Seminar: Music Industry, Technology, and Science
Introduction to intellectual and theoretical frameworks that form Music Industry minor and that scholars of music and music industries have developed to analyze, understand, and perhaps judge what happens out there, including how music business works in financial, legal, global, and artistic terms, how music technologies of recording, reproduction, and consumption operate, and how basic music science from acoustics to brain biology to music perception affects how music is produced and heard.
Internship in supervised setting in community agency or private business. Students meet on regular basis with instructor and provide periodic reports of their experience.
Audiovisual Archiving in 21st Century
Examination of history, present state, and future of audiovisual archives, with specific focus on ethics, copyright, contracts, fieldwork, preservation, and access and issues related to technology, space, budgets, and staffing.
Introduction to basic economics of creative industries, focusing on unique ways music works as industry in U.S. and abroad, how power has shifted but still is held in musical oligopolies, and where career opportunities for musicians and other industry professionals will be in next five to 10 years for students.
Multidisciplinary approach to understanding brain mechanisms mediating music perception, performance, and cognition. Students’ natural interest in music serves as springboard for learning basic concepts about how brain works. Focus on specific themes such as harmony perception, rhythm perception, emotion and meaning in music, and creativity. Designed to help students understand methodologies currently used to investigate brain-behavior correlates. Broad understanding of research topics in cognitive neuroscience, one of three main subdisciplines of neuroscience; introduction to fundamental principles in neurophysiology, psychophysiology, and neuroanatomy, whose basics form foundation for brain imaging, forensic practice, social psychology research, and marketing research; and specific knowledge about brain mechanisms mediating music-related cognitive and emotional functions.
Fundamentals of American law as it applies to entertainment business, with special attention to music and its use in film, television, and new media. Legal relationships in entertainment business and basic business practices. Exploration of legal aspects of process of producing works in entertainment field, from acquisition of rights and talent through production and distribution.
Exploration of legal and business aspects of production and distribution of sound recordings. More detailed practical focus on legal aspects of recording process itself, from initial assembly of material to final distribution and collection of royalties, with material covered also relevant to audio-visual recordings. Introductory presentation on contract, copyright, and trademark law as background to step-by-step process of securing agreements necessary for production and commercial distribution of recordings.
How music industry functions and how products are created, marketed, and consumed. Basic information on production of recordings and legal issues faced by musicians, students, and scholars who use music in their work.
With special focus on songwriting renaissance of rock era, examination of work of greatest songwriters of post-World War II generation (circa 1952 to 1994) and those they have influenced through creative as well as practical industry guidance from current and noteworthy practitioners. Coverage of songwriting, arrangement and record production, music publishing, and record business in 20th and 21st centuries. Guest music industry professionals to demonstrate individual creative processes and discuss their paths to songwriting and their place in world of music.
Help for students to determine what music career best serves their own lives and gives them tools that help them be successful in their lives and careers. Guest speakers, including top music agents, managers, publicists, and performers, to be featured.
Equally for singers using microphones or beat makers using samplers, electronic equipment and procedures permeate music making, and ability to understand their logic is key for any musician today. Practical technical aspects and procedures of equipment and software (sequencers, recorders, mixers, microphones, and so on) most commonly used in contemporary music making. Main sound processing types (equalizers, compressors, reverberation). Fundamental aspects of most widespread music production software and hardware.
As audio technology becomes more ingrained and pervasive in creative life of musicians, it is more important than ever to obtain deep understanding of technological music and audio tools, and concepts behind them, that are available. Examination of certain technological elements in greater depth than in Audio Technology for Musicians I, while applying established concepts to broad range of creative scenarios and applications. Basic familiarity with standard audio workstation software in use in music industry and introduction to foundational theoretical concepts in audio engineering, psychoacoustics, mixing, mastering, and sound recording. Development of critical listening skills through in-class and assigned listening.
Examination of process of founding performing arts organizations, beginning with inspiration to do so, clarifying organization mission, and mechanics of becoming nonprofit corporations; issues of funding, press relations, finding appropriate venues, developing audience; mechanics, legal and routine, of running arts businesses; establishing relationships with other organizations in field; issues of making and distributing recordings. Students create on paper one performing arts organization, including developing mission statement, preparing bylaws, and writing sample grant proposals.
Close look at various genres of rock documentaries and goals, methods, and challenges inherent in making them, with award-winning documentary writer/director. What makes for successful (or unsuccessful) music documentary? Viewed through very specific focus of story and storytelling.
Hands-on introduction to business of music, with emphasis on marketing and media.
Performance-based introduction to popular music styles, forms, and competencies through immersion in studio techniques.
Learning and employment of craft of songwriting. Examination, analysis, and implementation of song structure, lyric and melody writing, arranging, orchestrating, and modern (and primitive) recording techniques. How songwriting has evolved in modern society (since advent of phonograph player/radio), how songs and society affect and reflect one another, and how this informs songs and songwriters.
Introduction to role of music supervisor and creative, logistical, and budget considerations of music supervision. Development of theoretical and practical knowledge, interaction with professionals in field, and practice negotiating music requests and clearances.
Exploration of techniques, methods, and process of music production and larger issues in art of making music. Students learn how to foster and capture performance and emotion in music through variety of methods and tools, including artistic direction in studio and choices made in sound, arrangement, and application of technology.
The digital world for musicians has changed dramatically. Musicians not only have the ability to self-market and create communities directly with listeners, but also can thrive in online communities with influencers and other musicians around world. Digital has transformed not just the way musicians get the word out, but also how they create. Internet marketing has morphed into Internet community crowdsourcing—a very different world for musicians and musical organizations. Study driven by project-based work of current online environments for musicians, organizations, and venues. Students dive into best practices around the world, growing brand, finding target market online, and engaging with the right communities of practice to build their own connections and online portfolio of collaborators.
Consideration of impact of recording technologies (gramophone, tape recorder, Walkman, sampler), broadcast media (radio, television, MTV, Internet), and global capitalism (record labels, advertising, Muzak) on way we consume and are consumed by music. How music functions and malfunctions on records, under movies, behind ads, and in semiotic fabric of everyday life.
Intensive discussion of developments in post-World War II African American popular music, with special attention to musical achievements of Motown Records, Stax, and other rhythm and blues, funk, and soul music centers of production. Relationships between musical forms and cultural issues of 1960s, including Civil Rights Movement, counterculture, black nationalism, capitalism, and separatism, and larger dimensions of African American experience as mediated through groove-based music.
Exercises in electroacoustic orchestration, meta-pitch composition, notation software (Sibelius), sequencing and film scoring software (Logic), text collages (ProTools), and final project.
Examination of influence of music industry on way music is created, performed, listened to, evaluated, and used today. Historical approach taken, beginning with music published in 18th century and continuing through development of audio recordings to MTV and popular music today.
How music industry functions and how products are created, marketed, and consumed. Techniques of pure research, basic and theoretical in nature, contrasted with those of applied research, practical and policy-oriented in approach.
Intensive discussion in seminar setting of selected topics in rock and roll.

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