250

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

This course introduces graphical programming environments for interactive media systems and low-level digital signal processing.

AUD400 MASTERING AND MEDIA PREPARATION

4 Credit Hours

Prerequisite: AUD200

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

This course explores the concepts and tools used in the final compilation and mastering of a variety of media, including vinyl, CD, DVD and various web and mobile technologies.

AUD410 AUDIO SCRIPTING

4 Credit Hours

Prerequisite: AUD350

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

This course focuses on core elements of text-based scripting languages for audio and multimedia software and hardware.

AUD420 INTERMEDIA COMPOSITION

4 Credit Hours

Prerequisite: AUD250

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

This course focuses on audio and visual synthesis, asset creation, and composition for live performance. Students integrate adaptive music, audio, visual, and physical components into a cohesive multimedia experience

AUD430 ADVANCED GAME AUDIO

4 Credit Hours

Prerequisite: AUD410, or AUD250 and approval by program chair

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

This course is focused on advanced game audio theory and practices including native game audio integration, interactive sound design, game audio scripting, and middleware tools employed within contemporary game types.

AUD440 CAPSTONE PROJECT

4 Credit Hours

Prerequisite: AUD 300 and must be taken in final semester of BAS program Corequisite: AUD450

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

Students plan and develop a creative media asset. A quality framework is adopted which will lead to the publication of a final folio piece.

AUD450 AUDIO PORTFOLIO

4 Credit Hours

Prerequisite: AUD300 and must be taken in final semester of BAS program Corequisite: AUD440

All Campuses: 4 sessions on-ground, 10 sessions online, 1 asynchronous hour per week.

This course focuses on the completion of a student’s professional portfolio, including selection, development, evaluation, and refinement of portfolio pieces.

CAR200 CAREER PREPARATION

4 Credit Hours

Prerequisite: Must be taken within final two semesters of program

All Campuses: All class meetings are on-ground with the exception of 1 asynchronous hour per week.

This course focuses on developing professional life skills to help students succeed and advance in industry careers. Subjects explored include personal development, networking, writing resumes and cover letters, personal marketing, negotiation, interviewing skills, working in collaborative environments, and developing an online presence

ENT100 INTRODUCTION TO ENTERTAINMENT BUSINESS

4 Credits

Prerequisite: None

Atlanta: All class meetings are on-ground. All Other Campuses: All class meetings are on-ground with the exception of one asynchronous hour per week. All Campuses: All class meetings are on-ground.

This course introduces students to common business practices both in general and as they relate to the creative industries. Students will explore subjects including accounting, business planning and analysis, publishing, copyright, contracts, taxes, and royalties as they relate to entertainment industries.

Miami University

https://miamioh.edu/academics/three-year-pathways/music-ba-tech/index.html

University of Miami

https://musicengineering.frost.miami.edu/index.html