Music Tech Degrees - Other Schools

School 1

Stanford Department of Music

• Music 122A: Counterpoint (4 units)
  • Analysis and composition of contrapuntal styles from the Renaissance and Baroque periods. Use of keyboard, ear training, and sight singing underlies all written work. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.
• Music 122B: Analysis of Tonal Music (4 units)
  • Complete movements, or entire shorter works of the 18th and 19th centuries, are analyzed in a variety of theoretical approaches. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.
• Music 122C: Introduction to 20th- Century Composition (4 units)
  • Contemporary works, with emphasis on music since 1945. Projects in free composition based on 20th-century models.
• Music 140: Studies in Music of the Middle Ages (4 units)
• Music 141: Studies in Music of the Renaissance (4 units)
• Music 142: Studies in Music of the Baroque (4 units)
• Music 143: Studies in Music of the Classical Period (4 units)
• Music 144: Studies in Music of the Romantic Period (4 units)
• Music 145: Studies in Western Art Music Since 1900 (4 units)
• Music 146: Studies in Ethnomusicology (4 units)
• Music 147: Studies in Music, Media, and Popular Culture (4 units)

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/

School 2

CSU Chico

• MUSC 293 History of Jazz
• MUSC 296 African American Music
• MUSC 304 Music from a Global Perspective
• THEA 354 Literature for Musical Theatre
• Music Studio Selection
• MUSC 411/412/413 Ensemble
• MUSC 411/412/413 Ensemble
• EECE 110 Basic Electricity & Instruments
• MUSC 341 Fundamental of Digital Audio
• MUSC 344 Audio Recording I
• MUSC 342 MIDI and Synthesis
• MUSC 345 Audio Recording II
• MUSC 441 (previously 343) Sampling and Sound Design
• MUSC 442 Advanced Electronic Media
• MUSC 444 Audio Seminar
• MUSC 445 Audio for Visual Media
• MUSC 446 Sound Reinforcement
• MUSC 447 Remote Audio Recording
• MUSC 489 Directed Field Project in Music

School 3

Berklee NYC

First Semester (Fall) Core Courses (6 credits)

• CMAT-510 Design Thinking Methodologies for the Creative Arts (3 credits)
• CMAT-515 Entrepreneurship and Business Practices in the Creative Space (3 credits)
• Specialization Courses (6 credits)
• CMAT-662 DNA of Styles in Production and Songwriting (2 credits)
• CMAT-500 Electronic Production for Songwriters (2 credits)
• CMAT-501 Integrated Songwriting Techniques (2 credits)

Electives (2–3 credits; optional)

• CMAT-504 Hip-Hop Production (2 credits)
• CMAT-516 EDM Production, Techniques and Applications (2 credits)
• CMAT-518 Music Video Production (2 credits)
• CMAT-567 Creative Media Ensemble (1 credit)

Second Semester (Spring) Core Course (3 credits)

• CMAT-610 Innovation and Creativity in Artistic Endeavors (3 credits)
• Specialization Courses (9 credits)
• CMAT-601 Advanced Digital Arranging and Production (3 credits)
• CMAT-602 Advanced Vocal Production (2 credits)
• CMAT-603 Mixing and Mastering for the Songwriter/Producer (2 credits)
• CMAT-653 Principles of Collaboration for Songwriters (2 credits)

Electives (2–3 credits; optional)

• CMAT-504 Hip-Hop Production (2 credits)
• CMAT-516 EDM Production, Techniques and Applications (2 credits)
• CMAT-518 Music Video 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)

School 4

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.
• MPATE-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.