Music & Technology Courses

During this course, we will review Western Medieval and Renaissance art music from the 2nd century B.C. to 1600 A.D. from several perspectives: as individual masterworks, as representatives of various composers, as examples of particular styles and forms, as analytic "problems," and as artworks derived from changing social circumstances. We will emphasize the development of skills in talking and writing "about" monophonic, liturgical and polyphonic music. The course will include lectures and class discussions, assigned readings, written assignments, and periodic examinations.

In this course, student will review western Baroque to Classic music from 1600 to 1780, from several perspectives: as individual expressions of various composers, as examples of particular styles and forms, as analytic problems, and as artworks derived from changing social circumstances. This course emphasizes the development of skills in talking and writing about piano, pipe organ, orchestral and early opera music. Some composers include Bach, Vivaldi, Purcell, Pachebel, and Handel. The course will in discussions, assigned readings, oral presentations, and periodic examinations. Goals: To learn by reading notation and listening to samples of the earliest forms of music; To acquire verbal skills which are needed to explain music styles; To learn about the culture of the time which inspired the compositions. Outcomes: This is a continuation in Music History commencing with the earliest forms of the Baroque era from 1600 to the Classic Era near through the 1700's The student will receive an overview of the styles, learn about the social system of the period which directed the style and will also learn specifics about individual instruments which were used to create the sound.

The cultural convergence of music, performance, theater, and visual art has variously been termed multimedia, hybrid arts, intermedia, interdisciplinary arts, and transmedia, among others.  This course looks at how artistic disciplines inform one another and how parallel developments in technology have played a significant role in the history of the arts and music, from early tribal rituals to our contemporary digital age.  Organized as a historical survey of technology and the arts, the course will move beyond the idea of the arts as simple modes of expression to consider how it has been an active site of cultural practice.  The course will begin with the concept of “techne,” first used in antiquity, as a means of establishing the philosophical basis of creative practice and showing the fundamental unity between art, science and technology.  Through weekly lectures, readings, and discussion, we will explore the many ways that science and technology informs and inspires the creative production.  By the end of the course students will understand the ways in which diverse modalities of artistic practice function as forms of symbolic communication with aesthetic material, cultural and political dimensions.

The development of listening techniques used to aid in the appreciation of classical music; and analysis of representative compositions covering the Baroque, Classical, Romantic and Modern periods.

This is part two of the Music Appreciation sequence. The course aims to guide and strengthen students in developing the skills of active listening in order to increase their enjoyment of ballet music, film music, music theater and opera. To this end, the course strengthens the students' ability to identify and respond to the basic conventions of ballet, film, music theater and opera and the way that the basic musical building blocks - melody, harmony, rhythm, tempo, tone color and form - take creative advantage of these conventions for expressive purposes, including the creation of mood, characterization, narration and storytelling. The course is not intended as a historical survey of the genres of ballet, film music, music theater or opera. Rather, it focuses on important core works from these genres, placed in their historical and stylistic context for purposes of comparison and appreciation. The aim throughout is to focus on works that an interested music lover is liable to hear in the normal course of their musical experience and that form a basis for further in-depth exploration of these genres. At the same time, the course provides, without losing this central focus, at least brief exposure and consideration of selected examples of contemporary pop and commercial music in these and related genres, including hip-hop and music video, that will build on the students' pre-existing interest and enthusiasm. Finally, and unique to the Music and Technology program at Stevens, the course draws special attention, wherever appropriate, to important milestones in the development of music technology and their impact on the development of music in the genres of ballet, film music, music theater and opera as well as related contemporary genres. Prerequisites: None. Group A, 100-level course.

This course begins with a review of the rudiments of music (scales, modes, key signatures, time signatures, rhythm, meter, intervals, and basic acoustical principles) and a review of important compositional trends that have affected the course of Western musical history. Students are then introduced to the triad and seventh chords in all inversions. All theoretical study is accompanied by listening, score analysis, and actual writing. All incoming students should already know how to read music (treble and bass clefs). Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.

With the presumption of no previous formal study, Music Theory I presents the fundamental materials and procedures of tonal music. The students are introduced to elements of music theory, including scales, key signatures, intervals, triads, seventh chords, Roman numeral and figured bass analysis, 4-part writing, and first species counterpoint. Aural skills are developed with the introduction to "fixed-do" solfege.

Music Theory II continues the presentation of the material and procedures of tonal music with the study of harmonic syntax as it pertains to tonal cadences, intermediary harmonies modulation and tonicization in major and minor, and fundamental concepts of diatonic sequences. Students continue their mastery of 4-part writing with Roman numeral and figured bass analysis and undertake writing assignments in second and third species counterpoint in two voices. Aural skills are developed with alto clef "fixed-do" solfege primarily in minor. 

This course introduces students to theoretical and practical experiences in interdisciplinary production technologies, with an emphasis on visual and aural design principles. Projects may include creating and editing digital images, music, sound, video, text, and motion graphics.  Students will work in teams to create projects. Not for general Humanities credit.

This course involves production tools available in hardware and software utilized to make compositions and sound tracks for an array of visual and live performance environments. The course provides an introduction to these areas, offering background important to other courses in the program that students may take in the future. Topics include the music business, general recording studio protocol, MIDI (Musical Instrument Digital Interface), basic recording techniques with ProTools, techno music production sequencing with Digital Performer, synthesizer history and programming, electronic music and synthestration, interactive applications such as MAX, sound design, digital sampling for visual art support with Mach 5, and sound-effect libraries, music programs for the Web Quicktime, Real Audio, and Windows Media Player applications, mastering with ProTools Plug-Ins, Peak, Roxio Jam and Toast, and MP3 creation and web uploading and distribution with e-commerce.

The Musical Instrument Digital Interface (MIDI) revolutionized the production world of electronic music. This course will explore the fine details of the code, as well as the everyday studio and stage use of the protocol. The student will explore all types of synthesis techniques via keyboards, tone modules, and software plug-ins. There will also be an overview of traditional electronic music from the last century to the present. In the weekly lab, the student will explore the software and hardware interconnection process and create an artistic experiment in electronic music as a final project.

In order for students to acquire the most basic and fundamental piano techniques, students will undertake rudimentary exercises designed to facilitate the most common fingering techniques and hand positions. Students will be required to demonstrate the ability to play major scales, simple arpeggios, and develop muscle memory for basic intervals. By the end of the semester, students should be able to read 2 part treble and bass compositions.

Piano II is the second in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills.

Piano Class 4 is the fourth class  in a four semester sequence of group piano classes offered by the Music and Technology Program.  The class concentrates on advanced piano skills including the development of a contemporary repertoire, advanced piano technique, advanced concepts in keyboard improvisation, score reading and accompaniment techniques.

The primary focus of this course will be the theoretical study of sound and light wave theory as it relates to productions techniques:  for audio, the basics of transducer technology and signal flow; for vision, electromagnetic waveforms, theory of optics, and the different applications of capturing visuals through digital means.  At the completion of the course, students will be able to understand wave theory, transducer theory, basic acoustic properties of sound and hearing, basic understanding of characteristics of light and color, signal flow and practical applications of the above.  Ultimately students will have the theoretical foundations to develop their audio/visual engineering skills as an art form. Not for general Humanities credit.

Fundamentals of sound recording technology with focus on composer-operated tools to generate the art. Presents an understanding of the terms and basic skills needed to make quality recordings of the art on the "ProTools" non-linear based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will experience the producing and recording of a multi-track song project at the completion of the course.

Mixing consoles in project studios will be explored and more advanced techniques in dynamics, equalization, reverberation, and signal processing. Students will meet in small groups for at least four hours a week to execute organized studio "hands on" lab exercises. Students will experience the producing and recording of a more advanced multi-track song project at the completion of the course. Does not fulfill general humanities requirements; may be taken as a free elective.

Webtools for the Arts will examine current internet technologies and web portal developments and their application to the Arts.  Through the implementation of basic principles of php, MySql, html, Java and other webtools, students will learn to not only incorporate media content representing their particular interest in the arts but also implement authentication and Ecommerce tools, customize, embed and implement external web content, explore creative and alternative blog usages and explore the next generation cloud environment. Not for general Humanities credit.

This course will provide students with the fundamental understanding of the role and construction of software-based musical instruments. The course will focus on the development of skill-sets in commercial and open-source platforms. Students will also be introduced to low-level coding, providing the opportunity to develop and contribute original control and audio-rate externals for prominent music production environments.

Music Theory III continues the presentation of the material and procedures of tonal music with the study of elements of melodic and rhythmic figuration, dissonance and chromaticism, modal mixture, and an advanced examination of applied chords and diatonic modulation. Students undertake writing assignments in 4th and 5th species counterpoint in two voices. Species counterpoint is incorporated into 4 part-writing exercises. Aural skills are developed with and chromatic alterations. 

Music Theory IV continues the presentation of the material and procedures of tonal music with a continued study of dissonance and chromaticism including 7th, 9th, 11th and 13th chords, Neapolitan II, Augmented Sixth chords, and chromatic voice leading techniques. Students undertake writing assignments in species counterpoint in three voices.  Aural skills are developed with more complex "fixed-do" solfege primarily in mixed modes with chromatic alterations.  Does not fulfill general humanities requirements; may be taken as a free elective.

Music Composition is a one semester course that presents a detailed analysis of the techniques of music composition. The course will focus on Form and Structure, Stylistic Movements, and Compositional Techniques. Students will be expected to demonstrate their understanding of all concepts presented in class via a series of quizzes and two significant works they will compose during the course of the semester. Music Composition will deepen the students understanding and implementation of the various techniques of musical composition. Since all students will have completed HMU202 (formerly 302), HMU420 will allow for a stronger and more coherent understanding of the implementation of those concepts and will greatly enhance the students understanding of the concepts presented in HMU 303 & 304 & 405.

Piano III is the third in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 221 or permission of the instructor.

Piano IV is the fourth in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 322 or permission of the instructor.

Lecture will be based around advanced implementation of recording techniques and procedures in the professional studio environment. Students will end the semester with; a thorough understanding of large frame in-line audio mixing consoles, additional advanced microphone placement techniques, and understanding of transducer experimentation. Synchronization between analog machines and digital audio workstations and MIDI interfaces will be explored. The student will gain the ability to troubleshoot and avoid externally generated noise in an audio system. Students will experience the entire engineering process that goes into integrating tracks from a live recording session with songs, from running the original recording session to producing the final mix. Does not fulfill general humanities requirements; may be taken as a free elective.

As the final semester of Sound Recording Arts, students are expected to fully understand the basic principles of audio engineering and the studio environment as a workplace. This class is designed to specifically address digital audio production. Although many of the topics have been mentioned in previous classes, course work will require in depth analysis of the many elements of this production format. Additionally, we will be studying in depth, advanced audio techniques. Students will be required to bring an audio example every class to be evaluated and attempt to recreate using the studio as lab. By the end of the semester, students will understand advanced principals of digital recording and the practical application thereof. Additionally, students will have in depth experiential knowledge of recording practices and advanced production techniques. Does not fulfill general humanities requirements; may be taken as a free elective

This course is an introductory survey of the music of the Eastern Mediterranean as explored by Traditional and Modern Turkish music. It explores the Balkan, Greek, and Persian influences from earliest times as well as Western composition and idioms. Modern jazz, rock, dance, and video influences will be examined, as well.

This course deals with the basic principals of physics as it relates to sound.   Sound wave transmission, musical instrument sound vibration, transducer theory, room acoustic design and isolation design are discussed and explored. Recording Studio design will be explored and the mysteries of the room "appearance" will be explained. The more informed an individual is about the topic of acoustics; the art of music production becomes more efficiently achieved.   The student will complete the course with a thorough understanding of acoustical design techniques.   This knowledge will not only prepare the student for professional studio design and construction (music, audio/video for post production), it is also applicable in understanding the environments in which they might create productions.

This course traces the development of black popular music from its earliest roots in northwest Africa to the urban centers of the United States.

The development of listening techniques used to aid in the appreciation of classical music; and analysis of representative compositions covering the Baroque, Classical, Romantic and Modern periods.

A survey and analysis of representative composers through critical listening and analysis of important music literature.

Techniques in how to listen and what to listen for. History of the idiom. Analysis of outstanding performances and styles.

Course begins with a review of the rudiments of music   (scales, modes, key signatures, time signatures, rhythm, meter, intervals and   basic acoustical principles) and a review of important compositional trends   that have affected the course of Western musical history.  Students will then   be introduced to the triad and seventh chords in all inversions.  All   theoretical study will be accompanied by listening, score analysis and actual   writing.

Please contact the Registrar for more information.
Phone: (201)216-5555
Fax: (201)216-8030
E-mail: registrar@stevens.edu

This course is an exploration of traditional orchestral instruments. The student will learn fine details related to the characteristics of instruments in the orchestral family with classroom examples of masterpieces in the classical repertoire, as well as by experiencing either live demonstrations or sampled demonstrations by the instructor. The student will learn the basics of expanding a piano score to woodwind, brass, and string quartets.

This is part two of a two-semester sequence. Whereas Orchestration I explored the mechanical aspects of the orchestra and presented the physical and technical boundaries of each instrument contained therein, Orchestration II explores the aesthetic principals engaged when writing for this most unique subject, and the student will be introduced to the art of conducting. In addition to completing the Adler text, students will spend significant time in the MAC Lab realizing their orchestrations of the standard literature from Mozart to Penderecki. To this extent, we will use the new interactive edition of the classic Principles of Orchestration by one of history's greatest orchestrators, Rimsky Korsakov. Does not fulfill general humanities requirements; may be taken as a free elective.

 This course involves production tools available in   hardware and software utilized to make compositions and sound tracks for an   array of visual and live performance environments.  The course provides an   introduction to these areas, offering background important to other courses in the   program that students may take in the future.  Topics include the music   business, general recording studio protocol, MIDI (Musical Instrument Digital   Interface), basic recording techniques with "ProTools," techno music production   sequencing with "Digital Performer," synthesizer history and programming,   electronic music and "synthestration," interactive applications such as "MAX,"   sound design, and digital sampling for visual art support with "Mach 5" and   sound-effect libraries, music programs for the web: quicktime, real   audio and windows media player applications, mastering with ProTools "Plug-Ins,"   "Peak," "Roxio Jam" and "Toast," plus "MP3" creation and web uploading and   distribution with e-commerce.

 The Musical Instrument Digital Interface (MIDI)   revolutionized the production world of Electronic Music.  This course will explore the   fine details of the code as well as the everyday studio and stage use of the   protocol.  The student will explore all types of synthesis techniques via   keyboards, tone modules and software plug-ins.  There will also be an   overview of traditional electronic music from the last century to the present.  In   the weekly lab, the student will explore the software and hardware   interconnection process and create an artistic experiment in electronic music as a   final project.

The exciting art of techno music has dynamically transformed over the years, incorporating elements of classical electronic music and cutting-edge high-tech innovations. This course will explore the techniques and enable the student to have a greater understanding of the tools of the trade. Each class will preview examples of the most well known works over the years, and demonstrate the technique, since sounds often recycle years later, i.e., sample loops in current compositions, for example. The students will participate in weekly lab exercises by creating music in the Media Arts Center with state-of-the-art software and will apply advanced music theory skills. The final project shall be a three-song student composition professional "demo." Guest producers will be invited to join us in class. Basic keyboard or iGuitar skills are required.

An introduction and survey of the art of sound synthesis, Electronic Music will focus on synthesizer programming utilizing subtractive synthesis, filter manipulation, voltage control amplifiers and ADSR generators. As well, a historical presentation will expose the student to the evolution of non-acoustic sounds. Weekly labs and assignments will allow the student to implement those synthesis techniques presented in class.  Does not fulfill general humanities requirements; may be taken as a free elective.

HMU 406 explores the integration of audio production for such visual mediums as television, film and interactive games. Through an analysis of various commercial visual media The course introduces 1) the techniques and terminology representing the technical parameters common to both audio and visual producers 2) the psychological impact of sound association 3) the implementation of audio tools in the creation of . ADR (automatic dialog replacement), Music Editing, Sound effects and/or Foley.. 4) An understanding of the commercial marketing impact of sound.

Sound Design calls upon major technical elements from HMU 410-413 from psychoacoustics to sound wave manipulation within the digital to create soundscapes that enhance the art of story telling. The student will learn to create original sound effects, use and manipulate existing sound effect libraries, and identify the audio needs of a visual image. They will use the Digital Audio Workstation (DAW), as instructed in the Sound Recording course series, to integrate audio and visual elements. They will also be able to create a stand-alone soundscape for radio or audio only internet applications. Via lab assignments, students will complete the course with the foundation for an audio portfolio - demo CD.

Fundamentals of sound recording technology with focus on composer-operated tools to generate the art. Presents an understanding of the terms and basic skills needed to make quality recordings of the art on the "ProTools" non-linear based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will experience the producing and recording of a multi-track song project at the completion of the course.

 Lecture will be based around advanced implementation of   recording techniques and procedures in the professional studio environment.   Students will end the semester with; a thorough understanding of large frame   in-line audio mixing consoles, additional advanced microphone placement   techniques and understanding of transducer experimentation.   Synchronization between analog machines and digital audio workstations & MIDI interfaces   will be explored. The student will gain the ability to troubleshoot and   avoid externally generated noise in an audio system.  Students will   experience the entire engineering process that goes into integrating tracks from   a live recording session with songs, from running the original recording   session to producing the final mix.

Please contact the Registrar for more information.
Phone: (201)216-5555
Fax: (201)216-8030
E-mail: registrar@stevens.edu

Contemporary Music Theory is a one semester presentation of the materials and procedures of music emanating from the evolution of Romanticism through Impressionism and arriving at the dismantling of tonality in the 20th century. In this class, melodic, rhythmic and harmonic analysis will transcend the triadic structures of the common period as presented in Music Theory I-IV. Students will be expected to demonstrate their understanding of all concepts presented in class via a series of quizzes and two significant works they will compose during the course of the semester.

This course is an overview of the vast music business world and what a real and successful producer must know to compete in today's commercial music environment. Topics include: discovering an act, training, development, music union memberships, performance, music attorney expectations, management contracts, booking agents, promoters, publishing deals, performance rights organizations, production deals, recording studio management, record deals and labels, interactive media and Web promotion, and distribution. Guest speakers may be invited to class and students may visit "indie" and major label headquarters. All students will be encouraged to participate in the student organized Media Label Club

This course will survey key benchmarks and documents in the history of media technologies while also introducing critical readings of 20th and 21st century media culture, both from the theoretical field of media studies and the creative works of artists, filmmakers, and writers. We will explore how media technologies from print and photography through film, radio, television, video, the Internet, games, and social software have been successively introduced, disseminated, and commodified, and how their mediations have profoundly affected the way we experience and interpret our contemporary society and culture. Students will be required to complete readings every week, to contribute to a class web project including blogs and wiki, and to produce short papers and presentations that respond to and analyze the readings, in-class screenings, and other material we discuss. Prerequisites: none.

The study and performance of popular Concert Band repositories.

The study and performance of modern music.

The study and performance of choral masterworks.

This lecture course, with interactive studio demonstrations, is an introduction and overview of the world of multimedia. The student explores the basics of audio, graphics, photography, and video production through the use of digital audio, medi and music production, digital graphics, and photography and video software.

All Music and Technology majors are required to take four semesters of musical instrument instruction.  After choosing an instrument (subject to availability), the student will be assigned an instructor with whom weekly lessons are arranged.  Lessons are 1 hour/week with grade evaluations based on a combination of homework and in-class performance.  The first two semesters of lessons are taken under HMU 496, while the second two are under HMU 497 and require a recital/performance.                                                

The third and fourth semesters of musical instrument instruction are taken under HMU 497 and require all students to perform in a recital setting to be determined in consultation with the instructor.  Grade evaluations based on a combination of homework, in-class performance and recital performance.        

Upon completion of the Recital requirement (HMU 497), Music and Technology majors must enroll in two additional semesters of Ensemble.  They may complete this requirement in one of two ways: 1) By becoming an active member of a Stevens sanctioned (student life) ensemble, or 2) by participating in a private Ensemble (consisting of at least three members, 66% of whom must be Music & Technology students).  In both cases, there must be faculty supervision and approval.

Thesis tutorial.