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.

MUSC 444 Audio Seminar

A study in advanced recording studio production.

MUSC 445 Audio for Visual Media

A study of audio production and audio post-production for video. Topics of study include music scoring, automatic dialogue replacement, foley, synchronization, and audio systems in video.

MUSC 446 Sound Reinforcement

Students gain hands-on experience mixing the sound for live performances.

MUSC 447 Remote Audio Recording

This course provides students a recording experience with a variety of musical ensembles and literature within varying acoustical environments.

MUSC 489 Directed Field Project in Music

This course is a directed field project offered for 1.0-5.0 units. You must register directly with a supervising faculty member. A project must be commensurate with the student's major curricular and professional goals and must be comparable in substance to work of a similar nature within the University music curriculum.

Berklee NYC

First Semester (Fall) Core Courses (6 credits)

CMAT-510 Design Thinking Methodologies for the Creative Arts (3 credits)

Students enrolled in this course will deploy the principal concepts of design thinking (empathize, define, ideate, prototype, and test) through multiple projects to craft solutions for both simple and complex artistic issues. Design thinking methods will be used to make key distinctions in the identification of, and planning for, students’ culminating experience projects.

CMAT-515 Entrepreneurship and Business Practices in the Creative Space (3 credits)

Students enrolled in this course will research and analyze relevant examples of creative entrepreneurs to appraise the principles and practices that guided their successful endeavors. Essential business skills, including the creation and execution of proformas, budgets, negotiations, business models, and plans, will be applied to creative ventures.

CMAT-662 DNA of Styles in Production and Songwriting (2 credits)

Students enrolled in this course will survey and explore the genres and subgenres at the forefront of current popular musical trends and audiovisual media. Categorizing stylistic hallmarks through production style, sonic palette, tempo, and other identifiers, students will work towards mastering genre-specific writing scenarios. The first half of the course entails an in-depth study of current genres and subgenres with students mastering soundalike recreation of works, while the second half of the course study involves the discipline of exact recreations of current preexisting works in the popular current genres/subgenres in order to develop and refine the producer/songwriter’s vocabulary of the contemporary music industry.

CMAT-500 Electronic Production for Songwriters (2 credits)

Students enrolled in this course will learn software-based electronic music production hand in hand with modern songwriting and arranging techniques. In this experiential and project-oriented course, aspiring producer/songwriters will become familiar with compositional conventions and writing techniques in the context of “in the box” electronic music production.

CMAT-501 Integrated Songwriting Techniques (2 credits)

Students enrolled in this course will explore and develop their artistic voice while learning a comprehensive approach utilizing advanced song craft (ASC) tools in intention– and free association–based contemporary songwriting. With practice and application of ASC tools, writers gain core competency to write songs of exceptional lyrical and melodic focus, power, and clarity. Using a project-based format, students will hone their understanding of song concept development, lyricism, prosody, melody, and harmony while collaborating with students from CMAT-500, Electronic Production for Songwriters. Students will maintain high standards in subject selection for songs, rewriting, form analysis, and development as a route to fully realize their artistic vision by maximizing the emotional impact of songs on listeners through the seamless marriage of song creation and contemporary production techniques. This course also explores the integration of ASC strategies into dynamic creative interactions with fellow writers.

CMAT-504 Hip-Hop Production (2 credits)

Students enrolled in this course will learn how to create rap songs using a variety of approaches culled from over 40 years of hip-hop recordings. Emphasis will be placed on project based assignments that will have students exploring the compositional, collaborative, and recording techniques of hip-hop.

Students will be able to explore the cyclical nature of creating rap songs through the genesis of the DJ’s crates, to the creation and development of song seeds, to the polishing of finished songs, and finally back to the DJ’s crates. The class will culminate in a live mix and mashup of student’s songs.

CMAT-516 EDM Production, Techniques and Applications (2 credits)

Students enrolled in this class master the cultural, technical, and compositional origins of electronic dance music by analyzing and creating music in a wide variety of dance music styles and then applying these new techniques to the musical styles that the individual student is most passionate about.

Fundamental to electronic dance music creation is a deep exploration of timbre through the use of digital audio workstations, effects, synthesizers, and samplers. This embrace of sonic exploration has enabled dance music to be an experimental space for new sounds that eventually move to pop and musical theater. Each dance music style has a unique cultural origin which is explored, recognized, and carefully considered in the application of these techniques and sounds into other styles.

By splitting the class experiences between deep technical lessons using industry standard tools, studying the stories of the people behind the music and the application of those techniques into a wide variety of contemporary styles, students are prepared to innovate in the contemporary music styles of their choice.

CMAT-518 Music Video Production (2 credits)

Students enrolled in this course produce high-quality music videos that tell the story of a song in a visually compelling fashion. At their best, music videos are mini movies that capture the emotional context of a song visually and can even expand on the story of the song’s lyrics. Through the use of standard movie-production teams, schedules, lighting, camera, and post-production techniques students gain real-world experience on professionally-run movie productions before applying these techniques in their own productions. The class experience includes analysis of music video examples, hands-on practice in standard film roles, technical exercises with professional equipment and software, and creative experiments with innovative filming and post-production techniques.

CMAT-567 Creative Media Ensemble (1 credit)

Students enrolled in this ensemble will work collaboratively to generate professional-level audio and video productions. Due to the unique nature of the Creative Media and Technology program the concept of a "musical ensemble" is expanded in this course to include the technical crew as equals in the creative process. BerkleeNYC creative media ensembles include band members, photographers, lighting designers, sound engineers, and video artists working cooperatively and as equals toward a professional-level final production.

Second Semester (Spring)

Core Course (3 credits)

CMAT-610 Innovation and Creativity in Artistic Endeavors (3 credits)

Students enrolled in this course will engage in the deliberate application of information, imagination, and initiative in deriving greater or different values from resources. The processes by which new ideas are generated and converted into useful products and tangible outcomes will be examined and applied to students’ specific culminating experience projects.

CMAT-601 Advanced Digital Arranging and Production (3 credits)

Students enrolled in this coure will develop a complex understanding of sound design, modular synthesis, and digital signal processing, in the context of production as well as the modern songwriting process. In this project-oriented course, students will further explore and develop their artistic voices and sonic palettes through digging deeper into electronic music production and digital arranging.

CMAT-602 Advanced Vocal Production (2 credits)

Students enrolled in this course will learn approaches and methodologies used to achieve professional results in the modern-day paradigm of songwriting sessions and production camps. Through experiential work, students will survey the strategies employed by current hit-making songwriters and vocal producers in engineering lead vocals and arranging harmonies and backing vocals. Pitch-altering software such as Melodyne and Autotune will be mastered for both utility and artistry, while students increase their facility in the studio, working with standard hardware and software in developing vocal chains. Vocal coaching skills and session psychology will be explored and put into practice through multiple sessions.

CMAT-603 Mixing and Mastering for the Songwriter/Producer (2 credits)

Students enrolled in this course will survey techniques used by professional mixing engineers in finalizing an artist’s vision. Students will learn industry-standard approaches to setting up mixes in a DAW, building templates, and utilizing a professional methodology while increasing their facility with current software such as Pro Tools, Ableton, and Logic. Students will differentiate between the mixing and mastering processes, exploring the considerations of the mastering engineer, and learn to use industry standard software, including but not limited to iZotope Ozone, delivery of assets across a variety of platforms, as well as assigning metadata.

CMAT-653 Principles of Collaboration for Songwriters (2 credits)

Students enrolled in this experiential and project-based course will synthesize information by surveying current paradigms in modern songwriting and production. Building on the soft skills needed to thrive in a collaborative setting, students will delineate between and experience a variety of roles, including producer, beat-maker, lyricist, top-liner, and others. Artistic and technical facility will be bolstered across a variety of traditional and electronic instruments, as well as singing and manipulation of a variety of DAWs as an integral part of success in this fluid and competitive field.

Electives (2–3 credits; optional)

CMAT-504 Hip-Hop Production (2 credits)

Students enrolled in this course will learn how to create rap songs using a variety of approaches culled from over 40 years of hip-hop recordings. Emphasis will be placed on project based assignments that will have students exploring the compositional, collaborative, and recording techniques of hip-hop.

Students will be able to explore the cyclical nature of creating rap songs through the genesis of the DJ’s crates, to the creation and development of song seeds, to the polishing of finished songs, and finally back to the DJ’s crates. The class will culminate in a live mix and mashup of student’s songs.

CMAT-516 EDM Production, Techniques and Applications (2 credits)

Students enrolled in this class master the cultural, technical, and compositional origins of electronic dance music by analyzing and creating music in a wide variety of dance music styles and then applying these new techniques to the musical styles that the individual student is most passionate about.

Fundamental to electronic dance music creation is a deep exploration of timbre through the use of digital audio workstations, effects, synthesizers, and samplers. This embrace of sonic exploration has enabled dance music to be an experimental space for new sounds that eventually move to pop and musical theater. Each dance music style has a unique cultural origin which is explored, recognized, and carefully considered in the application of these techniques and sounds into other styles.

By splitting the class experiences between deep technical lessons using industry standard tools, studying the stories of the people behind the music and the application of those techniques into a wide variety of contemporary styles, students are prepared to innovate in the contemporary music styles of their choice.

CMAT-518 Music Video Production (2 credits)

Students enrolled in this course produce high-quality music videos that tell the story of a song in a visually compelling fashion. At their best, music videos are mini movies that capture the emotional context of a song visually and can even expand on the story of the song’s lyrics. Through the use of standard movie-production teams, schedules, lighting, camera, and post-production techniques students gain real-world experience on professionally-run movie productions before applying these techniques in their own productions. The class experience includes analysis of music video examples, hands-on practice in standard film roles, technical exercises with professional equipment and software, and creative experiments with innovative filming and post-production techniques.

CMAT-567 Creative Media Ensemble (1 credit)

Students enrolled in this ensemble will work collaboratively to generate professional-level audio and video productions. Due to the unique nature of the Creative Media and Technology program the concept of a "musical ensemble" is expanded in this course to include the technical crew as equals in the creative process. BerkleeNYC creative media ensembles include band members, photographers, lighting designers, sound engineers, and video artists working cooperatively and as equals toward a professional-level final production.

Third Semester (Summer)

Culminating Experience

CMAT-695 Culminating Experience Seminar (6 credits)

Students enrolled in this course will receive detailed feedback as they refine, plan, and accomplish milestones in the creation of their culminating experience projects. Design thinking methods and the principles of entrepreneurship, innovation, and creativity will be applied to the specific requirements laid out for the realization and documentation of each culminating experience thesis project.

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.

SJSU

MUSC 100W(Z) - Written Communication II

Examines the process of critique, creative description, research, and professional communications central to the performing arts. Students develop writing skills through the study of varied formats focused on the arts.

MUSC 110 - Baroque and Classical Music History

Exploration and survey of the Baroque and Classical periods with study of styles, composers, works, music theory, performance practices, and cultural and intellectual history. Application of research and library skills through research assignments.

MUSC 167 - Electro-Acoustic Music I

Overview of electro-acoustic studio production/research techniques and hands-on study of analog, digital and hybrid synthesis techniques related to composition and performance. Introduction to signal processing, MIDI and basic software/hardware systems applications.

MUSC 111 - Romantic and Modern Music History

Exploration and survey of Romantic and Modern classical music with study of styles, composers, works, music theory, performance practices, and cultural and intellectual history. Demonstration of research and library skills through a term paper.

MUSC 168 - Electro-Acoustic II

Continuation of MUSC 167, covering advanced synthesis, programming and production. Development of strategies for sound design and music composition toward applications in studio and performance environments. Introduction to algorithmic composition.

MUSC 117(V) - Music and Culture in Latin America

Traces development of musical traditions in Latin America. Analyzes formation of musical styles resulting from socio-political, cultural and economic processes.

MUSC 120(S) - Worlds of Jazz

Course approaches jazz as part of American and global cultural history, exploring the changing social contexts in which jazz musicians in the US and abroad have worked and lived throughout the 20th century and today.

MUSC 170A - Fundamentals of Sound Recording

Beginning techniques in studio sound and music recording: terminology, tape editing, overdubbing, microphone technique and production techniques.

MUSC 170B - Intermediate Sound Recording

Intermediate sound recording and processing techniques in audio production: emphasis on microphone techniques, analog processing and multi-track production.

MUSC 180 - Individual Studies

Special topics or projects by arrangement with instructor. Course is repeatable up to 4 units of credit toward graduation.

MUSC 182 - Senior Project

Senior capstone project for B.A. in music. By advisement and according to degree requirements either a senior thesis, lecture/demonstration or lecture/recital.

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

MUS 101 - Theory of Music I

A study of music's structural elements and their usage, directed toward intelligent interpretation and informed performance. MUS 101 covers the fundamentals of musical construction, including scales, keys, chords, meter, and species counterpoint.

MUS 102 - Theory of Music II

A study of music's structural elements and their usage, directed toward intelligent interpretation and informed performance. MUS 102 covers diatonic harmony, phrase and period structure, sequences, and applied dominants.

MUS 151 - Theory of Music: Aural Skills I

Practice in rhythmic and melodic reading of music and its reproduction through singing, dictation, and contextual listening of musical excerpts.

MUS 152 - Theory of Music: Aural Skills II

Practice in rhythmic and melodic reading of music and its reproduction through singing, dictation, and contextual listening of musical excerpts.

MUS 221 - Music Technologies

Introduces students to the fundamentals of music technology in the context of its historical and cultural use. Scientific foundations of acoustics, digital audio, and audio engineering as well as technical skills for music production and notation will be addressed. Participants will learn the skill-based foundations of music technology through hands-on projects. Critical discussion will consider the social impact of contemporary and historical systems of recording, notation, and dissemination. Application in the fields of interaction design, music entertainment, game design, digital signal processing, electrical engineering, music education, acoustics, and mass communications will be explored.

MUS 304 - Electronic Music

This second-level electronic music class emphasizes composition as well as technical skills. Students further develop skills and knowledge covered in MUS/IMS 221, such as the use of Digital Audio Workstations such as Ableton Live and Reaper, more advanced areas of acoustics, and issues of production, mixing, and mastering. A broad range of styles are covered.

MUS 201 - Theory of Music III

A study of music's structural elements and their usage, directed toward intelligent interpretation and informed performance. MUS 201 covers modulation, chromatic harmony, tonality in popular music, and traditional tonal forms.

MUS 202 - Theory of Music IV

A study of music's structural elements and their usage, directed toward intelligent interpretation and informed performance. MUS 202 covers post-tonal techniques used in music of the twentieth century and beyond, including pitch-centricity, pitch-class sets, serialism, and sonic experimentalism. Final project is a researched analysis of a complete piece as part of Departmental Assessment Plan.

MUS 160/161 - Functional Piano I/II

Beginning/Elementary level group piano instruction for music majors preparing to meet the piano proficiency requirement.

MUS 185 - The Diverse Worlds of Music

An investigation of music as it exists in diverse areas around the world. The approach will be ethnomusicological, best defined as an exploration of music and its relationship to human culture.

MUS 186 - Global Popular Music

This course is a survey of popular music throughout the world. Through the study of specific cultures and repertories, students will explore and engage in popular music in various cultural contexts in the United States, Europe, Asia, Africa and Latin America. The goal is to give students a broad understanding of what exactly is popular music, how it can be defined, and the differences and similarities amongst diverse popular music traditions.

MUS 308 - Audio Recording Techniques

This course will teach students the steps required to successfully complete a multi-track recording and mixing project. Students will learn microphone techniques, the signal flow of the recording console and patch bay, signal level management, proper creation of headphone (cue) mixes, and other tasks necessary for basic multi-track recording projects.

MUS 211 - History of Western Music

History of Western music from antiquity to the present placed in global context. Music and society; analysis of representative styles from scores.

MUS 212 - History of Western Music

History of Western music from antiquity to the present placed in global context. Music and society; analysis of representative styles from scores.

MUS 139 - Chamber Music Experience

Completion of a chamber music experience

MUS 287 - Enter the Diva: Women in Music

American women in music from 1900 to present. Women have made considerable contributions to the various genres and traditions that define American music. From popular forms to concert music there are numerous women who have constructed a musical discourse that chronicles their experiences in America and their conceptions of womanhood. This course is designed to chronicle the experiences of these women musicians and vocalists and discuss their musical approaches. Discussions include traditional music practices as well as contemporary popular music styles.

University of Miami

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