This course involves production tools available in hardware and software utilized to make compositions and soundtracks 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; and 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.
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. Prerequisite: all incoming students should already know how to read music (treble and bass clefs). For Music and Technology Majors only or permission of instructor.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
Functions of one variable, limits, continuity, derivatives, chain rule, maxima and minima, exponential functions and logarithms, inverse functions, antiderivatives, elementary differential equations, Riemann sums, the Fundamental Theorem of Calculus, vectors and determinants.
Vectors, kinetics, Newton’s laws, dynamics or particles, work and energy, friction, conserverative forces, linear momentum, center-of-mass and relative motion, collisions, angular momentum, static equilibrium, rigid body rotation, Newton’s law of gravity, simple harmonic motion, wave motion and sound. Corequisites: MA 115
Calculus I (3-0-6)
(Lecture-Lab-Study Hours)
Functions of one variable, limits, continuity, derivatives, chain rule, maxima and minima, exponential functions and logarithms, inverse functions, antiderivatives, elementary differential equations, Riemann sums, the Fundamental Theorem of Calculus, vectors and determinants. Close
In this course, we 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. We'll emphasize the development of skills in talking and writing “about” piano, pipe organ, orchestral and early opera music. Some composers include Bach, Vivaldi, Purcell Pachebel & Handel. The course will in discussions, assigned readings, oral presentations, and periodic examinations.
With the presumption of no previous formal study, Music Theory I for Majors 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. Sight singing in treble and bass clef, primarily in Major, develops pitch and rhythmic articulation.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
Techniques of integration, infinite series and Taylor series, polar coordinates, double integrals, improper integrals, parametric curves, arc length, functions of several variables, partial derivatives, gradients and directional derivatives.
Functions of one variable, limits, continuity, derivatives, chain rule, maxima and minima, exponential functions and logarithms, inverse functions, antiderivatives, elementary differential equations, Riemann sums, the Fundamental Theorem of Calculus, vectors and determinants. Close
This course spans the years "1780-1900." We will review western 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” music. Some composers include Hayden, Mozart, Beethoven, Schubert, Schumann, Berlioz, Chopin, Liszt, Mendelssohn, Wagner, Verdi, Brahms, Mussorgsky & Tchaikovsky. The course will include lectures and class discussion.
Music Theory II for Majors 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. Prerequisite: HMU 301 Music Theory I.
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 today's music composition world, artists may accelerate their potential by having a basic understanding of sound recording technology, since this competitive field is becoming more dependent on composer-operated tools to generate the art. This course will give students an understanding of the terms and basic skills needed to make quality recordings of their art on the "Pro Tools" non-linear-based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. 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 basic multi-track song project at the completion of the course.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
This is a first course in computer programming for students with no prior experience. Students will learn the core process of programming: given a problem statement, how does one design an algorithm to solve that particular problem and then implement the algorithm in a computer program? The course will also introduce elementary programming concepts like basic control concepts (such as conditional statements and loops) and a few essential data types (e.g., integers and doubles). Exposure to programming will be through a self-contained user-friendly programming environment, widely used by the scientific and engineering communities, such as Matlab. The course will cover problems from all fields of science, engineering, and business.
The catalogue tells you that this course spans the 20th century; in actuality, we will start in the late 19th century. We will review western art music 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” music. Some composers include Mahler, Debussy, Ravel, Schoenberg, Webern, Stravinsky, Bartók, Ives, Copland, Varese, Babbitt, Boulez, Reich, Stockhausen and more. The course will include lectures and discussions, assigned readings, oral presentations, written papers, and periodic examinations.
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.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
As the final semester of Audio Engineering Sciences, 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. Students should also obtain at least one subscription to an industry periodical. Such titles include: Mix Magazine, EQ magazine, Pro Sound News, Studio Sound, Electronic Musician. Each student will write a research paper. The topic of the research paper will related to some aspect of digital audio. The topic for this paper must be approved by the instructor by mid term exam time. The papers will be due the first day of finals.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
As the final semester of Audio Engineering Sciences, 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. Students should also obtain at least one subscription to an industry periodical. Such titles include: Mix Magazine, EQ magazine, Pro Sound News, Studio Sound, Electronic Musician. In addition to weekly homework assignments, each student will write a research paper. The topic of the research paper will related to some aspect of digital audio and will use elements of the recording project for examples. The topic for this paper must be approved by the instructor by mid term exam time. The papers will be due the first day of finals.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
In this course, students explore the tools and techniques of advanced writing and research. Students write four research papers and give several oral presentations. This course is required for single degree B.A. students and strongly recommended for double degree students.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
An individual program of study arranged between student and instructor. A tutorial plan must be prepared (and presented to the Tutorial Committee of the Department of the Humanities) outlining the program and indicating the nature and scope of the project (generally a written paper). Upon completion of the program, the student receives a grade and credit for a Humanities elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
An individual program of study arranged between student and instructor. A tutorial plan must be prepared (and presented to the Tutorial Committee of the Department of the Humanities) outlining the program and indicating the nature and scope of the project (generally a written paper). Upon completion of the program, the student receives a grade and credit for a Humanities elective.
