MI Catalog

1
MISSION STATEMENT
Musicians Institute is dedicated to inspiring artistic and academic excellence while
preparing students for careers in the music and entertainment industry. Our cutting-
edge educational offerings provide the information, skills and expertise necessary for
musicians and creative professionals to achieve their goals. We strive to develop a
diverse array of talented individuals who can enrich the global community with their
artistic contributions.
INSTITUTIONAL OBJECTIVES:
Musicians Institute strives to:
• Offer curricula focused on developing essential knowledge and practical skills.
• Provide a diverse faculty with active professional expertise and experience.
• Train students in facilities designed and equipped according to professional music and entertainment industry
standards.
• Emphasize current applications in the context of historical and current trends and influences.
• Emphasize the exploration of global and experimental musical influences.
• Provide students with regular access to successful visiting artists and professionals.
• Provide resources, facilities, and support for professional and creative collaboration, the development of their craft
and networking opportunities.
• Provide resources, facilities, and support to prepare students for careers in the music and entertainment industry.
• Create an institutional-wide culture that celebrates diversity, is positive, and inspirational to the community at large.
DIVERSITY STATEMENT
Musicians Institute is committed to fostering an inclusive and diverse environment for the community it serves. Members of
the MI community include students, faculty, administration, families, and visiting artists. As an institution that is dedicated to
preparing students for careers in the diversified music and entertainment industry, MI strives to cultivate talented individuals
from across all backgrounds with conscious efforts to enrich the global public.
1
NOTICE
As a prospective student, you are encouraged to review this Bankruptcy Code (11 U.S.C. Sec 1101 et seq.)
catalog prior to signing an enrollment agreement. You are
also encouraged to review the School Performance Fact
Sheet, which must be provided to you prior to signing an NO GUARANTEE OF EMPLOYMENT
enrollment agreement. While Musicians Institute provides no guarantee that
employment will result from attending or completing any
program offered by the institution, we are dedicated to
FACULTY QUALIFICATIONS assisting students in finding professional opportunities. For
In keeping with Musicians Institute’s mission, MI recognizes more information on our Artist Support Center (formerly
the importance of real-world music industry experience known as Career Development Office), visit www.mi.edu.
and academic credentials in our teaching positions. In For more information about our graduation rates, the
order to provide students with the most current and median debt of students who completed the program,
competitive skill set and career preparation, MI weighs both and other important information, please visit our website
professional experience and academic accomplishments at: www.mi.edu/state-and-federal-student-consumer-
when evaluating the assets of potential faculty members. disclosures
APPROVAL AND ACCREDITATION QUESTIONS AND COMPLAINTS

Musicians Institute is a private institution that is approved Students are encouraged but not required to refer any
to operate in the State of California by the Bureau for questions or complaints regarding this catalog to Musicians
Private Postsecondary Education. Such approval to operate Institute. Any questions a student may have regarding
requires compliance with state standards as set forth in the this catalog that have not been satisfactorily answered by
Ed. Code. MI has been an accredited institutional member the institution may be directed to the Bureau for Private
of the National Association of Schools of Music since 1981. Postsecondary Education:
The National Association of Schools of Music is recognized
by the United States Department of Education (USDE). The Bureau for Private Postsecondary Education
2535 Capitol Oaks Drive, Suite 400
Sacramento, CA 95833
ACCURACY OF INFORMATION Website: www.bppe.ca.gov
Information in this catalog is accurate as of the date of
Toll free: (888) 370-7589 / Phone: (916) 431-6959
printing/publication. Catalogs are updated and published
Fax: (916) 263-1897
on an annual basis. MI reserves the right to revise or cancel
the programs, courses, activities, or services described
A student or any member of the public may file a
herein without prior notice. Applicants are advised to
complaint about this institution with the Bureau for Private
confirm their availability prior to enrollment. At all times,
Postsecondary Education by calling (888) 370-7589 (toll-
the information contained in the digital/online version of
free) or by completing a complaint form, which can be
the catalog takes precedence over this printed version.
obtained on the bureau’s website: www.bppe.ca.gov.
Please refer to the index of addenda to this catalog at the
end of the online version for information and updates.
National Association of Schools of Music
11250 Roger Bacon Drive, Suite 21
This catalog is available to students, members of the public, Reston, Virginia 20190-5248
and interested parties via the MI website: mi.edu/musicians- Telephone: 703.437.0700
institute-course-catalog/, by request to MI Admissions
Email: info@arts-accredit.org
(admissions@mi.edu), or by calling MI at (800) 255-7529.
In addition to the above, students are provided digital
access to the course catalog during their initial enrollment/ CONTACT MUSICIANS INSTITUTE
registration process, and on an annual basis during 6752 Hollywood Blvd. Hollywood, CA 90028
subsequent registration periods. Toll free: (800) 255-7529
Local: (323) 462-1384
Musicians Institute does not have a pending petition in Web: www.mi.edu
bankruptcy, is not operating as a debtor in possession,
has not filed a petition within the preceding five years, or
has not had a petition in bankruptcy filed against it
within the preceding five years that resulted in
reorganization under Chapter 11 of the United States
2 THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. 3
ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT WWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS
TABLE OF CONTENTS TABLE OF CONTENTS
Vocal 104 Music Business 158
Bachelor of Music in Songwriting Certificate 167
Songwriting & Production 106 Bass 169
Bachelor of Music Minor addition 109 Drum 174
Guitar 179
MASTER OF MUSIC DEGREE
Keyboard Technology 186
Master of Music in Performance 111
Vocal 191
NON-CERTIFICATE 114
Bachelor of Music 196
Summer Shot 115
Bachelor of Music in Composition 198
MI Select & MI Select Express 115
Bachelor of Music in Performance 203
Pro Tools Certification 116
Bass 208
CAMPUS 118
Drum 209
Main Complex 122
Guitar 210
MISSION STATEMENT 1 Songwriting 52 Audio Engineering Studios 123
Keyboard 211
Independent Artist Studios 123
NOTICE 2 ASSOCIATE DEGREES 54
Vocal 211
Production Labs 124
ACADEMIC CALENDAR 6 Associate of Art in Performance
Bachelor of Music in
Bass 57 DJ Performance & Production Labs 124
CERTIFICATE & DEGREE 8 Songwriting & Production 212
Drum 62 Production Studios 124
NON-CERTIFICATE 12 Common Course 218
Guitar 67 Instrument Specific Studios 124
CERTIFICATE Counseling and Practice Facilities 125 Master of Music in Performance 222
Keyboard Technology 72
Entertainment Industry Studies Music Library 125 ADMISSIONS 226
Vocal 82
Audio Engineering 15 Special Facilities/ Services 126 TUITION & FEES 234
Associate of Science in Music Business 87
DJ Performance & Production 20 Associate of Science in Live Music Event Additional Facilities 128 FINANCIAL AID 238
Electronic Music Production 23 Production 89 Guitar Craft- Hollywood 129
Guitar Craft 24 ARTIST & INDUSTRY 244
Associate of Science in Studio Guitar Craft- Nashville 130 SUPPORT CENTER
Independent Artist Development 26 Recording 90 Concert Hall 132 HOUSING 246
Artist / Producer / Entrepreneur 29 Studios & Labs 134 POLICIES 249
Music Business 32 BACHELOR OF MUSIC DEGREE COURSE DESCRIPTIONS 135
Bachelor of Music in Composition 93 ADMINISTRATION 267
Performance Studies Audio Engineering 136
Bachelor of Music in Performance 95 FACULTY BIOS 268
Bass 36 DJ Performance & Production 145
Drum 38 Bass 98 Guitar Craft 148
Guitar 41 Drum 100 Independent Artist Development 150
Keyboard Technology 44 Guitar 101 Artist/Producer/Entrepreneur 154
Vocal 49 Keyboard 102
ACADEMIC CALENDAR ACADEMIC CALENDAR
FALL QUARTER 2018 2019 SPRING QUARTER 2018 2019 2020
Re-Registration August 27-September 22 August 26-September 21 Re-Registration February 25-March 24 February 25-March 23 February 24-March 22
New Student Registration September 24-October 5 September 23-October 4 New Student Registration March 26-April 6 March 25-April 5 March 23-April 7
New Student Orientation October 4 October 3 New Student Orientation April 5 April 4 April 2
Financial Aid Application Deadline 1 week prior to registration 1 week prior to registration Financial Aid Application Deadline 1 Week prior to registration 1 week prior to registration 1 week prior to registration
Quarter Begins October 8 October 7 Quarter Begins April 9 April 8 April 6
*Thanksgiving Break November 22-23 November 28-29 *Memorial Day May 28 May 27 May 25
Final Exams December 17-21 December 16-20 Final Exams June 18-22 June 17-21 June 15-19
Graduation December 22 December 21 Graduation June 23 June 22 June 20
Quarter Break December 23-January 6 December 22-January 5 Quarter Break June 24-July 8 June 23-July 7 June 21-July 5
WINTER QUARTER 2018 2019 2020 SUMMER QUARTER 2018 2019 2020
Re-Registration November 27-December 23 November 26-December 22 November 25-December 21 Re-Registration May 28-June 23 May 28-June 22 May 24-June 21
New Student Registration December 27-January 5 December 26-January 4 December 23-January 3 New Student Registration June 25-July 6 June 24-July 5 June 22-July 2
New Student Orientation January 4 January 3 January 2 New Student Orientation July 6 July 5 July 2
Financial Aid Application Deadline 1 Week prior to registration 1 week prior to registration 1 week prior to registration Financial Aid Application Deadline 1 week prior to registration 1 week prior to registration 1 week prior to registration
*New Year’s Day January 1 January 1 January 1 *Independence Day July 4 July 4 July 4
Quarter Begins January 8 January 7 January 6 Quarter Begins July 9 July 8 July 6
*Martin Luther King Day January 15 January 21 January 20 *Labor Day September 3 September 2 September 7
Final Exams March 19-23 March 18-22 March 16-20 Final Exams September 17-21 September 16-20 September 21-25
Graduation March 24 March 23 March 21 Graduation September 22 September 21 September 26
Quarter Break March 25-April 8 March 24-April 7 March 22-April 5 Quarter Break September 23-October 7 September 22-October 6 September 27-October 11
*School Closed
CERTIFICATE & DEGREE OVERVIEW
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
QUARTER
CERTIFICATE ENTERTAINMENT INDUSTRY STUDIES
SONGWRITING
PERFORMANCE STUDIES
[PART-TIME] AUDIO ENGINEERING, DJ, MUSIC BUSINESS, INDEPENDENT ARTIST DEVELOPMENT
AUDIO ENGINEERING (POST PRODUCTION, LIVE SOUND), MUSIC BUSINESS ENTREPRENEUR
PERFORMANCE STUDIES
ASSOCIATE DEGREES
[PART-TIME] PERFORMANCE STUDIES
ASSOCIATE OF SCIENCE IN MUSIC BUSINESS
BACHELOR OF MUSIC DEGREES BM, MUSIC COMPOSITION
BM, MUSIC IN PERFORMANCE
BM, SONGWRITING & PRODUCTION
MASTER OF MUSIC DEGREES

COMBINED BACHELOR AND
CERTIFICATE
School of Industry Studies BACHELOR OF MUSIC DEGREES
Audio Engineering, DJ Performance & Production, Bachelor of Music in Composition (Scoring for Visual
Artist/Producer/Entrepreneur, Electronic Music Media)
Production, Guitar Craft, Independent Artist Develop-
ment, Music Business, or Songwriting Bachelor of Music in Performance (Contemporary
Styles)
School of Performance Studies Bass, Drum, Guitar, Keyboard, or Vocal
Bass, Drum, Guitar, Keyboard or Vocal
Bachelor of Music in Songwriting and Production
ASSOCIATE DEGREES
Note: For transfer details, please speak with your Admission Advisor or refer to the Transfer section. Associate of Arts in Performance MASTER OF MUSIC DEGREES
Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs; 15 units per quarter for Certificate and Associate Programs. Bass, Drum, Guitar, Keyboard or Vocal Master of Music in Performance (Contemporary
Styles)
8 THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. Associate of Science in Music Business Bass, Drum, Guitar, Keyboard, or Vocal 9
CERTIFICATE & DEGREE BREAKDOWN CERTIFICATE & DEGREE BREAKDOWN
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
QUARTER
CERTIFICATE
Songwriting 30 CREDITS*
School of Industry Studies

Audio Engineering, DJ Performance & Production, Guitar 30 CREDITS*
Craft, Independent Artist Development or Music Business
30 CREDITS**
School of Industry Studies

Guitar Craft // Acoustic Guitar Design // Music Business // 45 CREDITS**
Entrepreneur // Artist/Producer/Entrepreneur
60 CREDITS*
Performance Studies
60 CREDITS**
90 CREDITS*
ASSOCIATE DEGREES
Associate of Arts in Performance Studies
Bass, Drum, Guitar, Keyboard or Vocal 90 CREDITS*
// Combined Emphasis
Emphasis: Audio Engineering, DJ Performance &
Production, Guitar Craft, Independent Artist Development
or Music Business, Electronic Music Production
Associate of Science in Music Business
BACHELOR OF MUSIC DEGREES 180 CREDITS*

Bachelor of Music in Performance (Contemporary Styles)
(Minor in Audio Production or Music Industry Studies**)
Bachelor of Music in Composition (Scoring for Visual Media) 180 CREDITS*
Bachelor of Music in Songwriting & Production 180 CREDITS*

Master of Music in Performance (Contemporary Styles)
COMBINED BACHELOR AND

Note: For transfer details, please speak with your Admission Advisor or refer to the Transfer section.
*Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs; 15 units per quarter for Certificate and Associate Programs
and 7-8 units per quarter for Part-time programs**.
10 THIS CATALOG APPLIES TO ACADEMIC YEAR 2017/2018: OCTOBER 1, 2017 - SEPTEMBER 30, 2018. **30 credits to complete a Minor in the B.M. These courses/credits can be taken and completed at any time. 11
ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT WWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS ***Major in Bachelor of Music in Performance and Bachelor of Music in Composition.
NON-CERTIFICATE NON-CERTIFICATE
OVERVIEW OVERVIEW
1 2 3 4 5 6 7 8 9 10
WEEKS
SUMMER SHOT
Performance & Industry Studies
MI SELECT EXPRESS
MI SELECT
PRO TOOLS CERTIFICATION

Pro Tools 100 Level (User) Certificate WEEKENDS ONLY
Pro Tools 200 Level (Operator) Certificate WEEKENDS ONLY
SUMMER SHOT
Performance & Industry Studies
Bass, Drum, Guitar, Keyboard Technology, Vocal,
Independent Artist Development, Recording, Guitar Building and DJ
MI SELECT and MI SELECT EXPRESS

Performance Studies
Bass, Drum, Guitar, Keyboard Technology or Vocal
PRO TOOLS CERTIFICATION

Pro Tools 100 & 200 Level Certifications
Classes are held on the weekends only
CERTIFICATE
AUDIO ENGINEERING
Through hands-on instruction, students learn to record, mix and master with industry standard
equipment in preparation for the demands of working as an engineer in professional or project-
based recording studios.
30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Recording Techniques 1
Console Operation 1: Neve with Practical Recording 2
Pro Tools 101 & 110 4
The Business of Audio 1
Critical Listening 2
Musicianship for Audio Engineers 1
Mac Basics 1
MAJOR AREA = 28 CREDITS Recording Theory 1
CERTIFICATE
Console Operation I: API 2
Console Operation 2: SSL Duality 2
Pro Tools 201 & 210 4
Mixing Essentials 3
Intro to Live Sound 1
Intro to Post Production 1
Signal Processing 2
ELECTIVES = 2 CREDITS Various 2
Certificate in Audio Engineering Program Learning Outcomes:

1. Demonstrate the ability to operate modern analog and digital audio systems using industry-standard production
techniques and equipment.
2. Demonstrate basic knowledge of audio engineering concepts in theory and in practice, including the principles of
computer basics, signal flow, and signal processing.
3. Demonstrate proficiency in frequency recognition and other critical listening skills.
4. Demonstrate basic musicianship skills and practical knowledge of Western music theory, methods and fundamentals
associated with the creation and production of contemporary, popular music.
5. Articulate a fundamental understanding of common audio post-production and live sound technologies and practices.
6. Articulate a fundamental understanding of basic audio electronics and theory, including soldering techniques related to
professional audio equipment.
7. Articulate a basic understanding of common business practices related to music and professional efforts in the
entertainment industry.
*Based on optimal course load of 15 credits per quarter
CERTIFICATE CERTIFICATE
AUDIO ENGINEERING DJ PERFORMANCE & PRODUCTION
Starting in the Spring 2019 quarter, which begins April 8th, 2019, the Certificate in Audio Engineering will have the following
program table. Please note, this table is for first-time, certificate in audio engineer students, beginning their first quarter in Spring Musicians Institute’s Certificate in DJ Performance and Production is a 2-quarter, 30-unit program for aspiring DJs,
2019. All students previously enrolled before Winter 2019 will have no changes to their program requirements: producers, beat-makers, remix artists, and electronic music composers and performers. Students are provided with
in-depth knowledge and training in the latest technologies, tools and techniques used in contemporary electronic
Q1 Q2 performance and production.
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA 1 MAJOR AREA
AUDIO-101 Recording Techniques I 2 AUDIO-201 Recording Techniques 2 1
AUDIO-102 Console Operation 1: Neve with Practical Recording 2 AUDIO-209 Console Operation 2: API with Practical Recording 2
AUDIO-057 Pro Tools 101 1 AUDIO-157 ProTools 110 2 REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
AUDIO-104 The Business of Audio 2 AUDIO-204 Mixing Essentials I 3
AUDIO-105 Critical Listening 1 AUDIO-206 Intro to Live Sound 1
AUDIO-107 Mac Basics 1 AUDIO-207 Intro to Post Production 1
AUDIO-108 Recording Theory 2 AUDIO-215 Vocal Production 1 COURSE CREDIT
AUDIO-151 Electronics 1 ADIO-208 Analog and Digital Signal Processing 2
AUDIO-106 Musicianship for Audio Engineers 1 ELECTIVES
AUDIO-051 Music Production 1 Various Various 2
AUDIO-140 Recording Studio Etiquette Private Lesson 1-2 4
TOTAL ` 15 TOTAL 15 DAW 1-2:DAW 1: Ableton Live for DJs & 2
MAJOR AREA = 14 CREDITS Electronic Music Producers 1
DJ Set Building 1-2 2
The part-time Audio Engineering Program is designed for individuals wishing to pursue a Certificate in Beat Matching 1-2 3
Audio Engineering who, due to employment, time constraints, family responsibilities, or health reasons,
DJ Software 1: Serato DJ Pro 1
may not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
DJ Software 2: Traktor Pro 1
CERTIFICATE
CERTIFICATE
enrollment in the part-time Audio Engineering program.
Remixing 1
History and Analysis of Recorded 2

PROF. DEVELOPMENT = 5 CREDITS Popular Music 1-2
The Business of Electronic Music 1
Production & Performance 1
AUDIO ENGINEERING Independent Artist Marketing 2
30 CREDITS / 4 QUARTERS*/ PART-TIME
Q1 Q2
Musicianship 1-2 3
CODE COURSE CREDIT CODE COURSE CREDIT MUSICIANSHIP = 7 CREDITS
Song Building 1-2 4
MAJOR AREA MAJOR AREA
AUDIO-102 Console Operation 1: Neve with Practical Recording 2 AUDIO-105 Critical Listening 2
AUDIO-057 Pro Tools 101 2 AUDIO-101 Recording Techniques I 1
AUDIO-106
AUDIO-104
Musicianship for Audio Engineers
The Business of Audio
1
1
AUDIO-140
AUDIO-108
Recording Studio Etiquette
Recording Theory
1
1
AUDIO-107 Mac Basics 1 AUDIO-151 Electronics 2
AUDIO-051 Music Production 1
TOTAL 7 Certificate in DJ Performance and Production Program Learning Outcomes:
TOTAL 8 1. Develop and demonstrate professional-level abilities in fundamental DJ and music producer techniques and
technology, live performance, music production, proficiency in a digital audio workstation, and fluency in both traditional
Q3 Q4 and modern DJ equipment.
2. Develop and exhibit professional depth, versatility and creativity through studies in popular recorded music history,
CODE COURSE CREDIT CODE COURSE CREDIT Western music theory, ear training, rhythmic studies, song arrangement, and stylistic appropriateness as related to the
modern DJ and music producer.
AUDIO-209 Console Operation 2: API with Practical Recording 2 AUDIO-204 Mixing Essentials 3 3. Develop and demonstrate the ability to navigate and manage their career in the modern entertainment industry,
AUDIO-157 ProTools 110 2 AUDIO-208 Analog and Digital Signal Processing 2 through the study of marketing, promotions and entertainment business practices as pertaining to a contemporary
AUDIO-206 Intro to Live Sound 1 AUDIO-215 Vocal Production 1 professional DJ and producer.
AUDIO-207 Intro to Post Production 1 ELECTIVES
AUDIO-201 Recording Techniques II 1 Various Various 2
ELECTIVES This program is new. The number of students who graduate, the number of students who are placed, or the starting salary you can earn after finishing the educational
Various Various 1 TOTAL 7 program are unknown at this time. Information regarding general salary and placement statistics may be available from governmental sources or from the institution,
but is not equivalent to actual performance data.
TOTAL 8
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.
DJ PERFORMANCE & PRODUCTION DJ PERFORMANCE & PRODUCTION
DJ PERFORMANCE & PRODUCTION

The part-time DJ Performance and Production Program

is designed for individuals wishing to pursue a certificate
in DJ who, due to employment, time constraints, family
responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific
requirements and regulations apply to enrollment in the part-
time DJ program.
Q1 Q2
CERTIFICATE
CERTIFICATE
DJ-PL Private Lesson 1 2 DJ-PL Private Lesson 2 2
DJ-058 DAW 1: DAW 1: Ableton Live for DJs 1 DJ-158 DAW 2: DAW 1: Ableton Live for DJs 1
& Electronic Music Producers 1 & Electronic Music Producers 2
DJ-102 Beat Matching 1 1.5 DJ-202 Beat Matching 2 1.5
DJ-103 DJ Software 1: Serato DJ Pro 1 DJ-104 DJ Software 2: Traktor Pro 1
ELECTIVES MUSICIANSHIP
Various Various 2 DJ-207 Song Building 1 2
TOTAL 7.5 TOTAL 7.5
Q3 Q4
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT DJ-101
PROF. DEV.
DJ Set Building 1 1 DJ-201
DJ-209
DJ Set Building 2
Remixing
1
1
MAJOR AREA MAJOR AREA DJ-105 History & Analysis of Recorded 1 PROF. DEV.
DJ-PL Private Lesson 1 2 DJ-PL Private Lesson 2 2 Popular Music 1 DJ-205 History & Analysis of Recorded 1
DJ-058 DAW 1: DAW 1: Ableton Live for DJs 1 DJ-158 DAW 2: DAW 1: Ableton Live for DJs 1 DJ-108 The Business of DJ’ing 1 Popular Music 2
& Electronic Music Producers 1 & Electronic Music Producers 2 MUSICIANSHIP MUBUS-0307 Independent Artist Marketing 2
DJ-101 DJ Set Building 1 1 DJ-201 DJ Set Building 2 1 DJ-106 Musicianship 1 1.5 MUSICIANSHIP
DJ-102 Beat Matching 1 1.5 DJ-202 Beat Matching 2 1.5 DJ-107 Song Building 1 2 DJ-206 Musicianship 2 1.5
DJ-103 DJ Software 1: Serato DJ Pro 1 DJ-209 Remixing 1 ELECTIVES ELECTIVES
DJ-104 DJ Software 2: Traktor Pro 1 PROF. DEV. Various Various 1 Various Various 1
PROF. DEV. DJ-205 History & Analysis of Recorded 1
DJ-105 History & Analysis of Recorded 1 Popular Music 2 TOTAL 7.5 TOTAL 7.5
Popular Music 1 MUBUS-0307 Independent Artist Marketing 2
DJ-108 The Business of Electronic Music 1 MUSICIANSHIP
Production & Performance 1 DJ-206 Musicianship 2 1.5
MUSICIANSHIP DJ-207 Song Building 2 2
DJ-106 Musicianship 1 1.5 ELECTIVES
DJ-107 Song Building 1 2 Various Various 2
ELECTIVES
Various Various 2 TOTAL 15
TOTAL 15
**Beginning Fall, 2018. Part-Time study may not be available for all programs
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs Student financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.
ELECTRONIC MUSIC PRODUCTION ELECTRONIC MUSIC PRODUCTION
The Electronic Music Production Certificate Program at Musicians Institute is a two-quarter, 30-unit postsecondary
educational/vocational program created to provide students with education and practical training sufficient to create a
foundation for a career as an electronic music producer in the contemporary music and entertainment industry.
Students in this program will gain the technical knowledge and professional skills to grow as independent electronic
music producers, beat makers, and remix artists in a variety of musical settings in the industry.
COURSE CREDIT
Private Instruction 1-2 2
Musicianship 1-2 3
MAJOR AREA = 21 CREDITS Keyboard Essentials 1-2 2
Vocal Production 1
Production Advising 1-2 2
CERTIFICATE
CERTIFICATE
Song Building 1-2 4
Remixing 1
Beat Making and Maschine 1
Sound Design w/Ableton Live 1-2 3
Final Project for EMP 2
Plugin Processing 1
STUDIES IN MUSIC = 6 CREDITS Music Mastering 1
DAW 1-2: Ableton Live© for DJs & Electronic
Music Producers 1-2 2
Business of Electronic Music Production 2 Q1 Q2
& Performance CODE COURSE CREDIT CODE COURSE CREDIT
EMP-PL Private Instruction 1 1 EMP-PL Private Instruction 2 1
ELECTIVES = 3 CREDITS Various 3 DJ-106 Musicianship 1 1.5 DJ-206 Musicianship 2 1.5
ARTST-380 Keyboard Essentials 1 1 ARTST-480 Keyboard Essentials 2 1
EMP-115 Vocal Production 1 EMP-202 Production Advising 2 1
EMP-102 Production Advising 1 1 EMP-207 Song Building 2 2
EMP-107 Song Building 1 2 EMP-209 Remixing 1
EMP-016 Beat Making and Maschine 1 EMP-211 Sound Design w/Ableton Live 2 1.5
EMP-111 Sound Design w/Ableton Live 1 1.5 EMP-203 Final Project for EMP 1
Certificate in Electronic Music Production Program Learning Outcomes: STUDIES IN MUSIC STUDIES IN MUSIC
EMP-214 Plugin Processing 1 EMP-216 Music Mastering 1
1. Develop and demonstrate professional production abilities in contemporary electronic music styles through studies DJ-058 DAW 1: Ableton Live© for DJs & 1 DJ-158 DAW 2: Ableton Live© for DJs & 1
in production, digital audio workstations, audio engineering, and sound design, using contemporary technology and Electronic Music Producers 1 Electronic Music Producers 2
techniques. EMP-108 The Business of Electronic Music 1 EMP-208 The Business of Electronic Music 1
2. Build and demonstrate fundamental aptitude, adaptability, and inventiveness through the study of traditional and Production & Performance1 Production & Performance 2
ELECTIVES ELECTIVES
contemporary Western music theory, keyboard proficiency, ear training, song arrangement, and stylistic appropriateness as Various Various 2 Various Various 1
pertaining to modern electronic music.
3. Develop a baseline fluency in entertainment business practices and demonstrate the ability to navigate and self-manage TOTAL 15 TOTAL 15
their career, through studies in copyright law, marketing and promotions, and business contracts.
CERTIFICATE CERTIFICATE /GUITAR CRAFT
GUITAR CRAFT Q1
GUITAR CRAFT // ACOUSTIC GUITAR DESIGN 45 CODE COURSE CREDIT
CREDITS / 3 QUARTERS*
MAJOR AREA
In addition to learning the material taught in the GCRFT-103 Instrument Design 1 2
Certificate program for Guitar Craft, which covers GCRFT-104 Instrument Fabrication 1 6
GCRFT-102 Fretwork & Setup 1 2
electric instruments, students can also learn in the GCRFT-101 Electronics 1 1
specific design, fabrication and finishing requirements GCRFT-105 Instrument Repair 2
of acoustic guitars. PERFORMANCE
Students learn to build an electric guitar or bass from scratch—including design, fabrication, GCRFT-107 Instrument Performance 1 2
wiring, electronics, repair and maintenance. This program provides comprehensive preparation Q2 TOTAL 15
for professions in the fields of instrument manufacturing and repair.
CODE COURSE CREDIT Q3 (Q1 + Q2 ARE THE SAME AS ABOVE)
MAJOR AREA
GCRFT-203 Instrument Design 2 1 CODE COURSE CREDIT
GCRFT-204 Instrument Fabrication 2 6
GCRFT-202 Fretwork & Setup 2 2 EMPHASIS
30 CREDITS / 2 QUARTERS GCRFT-201

GCRFT-206
Electronics 2
Finish Work
1
3
GCRFT-303
GCRFT-304
GCRFT-305
Acoustic Guitar Design
Acoustic Guitar Fabrication
Acoustic Guitar Fixtures
2
5
4
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM* PERFORMANCE
GCRFT-207 Instrument Performance 2 2 GCRFT-306 Acoustic Guitar Finishing 2
GCRFT-307 Instrument Performance 3 2
TOTAL 15
TOTAL 15
COURSE CREDIT Certificate in Guitar Craft (Acoustic Guitar Design) Program Learning Outcomes:
1. Employ the fundamental skills required for maintaining, and repairing electric and acoustic guitars and basses, including fretwork
and setup, woodworking, electronics, and finish work.
2. Demonstrate the ability to design and build a bolt on style electric instrument and an acoustic guitar utilizing knowledge and skills
Instrument Design 1 & 2 3
CERTIFICATE
CERTIFICATE
CERTIFICATE
taught in the program.
Instrument Fabrication 1 & 2 12 3. Distinguish the different tonal qualities produced by different methods of guitar construction, physical and electronic configurations
Fretwork & Setup 1 & 2 4 acoustic body types, wood choices, soundboards, and bracing patterns.
MAJOR AREA = 26 CREDITS 4. Determine how to design or modify instruments to produce different tonal qualities.
Electronics 1 & 2 2 5. Discuss the history of electric and acoustic guitar fabrication and the interrelation between the development of guitar and bass and
Instrument Repair 2 the evolution of contemporary styles of music.
Finish Work 3 6. Utilize professional tools and construct fixtures and jigs for fabricating electric and acoustic guitars and basses.
7. Articulate the relationship between musical style, sound, and instrument design and setup.
GUITAR CRAFT
// SET NECK DESIGN Q3 (Q1 + Q2 ARE THE SAME AS ABOVE)
PERFORMANCE = 4 CREDITS Instrument Performance 1 & 2 **
4 45 CREDITS / 3 QUARTERS*
CODE COURSE CREDIT
With the new Set Neck Design Emphasis, students can
MAJOR AREA
take any additional 15 credits, learning the principles GCRFT-403 Set Neck Guitar Design 2
unique to set neck guitar design, headstock and body GCRFT-404 Set Neck Guitar Fabrication 5
Certificate in Guitar Craft Program Learning Outcomes:
geometry as it relates to design, including selection of GCRFT-405 Template Design & Fabrication 4
1. Employ the fundamental skills required for maintaining, and repairing electric guitars and basses, including fretwork and GCRFT-406 Set Neck Guitar Finishing 2
hardware. Students will be able to demonstrate how
setup, woodworking, electronics, and finish work. GCRFT-407 Instrument Performance 3 2
to design and draw a set neck guitar in a variety of
2. Demonstrate the ability to design and build a bolt on style instrument utilizing knowledge and skills taught in the configurations. TOTAL 15
program.
3. Distinguish the different tonal qualities produced by different methods of guitar construction, physical and electronic Certificate in Guitar Craft (Set Neck Design) Program Learning Outcomes:
configurations. 1. Learn the fundamental skills required for fabricating, maintaining, and repairing electric guitars and basses, including fretwork and setup,
4. Determine how to design or modify instruments to produce different tonal qualities. woodworking, electronics, template design and fabrication, instrument design, and finish work.
5. Interpret the history of electric guitar fabrication and the interrelation between the development of electric guitar and 2. Design and build both a bolt on style and set neck style instrument utilizing knowledge and skills taught in the program.
bass and the evolution of contemporary styles of music. 3. Recognize the different tonal qualities produced by different methods of guitar construction, physical and electronic configurations and learn
6. Utilize professional tools and construct templates for fabricating electric guitars and basses. to design or modify instruments to produce different tonal qualities.
7. Articulate the relationship between musical style, sound, and instrument design and setup. 4. Study the history of electric guitar fabrication and the interrelation between the development of electric guitar and bass and the evolution of
contemporary styles of music.
5. Learn to use professional tools and fixtures for fabricating and maintaining electric guitars and basses.
6. Understanding the relationship between musical style, sound, and instrument design.
NOTICE: Although this program invites students to apply year-round, this program begins during the Fall and Spring
Quarters only. Please refer to the Academic Calendar on pages 6-7 for specific start dates for the upcoming Fall and
Spring Quarters. NOTICE: Although this program invites students to apply year-round, this program begins during the Fall and Spring Quarters only. Please refer to
the Academic Calendar on pages 6-7 for specific start dates for the upcoming Fall and Spring Quarters.
**The Guitar Craft*Based

instrument
on optimal
performance
course load
creditofor15AA
credits
Combined
per quarter
Emphasis
**Part-Time
is only available
study mayin combination
not be available
withfor
instrument
all programs
studies in Guitar or Bass.
INDEPENDENT ARTIST DEVELOPMENT INDEPENDENT ARTIST DEVELOPMENT
Instrumentalists, singers, songwriters, rappers, DJs and producers learn the entire process of creating their own project—
from writing and recording to marketing, publicity, website design and final release. This program is designed to equip
musicians with the various skills needed to independently write, record and market their original material.
COURSE CREDIT
Recording Project 1 & 2 4

Project Advising 1 & 2 2
MAJOR AREA = 11 OR 13 CREDITS DAW 1 & 2 (choose from one platform below) 2-4
- Pro Tools 101 & 110 (4 credits)
DEPENDING ON TRACK
- Apple Logic 1 & 2 (2 credits)
- Propellerhead Reason 1 & 2 (2 credits)
- Ableton Live 1 & 2 (2 credits)
Artist Identity 1
CERTIFICATE
CERTIFICATE
Final Project 2
Applied Entertainment Business 1 & 2 3

PROF. DEVELOPMENT = 9 CREDITS Independent Artist Marketing 2
Visual Media 1 & 2 4
The part-time Independent Artist Program is designed for individuals wishing to pursue a certificate in
Independent Artist who, due to employment, time constraints, family responsibilities, or health reasons,
Musicianship 1 & 2 3 may not be able to undertake a traditional full-time program. Specific requirements and regulations
MUSICIANSHIP = 6 CREDITS apply to enrollment in the part-time Independent Artist program.
Songwriting 1 & 2 3
ELECTIVES = 2 OR 4 CREDITS
Various 2-4
DEPENDING ON TRACK Q1 Q2
AUDIO-057 DAW 1 (credits depend on track) 1-2 ARTST-103 Artist Identity 1
ARTST-101 Recording Project 1 2 AUDIO-157 DAW 2 (credits depend on track) 1-2
ARTST-102 Project Advising 1 1 ARTST-201 Recording Project 2 2
PROF. DEV. ARTST-202 Project Advising 2 1
Certificate in Independent Artist Development Program Learning Outcomes: 2
MUBUS-0360 Applied Entertainment Business 1 1.5 ARTST-203 Final Project
1. Develop and implement professional performance abilities in contemporary commercial music styles as engineers and MUBUS-0307 Independent Artist Marketing 2 PROF. DEV.
producers through studies in audio engineering, music production, and digital audio workstations. CC-307 Visual Media 1 2 MUBUS-0460 Applied Entertainment Business 2 1.5
2
2. Establish and demonstrate professional depth, versatility and creativity through the study of artist identity and branding, MUSICIANSHIP CC-407 Visual Media 2
ARTST-106 Musicianship 1 1.5 MUSICIANSHIP
public relations, visual media and web design as pertaining to a contemporary professional songwriter and producer. SONG-101 Songwriting 1 1.5 ARTST-206 Musicianship 2 1.5
3. Build and exhibit fundamental proficiencies in traditional and contemporary Western music theory, ear training, ELECTIVES SONG-201 Songwriting 2 1.5
rhythmic studies, and songwriting. Various Various (credits depend on track) 1-2 ELECTIVES
Various Various (credits depend on track) 1-2
4. Develop a baseline fluency in entertainment business practices and demonstrate the ability to navigate and self-manage
TOTAL 14.5-15.5
their career, through studies in copyright law, marketing and promotions, and business contracts. TOTAL 14.5-15.5
INDEPENDENT ARTIST DEVELOPMENT W/ PRO TOOLS INDEPENDENT ARTIST DEVELOPMENT W/ ABLETON LIVE
30 CREDITS / 4 QUARTERS*/ PART-TIME 30 CREDITS / 4 QUARTERS*/ PART-TIME
Q1 Q2
Q1 Q2
ARTST-101 Recording Project 1 2 ARTST-102 Project Advising 1 1 MAJOR AREA MAJOR AREA
AUDIO-056 DAW 1 - ProTools 101 2 AUDIO-157 DAW - Pro Tools 110 2 ARTST-101 Recording Project 1 2 ARTST-102 Project Advising 1 1
ARTST-103 Artist Identity 1 MUSICIANSHIP AUDIO-058 DAW 1 - Ableton Live 1 1 AUDIO-158 DAW 2 - Ableton Live 2 1
MUSICIANSHIP ARTST-206 Musicianship 2 1.5 ARTST-103 Artist Identity 1 PROF. DEV.
ARTST-106 Musicianship 1 1.5 SONG-101 Songwriting 1 1.5 MUSICIANSHIP MUBUS-0360 Applied Entertainment Business 1 1.5
ELECTIVES ELECTIVES ARTST-106 Musicianship 1 1.5 MUSICIANSHIP
Various Various 1 Various Various 1 ELECTIVES ARTST-206 Musicianship 2 1.5
Various Various 2 SONG-101 Songwriting 1 1.5
TOTAL 7.5 TOTAL 7 ELECTIVES
TOTAL 7.5 Various Various 1
Q3 Q4 TOTAL 7.5
CODE COURSE CREDIT CODE COURSE CREDIT Q3 Q4

MAJOR AREA
ARTST-201 Recording Project 2 2
MAJOR AREA
ARTST-202 Project Advising 2
1 CODE COURSE CREDIT CODE COURSE CREDIT
PROF. DEV. ARTST-203 2
Final Project MAJOR AREA MAJOR AREA
MUBUS-0360 Applied Entertainment Business 1 1.5 PROF. DEV. ARTST-201 Recording Project 2 2 ARTST-202 1
1.5 Project Advising 2
CC-307 Visual Media 1 2 MUBUS-0460 Applied Entertainment Business 2 PROF. DEV. ARTST-203 2
2 Final Project
MUSICIANSHIP CC-407 Visual Media 2 MUBUS-0460 Applied Entertainment Business 2 1.5 PROF. DEV.
SONG-201 Songwriting 2 1.5 MUBUS-0307 2 2
Independent Artist Marketing CC-307 Visual Media 1 2 CC-407 Visual Media 2
CERTIFICATE
CERTIFICATE
MUSICIANSHIP MUBUS-0307 2
TOTAL 7 Independent Artist Marketing
SONG-201 Songwriting 2 1.5 ELECTIVES
TOTAL 8.5 Various Various
TOTAL 7 1
TOTAL 8
INDEPENDENT ARTIST DEVELOPMENT W/ LOGIC

INDEPENDENT ARTIST DEVELOPMENT W/ REASON
Q1 Q2
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT MAJOR AREA MAJOR AREA
ARTST-101 Recording Project 1 2 ARTST-102 Project Advising 1 1
Project Advising 1 AUDIO-052 DAW 1 - Logic 1 1 AUDIO-152 DAW 2 - Logic 2 1
ARTST-101 Recording Project 1 2 ARTST-102 1
AUDIO-056 DAW 1 - Reason 1 1 AUDIO-156 DAW - Reason 2 1 ARTST-103 Artist Identity 1 PROF. DEV.
MUSICIANSHIP MUBUS-0360 Applied Entertainment Business 1 1.5
ARTST-103 Artist Identity 1 PROF. DEV.
MUSICIANSHIP MUBUS-0360 Applied Entertainment Business 1 1.5 ARTST-106 Musicianship 1 1.5 MUSICIANSHIP
ELECTIVES ARTST-206 Musicianship 2 1.5
Musicianship 2 Various Various 2 SONG-101 Songwriting 1 1.5
ELECTIVES ARTST-206 1.5
Various Various 2 SONG-101 Songwriting 1 1.5 ELECTIVES
ELECTIVES
TOTAL 7.5
TOTAL 7.5
Q3 Q4
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT MAJOR AREA MAJOR AREA
ARTST-201 Recording Project 2 2 ARTST-202 1
MAJOR AREA MAJOR AREA Project Advising 2
1 PROF. DEV. ARTST-203 2
ARTST-201 Recording Project 2 2 ARTST-202 Final Project
Project Advising 2 MUBUS-0460 Applied Entertainment Business 2 1.5 PROF. DEV.
PROF. DEV. ARTST-203 2
Final Project CC-307 Visual Media 1 2 CC-407 2
MUBUS-0460 Applied Entertainment Business 2 1.5 PROF. DEV. Visual Media 2
2 MUSICIANSHIP MUBUS-0307 2
CC-307 Visual Media 1 2 CC-407 Independent Artist Marketing
Visual Media 2 SONG-201 Songwriting 2 1.5 ELECTIVES
MUSICIANSHIP MUBUS-0307 2
Independent Artist Marketing Various
SONG-201 Songwriting 2 1.5 Various
TOTAL 7 1
ELECTIVES Various
TOTAL 7 Various 1 TOTAL 8
TOTAL 8
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM ARTIST/PRODUCER/ENTREPRENEUR PROGRAM
Instrumentalists, singers, songwriters, rappers, DJs and producers learn the entire process of creating their
own project—from writing and recording to marketing, publicity, website design and final release. This program
is designed to equip musicians with the various skills needed to independently write, record and market their
original material.
Q1 Q2
60 CREDITS / 4 QUARTERS CODE COURSE CREDIT CODE COURSE CREDIT
COURSE CREDIT MAJOR AREA
AUDIO-057 DAW 1 Level 1(credits depend on track) 1-2
MAJOR AREA
AUDIO-157 DAW 1 Level 2 (credits depend on track) 1-2
ARTST-101 Recording Project 1 2 ARTST-201 Recording Project 2 2
ARTST-103 Artist Identity 1 ARTST-202 Project Advising 2 1
Recording Project 1-4 8 ARTST-102 Project Advising 1 1 PROF. DEV.
Project Advising 1-4 4 PROF. DEV. MUBUS-0460 Applied Entertainment Business 2 1.5
MUBUS-0360 Applied Entertainment Business 1 1.5 MUBUS-0307 Independent Artist Marketing 2
DAW 1 & 2 (choose from one platform below) 4-6 CC-307 Visual Media 1 2 CC-407 Visual Media 2 2
MAJOR AREA = 19-21 CREDITS - Pro Tools 101 & 110 (4 credits) MUSICIANSHIP MUSICIANSHIP
ARTST-106 Musicianship 1 1.5 ARTST-206 Musicianship 2 1.5
DEPENDING ON TRACK - Logic Pro X 1 & 2 (2 credits) SONG-101 Songwriting 1 1.5 SONG-201 Songwriting 2 1.5
ELECTIVES ELECTIVES
- Propellerhead Reason 1 & 2 (2 credits) Various Various (credits depend on track) 3 Various Various (credits depend on track) 3
- Ableton Live 1 & 2 (2 credits)
Artist Identity 1 TOTAL 15.5
TOTAL 14.5
Final Project for A/P/E 2
CERTIFICATE
CERTIFICATE
Applied Entertainment Business 1 & 2 3
Independent Artist Marketing 2 Q3 Q4
PROF. DEVELOPMENT = 17 CREDITS Visual Media 1 & 2 4 CODE COURSE CREDIT CODE COURSE CREDIT
Media Relations 2
Music Video Bootcamp 1.5 AUDIO-301 Recording Project 3 2 AUDIO-401 Recording Project 4 2
ARTST-302 Project Advising 3 1 ARTST-402 Project Advising 4 1
Music Video Editing w/ Adobe Premiere 1.5 AUDIO-056 DAW 2 Level 1 (credits depend on track) 1-2 AUDIO-156 DAW 2 Level 2 (credits depend on track) 1-2
Vocal Production 1 PROF. DEV. ARTST-403 Final Project for A/P/E 2
MUBUS-0202 Media Relations 2 PROF. DEV.
Social Media Branding for the 2 ARTST-353 Music Video Bootcamp 1.5 ARTST-454 Music Video Editing w/ Adobe Premiere 1.5
Independent Artist 1-2 ARTST-319 Social Media Branding for the 1 ARTST-215 Vocal Production
1.5
Independent Artist 1 ARTST-419 Social Media Branding for the
MUSICIANSHIP Independent Artist 1 1
Musicianship 1-4 6 ARTST-307 Advanced Songwriting For A/P/E 1 1.5 ARTST-406 Musicianship 4 1.5
ARTST-380 Keyboard Essentials 1 1 ARTST-407 Advanced Songwriting For A/P/E 2 1.5
MUSICIANSHIP = 14 CREDITS Songwriting 1 & 2 3 ELECTIVES ARTST-480 Keyboard Essentials 2 1
Advanced Songwriting for A/P/E 1-2 3 Various Various (credits depend on track) 2 ELECTIVES
2
Various Various (credits depend on track)
Keyboard Essentials 1-2 2 TOTAL 14.5
TOTAL 15.5
ELECTIVES = 8-10 CREDITS Various 8-10
DEPENDING ON TRACK
Artist/Producer/Entrepreneur Certificate Program Learning Outcomes:

1. Develop and demonstrate advanced professional abilities in contemporary commercial music styles as engineers and
producers, through studies in audio engineering, production, and multiple digital audio workstations.
2. Develop and exhibit advanced professional depth, versatility and creativity through the study and application of
public relations, marketing and promotions, artist identity and branding, visual media, and web design as pertaining to a
contemporary professional artist, songwriter and producer.
3. Build and exhibit fundamental to advanced aptitude in traditional and contemporary Western music theory, keyboard
proficiency, ear training, rhythmic studies, and songwriting.
4. Develop a*Based
baseline fluency
on optimal in entertainment
course load of 15 credits business
per quarter practices
**Part-Timeand
studydemonstrate the ability
may not be available to navigate and self-manage
for all programs
Financial
Student their career,
Aid maythrough studies
be affected in copyright
by enrollment law,programs.
in Part-Time marketing and Aid
Financial promotions, andconsult
students should business contracts.
with the Financial Aid Office for guidance.
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM MUSIC BUSINESS
For those seeking non-performance careers in the music industry, this program provides the knowledge and practical
Q1 Q2 skills needed for entry-level positions at record labels, marketing and personal artist management firms, or music industry
companies specializing in music publishing and licensing, A&R, entertainment law, live concert touring and more.
AUDIO-057
ARTST-101
MUSICIANSHIP
DAW 1 Level 1(credits depend on track)
Recording Project 1
1
2
ARTST-102
AUDIO-157
PROF. DEV.
Project Advising 1 1
DAW 1 Level 2 (credits depend on track) 1 30 CREDITS / 2 QUARTERS
ARTST-106 Musicianship 1 1.5 MUBUS-0360 Applied Entertainment Business 1 1 REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
ARTST-380 Keyboard Essentials 1 1 MUSICIANSHIP
ELECTIVES ARTST-206 Musicianship 2 1.5 COURSE CREDIT
Various Various (credits depend on track) 2 SONG-101 Songwriting 1 2
ELECTIVES
Various Various (credits depend on track) 1
Music Law 1 & 2 4
TOTAL 7.5
Computers in Business 1
TOTAL 7.5
Record Labels 2
Q3 Q4 Your Music Business Career 2
Agents & Bookings 1
Digital Marketing 2
ARTST-201 Recording Project 2 2 ARTST-202 Project Advising 2 1 Music Publishing 2
PROF. DEV. PROF. DEV. MAJOR AREA = 28 CREDITS Personal Management 2
MUBUS-0460 Applied Entertainment Business 2 1.5 CC-407 Visual Media 2 2
CC-307 Visual Media 1 2 MUBUS-0307 Independent Artist Marketing 2 Media Relations 2
MUSICIANSHIP MUSICIANSHIP Music Distribution 1
CERTIFICATE
CERTIFICATE
SONG-201 Songwriting 2 1.5 ARTST-480 Keyboard Essentials 2 1
ELECTIVES ELECTIVES Concert & Tour Production 2
Various Various (credits depend on track) 1 Various Various (credits depend on track) 1
Music Industry Internship 4
TOTAL 8 TOTAL 7 Networking Strategies 1
Music Licensing & Supervision 2
Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT ELECTIVES = 2 CREDITS Various 2
ARTST-301 Recording Project 3 2 AUDIO-156 DAW 1 Level 2 (credits depend on track) 1
ARTST-103 Artist Identity 1 ARTST-302 Project Advising 3 1 Certificate in Music Business Program Learning Outcomes:
AUDIO-056 DAW 1 Level 1(credits depend on track) 1 PROF. DEV. 1. Define and articulate the current music industry landscape, including how the more specific business areas function
PROF. DEV. ARTST-419 Social Media Branding for the 1 and are interconnected to drive the industry as a whole.
ARTST-319 Social Media Branding for the 1 Independent Artist 2
Independent Artist 1 MUSICIANSHIP 2. Describe and apply the essential skills of primary music business career paths and roles across main industry areas
MUSICIANSHIP ARTST-406 Musicianship 4 1.5 such as personal management/artist management, music publishing and licensing, record label operations including
SONG-101 Songwriting 1 1.5 ARTST-307 Advanced Songwriting For A/P/E 1 1.5 A&R (Artists & Repertoire), music marketing, music distribution, and booking and touring.
ELECTIVES ELECTIVES
Various Various (credits depend on track) 1 Various Various (credits depend on track) 1 3. Employ industry-specific practical knowledge gained from application-oriented projects, and integrate direct business
experience through music business internships.
TOTAL 7.5 TOTAL 7
4. Recall and implement prevailing business practices and strategies applicable to major established music companies as
well as the independent sectors of the industry.
Q7 Q8 5. Relate and integrate additional valuable business insight gained from networking with successful music industry
professionals.
CODE COURSE CREDIT CODE COURSE CREDIT 6. Apply and demonstrate general, transferable business skills, such as those in effective communication, with an
emphasis on applications within the music industry, as well as identify resources to carry out music business research.
ARTST-401 Project Advising 4 2 ARTST-402 Project Advising 4 1 7. Determine particular professional music industry career paths, suited to acquired skills, knowledge and personal
PROF. DEV. ARTST-403 Final Project for A/P/E 2 strengths, to then identify and secure appropriate business opportunities as well as job opportunities at entry level or for
MUBUS-0202 Media Relations 2 PROF. DEV. initial professional advancement.
ARTST-353 Music Video Bootcamp 1.5 ARTST-454 Music Video Editing w/ Adobe Premiere 1.5
MUSICIANSHIP ARTST-415 Vocal Production 1 8. Appropriately analyze and adapt the acquired knowledge and skills to individual and specific industry situations that will
ARTST-407 Advanced Songwriting For A/P/E 2 1.5 ELECTIVES be encountered in a professional career.
ELECTIVES Various Various (credits depend on track) 2 9. Analyze and adapt to new developments and trends in the contemporary music industry utilizing foundational historical
Various Various (credits depend on track) 1
perspective and context.
TOTAL 8
TOTAL 7.5 10. Apply the above-referenced knowledge and skills as a self-managed independent/performing artist.
MUSIC BUSINESS MUSIC BUSINESS
MUSIC BUSINESS Q3 (Q1 + Q2 MUSIC BUSINESS see p. 29)
Q1 Q2
// ENTREPRENEUR CODE COURSE CREDIT
CODE COURSE CREDIT CODE COURSE CREDIT 45 CREDITS / 3 QUARTERS* MAJOR AREA
MAJOR AREA MAJOR AREA MUBUS-301 Music Law 3 2
MUBUS-101 Music Law 1 2 MUBUS-201 Music Law 2 2 MUBUS-303 Start Your Own Record Label 2
In addition to learning the material taught in MUBUS-304 Social Networking & Fan Management 1
MUBUS-102 Computers in Business 1 MUBUS-202 Media Relations 2
MUBUS-103 Record Labels 2 MUBUS-203 Music Distribution 1 the Certificate program for Music Business, MUBUS-305 Showcase Promotion 2
MUBUS-306 Broadcast Strategies 2
MUBUS-104 Your Music Business Career 2 MUBUS-204 Concert & Tour Production 2 students can also develop the financial, legal MUBUS-307 Independent Artist Marketing 2
MUBUS-105 Agents & Bookings 1 MUBUS-205 Music Industry Internship 4
MUBUS-106 Digital Marketing 2 MUBUS-206 Networking Strategies 1 and managerial tools to establish and operate MUBUS-308 Operating a Music Business 2
ELECTIVES
MUBUS-107 Music Publishing 2 MUBUS-207 Music Licensing & Supervision 2 independent music-related businesses, or to Various Various 2
MUBUS-108 Personal Management 2 ELECTIVES
ELECTIVES Various Various 1
manage their own careers as independent
Various Various 1 artists.
TOTAL 15
TOTAL 15 TOTAL 15
MUSIC BUSINESS - ENTREPRENEUR
Q1-Q4 of this program are identical to the Certificate in Music Business (see p. 29).
MUSIC BUSINESS Q5 Q6
The part-time Music Business Program is designed for individuals wishing to pursue a certificate in MAJOR AREA MAJOR AREA
MUBUS-301 Music Law 3 2 MUBUS-304 Social Networking & Fan Management 1
Music Business who, due to employment, time constraints, family responsibilities, or health reasons,
CERTIFICATE
CERTIFICATE
MUBUS-303 Start Your Own Record Label 2 MUBUS-305 Showcase Promotion 2
may not be able to undertake a traditional full-time program. Specific requirements and regulations MUBUS-306 Broadcast Strategies 2 MUBUS-307 Independent Artist Marketing 2
MUBUS-308 Operating a Music Business 2 ELECTIVES
apply to enrollment in the part-time Music Business program. Various Various 2
TOTAL 8
TOTAL 7
Q1 Q2 Certificate in Music Business (Music Entrepreneur) Program Learning Outcomes:

1. Define and articulate the current music industry landscape, including how the more specific business areas function and are
CODE COURSE CREDIT CODE COURSE CREDIT interconnected to drive the industry as a whole.
2. Describe and apply the essential skills of primary music business career paths and roles across main industry areas such as personal
MAJOR AREA MAJOR AREA management/artist management, music publishing and licensing, record label operations including A&R (Artists & Repertoire), music
MUBUS-101 Music Law 1 2 MUBUS-201 Music Law 2 2
MUBUS-104 Computers in Business 1
marketing, music distribution, and booking and touring.
MUBUS-203 Music Distribution 1
MUBUS-105 Agents & Bookings 1 MUBUS-204 Concert & Tour Production 2 3. Employ industry-specific practical knowledge gained from application-oriented projects, and integrate direct business experience
MUBUS-107 Music Publishing 2 MUBUS-206 Networking Strategies 1 through music business internships.
MUBUS-108 Personal Management 2 MUBUS-207 Music Licensing & Supervision 2 4. Recall and implement prevailing business practices and strategies applicable to major established music companies as well as the
independent sectors of the industry.
TOTAL 8 TOTAL 8 5. Relate and integrate additional valuable business insight gained from networking with successful music industry professionals.
6. Apply and demonstrate an expanded range of transferable business skills, such as those in leadership, team building, effective
Q3 Q4 communication and expanding a professional network, with an emphasis on applications within the music industry, as well as identify
resources to carry out music business research.
CODE COURSE CREDIT CODE COURSE CREDIT 7. Determine particular professional music industry career paths, suited to acquired skills, knowledge and personal strengths, to then
identify and secure appropriate business opportunities as well as job opportunities at entry level or beyond or for further professional
MAJOR AREA MAJOR AREA advancement.
MUBUS-103 Record Labels 2 MUBUS-202 Media Relations 2
8. Appropriately analyze and adapt the acquired knowledge and skills to individual and specific industry situations that will be
MUBUS-104 Your Music Business Career 2 MUBUS-205 Music Industry Internship 4
MUBUS-106 Digital Marketing 2 ELECTIVES encountered in a professional career.
ELECTIVES Various Various 1 9. Analyze and adapt to new developments and trends in the contemporary music industry utilizing foundational historical perspective
Various Various 1 and context.
10. Apply the above-referenced knowledge and skills as a self-managed independent/performing artist.
TOTAL 7 TOTAL 7 11. As for being an entrepreneur, fundamentally define, articulate and implement the practical and legal aspects/steps of forming a
business, develop skills to operate and manage the day-to-day functions of a music-related company, and overall business planning.
12. Demonstrate practical skills related to goal-setting, task allocation, research and analysis techniques, measurement and results
analysis, problem solving, and time management.
13. Further distinguish how to evaluate musical talent and music product as prospects from an independent business/company
standpoint, considering both business and artistic/creative goals.
14. Utilize additional marketing and promotional avenues (traditional and digital/internet) for music product and artists, particularly as an
independent record label or entity.
BASS BASS
Students can earn a Certificate in MI’s Performance Studies program for Bass. With an innovative
360-degree approach to music education, MI Certificates are centered on Harmony, Theory and
Ear Training, with core subjects in Reading, Technique and Performance. This Certificate program
provides students with a broad foundation of knowledge and practical experience, encouraging
the rapid development of skills in preparation for a range of professional music performance
situations.
COURSE CREDIT
Private Lesson 1-4 8

Bass LPW 013-203 4
Bass Performance 013-230 8
Bass Technique & Fretboard 011-210 8
MAJOR AREA = 40 CREDITS
CERTIFICATE
CERTIFICATE
Bass Reading 012-220 8 Q1 Q2
Bass Gear Maintenance & Mastery 1
Bass & Drum Concepts 1 CODE COURSE CREDIT CODE COURSE CREDIT
DAW 1-2 2 MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 1 2 BASS-PL Private Lesson 2 2
CC-013B Bass LPW 013 1 CC-023B Bass LPW 023 1
BASS-013 Bass Performance 013 2 BASS-023 Bass Performance 023 2
BASS-011 Bass Technique & Fretboard 011 2 BASS-021 Bass Technique & Fretboard 021 2
Rhythm Reading Workout 1-2 2 BASS-012 Bass Reading 012 2 BASS-022 Bass Reading 022 2
BASS-014 Bass Gear Maintenance & Mastery 1 BASS-025 Bass & Drum Concepts 1
Harmony & Theory 011-201 6 MUSICIANSHIP
MUSICIANSHIP = 16 CREDITS Ear Training 012-202 6
MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
Keyboard Proficiency 1-2 2 CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1
TOTAL 15 TOTAL 15

Q3 Q4
Certificate in Performance (Bass) Program Learning Outcomes: BASS-130 Bass Performance 130 2 BASS-230 Bass Performance 230 2
1. The student will develop professional performance abilities in contemporary commercial music styles as an electric BASS-110 Bass Technique & Fretboard 110 2 BASS-210 Bass Technique & Fretboard 210 2
bassist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production, BASS-120 Bass Reading 120 2 BASS-220 Bass Reading 220 2
AUDIO-056 DAW 1 1 AUDIO-156 DAW 2 1
and live performance workshops/ ensembles. MUSICIANSHIP
MUSICIANSHIP
2. The student will develop composition, studio production, and technical skills through advanced studies of studio-based CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
recording software and gear mastery. CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
traditional and contemporary music theory, ear training, in-depth rhythmic studies and keyboard proficiency. Various Various 1 Various Various 1
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a TOTAL 15 TOTAL 15
skill set specific to themselves as artists/musicians.
BASS DRUM
Students can earn a Certificate in MI’s Performance Studies program for Drums. With an innovative 360-degree approach to
The part-time Bass Program is designed for individuals wishing to pursue a certificate in Bass who,
music education, MI’s Drum Certificate is centered on Reading, Technique and Performance. This Certificate program provides
due to employment, time constraints, family responsibilities, or health reasons, may not be able to students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in preparation for a range of professional music performance situations.
the part-time Bass program.
Q1 Q2
BASS-PL
BASS-011
Private Lesson 1
Bass Technique & Fretboard 011
2
2
CC-013B
BASS-012
Bass LPW 013
Bass Reading 012 1 COURSE CREDIT
BASS-014 Bass Gear Maintenance & Mastery 1 BASS-013 Bass Performance 2
MUSICIANSHIP MUSICIANSHIP 2
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2
CC-011 Harmony & Theory 011 1.5 CC-012 Ear Training 012 1 Private Lesson 1-4 8
1.5
Drum LPW 013-203 4
TOTAL 7.5 TOTAL 7.5 Drum Performance 013-230 8
Drum Technique 011-210 8
MAJOR AREA = 42 CREDITS Drum Reading 012-220 8
Q3 Q4 Developing Your Groove 1
CODE COURSE CREDIT CODE COURSE CREDIT Drum Gear Maintenance & Mastery 1
1
CERTIFICATE
CERTIFICATE
E-Drumming Essentials
BASS-PL Private Lesson 2 2 CC-023B Bass LPW 023 Timekeeping 1
1
BASS-021
BASS-024
Bass Technique & Fretboard 021
Bass & Drum Concepts
2
1
BASS-022
BASS-023
Bass Reading 022
Bass Performance 023 2 DAW 1-2 2
MUSICIANSHIP AUDIO-056 DAW 1 2
CC-021 Harmony & Theory 021 1.5 MUSICIANSHIP 1
CC-108 Keyboard Proficiency 1 1 CC-022 Ear Training 022
1.5 Harmony & Theory 011-201 6
TOTAL 7.5
TOTAL 7.5
Keyboard Proficiency 1-2 2
Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT ELECTIVES = 4 CREDITS Various 4
BASS-PL Private Lesson 3 2 CC-103B Bass LPW 103 1
BASS-110 Bass Technique & Fretboard 110 2 BASS-120 Bass Reading 120 2
AUDIO-156 DAW 2 1 BASS-130 Bass Performance 130 2
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-102 Ear Training 102 1.5 Certificate in Performance (Drum) Program Learning Outcomes:
CC-208 Keyboard Proficiency 1 1 ELECTIVES
Various Various 1
1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and
ensemble drumset performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
TOTAL 7.5 TOTAL 7.5 diversity, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
Q7 Q8 workstations, electronic drumming and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
CODE COURSE CREDIT CODE COURSE CREDIT traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
BASS-PL Private Lesson 4 2 CC-203B Bass LPW 203 1 popular music history, technology, music business, creative development and composition and analysis; assembling a
BASS-210 Bass Technique & Fretboard 210 2 BASS-220 Bass Reading 220 2 skill set specific to themselves as artists/musicians
MUSICIANSHIP BASS-230 Bass Performance 230 2
CC-201 Harmony & Theory 201 1.5 MUSICIANSHIP
ELECTIVES CC-202 Ear Training 202 1.5
Various Various 2 ELECTIVES
Various Various 1
TOTAL 7.5 TOTAL 7.5

36 THIS CATALOG APPLIES TO ACADEMIC YEARchoice

** Student’s 2018/2019: OCTOBER
of various DAWs 1, 2018 - SEPTEMBER 30, 2019. 37
DRUM DRUM
The part-time Drum Program is designed for individuals wishing to pursue a certificate in Drum who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Drum program.
Q1 Q2
DRUM-PL Private Lesson 1 2 CC-013D Drum LPW 013 1
DRUM-011 Drum Technique 011 2 DRUM-013 Drum Performance 013 2
DRUM-015 Developing Your Groove 1 DRUM-012 Drum Reading 012 2
MUSICIANSHIP DRUM-025 Timekeeping 1
CC-108 Keyboard Proficiency 1 1 MUSICIANSHIP
ELECTIVES CC-208 Keyboard Proficiency 1 1
Various Various 1
TOTAL 7
TOTAL 7
Q3 Q4
CERTIFICATE
CERTIFICATE
DRUM-PL Private Lesson 2 2 CC-023D Drum LPW 023 1
Q1 Q2 DRUM-014
AUDIO-056
Drum Gear Maintenance & Mastery
DAW 1
2
1
DRUM-022
DRUM-240
Drum Reading 022
E-Drumming Essentials
2
1
ELECTIVES AUDIO-156 DAW 2 1
CODE COURSE CREDIT CODE COURSE CREDIT Various Various 1
TOTAL 7
MAJOR AREA MAJOR AREA TOTAL 7
DRUM-PL Private Lesson 1 2 DRUM-PL Private Lesson 2 2
CC-013D Drum LPW 013 1 CC-023D Drum LPW 023 1
DRUM-013 Drum Performance 013 2 DRUM-023 Drum Performance 023 2
DRUM-011 Drum Technique 011 2 DRUM-021 Drum Technique 021 2 Q5 Q6
DRUM-012 Drum Reading 012 2 DRUM-022 Drum Reading 022 2
DRUM-015
DRUM-014
Developing Your Groove
Drum Gear Maintenance & Mastery
1
1
AUDIO-056
DRUM-025
DAW 1
Timekeeping
1-2
1
MUSICIANSHIP MUSICIANSHIP MAJOR AREA MAJOR AREA
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5 DRUM-PL Private Lesson 3 2 DRUM-130 Drum Performance 130 2
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5 CC-103D Drum LPW 103 1 DRUM-120 Drum Reading 120 2
ELECTIVES ELECTIVES DRUM-110 Drum Technique 110 2 MUSICIANSHIP
Various Various 1 Various Various 0-1 MUSICIANSHIP CC-021 Harmony & Theory 021 1.5
CC-011 Harmony & Theory 011 1.5 CC-022 Ear Training 022 1.5
TOTAL 15 TOTAL 15 CC-012 Ear Training 012 1.5 ELECTIVES
Various Various 1
TOTAL 8
TOTAL 8
Q3 Q4
MAJOR AREA MAJOR AREA CODE COURSE CREDIT CODE COURSE CREDIT
CC-103D Drum LPW 103 1 CC-203D Drum LPW 203 1 MAJOR AREA MAJOR AREA
DRUM-130 Drum Performance 130 2 DRUM-230 Drum Performance 230 2 DRUM-PL Private Lesson 4 2 DRUM-230 Drum Performance 230 2
DRUM-110 Drum Technique 110 2 DRUM-210 Drum Technique 210 2 CC-203D Drum LPW 203 1 DRUM-220 Drum Reading 220 2
DRUM-120 Drum Reading 120 2 DRUM-220 Drum Reading 220 2 DRUM-210 Drum Technique 210 2 MUSICIANSHIP
AUDIO-156 DAW 2 1-2 DRUM-240 E-Drumming Essentials 1 MUSICIANSHIP CC-201 Harmony & Theory 201 1.5
MUSICIANSHIP MUSICIANSHIP CC-101 Harmony & Theory 101 1.5 CC-202 Ear Training 202 1.5
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5 CC-102 Ear Training 102 1.5 ELECTIVES
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5 Various Various 1
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1 TOTAL 8
ELECTIVES ELECTIVES TOTAL 8
Various Various 0-1 Various Various 1
** Student’s choice of various DAWs
TOTAL *Based on optimal course load of 15 credits
15 per quarter **Part-Time
TOTAL study may not be available for all programs 15
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance. **Beginning Fall, 2017. Part-Time study may not be available for all programs
Student financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.
GUITAR GUITAR
Students can earn a Certificate in MI’s Performance Studies program for Guitar. With an innovative 360-degree approach to
music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in Reading, Technique
and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience,
encouraging the rapid development of skills in preparation for a range of professional music performance situations.
COURSE CREDIT
Guitar LPW 013-203 4
Guitar Performance 013-230 8
Guitar Technique 011-210 8
MAJOR AREA = 40 CREDITS Guitar Reading 012-220 8
Guitar Gear Maintenance 1
Guitar Gear Mastery 1
2
CERTIFICATE
CERTIFICATE
DAW 1-2
Q1 Q2
Rhythm Reading Workout 1-2 2 CODE COURSE CREDIT CODE COURSE CREDIT
MUSICIANSHIP = 16 CREDITS Harmony & Theory 011-201 6 MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 1 2 GUIT-PL Private Lesson 2 2
Ear Training 012-202 6 CC-013G Guitar LPW 013 1 CC-023G Guitar LPW 023 1
GUIT-013 Guitar Performance 013 2
Keyboard Proficiency 1-2 2 GUIT-011 Guitar Technique 011 2
GUIT-023
GUIT-021
Guitar Performance 023
Guitar Technique 021
2
2
GUIT-012 Guitar Reading 012 2 GUIT-022 Guitar Reading 022 2
GUIT-014 Guitar Gear Maintenance 1 GUIT-024 Guitar Gear Mastery 1
ELECTIVES = 4 CREDITS Various 4 CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
ELECTIVES ELECTIVES
TOTAL 15 TOTAL 15
Q3 Q4
CC-103G Guitar LPW 103 1 CC-203G Guitar LPW 203 1
GUIT-130 Guitar Performance 130 2 GUIT-230 Guitar Performance 230 2
Certificate in Performance (Guitar) Program Learning Outcomes: GUIT-110 Guitar Technique 110 2 GUIT-210 Guitar Technique 210 2
1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and GUIT-120 Guitar Reading 120 2 GUIT-220 Guitar Reading 220 2
ensemble guitar performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/ AUDIO-056 DAW 1 1 AUDIO-156 DAW 2 1
diversity, tone production, and live performance workshops/ ensembles. CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
2. The student will develop professional studio production and technical skills through advanced studies of digital audio CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
workstations and gear mastery. CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of Various Various 1 Various Various 1
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, TOTAL 15 TOTAL 15
popular music history, technology, music business, creative development and composition and analysis; assembling a
GUITAR
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
The part-time Guitar Program is designed for individuals wishing to pursue a certificate in Guitar who,
Students can earn a Certificate in MI’s Performance Studies program for Keyboard Technology. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in
the part-time Guitar program. Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and
practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance
Q1 Q2
situations.
CODE COURSE CREDIT CODE COURSE CREDIT Choosing the Performance Track allows students to receive a heavier emphasis on live performance skills, as well as basic
training in using a Digital Audio Workstation (DAW)software.
GUIT-PL Private Lesson 1 2 GUIT-013 Guitar Performance 013 2
CC-013G Guitar LPW 013 1 GUIT-012 Guitar Reading 012 2
GUIT-011 Guitar Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015
CC-011
Rhythm Reading Workout 1
Harmony & Theory 011
1
1.5
CC-012
ELECTIVES
Ear Training 012 1.5
TOTAL 7.5
Various Various 1
TOTAL 7.5
COURSE CREDIT
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT Private Lesson 1-4 8
MAJOR AREA MAJOR AREA Keyboard LPW 013-203 4
CERTIFICATE
CERTIFICATE
GUIT-PL Private Lesson 2 2 GUIT-023 Guitar Performance 023 2
MAJOR AREA = 39 CREDITS Keyboard Performance 013-230 8
GUIT-021 Guitar Technique 021 2 AUDIO-056 DAW 1 1 Keyboard Technique 011-210 8
MUSICIANSHIP
CC-021 Harmony & Theory 021 1.5
MUSICIANSHIP
CC-022 Ear Training 022 1.5
Keyboard Reading 012-220 8
ELECTIVES ELECTIVES Keyboard Gear Mastery 1
DAW 1-2 2
TOTAL 7.5 TOTAL 7.5
Rhythm Reading Workout 1-2 2

MUSICIANSHIP = 14 CREDITS Harmony & Theory 011-201 6
Q5 Q6 Ear Training 012-202 6
GUIT-PL Private Lesson 3 2 GUIT-130 Guitar Performance 130 2 ELECTIVES = 7 CREDITS Various 7
AUDIO-156 DAW 2 1 CC-102 Ear Training 102 1.5
MUSICIANSHIP CC-108 Keyboard Proficiency 1 1
CC-101 Harmony & Theory 101 1.5 ELECTIVES
Various Various 1
TOTAL 7.5
TOTAL 7.5
Certificate in Performance (Keyboard Technology) Program Learning Outcomes:

Q7 Q8 1. The student will develop professional performance abilities in contemporary commercial music styles as both solo
and ensemble keyboard performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
CODE COURSE CREDIT CODE COURSE CREDIT diversity, tone production, and live performance workshops/ ensembles.
MAJOR AREA MAJOR AREA 2. The student will develop professional studio production and technical skills through advanced studies of studio-based
GUIT-PL Private Lesson 4 2 GUIT-230 Guitar Performance 230 2 recording software and gear mastery.
CC-203G Guitar LPW 203 1 GUIT-220 Guitar Reading 220 2 3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
GUIT-210 Guitar Technique 210 2 GUIT-014 Guitar Gear Maintenance 1
GUIT-024 Guitar Gear Mastery 1 MUSICIANSHIP traditional and contemporary music theory, ear training, and in-depth rhythmic studies.
MUSICIANSHIP CC-202 Ear Training 202 1.5 4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
CC-201 Harmony & Theory 201 1.5 CC-208 Keyboard Proficiency 2 1 popular music history, technology, music business, creative development and composition and analysis; assembling a
TOTAL 7.5 TOTAL 7.5 skill set specific to themselves as artists/musicians.

KEYBOARD TECHNOLOGY // PERFORMANCE TRACK KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
The part-time Keyboard Technologies Program is designed for individuals wishing to pursue a certificate
in Keyboard who, due to employment, time constraints, family responsibilities, or health reasons, may
not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Keyboard program.
Q1 Q2
KEYBD-PL Private Lesson 1 2 KEYBD-013 Keyboard Performance 013 2
CC-013K Keyboard LPW 013 1 KEYBD-012 Keyboard Reading 012 2
KEYBD-011 Keyboard Technique 011 2 KEYBD-024 Keyboard Gear Mastery 1
TOTAL 7.5 TOTAL 7.5
Q3 Q4
CERTIFICATE
CERTIFICATE
KEYBD-021 Keyboard Technique 021 2 AUDIO-056 DAW 1 1
Q1 Q2 MUSICIANSHIP MUSICIANSHIP
CODE COURSE CREDIT CODE COURSE CREDIT ELECTIVES ELECTIVES
KEYBD-PL Private Lesson 1 2 KEYBD-PL Private Lesson 2 2 TOTAL 7.5 TOTAL 7.5
CC-013K Keyboard LPW 013 1 CC-023K Keyboard LPW 023 1
KEYBD-013 Keyboard Performance 013 2 KEYBD-023 Keyboard Performance 023 2
KEYBD-011
KEYBD-012
Keyboard Technique 011
Keyboard Reading 012
2
2
KEYBD-021
KEYBD-022
2
2
Q5 Q6
MUSICIANSHIP KEYBD-024 Keyboard Gear Mastery 1
CC-015 Rhythm Reading Workout 1 1 MUSICIANSHIP CODE COURSE CREDIT CODE COURSE CREDIT
CC-011 Harmony & Theory 011 1.5 CC-025 Rhythm Reading Workout 2 1
CC-012 Ear Training 012 1.5 Harmony & Theory 021 1.5 MAJOR AREA MAJOR AREA
CC-021
ELECTIVES Ear Training 022 1.5 KEYBD-PL Private Lesson 3 2 KEYBD-130 Keyboard Performance 130 2
CC-022
Various Various 2 CC-103K Keyboard LPW 103 1 KEYBD-120 Keyboard Reading 120 2
ELECTIVES
Various 1 KEYBD-110 Keyboard Technique 110 2 MUSICIANSHIP
Various
MUSICIANSHIP ELECTIVES
TOTAL 15 TOTAL 15
CC-101 Harmony & Theory 101 1.5 Various Various 2
TOTAL 7.5 TOTAL 7.5

Q3 Q4
MAJOR AREA MAJOR AREA CODE COURSE CREDIT CODE COURSE CREDIT
KEYBD-PL Private Lesson 3 2 KEYBD-PL Private Lesson 4 2
CC-103K Keyboard LPW 103 1 CC-203K Keyboard LPW 203 1 MAJOR AREA MAJOR AREA
KEYBD-130 Keyboard Performance 130 2 KEYBD-230 Keyboard Performance 230 2 KEYBD-PL Private Lesson 4 2 KEYBD-230 Keyboard Performance 230 2
KEYBD-110 Keyboard Technique 110 2 KEYBD-210 Keyboard Technique 210 2 CC-203K Keyboard LPW 203 1 KEYBD-220 Keyboard Reading 220 2
KEYBD-120 Keyboard Reading 120 2 KEYBD-220 Keyboard Reading 220 2 KEYBD-210 Keyboard Technique 210 2 MUSICIANSHIP
AUDIO-056 DAW 1 1 AUDIO-156 DAW 2 1 MUSICIANSHIP CC-202 Ear Training 202 1.5
MUSICIANSHIP MUSICIANSHIP CC-201 Harmony & Theory 201 1.5 ELECTIVES
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5 ELECTIVES Various Various 2
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5 Various Various 1
ELECTIVES ELECTIVES TOTAL 7.5
Various Various 2 Various Various 2 TOTAL 7.5

TOTAL 15 per quarter **Part-Time
*Based on optimal course load of 15 credits TOTAL study may not be available for all programs 15
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance. **Beginning Fall, 2017. Part-Time study may not be available for all programs
Student financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.
KEYBOARD TECHNOLOGY // PRODUCTION TRACK KEYBOARD TECHNOLOGY // PRODUCTION TRACK
Students can earn a Certificate in MI’s Performance Studies program for Keyboard Technology. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in
Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge
and practical experience, encouraging the rapid development of skills in preparation for a range of professional music
performance situations.
Choosing the Production Track allows students to receive a heavier emphasis in studio-based recording and production
skills, including the use of Logic and Pro Tools software; as well as core courses in Digital Music and Synthesis & Sampling.
COURSE CREDIT

Keyboard LPW 013-203 4
MAJOR AREA = 36 CREDITS Keyboard Performance 013-023 4
Q1 Q2
CERTIFICATE
CERTIFICATE
Keyboard Technique 011-021 4
Keyboard Reading 012-022 4 CODE COURSE CREDIT CODE COURSE CREDIT
Keyboard Gear Mastery 1 MAJOR AREA MAJOR AREA
Private Lesson 1 2
DAW 1: Logic 1-2 2 KEYBD-PL
CC-013K Keyboard LPW 013 1
KEYBD-PL
CC-023K
Private Lesson 2
Keyboard LPW 023
2
1
DAW 2: Pro Tools 1-2 4 KEYBD-013 Keyboard Performance 013 2 KEYBD-023 Keyboard Performance 023 2
KEYBD-011 Keyboard Technique 011 2 KEYBD-021 Keyboard Technique 021
Digital Music 1-2 4 KEYBD-012 Keyboard Reading 012 2 KEYBD-022 Keyboard Reading 022
2
2
Synthesis & Sampling 1 AUDIO-052 DAW 1: Logic 1 1 AUDIO-152 DAW 1: Logic 2 1
Harmony & Theory 011 1.5
Rhythm Reading Workout 1-2 2 CC-011
CC-021
CC-022
Ear Training 022
1.5
MUSICIANSHIP = 14 CREDITS Harmony & Theory 011-201 6 ELECTIVES ELECTIVES
1.5
Various Various 1 Various Various

Ear Training 012-202 6 1
TOTAL 15 TOTAL 15
Q3 Q4
AUDIO-057 DAW 2: Pro Tools 1 2 AUDIO-157 DAW 2: Pro Tools 2 2
Certificate in Performance (Keyboard Technology- Production) Program Learning Outcomes: KEYBD-024 Gear Mastery 1 1 KEYBD-240 Digital Music 2 2
1. The student will develop professional performance abilities in contemporary commercial music styles as both solo KEYBD-140 Digital Music 1 2 MUSICIANSHIP
KEYBD-150 Synthesis & Sampling 1 CC-201 Harmony & Theory 201 1.5
MUSICIANSHIP CC-202 Ear Training 202 1.5
diversity, tone production, and live performance workshops/ ensembles. CC-101 Harmony & Theory 101 1.5 ELECTIVES
2. The student will develop professional studio production and technical skills through advanced studies of studio-based CC-102 Ear Training 102 1.5 Various Various 5
recording software, digital music, synthesis and sampling, and gear mastery. ELECTIVES
Various Various 3
traditional and contemporary music theory, ear training, and in-depth rhythmic studies.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, TOTAL 15 TOTAL 15
VOCAL VOCAL
Students can earn a Certificate in MI’s Performance Studies program for Vocal. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core
subjects in Reading, Technique and Performance. This Certificate program provides students with a broad
foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for
a range of professional music performance situations.
COURSE CREDIT

Vocal LPW 013-203 4
MAJOR AREA = 40 CREDITS Vocal Performance 013-230 8
Vocal Technique 011-210 8
CERTIFICATE
CERTIFICATE
Sightsinging 012-220 8 Q1 Q2
Styles Survey 1-2 2
DAW 1-2 2 CODE COURSE CREDIT CODE COURSE CREDIT
VOCAL-PL Private Lesson 1 2 VOCAL-PL Private Lesson 2 2
Rhythm Reading Workout 1-2 2 CC-013V Vocal LPW 013 1 CC-023V Vocal LPW 023 1
VOCAL-013 Vocal Performance 013 2 VOCAL-023 Vocal Performance 023 2
Harmony & Theory 011-201 6
MUSICIANSHIP = 16 CREDITS VOCAL-011 Vocal Technique 011 2 VOCAL-021 Vocal Technique 021 2
Ear Training 012-202 6 VOCAL-012 Sightsinging 012 2 VOCAL-022 Sightsinging 022 2
VOCAL-014 Styles Survey 1 1 VOCAL-024 Styles Survey 2 1
Keyboard Proficiency 1-2 2 MUSICIANSHIP MUSICIANSHIP
ELECTIVES = 4 CREDITS Various 4 CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
ELECTIVES ELECTIVES
TOTAL 15 TOTAL 15
Q3 Q4
CC-103V Vocal LPW 103 1 CC-203V Vocal LPW 203 1
Certificate in Performance (Vocal) Program Learning Outcomes: VOCAL-130 Vocal Performance 130 2 VOCAL-230 Vocal Performance 230 2
1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo VOCAL-110 Vocal Technique 110 2 VOCAL-210 Vocal Technique 210 2
and ensemble vocalist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, and VOCAL-120 Sightsinging 120 2 VOCAL-220 Sightsinging 220 2
AUDIO-056 DAW 1: Reason 1 AUDIO-156 DAW 2: Reason 1
live performance workshops/ ensembles. MUSICIANSHIP MUSICIANSHIP
2. The student will develop professional studio production and technical skills through advanced studies of studio-based CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
recording software. CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency. Various Various 1 Various Various 1
popular music history, technology, music business, creative development and composition and analysis; assembling a skill TOTAL 15 TOTAL 15
set specific to themselves as artists/musicians.
VOCAL
CERTIFICATE
SONGWRITING
The part-time Vocal Program is designed for individuals wishing to pursue a certificate in Vocals who,
Students can earn a Certificate in Songwriting. with this intensive program, students will learn practical training
sufficient to create a foundation for a career as a professional songwriter in the contemporary music and
the part-time Vocal program.
entertainment industry. With an innovative approach to music education, MI’s Certificate in Songwriting
program is centered on Harmony and Theory, Lyric Writing, Songwriting, Keyboard essential and Recording
and Production. This Certificate program provides students with a broad foundation of knowledge and practical
Q1 Q2 experience for careers as songwriters.
VOCAL-PL
CC-013V
VOCAL-011
Private Lesson 1
Vocal LPW 013
Vocal Technique 011
2
1
2
VOCAL-013
VOCAL-012
VOCAL-014
Vocal Performance 013
Sightsinging 012
Styles Survey 1
2
2
1
MUSICIANSHIP MUSICIANSHIP REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
TOTAL 7.5 TOTAL 7.5
Songwriting Private Lesson 1-2 4

Q3 Songwriting 1-2 3
Q4 Harmony & Theory 011-021 3
CODE COURSE CREDIT MAJOR AREA = 18 CREDITS
CODE COURSE CREDIT Keyboard Essentials 1-2 2
MAJOR AREA Lyric Writing 1-2 4
CERTIFICATE
CERTIFICATE
MAJOR AREA
VOCAL-PL Private Lesson 2 2
CC-023V Vocal LPW 023 1
VOCAL-023 Vocal Performance 023 2 Songwriting Final Project 2
VOCAL-022 Sightsinging 022 2
VOCAL-021 Vocal Technique 021 2 VOCAL-024 Styles Survey 2 1
ELECTIVES
Various Various 1
CC-108 Keyboard Proficiency 1 1 Demo Recording and Production 1-2 2
The Working Songwriter 1
TOTAL 7.5 TOTAL 7.5
SUPPORTIVE MUSIC = 6 CREDITS Songwriters Lab 1
The Business of Composing 1-2 2
Q5 Q6
DAW Track Option A: Logic 1-2 2
CODE COURSE CREDIT CODE COURSE CREDIT DAW = 2 CREDITS DAW Track Option B: Ableton Live 1-2 2
VOCAL-PL Private Lesson 3 2 VOCAL-130 Vocal Performance 130 2
CC-103V Vocal LPW 103 1 VOCAL-120 Sightsinging 120 2
VOCAL-110 Vocal Technique 110 2 AUDIO-056 DAW 1: Reason 1 ELECTIVES = 4 CREDITS Various 4
CC-208 Keyboard Proficiency 2 1 ELECTIVES
Various Various 1
TOTAL 7.5
TOTAL 7.5
Q7 Certificate in Songwriting Program Learning Outcomes:

Q8 1. The student will compose songs within various genres of contemporary music including: Pop, Singer-Songwriter and
CODE COURSE CREDIT Country, while exhibiting foundational stylistic understanding, lyric-writing ability and originality.
CODE COURSE CREDIT 2. The student will demonstrate rudimentary knowledge within areas including: music theory, keyboard essentials and
MAJOR AREA
VOCAL-PL Private Lesson 4 2 MAJOR AREA music business.
CC-203V Vocal LPW 203 1 VOCAL-230 Vocal Performance 230 2 3. The student will demonstrate technological proficiency within the areas of music recording (digital audio workstations)
VOCAL-210 Vocal Technique 210 2 VOCAL-220 Sightsinging 220 2
AUDIO-156 DAW 2: Reason 1 MUSICIANSHIP and music business.
MUSICIANSHIP CC-202 Ear Training 202 1.5 4. The student will exhibit personal and artistic growth and leadership potential as a contemporary songwriter.
Various Various 2
TOTAL 7.5
TOTAL 7.5

CERTIFICATE
SONGWRITING
CERTIFICATE
Q1 Q2
SONG-PL Private Lesson 1 2 SONG-PL Private Lesson 2 2
SONG-101 Songwriting 1 1.5 SONG-201 Songwriting 2 1.5
ARTST-380 Keyboard Essentials 1 1 ARTST-480 Keyboard Essentials 2 1
SONG-125 Lyric Writing 1 2 SONG-225 Lyric Writing 2 2
SUPPORTIVE SONG-210 Songwriting Final Project 2
MUSIC SUPPORTIVE
SONG-102 Demo Recording and Production 1 1 MUSIC
SONG - 015 The Working Songwriter 1 SONG-202 Demo Recording and Production 2 1
SONG-011 Songwriters Lab 1 SONG-487 The Business of Composing 2 1
SONG-486 The Business of Composing 1 1 DAW
DAW DAW Track A or B (must choose 1) 2 1
DAW Track A or B (must choose 1) 1 1 ELECTIVES
Various Various 2
TOTAL 15 TOTAL 15
THIS CATALOG APPLIES TO ACADEMIC YEAR 2015/2016: OCTOBER 1, 2015 - SEPTEMBER 30, 2016.
53
ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT WWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS.
ASSOCIATE OF ARTS OVERVIEW
6 QTRS IN PERFORMANCE STUDIES*
MI’s Associate of Arts Degree in Performance offers students extensive vocational training in Bass, Drum, Guitar,
Keyboard Technology or Vocal. Topics in Harmony, Theory and Ear Training are explored in extensive depth
through Reading, Technique and Performance on the chosen instrument.
The intensive A.A. curriculum prepares musicians to perform in professional situations, along with learning
professional development skills such as basic computer use, EPK creation, resume and bio writing, and social
media as a tool for business and networking. The Associate of Arts Degree is intended to equip students with the
knowledge and training needed to become professional performers in today’s music industry.
ASSOCIATE OF ARTS // COMBINED EMPHASIS

4 QTRS IN PERFORMANCE STUDIES & 2 QTRS
IN ENTERTAINMENT INDUSTRY STUDIES*
With additional training, students can choose to earn an Associate of Arts Degree with a Combined Emphasis in
Performance and Entertainment Industry Studies. Enhancing the instrumental performance education of a regular
Associate of Arts Degree, graduates attain specialization in their choice of Audio Engineering, DJ Performance &
Production, Independent Artist, Guitar Craft or Music Business (see Certificate section for details).
See the Admissions/Bachelor Program/Transfer of Credit section of this catalog for information on transfer of
ASSOCIATE
ASSOCIATE
Associate of Arts credits into MI’s Bachelor of Music Program.
ASSOCIATE OF SCIENCE OVERVIEW

6 QTRS IN MUSIC BUSINESS, LIVE MUSIC EVENT PRODUCTION, OR STUDIO RECORDING
Associate of Science in Music Business

The goal of this degree is to provide extensive knowledge, experience, and practical skills needed for a professional
business career in the contemporary music industry, applicable as preparation for entry-level employment
and beyond as well as for further professional advancement and specialization, fully managing a career as an
independent/ performing artist, creating and developing music businesses as an entrepreneur, and for the full
scope of assessing, acquiring, developing, marketing, promoting and launching a new artist or music project in
the current music industry and marketplace. Along with several of the primary industry related subjects being
structured as in-depth progressive course series, the program curriculum also includes expanded studies in general
business skills as well as supportive studies of basic musicianship and the creative aspects of music relevant for a
music business professional to know, and a broadened historical perspective.
Associate of Science in Live Music Event Production

The goal of this degree is to prepare students for career opportunities in a variety of related specialties including
live music production, tour production, and show management. Students will learn all phases of the technical and
business aspects of live music event production to build mastery of the live show process.
Associate of Science in Studio Recording

The goal of this degree is to prepare students to pursue career opportunities in the field of Audio Engineering with
an emphasis on the unique aspects of studio recording. Students will learn all phases of music recording, with
hands-on projects in individual and team exercises designed to build a mastery of the recording process.
*Based on optimal course load of 15 credits per quarter *Based on optimal course load of 15 credits per quarter
54 THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. 55 55
ASSOCIATE OF ARTS ASSOCIATE OF ARTS
BASS BASS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE* Q1 Q2
COURSE CREDIT MAJOR AREA
BASS-PL Private Lesson 1 2
MAJOR AREA
BASS-PL Private Lesson 2 2
Private Lesson 1-6 12 BASS-013 Bass Performance 013 2 BASS-023 Bass Performance 023 2
Bass LPW 013-403 6 BASS-012 Bass Reading 012 2 BASS-022 Bass Reading 022 2
Bass Performance 013-230 8 BASS-014 Bass Gear Maintenance & Mastery 1 BASS-025 Bass & Drum Concepts 1
Bass Technique & Fretboard 011-210 8 CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
Bass Reading 012-220 8 CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
MAJOR AREA = 53 CREDITS Bass Gear Maintenance & Mastery 1
CC-012
ELECTIVES
Ear Training 012 1.5 CC-022
ELECTIVES
Ear Training 022 1.5

Bass & Drum Concepts 1
DAW 1-2 2
TOTAL 15 TOTAL 15
Synth Bass 1
Upright Bass Workshop 1-2 2
Project Recording: Bass 1-2 4 Q3 Q4
Applied Entertainment Business 1-2 3 CODE COURSE CREDIT CODE COURSE CREDIT
PROF. DEVELOPMENT = 11 CREDITS Media Relations 2 MAJOR AREA MAJOR AREA
ASSOCIATE
ASSOCIATE
Visual Media 1-2 4 CC-103B Bass LPW 103 1 CC-0203B Bass LPW 203 1
Independent Artist Marketing 2 BASS-130 Bass Performance 130 2 BASS-230 Bass Performance 230 2
Rhythm Reading Workout 1-2 2 BASS-120 Bass Reading 120 2 BASS-220
AUDIO-156
Bass Reading 220
DAW 2
2
1
AUDIO-056 DAW 1 1
MUSICIANSHIP = 19 CREDITS Harmony & Theory 011-201 6 MUSICIANSHIP MUSICIANSHIP
Ear Training 012-202 6 CC-101
CC-102
Ear Training 102
1.5
1.5 CC-202 Ear Training 202 1.5
Keyboard Proficiency 1-2 2 CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
Songwriting 1-2 3 Various Various 1 Various Various 1
ELECTIVES = 7 CREDITS Various 7 TOTAL 15 TOTAL 15
Q5 Q6
Associate of Arts in Performance (Bass) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as a CODE COURSE CREDIT CODE COURSE CREDIT
bassist through advanced studies in electric bass, upright bass, and synth bass technique; reading, ensemble, stylistic MAJOR AREA MAJOR AREA
appropriateness/diversity, tone production, and live performance workshops/ ensembles. BASS-PL Private Lesson 5 2 BASS-PL Private Lesson 6 2
2. The student will develop composing, studio production and technical skills through advanced studies of studio-based BASS-370 Synth Bass 1 BASS-450 Upright Bass Workshop 2 1
recording software and gear mastery. BASS-350 Upright Bass Workshop 1 1 BASS-460 Project Recording: Bass 2 2
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio BASS-360 Project Recording: Bass 1 2 PROF. DEV.
PROF. DEV. MUBUS-0460 Applied Entertainment Business 2 1.5
performance and production. MUBUS-0360 Applied Entertainment Business 1 1.5 CC-407 Visual Media 2 2
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of MUBUS-0202 Media Relations 2 MUBUS-0307 Independent Artist Marketing 2
traditional and contemporary music theory, ear training, songwriting, in-depth rhythmic studies and keyboard CC-307 Visual Media 1 2 MUSICIANSHIP
MUSICIANSHIP SONG-201 Songwriting 2 1.5
proficiency. SONG-101 Songwriting 1 1.5 ELECTIVES
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media ELECTIVES Various Various 2
software, digital branding, and media relations concepts and practices, allowing them to negotiate the professional Various Various 1
TOTAL 15
business side of the music industry.
TOTAL 15
BASS BASS
90 CREDITS / 12 QUARTERS*/ PART-TIME 90 CREDITS / 12 QUARTERS*/ PART-TIME/ CONT.
The part-time Bass Program is designed for individuals wishing to pursue a certificate in Bass who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to Q7 Q8
the part-time Bass program. CODE COURSE CREDIT CODE COURSE CREDIT
BASS-PL Private Lesson 4 2 CC-203B Bass LPW 203 1
Q1 Q2 MUSICIANSHIP BASS-230 Bass Performance 230 2
CODE COURSE CREDIT CODE COURSE CREDIT ELECTIVES CC-202 Ear Training 202 1.5
Various Various 2 CC-208 Keyboard Proficiency 2 1
CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA CC-013B Bass LPW 013 1
BASS-PL Private Lesson 1 2 BASS-012 Bass Reading 012 2 TOTAL 7.5
TOTAL 7.5
BASS-011 Bass Technique & Fretboard 011 2 BASS-013 Bass Performance 2
BASS-014 Bass Gear Maintenance & Mastery 1 MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
Q9 Q10
TOTAL 7.5
TOTAL 7.5
ASSOCIATE
ASSOCIATE
BASS-PL Private Lesson 5 2 CC-303B Bass LPW 303B 1
PRO. DEV. BASS-360 Project Recording 1 2
Q3 MUBUS-0202 Media Relations 2 PRO. DEV.
Q4 MUSICIANSHIP MUBUS-0360 Applied Entertainment Business 1 1.5
CODE COURSE CREDIT SONG-101 Songwriting 1 1.5 CC-307 Visual Media 1 2
MAJOR AREA
CODE COURSE CREDIT ELECTIVES ELECTIVES
BASS-PL Private Lesson 2 2 MAJOR AREA
BASS-021 Bass Technique & Fretboard 021 2 CC-023B Bass LPW 023 1
BASS-024 Bass & Drum Concepts 1 BASS-022 Bass Reading 022 2 TOTAL 7.5
MUSICIANSHIP BASS-023 Bass Performance 023 2 TOTAL 7.5
CC-021 Harmony & Theory 021 1.5 AUDIO-056 DAW 1 1-2
ELECTIVES MUSICIANSHIP
Various Various 1 CC-022 Ear Training 022 1.5
Q11 Q12
TOTAL 7.5/8.5
TOTAL 7.5 CODE COURSE CREDIT CODE COURSE CREDIT
BASS-PL Private Lesson 6 2 CC-403B Bass LPW 403B 1
BASS-460 Project Recording 2 2 PRO. DEV.
Q5 Q6 PRO. DEV.
MUBUS-0307 Independent Artist Marketing 2
MUBUS-0460
CC-307
Applied Entertainment Business 2
Visual Media 2
1.5
2
CODE COURSE CREDIT CODE COURSE CREDIT SONG-201 Songwriting 2 1.5 Various Various 3
BASS-PL Private Lesson 3 2 CC-103B Bass LPW 103 1 TOTAL 7.5 TOTAL 7.5
AUDIO-156 DAW 2 1-2 BASS-130 Bass Performance 130 2
MUSICIANSHIP MUSICIANSHIP 1.5
CC-101 Harmony & Theory 101 1.5 CC-102 Ear Training 102 1
ELECTIVES CC-108 Keyboard Proficiency 1 1
Various Various 1
TOTAL 7.5/8.5 TOTAL 7.5

ASSOCIATE OF ARTS
DRUM
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*
COURSE CREDIT
Drum LPW 013-403 6
Drum Performance 013-230 8
Drum Technique 011-210 8
Drum Reading 012-220 8
Developing Your Groove 1
MAJOR AREA = 56 CREDITS Drum Gear Maintenance & Mastery 1
E-Drumming Essentials 1
Timekeeping 1
DAW 1-2 2
Advanced Drumming Styles: Jazz 2
Advanced Drumming Styles: Latin, Jazz 2 2
or R&B Gospel (pick one option)
Project Recording: Drum 1-2 4
ASSOCIATE
ASSOCIATE
Applied Entertainment Business 1-2 3
PROF. DEVELOPMENT = 11 CREDITS Media Relations 2
Visual Media 1-2 4
Independent Artist Marketing 2

Songwriting 1-2 3
Associate of Arts in Performance (Drum) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and
ensemble drumset performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, tone production, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
workstations, electronic drumming and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition, and studio
production with instrument performance as the focal point.
traditional and contemporary music theory, ear training, songwriting, and in-depth rhythmic studies.
5. The student will develop basic skills in recording techniques, digital audio software, applied entertainment business
concepts, marketing techniques, visual media software, digital branding, and media relations concepts and practices,
allowing them to negotiate the professional business side of the music industry.
THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. 60 61
DRUM DRUM
Q1 Q2
MAJOR AREA MAJOR AREA The part-time Drum Program is designed for individuals wishing to pursue a certificate in Drum who,
CC-013D Drum LPW 013 1 CC-023D Drum LPW 023 1 due to employment, time constraints, family responsibilities, or health reasons, may not be able to
DRUM-013 Drum Performance 013 2 DRUM-023 Drum Performance 023 2 undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
DRUM-011 Drum Technique 011 2 DRUM-021 Drum Technique 021 2
DRUM-012 Drum Reading 012 2 DRUM-022 Drum Reading 022 2 the part-time Drum program.
DRUM-015 Developing Your Groove 1 AUDIO-056 DAW 1 1-2
DRUM-014 Drum Gear Maintenance & Mastery 1 DRUM-025 Timekeeping 1
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5 Q1 Q2
ELECTIVES ELECTIVES
Various Various 1 Various Various 0-1 CODE COURSE CREDIT CODE COURSE CREDIT
TOTAL 15 TOTAL 15 CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA CC-013D Drum LPW 013 1
DRUM-PL Private Lesson 1 2 DRUM-012 Drum Reading 012 2
Q3 Q4 DRUM-015
MUSICIANSHIP
Developing Your Groove 1 DRUM-025
ELECTIVES
Timekeeping 1
CC-108 Keyboard Proficiency 1 2 Various Various 1

CODE COURSE CREDIT CODE COURSE CREDIT ELECTIVES
Various Various 1 TOTAL 7
ASSOCIATE
ASSOCIATE
CC-103D Drum LPW 103 1 CC-203D Drum LPW 203 1 TOTAL 7
DRUM-130 Drum Performance 130 2 DRUM-230 Drum Performance 230 2
DRUM-110 Drum Technique 110 2 DRUM-210 Drum Technique 210 2
DRUM-120 Drum Reading 120 2 DRUM-220 Drum Reading 220 2 Q3 Q4
AUDIO-156 DAW 2 1-2 DRUM-240 E-Drumming Essentials 1
MUSICIANSHIP
MUSICIANSHIP
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5 MAJOR AREA MAJOR AREA
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1 DRUM-PL Private Lesson 2 2 CC-023D Drum LPW 023 1
ELECTIVES ELECTIVES DRUM-021 Drum Technique 021 2 DRUM-023 Drum Performance 023 2
Various Various 0-1 Various Various 1 DRUM-014 Drum Gear Maintenance & Mastery 1 DRUM-022 Drum Reading 022 2
AUDIO-056 DAW 1 1 DRUM-240 E-Drumming Essentials 1
TOTAL 15 TOTAL 15 MUSICIANSHIP AUDIO-156 DAW 2 1
CC-208 Keyboard Proficiency 2 1
ELECTIVES
Various Various 1
TOTAL 7
Q5 Q6 TOTAL 8

MAJOR AREA MAJOR AREA Q5 Q6
CC-303D Drum LPW 303 1 CC-403D Drum LPW 403 1 CODE COURSE CREDIT CODE COURSE CREDIT
DRUM-350 Advanced Drumming Styles: Jazz 1 2 DRUM-451 Advanced Drumming Styles 2A: Jazz 2 2
DRUM-360 Project Recording: Drum 1 2 DRUM-450 Advanced Drumming Styles 2B: Latin 2 MAJOR AREA MAJOR AREA
PROF. DEV. DRUM-452 Advanced Drumming Styles 2C: R&B/ DRUM-PL Private Lesson 3 2 DRUM-130 Drum Performance 130 2
MUBUS-0360 Applied Entertainment Business 1 1.5 Gospel 2 CC-103D Drum LPW 103 1 DRUM-120 Drum Reading 120 2
MUBUS-0202 Media Relations 2 DRUM-460 Project Recording: Drum 2 2 DRUM-110 Drum Technique 110 2 MUSICIANSHIP
CC-307 Visual Media 1 2 PROF. DEV. MUSICIANSHIP CC-021 Harmony & Theory 021 1.5
MUSICIANSHIP MUBUS-0460 Applied Entertainment Business 2 1.5 CC-011 Harmony & Theory 011 1.5 CC-022 Ear Training 022 1.5
SONG-101 Songwriting 1 1.5 CC-407 Visual Media 2 2 CC-012 Ear Training 012 1.5 ELECTIVES
ELECTIVES MUBUS-0307 Independent Artist Marketing 2 Various Various 1
Various Various 1 MUSICIANSHIP
SONG-201 Songwriting 2 1.5 TOTAL 8
TOTAL 15 ELECTIVES
TOTAL 8
Various Various 1
TOTAL 15
** Student’s choice of various DAWs ** Student’s choice of various DAWs
ASSOCIATE OF ARTS
DRUM
90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.
Q7 Q8
DRUM-PL Private Lesson 4 2 DRUM-230 Drum Performance 230 2
CC-203D Drum LPW 203 1 DRUM-220 Drum Reading 220 2
DRUM-210 Drum Technique 210 2 MUSICIANSHIP
MUSICIANSHIP CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 ELECTIVES
Various Various 1
TOTAL 8
TOTAL 8
ASSOCIATE
ASSOCIATE
Q9 Q10
MAJOR AREA
MAJOR AREA
DRUM-PL Private Lesson 5 2
DRUM-360 Project Recording 1 2
CC-303D Drum LPW 303 1
PROF. DEV.
DRUM-350 Advanced Drumming 1: Jazz 2
MUBUS-0360 Applied Entertainment Business 1 1.5
PROF. DEV.
MUBUS-0202 Media Relations 2
MUSICIANSHIP
SONG-101 Songwriting 1.5
TOTAL 7
TOTAL 7
Q11 Q12
DRUM-PL Private Lesson 6 2 DRUM-460 Project Recording 2 2
CC-403D Drum LPW 403 1 PROF. DEV.
DRUM-450/452 Advanced Drumming 2: Latin or 2 MUBUS-0460 Applied Entertainment Business 2 1.5
Gospel CC-407 Visual Media 2 2
PROF. DEV. MUSICIANSHIP
CC-307 Visual Media 1 2 SONG-201 Songwriting 1.5
ELECTIVES
TOTAL 7 Various Various 1
TOTAL 8
GUITAR GUITAR
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE* Q1 Q2
COURSE CREDIT CODE COURSE CREDIT CODE COURSE CREDIT
Private Lesson 1-6 12 GUIT-PL Private Lesson 1 2 GUIT-PL Private Lesson 2 2
Guitar LPW 013-403 6 GUIT-013 Guitar Performance 013 2 GUIT-023 Guitar Performance 023 2
Guitar Performance 013-230 8 GUIT-011 Guitar Technique 011 2 GUIT-021 Guitar Technique 021 2
GUIT-012 Guitar Reading 012 2 GUIT-022 Guitar Reading 022 2
Guitar Technique 011-210 8 GUIT-014 Guitar Gear Maintenance 1 GUIT-024 Guitar Gear Mastery 1
Guitar Reading 012-220 8 MUSICIANSHIP MUSICIANSHIP
MAJOR AREA = 54 CREDITS CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
Guitar Gear Maintenance 1 CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
Guitar Gear Mastery 1 CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
ELECTIVES ELECTIVES
DAW 1-2 2 Various Various 1 Various Various 1
Advanced Musicianship Concepts 1-2 4 TOTAL 15 TOTAL 15
Project Recording: Guitar 1-2 4
Applied Entertainment Business 1-2 3 Q3 Q4

Visual Media 1-2 4 CODE COURSE CREDIT CODE COURSE CREDIT
Independent Artist Marketing 2 MAJOR AREA MAJOR AREA
ASSOCIATE
ASSOCIATE
GUIT-130 Guitar Performance 130 2 GUIT-230 Guitar Performance 230 2
Rhythm Reading Workout 1-2 2 GUIT-110 Guitar Technique 110 2 GUIT-210 Guitar Technique 210 2
Harmony & Theory 011-201 6 GUIT-120 Guitar Reading 120 2 GUIT-220 Guitar Reading 220 2
MUSICIANSHIP = 19 CREDITS Ear Training 012-202 6 MUSICIANSHIP MUSICIANSHIP
Keyboard Proficiency 1-2 2 CC-101
CC-102
Ear Training 102
1.5
1.5
CC-201
CC-202
Ear Training 202
1.5
1.5
Songwriting 1-2 3 CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
TOTAL 15 TOTAL 15
Q5 Q6
Associate of Arts in Performance (Guitar) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and CODE COURSE CREDIT CODE COURSE CREDIT
ensemble guitar performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/ MAJOR AREA MAJOR AREA
diversity, tone production, and live performance workshops/ ensembles. GUIT-PL Private Lesson 5 2 GUIT-PL Private Lesson 6 2
2. The student will develop professional studio production and technical skills through advanced studies of digital audio CC-303G Guitar LPW 303 1 CC-403G Guitar LPW 403 1
GUIT-350 Advanced Musicianship Concepts 1 2 GUIT-450 Advanced Musicianship Concepts 2 2
workstations, electronic guitar and gear mastery. GUIT-360 Project Recording: Guitar 1 2 GUIT-460 Project Recording: Guitar 2 2
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio PROF. DEV. PROF. DEV.
production with instrument performance as the focal point. MUBUS-0360 Applied Entertainment Business 1 1.5 MUBUS-0460 Applied Entertainment Business 2 1.5
MUBUS-0202 Media Relations 2 CC-407 Visual Media 2 2
CC-307 Visual Media 1 2 MUBUS-0307 Independent Artist Marketing 2
traditional and contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard MUSICIANSHIP MUSICIANSHIP
proficiency. SONG-101 Songwriting 1 1.5 SONG-201 Songwriting 2 1.5
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media ELECTIVES ELECTIVES
software, digital branding, and media relations concepts and practices, allowing them to negotiate the professional
business side of the music industry. TOTAL 15 TOTAL 15
GUITAR GUITAR
The part-time Guitar Program is designed for individuals wishing to pursue a certificate in Guitar who, Q7 Q8
due to employment, time constraints, family responsibilities, or health reasons, may not be able to CODE COURSE CREDIT CODE COURSE CREDIT
the part-time Guitar program. GUIT-PL Private Lesson 4 2 GUIT-230 Guitar Performance 230 2
GUIT-210 Guitar Technique 210 2 GUIT-014 Guitar Gear Maintenance 1
Q1 Q2 GUIT-024
MUSICIANSHIP
Guitar Gear Mastery 1 MUSICIANSHIP
CC-201 Harmony & Theory 201 1.5 CC-208 Keyboard Proficiency 2 1
TOTAL 7.5 TOTAL 7.5
CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA GUIT-013 Guitar Performance 013 2
GUIT-PL Private Lesson 1 2 GUIT-012 Guitar Reading 012 2
CC-013G Guitar LPW 013 1 MUSICIANSHIP
GUIT-011 Guitar Technique 011 2 CC-025 Rhythm Reading Workout 2 1 Q9 Q10
CC-015
CC-011
Rhythm Reading Workout 1
1
1.5
ELECTIVES
Various Various 1
TOTAL 7.5 MAJOR AREA MAJOR AREA
TOTAL 7.5 GUIT-PL Private Lesson 4 2 GUIT-350 Adv. Musician Concepts 1 2
ASSOCIATE
ASSOCIATE
CC-203G Guitar LPW 203 1 GUIT-360 Project Recording 1 2
PROF. DEV. PROF. DEV.
Q3 MUBUS-0202 Media Relations 1 2 MUBUS-0360 Applied Entertainment Business 1 1.5
Q4 MUSICIANSHIP CC-307 Visual Media 1 2
CODE COURSE CREDIT SONG-101 Songwriting 1 1.5
MAJOR AREA
CODE COURSE CREDIT ELECTIVES
VARIOUS Various 1 TOTAL 7.5
GUIT-PL Private Lesson 2 2 MAJOR AREA
CC-023G Guitar LPW 023 1 GUIT-023 Guitar Performance 023 2
TOTAL 7.5
GUIT-021 Guitar Technique 021 2 GUIT-022 Guitar Reading 022 2
Various Various 1 ELECTIVES
Various Various 1
Q11
TOTAL 7.5
CODE COURSE CREDIT Q12
TOTAL 7.5
MAJOR AREA CODE COURSE CREDIT
GUIT-PL Private Lesson 5 2
CC-203G Guitar LPW 203 1 MAJOR AREA
PROF. DEV. GUIT-450 Adv. Musician Concepts 2 2
MUBUS-0307 Independent Artist Marketing 2 GUIT-460 Project Recording 2 2
Q5 Q6 MUSICIANSHIP PROF. DEV.
SONG-201 Songwriting 2 1.5 MUBUS-0460 Applied Entertainment Business 2 1.5
CODE COURSE CREDIT CODE COURSE CREDIT ELECTIVES CC-407 Visual Media 2 2
VARIOUS Various 1
GUIT-PL Private Lesson 3 2 GUIT-130 Guitar Performance 130 2 TOTAL 7.5
TOTAL 7.5
MUSICIANSHIP CC-108 Keyboard Proficiency 1 1
Various Various 1
TOTAL 7.5
TOTAL 7.5
ASSOCIATE OF ARTS
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
COURSE CREDIT
Keyboard LPW 013-403 6
Keyboard Performance 013-230 8
Keyboard Technique 011-210 8
Keyboard Reading 012-420 8
Keyboard Gear Mastery 1
DAW choice of: (Reason 1-2, Ableton Live 1-3) 2
Commercial Composition 1-2 4
Project Recording: Keyboard 1-2 4
Visual Media 1-2 4
ASSOCIATE
ASSOCIATE
Songwriting 1-2 3
Associate of Arts in Performance (Keyboard Technology) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo
diversity, tone production, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based
recording software and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of recording, composition, and
studio production (performance focus).
traditional and contemporary music theory, ear training, songwriting, and in-depth rhythmic studies.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media
software, and media relations concepts and practices, allowing them to negotiate the professional business side of the
music industry.
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
Q1 Q2 The part-time Keyboard Technologies Program is designed for individuals wishing to pursue a certificate
CODE COURSE CREDIT CODE COURSE CREDIT in Keyboard who, due to employment, time constraints, family responsibilities, or health reasons, may
MAJOR AREA MAJOR AREA not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
KEYBD-PL Private Lesson 1 2 KEYBD-PL Private Lesson 2 2 enrollment in the part-time Keyboard program.
KEYBD-013 Keyboard Performance 013 2 KEYBD-023 Keyboard Performance 023 2
KEYBD-011 Keyboard Technique 011 2 KEYBD-021 Keyboard Technique 021 2
KEYBD-012 Keyboard Reading 012 2 KEYBD-022 Keyboard Reading 022 2
MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1
KEYBD-024
MUSICIANSHIP
Keyboard Gear Mastery 1 Q1 Q2
CC-011 Harmony & Theory 011 1.5 CC-025 Rhythm Reading Workout 2 1
CC-012 Ear Training 012 1.5 CC-021 Harmony & Theory 021 1.5 CODE COURSE CREDIT CODE COURSE CREDIT
Various Various 2 ELECTIVES CC-CC New Student Seminar 0 MAJOR AREA
Various Various 1 MAJOR AREA KEYBD-013 Keyboard Performance 013 2
KEYBD-PL Private Lesson 1 2 KEYBD-012 Keyboard Reading 012 2
TOTAL 15 TOTAL 15 CC-013K Keyboard LPW 013 1 KEYBD-024 Keyboard Gear Mastery 1
KEYBD-011 Keyboard Technique 011 2 MUSICIANSHIP
Q3 Q4
TOTAL 7.5
TOTAL 7.5
ASSOCIATE

CC-103K
KEYBD-130
Keyboard LPW 103
Keyboard Performance 130
1
2
CC-203K
KEYBD-230
Keyboard LPW 203
Keyboard Performance 230
1
2 Q3 Q4
KEYBD-110 Keyboard Technique 110 2 KEYBD-210 Keyboard Technique 210 2
KEYBD-120 Keyboard Reading 120 2 KEYBD-220 Keyboard Reading 220 2 CODE COURSE CREDIT CODE COURSE CREDIT
MUSICIANSHIP MUSICIANSHIP MAJOR AREA MAJOR AREA
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5 KEYBD-PL Private Lesson 2 2 KEYBD-023 Keyboard Performance 023 2
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5 CC-023K Keyboard LPW 023 1 KEYBD-022 Keyboard Reading 022 2
ELECTIVES ELECTIVES KEYBD-021 Keyboard Technique 021 2 AUDIO-056 DAW 1 1
Various Various 2 Various Various 2 MUSICIANSHIP MUSICIANSHIP
ELECTIVES ELECTIVES
TOTAL 15 TOTAL 15 Various Various 1 Various Various 1
TOTAL 7.5 TOTAL 7.5
Q5 Q6 Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT CODE COURSE CREDIT CODE COURSE CREDIT
KEYBD-350 Commercial Composition 1 2 KEYBD-450 Commercial Composition 2 2
KEYBD-360 Project Recording: Keyboard 1 2 KEYBD-460 Project Recording: Keyboard 2 2
PROF. DEV. PROF. DEV.
MUBUS-0360 Applied Entertainment Business 1 1.5 MUBUS-0460 Applied Entertainment Business 2 1.5
CC-101 Harmony & Theory 101 1.5 Various Various 2
MUBUS-0202 Media Relations 2 CC-407 Visual Media 2 2
CC-307 Visual Media 1 2 MUBUS-0307 Independent Artist Marketing 2
MUSICIANSHIP MUSICIANSHIP TOTAL 7.5 TOTAL 7.5
SONG-101 Songwriting 1 1.5 SONG-201 Songwriting 2 1.5
ELECTIVES ELECTIVES
TOTAL 15 TOTAL 15
ASSOCIATE OF ARTS
KEYBOARD TECHNOLOGY// PERFORMANCE TRACK
Q7 Q8
Various Various 1
TOTAL 7.5 TOTAL 7.5
Q9 Q10
KEYBD-PL Private Lesson 5 2 KEYBD-360 Project Recording 1 2
CC-303K Keyboard LPW 303 1 PROF. DEV.
KEYBD-350 Commercial Composition 1 2 MUBUS-0202 Media Relations 1 2
ASSOCIATE
ASSOCIATE
PROF. DEV. CC-307 Visual Media 1 2
MUBUS-0360 Applied Entertainment Business 1 1.5 MUSICIANSHIP
ELECTIVES SONG-101 Songwriting 1 1.5
Various Various 1
TOTAL 7.5 TOTAL 7.5
Q11 Q12
KEYBD-PL Private Lesson 5 2 KEYBD-460 Project Recording 2 2
CC-403K Keyboard LPW 403 1 PROF. DEV.
KEYBD-450 Commercial Composition 2 2 CC-407 Visual Media 2 2
PROF. DEV. MUBUS-0307 Independent Artist Marketing 2
Various Various 1
TOTAL 7.5 TOTAL 7.5
90 CREDITS / 6 QUARTERS Q1 Q2
COURSE CREDIT MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 1 KEYBD-PL Private Lesson 2
CC-013K Keyboard LPW 013 CC-023K Keyboard LPW 023
Private Lesson 1-6 12 KEYBD-013 Keyboard Performance 013 KEYBD-023 Keyboard Performance 023
Keyboard LPW 013-403 6 KEYBD-011
KEYBD-012
KEYBD-021 Keyboard Technique 021
KEYBD-022 Keyboard Reading 022
Keyboard Performance 013-023 4 AUDIO-052 DAW 1: Logic 1 AUDIO-152 DAW 1: Logic 2
MUSICIANSHIP
Keyboard Technique 011-021 4 CC-015 Rhythm Reading Workout 1
MUSICIANSHIP
CC-025 Rhythm Reading Workout 2
MAJOR AREA = 52 CREDITS Keyboard Reading 012-022 4 CC-011 Harmony & Theory 011 CC-021 Harmony & Theory 021
CC-012 Ear Training 012 CC-022 Ear Training 022
Keyboard Gear Mastery 1 ELECTIVES ELECTIVES
AUDIO 052-152, Logic 1-2 2 Various Various Various Various
AUDIO 057-157, Pro Tools 101-110 4 TOTAL 15 TOTAL 15

Synthesis & Sampling 1
Digital Music 1-3 6
Commercial Composition 1-2 4 Q3 Q4
Producer Project 1-2 4
ASSOCIATE
ASSOCIATE
Visual Media 1-2 4 CC-103K Keyboard LPW 103 1 CC-203K Keyboard LPW 203 1
KEYBD-024 Keyboard Gear Mastery 1 AUDIO-157 DAW 2: Pro Tools 2 2
Independent Artist Marketing 2 AUDIO-057 DAW 2: Pro Tools 1 2 KEYBD-240 Digital Music 2 2
KEYBD-140 Digital Music 1 2 MUSICIANSHIP
Rhythm Reading Workout 1-2 2 KEYBD-150 Synthesis & Sampling 1 CC-201 Harmony & Theory 201 1.5
Harmony & Theory 011-201 6 CC-101 Harmony & Theory 101 1.5 PROF. DEV
MUSICIANSHIP = 17 CREDITS Ear Training 012-202 6 CC-102 Ear Training 102 1.5 MUBUS-0202 Media Relations 2
ELECTIVES ELECTIVES
Songwriting 1-2 3 Various Various 3 Various Various 3
ELECTIVES = 9 CREDITS Various 10 TOTAL 15 TOTAL 15
Associate of Arts in Performance (Keyboard Technology- Production) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo
Q5 Q6
diversity, tone production, and live performance workshops/ ensembles. CODE COURSE CREDIT
CODE COURSE CREDIT
recording software, digital music, synthesis and sampling, and gear mastery. MAJOR AREA MAJOR AREA
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio CC-303K Keyboard LPW 303 1 CC-403K Keyboard LPW 403 1
production (performance focus). KEYBD-350 Commercial Composition 1 2 KEYBD-450 Commercial Composition 2 2
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of KEYBD-340 Digital Music 3 2 KEYBD-430 Producer Project 2 2
KEYBD-330 Producer Project 1 2 PROF. DEV.
traditional and contemporary music theory, ear training, songwriting, and in-depth rhythmic studies. PROF. DEV. MUBUS-0460 Applied Entertainment Business 2 1.5
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media MUBUS-0360 Applied Entertainment Business 1 1.5 CC-407 Visual Media 2 2
software, digital branding, and media relations concepts and practices, allowing them to negotiate the professional CC-307 Visual Media 1 2 MUBUS-0307 Independent Artist Marketing 2
business side of the music industry. SONG-101 Songwriting 1 1.5 SONG-201 Songwriting 2 1.5
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, ELECTIVES ELECTIVES
popular music history, technology, music business, creative development and composition and analysis; assembling a Various Various 1 Various Various 1
TOTAL 15
TOTAL 15
90 CREDITS / 12 QUARTERS*/ PART-TIME 90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.
The part-time Keyboard Technologies Program is designed for individuals wishing to pursue a certificate
Q7 Q8
in Keyboard who, due to employment, time constraints, family responsibilities, or health reasons, may
not be able to undertake a traditional full-time program. Specific requirements and regulations apply to CODE COURSE CREDIT CODE COURSE CREDIT
enrollment in the part-time Keyboard program. MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 4 2 KEYBD-330 Producer Project 1 2
CC-203K Keyboard LPW 203 1 KEYBD-240 Digital Music 1 2
Q1 Q2 PROF. DEV.
MUBUS-0202 Media Relations 2
PROF. DEV.
CC-307 Visual Media 1 1.5
CODE COURSE CREDIT CODE COURSE CREDIT CC-201 Harmony & Theory 201 1.5 CC-202 Ear Training 202 2
ELECTIVES
CC-CC New Student Seminar 0 MAJOR AREA Various Various 1
TOTAL 7.5
MAJOR AREA KEYBD-013 Keyboard Performance 013 2
KEYBD-PL Private Lesson 1 2 KEYBD-012 Keyboard Reading 012 2
CC-013K Keyboard LPW 013 1 KEYBD-024 Keyboard Gear Mastery 1 TOTAL 7.5
Q9 Q10
TOTAL 7.5
TOTAL 7.5
ASSOCIATE
ASSOCIATE
ASSOCIATE
Q3 Q4 KEYBD-PL Private Lesson 5 2 KEYBD-340 Digital Music 2 2
CC-303K Keyboard LPW 303 1 KEYBD-350 Commercial Composition 1 2
CODE COURSE CREDIT CODE COURSE CREDIT PROF. DEV.
PROF. DEV.
MUBUS-0360 Applied Entertainment Business 1 1.5
MAJOR AREA MAJOR AREA MUSICIANSHIP CC-407 Visual Media 2 2
KEYBD-PL Private Lesson 2 2 KEYBD-023 Keyboard Performance 023 2 SONG-101 Songwriting 1 1.5
CC-023K Keyboard LPW 023 1 KEYBD-022 Keyboard Reading 022 2 ELECTIVES TOTAL 7.5
KEYBD-021 Keyboard Technique 021 2 AUDIO-052 DAW: Logic 2 1 Various Various 1
AUDIO-152 DAW: Logic 1 1 MUSICIANSHIP
MUSICIANSHIP CC-022 Ear Training 022 1.5 TOTAL 7.5
Various Various 1
TOTAL 7.5
TOTAL 7.5 Q11 Q12
Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT KEYBD-PL
CC-403K
Private Lesson 5
Keyboard LPW 403
2
1
KEYBD-450
PROF. DEV.
Commercial Composition 2 2
MAJOR AREA MAJOR AREA KEYBD-430 Producer Project 2 2 MUBUS-0460 Applied Entertainment Business 2 1.5
KEYBD-PL Private Lesson 3 2 AUDIO-157 Pro Tools 110 2 MUSICIANSHIP ELECTIVES
CC-103K Keyboard LPW 103 1 KEYBD-140 Digital Music 1 2 SONG-201 Songwriting 2 1.5 Various Various 4
AUDIO-057 Pro Tools 101 2 KEYBD-150 Synthesis and Sampling 1 ELECTIVES
MUSICIANSHIP MUSICIANSHIP Various Various 1 TOTAL 7.5
ELECTIVES ELECTIVES TOTAL 7.5
TOTAL 7.5 TOTAL 7.5
ASSOCIATE OF ARTS
VOCAL
COURSE CREDIT
Vocal LPW 013-403 6
Vocal Performance 013-230 8
Vocal Technique 011-210 8
Sightsinging 012-220 8
Styles Survey 1-2 2
DAW 1-2 2
Ensemble 1-2 4
Project Recording: Vocal 1-2 4
Visual Media 1-2 4
ASSOCIATE
Songwriting 1-2 3
Associate of Arts in Performance (Vocal) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo
and ensemble vocalist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity,
and live performance workshops/ ensembles.
recording software.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio
production with vocal performance as the focal point.
traditional and contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard
proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media
software, digital branding, and media relations concepts and practices, allowing them to negotiate the professional
business side of the music industry.
VOCAL
VOCAL
Q1 Q2
MAJOR AREA MAJOR AREA The part-time Vocal Program is designed for individuals wishing to pursue a certificate in Vocals who,
CC-013V Vocal LPW 013 1 CC-023V Vocal LPW 023 1 due to employment, time constraints, family responsibilities, or health reasons, may not be able to
VOCAL-013 Vocal Performance 013 2 VOCAL-023 Vocal Performance 023 2 undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
VOCAL-011 Vocal Technique 011 2 VOCAL-021 Vocal Technique 021 2
VOCAL-012 Sightsinging 012 2 VOCAL-022 Sightsinging 022 2 the part-time Vocal program.
VOCAL-014 Styles Survey 1 1 VOCAL-024 Styles Survey 2 1
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5 Q1 Q2
ELECTIVES ELECTIVES
Various Various 1 Various Various 1 CODE COURSE CREDIT CODE COURSE CREDIT
TOTAL 15 TOTAL 15 CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA VOCAL-013 Vocal Performance 013 2
VOCAL-PL Private Lesson 1 2 VOCAL-012 Sightsinging 012 2
CC-013V Vocal LPW 013 1 VOCAL-014 Styles Survey 1 1
VOCAL-011 Vocal Technique 011 2 MUSICIANSHIP
Q3 Q4 MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CODE COURSE CREDIT CODE COURSE CREDIT CC-011 Harmony & Theory 011 1.5
ASSOCIATE

VOCAL-PL Private Lesson 3 2 VOCAL-PL Private Lesson 4 2 TOTAL 7.5 TOTAL 7.5
CC-103V Vocal LPW 103 1 CC-203V Vocal LPW 203 1
VOCAL-130 Vocal Performance 130 2 VOCAL-230 Vocal Performance 230 2
VOCAL-110 Vocal Technique 110 2 VOCAL-210 Vocal Technique 210 2
VOCAL-120 Sightsinging 120 2 VOCAL-220 Sightsinging 220 2 Q3 Q4
MUSICIANSHIP
MUSICIANSHIP
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5 MAJOR AREA
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1 MAJOR AREA
VOCAL-PL Private Lesson 2 2 VOCAL-023 Vocal Performance 023 2
ELECTIVES ELECTIVES CC-023V Vocal LPW 023 1
Various Various 1 Various Various 1 VOCAL-022 Sightsinging 022 2
VOCAL-021 Vocal Technique 021 2 VOCAL-024 Styles Survey 2 1
TOTAL 15 TOTAL 15 CC-021 Harmony & Theory 021 1.5 MUSICIANSHIP
CC-108 Keyboard Proficiency 1 1 CC-022 Ear Training 022 1.5
Q5 Q6 TOTAL 7.5 TOTAL 7.5

MAJOR AREA MAJOR AREA Q5 Q6
CC-303V Vocal LPW 303 1 CC-403V Vocal LPW 403 1 CODE COURSE CREDIT CODE COURSE CREDIT
VOCAL-350 Contemporary Vocal Ensemble 2 VOCAL-450 Advance Contemporary Vocal Ensemble 2
VOCAL-360 Project Recording: Vocal 1 2 VOCAL-460 Project Recording: Vocal 2 2 MAJOR AREA MAJOR AREA
PRO. DEV. PROF. DEV. VOCAL-PL Private Lesson 3 2 VOCAL-130 Vocal Performance 130 2
MUBUS-0360 Applied Entertainment Business 1 1.5 MUBUS-0460 Applied Entertainment Business 2 1.5 CC-103V Vocal LPW 103 1 VOCAL-120 Sightsinging 120 2
MUBUS-0202 Media Relations 2 CC-407 Visual Media 2 2 VOCAL-110 Vocal Technique 110 2 MUSICIANSHIP
CC-307 Visual Media 1 2 MUBUS-0307 Independent Artist Marketing 2 AUDIO-156 DAW 2 1 CC-102 Ear Training 102 1.5
MUSICIANSHIP MUSICIANSHIP MUSICIANSHIP VOCAL-031E Digital Notation & Arranging 1
SONG-101 Songwriting 1 1.5 SONG-201 Songwriting 2 1.5 CC-101 Harmony & Theory 101 1.5 ELECTIVES
ELECTIVES ELECTIVES Various Various 1
TOTAL 7.5
TOTAL 7.5
TOTAL 15 TOTAL 15
ASSOCIATE OF ARTS
VOCAL
Q7 Q8
MAJOR AREA
VOCAL-PL Private Lesson 4 2 MAJOR AREA
CC-203V Vocal LPW 203 1 VOCAL-230 Vocal Performance 230 2
VOCAL-210 Vocal Technique 210 2 VOCAL-220 Sightsinging 220 2
MUSICIANSHIP VOCAL-360 Project Recording 1 2
CC-208 Keyboard Proficiency 2 1 CC-202 Ear Training 202 1.5
TOTAL 7.5
TOTAL 7.5
Q9 Q10
ASSOCIATE
ASSOCIATE
VOCAL-PL Private Lesson 5 2 VOCAL-350 Vocal Ensemble 1 2
CC-303V Vocal LPW 303 1 PROF. DEV.
VOCAL-460 Project Recording 2 2 MUBUS-0460 Applied Entertainment Business 2 1.5
Various Various 1
TOTAL 7
TOTAL 7.5
Q11 Q12
VOCAL-PL Private Lesson 6 2 VOCAL-450 Vocal Ensemble 2 2
CC-403V Vocal LPW 403 1 PROF. DEV.
MUBUS-0202 Media Relations 1 2 MUSICIANSHIP
MUBUS-0307 Independent Artist Marketing 2 SONG-201 Songwriting 2 1.5
ELECTIVES
Various Various 2
TOTAL 7
TOTAL 7.5
ASSOCIATE OF SCIENCE ASSOCIATE OF SCIENCE
MUSIC BUSINESS
MUSIC BUSINESS
REQUIRED TO COMPLETE THIS ASSOCIATE OF SCIENCE DEGREE*
COURSE CREDIT Q1 Q2
Music Industry History 1-2 4
Music Business Law & Contracts 1-3 5 CODE COURSE CREDIT CODE COURSE CREDIT
Music Publishing & Licensing 1-4 8 MAJOR AREA MAJOR AREA
Music Industry 1-4 1-2 MUBUS-110 Music Industry History 1 2 MUBUS-210 Music Industry History 2 2
MUBUS-120 Music Business Law & Contracts 1 2 MUBUS-220 Music Business Law & Contracts 2 2
Computer Tech Music Business Applications 1-2 1 MUBUS-130 Music Publishing & Licensing 1 2 MUBUS-230 Music Publishing & Licensing 2 2
MAJOR AREA = Music Business Accounting & Finance 1-2 3 MUBUS-140 Music Industry 1 2 MUBUS-240 Music Industry 2 2
Personal Management & the Artist’s Team 3 MUBUS-150 Computer Tech Music Business 1.5 MUBUS-250 Music Business Accounting & 1.5
64.5 CREDITS Artist Development: Skills for the Creative Env. 1 MUBUS-170
Applications 1
Personal Management & The Artist’s 1 MUBUS-280
Finance 1
Music Business Marketing & Social 2
Music Business Marketing & Social Media 1-5 1.5 Team Media 2
MUBUS-180 Music Business Marketing & Social 2 PRO. DEV.
Music Industry Internship 1-2 10 Media 1 MUBUS-290 Management & Business Skills 2 1.5
Personal Entrepreneurship 1-2 6 PRO. DEV. SUP. MUSIC
MUBUS-190 Management & Business Skills 1 1.5 MUBUS-260 Musicianship for Business Prof. 1
Publishing/A&R Practicum 4 ELECTIVES ELECTIVES
Booking & Management Practicum 4 Various Various 1 Various Various 1
TOTAL 15 TOTAL 15
PROF. DEVELOPMENT = Management & Business Skills 1-4 6.5
10.5 CREDITS (includes Business Writing, Networking, Public Speaking and Leadership)
Visual Media 1-2 4
Q3 Q4
Musicianship for Business Professionals 1
SUPPORTIVE MUSIC = Song Structure & Content 2 CODE COURSE CREDIT CODE COURSE CREDIT
Songs, Recording & Production: A&R Analysis 2
ASSOCIATE
ASSOCIATE
9 CREDITS Production Music for Visual Media: Critical Listening 1-2 4
MAJOR AREA
MUBUS-320 Music Business Law & Contracts 3 1
MAJOR AREA
MUBUS-430 Music Publishing & Licensing 4 2
ELECTIVES = MUBUS-330 Music Publishing & Licensing 3 2 MUBUS-440 Music Industry 4A 2
MUBUS-340 Music Industry 3A 2 MUBUS-441 Music Industry 4B 1
6 CREDITS Various 6 MUBUS-341 Music Industry 3B 1 MUBUS-450 Computer Tech Music Business 1.5
MUBUS-342 Music Industry 3C 1 Applications 2
MUBUS-350 Music Business Accounting & 1.5 MUBUS-470 Artist Development: Skills for the 1.5
Associate of Science in Music Business Program Learning Outcomes: Finance 2 Creative Environment
1. Define and articulate more comprehensively and with added global perspective the current music industry landscape including how the more MUBUS-380 Music Business Marketing & Social 2 MUBUS-480 Music Business Marketing & Social 2
specific business areas function and are interconnected to drive the industry as a whole. Media 3 Media 4
2. Describe, apply and demonstrate the essential skills of primary music business career paths and roles across main industry areas such as PRO. DEV. PRO. DEV.
personal management/artist management, music publishing and licensing, record label operations including A&R (Artists & Repertoire), music MUBUS-390 Management & Business Skills 3 1.5 MUBUS-490 Management & Business Skills 4 2
SUP. MUSIC SUP. MUSIC
marketing, music distribution, and booking and touring.
MUBUS-360 Song Structure & Content 2 MUBUS-460 Songs, Recording & Production: 2
3. Employ industry-specific practical knowledge gained from application-oriented projects and hands-on technology training, and integrate A&R Analysis
ELECTIVES
direct business experience through music business internships. Various Various 1 ELECTIVES
4. Recall and implement prevailing business practices and strategies applicable to major established music companies as well as the independent Various Various 1
sectors of the industry. TOTAL 15
5. Relate and integrate additional valuable business insight gained from networking with successful music industry professionals. TOTAL 15
6. Apply and demonstrate a more developed and expanded range of transferable business skills, such as those in leadership, team building,
effective communication and expanding a professional network, with an emphasis on applications within the music industry, as well as identify
resources to carry out music business research. Q5 Q6
7. Determine particular professional music industry career paths, suited to acquired skills, knowledge and personal strengths, to then identify
and secure appropriate business opportunities as well as job opportunities at entry level or beyond, or for further professional advancement and CODE COURSE CREDIT CODE COURSE CREDIT
specialization.
8. Appropriately analyze and adapt the acquired knowledge and skills to individual and specific industry situations that will be encountered in a MAJOR AREA MAJOR AREA
MUBUS-580 Music Business Marketing & Social 2 MUBUS-640 Music Industry Internship 2 4
professional career.
Media 5 MUBUS-650 Personal Entrepreneurship 2 2
9. Analyze and adapt to new developments and trends in the contemporary music industry utilizing broadened historical perspective and context. MUBUS-540 Music Industry Internship 1 2 MUBUS-670 Booking & Mgmt. Practicum 4
10. Fully apply and demonstrate the above-referenced knowledge and skills as a self-managed independent/performing artist. MUBUS-550 Personal Entrepreneurship 1 2 PRO. DEV.
11. As for being an entrepreneur, define, articulate and implement the practical and legal aspects/steps of forming a business, develop skills to MUBUS-570 Publishing/A&R Practicum 4 CC-407 Visual Media 2 2
operate and manage the day-to-day functions of a music-related company, and overall business planning. PRO. DEV. SUP. MUSIC
12. Demonstrate practical skills related to goal-setting, task allocation, research and analysis techniques, measurement and results analysis, CC-307 Visual Media 1 2 MUBUS-660 Production Music for Visual Media 2 2
problem solving, and time management. SUP. MUSIC ELECTIVES
13. More effectively evaluate musical talent and music product as prospects from an independent business/company standpoint, considering both MUBUS-560 Production Music for Visual Media 1 2 Various Various 1
business and artistic/creative goals. ELECTIVES
14. Demonstrate basic musical knowledge as well as critical/analytical skills sufficient for a certain level of professional music evaluation from a Various Various 1 TOTAL 15
creative standpoint and effective communication with artists and other creative professionals such as songwriters, producers, musicians and audio
TOTAL 15
engineers.
15. Wholly utilize the in-depth knowledge, experience and practical skills acquired, to perform the full scope of assessing, acquiring, developing,
marketing, promoting and launching a new artist or music project.
*Based on optimal course load of 15 credits per quarter

*Based on optimal Thiscourse loadisofnew.
program 15 credits per quarter *Based on optimal course load of 15 credits per quarter
The number of students who graduate, the number of students who are placed, or the starting salary you can earn after finishing the educational program are unknown at this time. Information
regarding general salary and placement statistics may be available from governmental sources or from the institution, but is not equivalent to actual performance data.
ASSOCIATE OF SCIENCE ASSOCIATE OF SCIENCE
ASSOCIATE OF SCIENCE IN LIVE MUSIC EVENT PRODUCTION ASSOCIATE OF SCIENCE IN STUDIO RECORDING
Q1 Q2 Q1 Q2
MAJOR AREA MAJOR AREA MAJOR AREA MAJOR AREA
AUDIO-107 Mac Basics 1 AUDIO-157 Pro Tools 110 2 AUDIO-107 Mac Basics 1 AUDIO-157 Pro Tools 110 2
AUDIO-101 Recording Techniques 1 1 AUDIO-280 Console Operation 2: Avid SC48 2 AUDIO-101 Recording Techniques 1 1 AUDIO-209 Console Operation 2: API with Practical Recording 2
AUDIO-108 Recording Theory 1 AUDIO-208 Analog and Digital Signal Processing 2 AUDIO-108 Recording Theory 1 AUDIO-207 Intro to Post 1
AUDIO-057 Pro Tools 101 2 AUDIO-210 Safety & Rigging 1 AUDIO-057 Pro Tools 101 2 AUDIO-206 Intro to Live Sound 2
AUDIO-151 Electronics 2 AUDIO-225 Live Sound Essentials 1-2 2 AUDIO-102 Console Operation 1: Neve with Practical Recording 2 AUDIO-204 Mixing Essentials 1-3 2
AUDIO-180 Console Operation 1: Yamaha MCL 2 AUDIO-235 Stage Technician 1-2 2 AUDIO-151 Electronics 2 AUDIO-208 Analog and Digital Signal Processing 2
PRO. DEV. PRO. DEV. PRO. DEV. PRO. DEV.
MUBUS-0360 Applied Entertainment Business 1 1.5 MUBUS-046 Applied Entertainment Business 2 1.5 MUBUS-0360 Applied Entertainment Business 1 1.5 MUBUS-046 Applied Entertainment Business 2 1.5
MUSICIANSHIP MUSICIANSHIP MUSICIANSHIP MUSICIANSHIP
AUDIO-111 Evolution of Audio 1 AUDIO-106 Musicianship for Audio Engineers 1 AUDIO-111 Evolution of Audio 1 AUDIO-106 Musicianship for Audio Engineers 1
AUDIO-105 Critical Listening 2 MUBUS-110 Music Industry History 1-2 2 AUDIO-105 Critical Listening 2 MUBUS-110 Music Industry History 1-2 2
AUDIO-051 Music Production 1 AUDIO-051 Music Production 1
TOTAL 14.5 TOTAL 15.5 TOTAL 14.5 TOTAL 15.5
Q3 Q4 Q3 Q4
AUDIO-380 Console Operation 3: Yamaha CL5 2 AUDIO-480 Console Operation 4: Avid S6L 2 MAJOR AREA MAJOR AREA
AUDIO-325 Live Sound Essentials 1-2 2 AUDIO-445 Monitor Engineering 1-2 2 AUDIO-201 Recording Techniques 1-2 1 AUDIO-440 Mixing Essentials 1-3 2
AUDIO-335 Stage Technician 1-2 2 AUDIO-455 Live Mixing, Recording & Playback 1-2 2 AUDIO-360 Interactive Audio & Emerging Technologies 2 AUDIO-357 Pro Tools 201-210 2
AUDIO-345 Monitor Engineering 1-2 2 AUDIO-410 Lighting 2 AUDIO-340 Mixing Essentials 1-3 2 AUDIO-430 Console Operation 4: Euphonix with Practical Recording 2
AUDIO-355 Live Mixing, Recording & Playback 1-2 2 AUDIO-415 Event Production & Tour Management 1-2 AUDIO-257 Pro Tools 201-210 2 AUDIO-450 Advanced Analog and Digital Audio Principles 1-2 2
PRO. DEV. AUDIO-425 Musical Event Systems & Components 1-2 1 AUDIO-330 Console Operation 3: SSL with Practical Recording 1 AUDIO-460 Music Mastering 1
MUBUS-120 Music Business Law and Contracts 2 MUSICIANSHIP AUDIO-350 Advanced Analog and Digital Audio Principles 1-2 2 AUDIO-470 Systems Integration & File Management 2
ASSOCIATE
ASSOCIATE
MUSICIANSHIP 2 MUBUS-360 Song Structure and Content 2 AUDIO-320 Advanced Digital Signal Processing 1 MUSICIANSHIP
MUBUS-210 Music Industry History 1-2 2 ELECTIVES PRO. DEV. MUBUS-360 Song Structure and Content 2
ELECTIVES Various Various 2 MUBUS-120 Music Business Law and Contracts 2 ELECTIVES
Various Various 1 MUSICIANSHIP Various Various 2
TOTAL 15 MUBUS-210 Music Industry History 1-2 2
TOTAL 15
TOTAL 15
TOTAL 15
Q5 Q6 Q5 Q6
MAJOR AREA MAJOR AREA MAJOR AREA MAJOR AREA
AUDIO-515 Event Production & Tour Management 1-2 2 AUDIO-635 Audio/Visual, Wireless & Broadcasting 1-2 1.5 AUDIO-510 Broadcast Media 1-2 1 AUDIO-610 Broadcast Media 1-2 1
AUDIO-525 Musical Event Systems & Components 1-2 1 AUDIO-615 Staging 2 AUDIO-520 Advanced Recording & Production 1-2 2 AUDIO-620 Advanced Recording & Production 1-2 2
AUDIO-560 Repair, Maintenance & Troubleshooting 2 AUDIO-625 Electrical Implementation 2 AUDIO-530 Live to 2 Track Studio Recording 2 AUDIO-660 Studio Technology 2
AUDIO-535 Audio/Visual, Wireless & Broadcasting 1-2 1.5 AUDIO-670 Final Project 1-2 3 AUDIO-140 Recording Studio Etiquette 1 AUDIO-650 Final Project 1-2 3
AUDIO-570 Final Project 1-2 3 PRO. DEV. AUDIO-550 Final Project 1-2 3 PRO. DEV.
PRO. DEV. CC-407 Visual Media 1-2 2 PRO. DEV. CC-407 Visual Media 1-2 2
MUBUS-206 Networking Strategies 1 MUBUS-308 Operating a Music Business 2 MUBUS-206 Networking Strategies 1 MUBUS-308 Operating a Music Business 2
MUSICIANSHIP ELECTIVES MUSICIANSHIP ELECTIVES
CC-0307 Visual Media 1-2 2 Various Various 3 CC-0307 Visual Media 1-2 2 Various Various 3
ELECTIVES ELECTIVES
Various Various 2 TOTAL 15.5 Various Various 3 TOTAL 15
TOTAL 14.5 TOTAL 15
Associate of Science in Live Music Event Production Program Learning Outcomes: Associate of Science in Studio Recording Program Learning Outcomes:
1. Demonstrate the ability to operate modern analog and digital audio systems using industry-standard live production 1. Demonstrate the ability to operate modern analog and digital audio systems using industry-standard production
techniques and equipment for sound reinforcement & live recording/playback, lighting, and live video recording/playback. techniques and equipment.
2. Demonstrate basic knowledge of audio engineering concepts in theory and in practice, including the principles of 2. Demonstrate basic knowledge of audio engineering concepts in theory and in practice, including the principles of
computer basics, signal flow, and signal processing. computer basics, signal flow, and signal processing.
3. Demonstrate proficiency in frequency recognition and other critical listening skills. 3. Demonstrate proficiency in frequency recognition and other critical listening skills.
4. Demonstrate basic musicianship skills and practical knowledge of Western music theory, methods and fundamentals 4. Articulate a basic understanding of common business practices related to music and professional efforts in the
associated with the creation and production of contemporary, popular music. entertainment industry.
5. Articulate a fundamental understanding of staging shows and events. 5. Demonstrate basic musicianship skills and practical knowledge of Western music theory, methods and fundamentals
6. Articulate a fundamental understanding of basic audio electronics and electrical concepts & implementation, including associated with the creation and production of contemporary, popular music.
basic troubleshooting and repair in the field. 6. Articulate a fundamental understanding of common audio post-production and live sound technologies and practices.
7. Articulate a basic understanding of common business practices related to live music production and live events. 7. Articulate a fundamental understanding of basic audio electronics and theory, including soldering techniques related to
88 professional audio equipment.
BACHELOR OF MUSIC OVERVIEW
12 QTRS IN COMPOSITION, PERFORMANCE* OR SONGWRITING & PRODUCTION
MI’s Bachelor of Music Degree offers several options for students who want to gain an in-depth mastery of
Harmony, Theory and Ear Training as well as comprehensive courses in music history, music production
software, producing, and business relations. Bachelor Degrees are available in either Composition,
Performance or Songwriting & Production with the goal of preparing graduates to become professional
artists in the contemporary music and entertainment industry.
Bachelor of Music in Composition (Scoring for Visual Media)

The goal of this degree program is to provide a complete educational foundation that prepares students
for careers as soundtrack composers, arrangers, orchestrators, editors and copyists for film, TV, animation
and video games. Specific objectives include a comprehensive education in Music Composition;
professional training in digital music creation tools; contemporary arranging and orchestration; a
foundation in theory, ear training, music history and music styles; a general education to develop critical
thinking skills and perspective with regard to music’s place in contemporary culture; and preparation for
further studies at the graduate level.
Bachelor of Music in Performance (Contemporary Styles)

This unique degree program combines contemporary music performance training with the rigorous
study of traditional disciplines including sight-reading, music history, arranging, conducting, recording and
more. Students attain expertise in one of five major instruments: Bass, Drums, Guitar, Keyboard or Vocal.
The comprehensive program instructs students to demonstrate stylistic depth, creative maturity and
professional competence in preparation for careers in today’s music industries.
BACHELOR
Minor in Audio Production
Additional recording courses cover technology and techniques including
Acoustics, Console Operation, Pro Tools, Mixing and Mastering, and more.
Minor in Entertainment Industry Studies

Concentrated courses in Music Publishing, Music Law, Record Companies,
Management, Marketing and more.
Bachelor of Music in Songwriting & Production

The Bachelor of Songwriting & Production degree program is designed to prepare students for careers
as songwriters in today’s modern music industry. Graduates of this program will be able to write and
produce their own music, while also gaining the skills to write music for other artists or for TV, film
and commercial placement. Curriculum includes classes in Songwriting, Lyric Writing, Contemporary
Arranging, Studio Production, Ensemble, Logic, Pro Tools, Ear Training, and more.
*See General Education Transfer Credits for required credit distribution on page 178. Distribution of General Education credits is based on
recommended average credit balance per quarter. General Education requirements can be found on page 224.
90 ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT WWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS.
Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs
91
BACHELOR OF MUSIC IN COMPOSITION BACHELOR OF MUSIC IN COMPOSITION
(SCORING FOR VISUAL MEDIA) (SCORING FOR VISUAL MEDIA)
REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*
COURSE CREDIT QUARTER/CREDIT BREAKD0WN
Scoring 1-10 20
Contemporary Arranging 1-6 12
MAJOR AREA = 65 CREDITS Orchestration 1-2 4
Counterpoint 1 Q1 Q2 Q3 Q4 Q5 Q6 Q7 Q8 Q9 Q10 Q11 Q12
Sophomore Project 2
Senior Project 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2
Harmony & Theory 101-801 15 2 2 2 2 2 2
Ear Training 102-602 11 2 2
Keyboard Proficiency 1-5 5 1
Pro reading Ensemble 1-2 2 2
Music History 1-4 8
History of Scoring 1 2
SUPPORTIVE MUSIC = 45 CREDITS
Contemporary Vanguards 1
Directing and Conducting 1-2 4
1.5 1.5 2 2 2 2 2 2
BACHELOR
BACHELOR
DAW Option 1: Reason 1-2 1
1.5 1.5 2 2 2 2
DAW Option 2: Ableton Live 1-2 2
1 1 1 1 1
Sibelius Notation 1
1 1
Logic 1-2 2
2 2 2 2
ProTools 101-110 4
1
Mechanics of Score Production 1-2 4
1
Composers Ensemble 1-2 2
2 2
Business of Composing 1-2 2
1 1
Composers Collaborative 1
GENERAL ED* = 45 CREDITS 1 1
Various 45 1
ELECTIVES = 5 CREDITS Various 5 1 1
2 2
Bachelor of Music in Composition (Scoring for Visual Media) Program Learning Outcomes: 2 2
1. Compose, orchestrate, and arrange music for film, television and video games in various musical genres with technical 1 1
proficiency, artistry and creativity. 1 1
2. Develop specialized compositional techniques that demonstrate flexibility and versatility in collaboration with creative 1
media professionals.
3. Demonstrate substantive knowledge within supportive areas including music history, harmony and music theory
(traditional and contemporary), arranging, conducting, ear-training, keyboard proficiency, score reading & analysis, music
editing, music business, and collaborative composition.
4. Demonstrate technological proficiency within the areas of music notation, Digital Audio Workstations, and mockup
preparation. 2 2 0 2 2 2 5 4 3 5 10 8
5. Effectively communicate, orally and in writing (English), with directors, other composers, orchestrators, performers,
and editors while demonstrating fluency in music literature, comprehension of music’s cultural significance, the creative
process, and business practices. 0 1 2 0 0 0 0 0 1 0 1 0
6. Exhibit personal and artistic growth and leadership skills as a team-oriented composer, along with the ability to further
develop an organizational foundation for well-rounded self-study.
**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.
92 93
BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) (CONTEMPORARY STYLES) BASS
Master of Music in Performance (Contemporary Styles) Program Learning Outcomes:

Upon completion of a Bachelor of Music in Performance Degree from Musicians Institute,
students will be able to:
1. Perform music of various contemporary genres, including Jazz, Rock & Roll, Rhythm REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*
& Blues/Funk, Latin and Pop, while exhibiting stylistic authenticity, technical accuracy,
improvisational aptitude and creativity. COURSE CREDIT
2. Develop specialized technical, reading and performing abilities as they pertain to the Private Lesson 1-12 24
aforementioned styles within the specified area of instrumental concentration. Bachelor Ensemble 1-4, 5-12 12
3. Demonstrate substantive knowledge within supportive areas including music history,
Performance 1-8 4
theory and composition (traditional and contemporary), arranging, conducting (traditional and
contemporary), ear-training, keyboard proficiency, and instrumental instruction. MAJOR AREA = 64 CREDITS Technique 110-410 8
4. Demonstrate technological proficiency within the areas of music notation, recording, Reading 120-420 8
performance, and business. Performance 130-230 4
5. Effectively communicate, orally and in writing (English), with regard to specific musical Sophomore Jury Prep / Sophomore Jury 2
works, composers, performers, music’s role in shaping world culture, the creative process of Senior Jury Prep / Senior Jury 2
artists in general, music education and business practices.
6. Exhibit personal and artistic growth and leadership skills as a team-oriented performer Harmony & Theory 101-801 15
of contemporary musical styles along with the ability to further develop an organizational Ear Training 102-602 11
foundation for well-rounded self-study. Styles Survey 1
BACHELOR
BACHELOR
SUPPORTIVE MUSIC = 63 CREDITS Music History 1-4 8
The Bachelor of Music in Performance Program Learning Outcomes are developed through a
Contemporary Arranging 1-5 10
combination of requirements common to traditional undergraduate music degrees including
Private Lessons; Performance Ensemble; Music Theory; Music History; Music Education;
Directing and Conducting 2
Keyboard Proficiency; Ear-Training; Conducting; and Arranging, and subsequently combined DAW Option 1: Reason 1-2 2
with Musicians Institute’s contemporary emphasis on Recording Technology; Sibelius Music DAW Option 2: Ableton Live 1-2 2
Notation; Improvisation; Music Business and Entrepreneurship. Conventional disciplines along Sibelius Notation 1
with present-day applications are unified to form a curriculum that emphasizes personal Logic 1-2 2
creativity, synthesis of skills leading to artistic identity, depth and versatility, and comprehensive ProTools 101-110 4
assimilation of technique and knowledge through regularly occurring live performance, studio Keyboard Proficiency 1-3 3
recording and scholarly research. Applied Entertainment Business 1-2 3
Contemporary Music Instruction 1
GENERAL ED* = 45 CREDITS Various 45
*See General Education Transfer Agreement for required credit distribution on page 166. Distribution of General Education credits is based on
recommended average credit balance per quarter. General Education requirements can be found on page 123. **Student’s choice of DAW
Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs. Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.
94 95
(CONTEMPORARY STYLES) BASS (CONTEMPORARY STYLES) DRUMS
QUARTER/CREDIT BREAKD0WN
Q1 Q2 Q3 Q4 Q5 Q6 Q7 Q8 Q9 Q10 Q11 Q12 COURSE CREDIT
2 2 2 2 2 2 2 2 2 2 2 2 Private Lesson 1-12 24

1 1 1 1 1 1 1 1 1 1 1 1 Bachelor Ensemble 1-4, 5-12 12
1 1 1 1 Performance 1-8 4
2 2 2 2 MAJOR AREA = 64 CREDITS Technique 110-410 8
2 2 2 2 Reading 120-420 8
2 2 Performance 130-230 4
1 1 Sophomore Jury Prep / Sophomore Jury 2
1 1 Senior Jury Prep / Senior Jury 2
1.5 1.5 2 2 2 2 2 2 Harmony & Theory 101-801 15

BACHELOR
BACHELOR
1.5 1.5 2 2 2 2 Ear Training 102-602 11
1 Styles Survey 1
2 2 2 2 SUPPORTIVE MUSIC = 63 CREDITS Music History 1-4 8
2 2 2 2 2 Contemporary Arranging 1-5 10
2 Directing and Conducting 2
1 1 DAW Option 1: Reason 1-2 2
1 1 DAW Option 2: Ableton Live 1-2 2
1 Sibelius Notation 1
1 1 Logic 1-2 2
2 2 ProTools 101-110 4
1 1 1 Keyboard Proficiency 1-3 3
1.5 1.5 Applied Entertainment Business 1-2 3
1 Contemporary Music Instruction 1
2 4 4 6 9 10 10
1 1 1 2.5 1.5 1
96 97
(CONTEMPORARY STYLES) DRUMS (CONTEMPORARY STYLES) GUITAR
QUARTER/CREDIT BREAKD0WN 180 CREDITS / 12 QUARTERS

2 2 2 2 2 2 2 2 2 2 2 2 Private Lesson 1-12 24

2 2 2 2 Reading 120-420 8
1.5 1.5 2 2 2 2 2 2 Harmony & Theory 101-801 15

BACHELOR
BACHELOR
1.5 1.5 2 2 2 2 Ear Training 102-602 11
1 Styles Survey 1
1 1 Logic 1-2 2
2 2 ProTools 101-110 4
1 1 1 Keyboard Proficiency 1-3 3
1.5 1.5 Applied Entertainment Business 1-2 3
1 Contemporary Music Instruction 1
2 4 4 6 9 10 10
1 1 1 2.5 1.5 1
98 99
(CONTEMPORARY STYLES) GUITAR (CONTEMPORARY STYLES) KEYBOARD

2 2 2 2 2 2 2 2 2 2 2 2 Private Lesson 1-12 24

2 2 2 2 Reading 120-420 8
1.5 1.5 2 2 2 2 2 2 Harmony & Theory 101-801 15

BACHELOR
BACHELOR
1.5 1.5 2 2 2 2 Ear Training 102-602 11
1 Styles Survey 1
1 1 Logic 1-2 2
2 2 ProTools 101-110 4
1 1 1 Applied Entertainment Business 1-2 3
1.5 1.5 Contemporary Music Instruction 1
1

2 4 4 6 9 10 10
1 1 1 2.5 1.5 1
100 101
(CONTEMPORARY STYLES) KEYBOARD (CONTEMPORARY STYLES) VOCAL

2 2 2 2 2 2 2 2 2 2 2 2 Private Lesson 1-12 24

2 2 2 2 MAJOR AREA = 66 CREDITS Sightsinging 120-220 4
2 2 2 2 Vocal Creativity 320-420 4
2 2 Vocal Tech 011,021,110,210 8
1 1 Vocal Performance 130-430 8
Senior Jury Prep / Senior Jury 2
1.5 1.5 2 2 2 2 2 2 Harmony & Theory 101-801 15
BACHELOR
BACHELOR
1.5 1.5 2 2 2 2
Ear Training 102-602 11
1 Styles Survey 1
2 2 2 2
SUPPORTIVE MUSIC = 63 CREDITS Music History 1-4 8
1 1
Logic 1-2 2
2 2 ProTools 101-110 4
1.5 1.5 Keyboard Proficiency 1-3 3
1 Applied Entertainment Business 1-2 3
Contemporary Music Instruction 1

1 1 4 4 5.5 9 10 10
1 1 1 2 3 1.5 1
102 103
BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF MUSIC
SONGWRITING & PRODUCTION
(CONTEMPORARY STYLES) VOCAL
COURSE CREDIT
QUARTER/CREDIT BREAKD0WN Private Lesson 1-12 24
Songwriting 1-6 11
MAJOR AREA = 63 CREDITS Compositional Style and Analysis 1-2 4
Lyric Writing 1-2 4
Q1 Q2 Q3 Q4 Q5 Q6 Q7 Q8 Q9 Q10 Q11 Q12 Contemporary Arranging 1-5 10
Vocal Technique for Songwriters 1
2 2 2 2 2 2 2 2 2 2 2 2 Guitar Harmony for Songwriters 1
1 1 1 1 1 1 1 1 1 1 1 1 Vocal Arranging 1-2 4
1 1 1 1 Sophomore Recital 2
2 2 2 2 Senior Portfolio Project 2
2 2 2 2
2 2 Keyboard Harmony for Songwriting 1-2 4
1 1 SUPPORTIVE MUSIC = 33 CREDITS Vocal Production and Collaboration 1-2 4
1 1 Music History 1-4 8
Musical Directing/Conducting 2
1.5 1.5 2 2 2 2 2 2 Secondary Applied Lessons 2
Business of Composing 1-2 2
BACHELOR
BACHELOR
1.5 1.5 2 2 2 2
1 Production Music for Visual Media 1-2 4
2 2 2 2 Sibelius Notation 1
2 2 2 2 2 Logic 1-2 2
2 ProTools 101-110 4
1 1 Harmony & Theory 1-8 15
1 1 MUSICIANSHIP = 33 CREDITS Ear Training 1-6 11
1 Keyboard Proficiency 1-3 3
1 1 Composers Ensemble 1-2 4
2 2
1 1 1 GENERAL ED* = 45 CREDITS Various 45
1.5 1.5 ELECTIVES = 6 CREDITS Various 6
1
Bachelor of Music in Songwriting and Production Program Learning Outcomes:
1. Compose and arrange within various genres of contemporary music including: Pop, Rock & Roll, Rhythm & Blues/Funk,
Latin, Jazz, and Country while exhibiting stylistic authenticity, lyric-writing ability and originality.
2. Demonstrate comprehensive technical, reading and performing abilities as they pertain to the aforementioned styles
2 4 4 6 9 10 10 within the specified area of instrumental concentration.
3. Demonstrate proper application of audio production techniques including: microphone placement, live tracking, audio-
editing, mixing and mastering along with showcasing leadership skills as applied to problem solving within a recording
studio environment.
4. Demonstrate substantive knowledge within supportive areas including: music history, theory and composition
1 2.5 1.5 1 (traditional and contemporary), arranging, conducting (traditional and contemporary), ear-training, keyboard and guitar
proficiency.
5. Demonstrate technological proficiency within the areas of music notation, recording, performance and music business.
6. Exhibit personal and artistic growth and leadership skills as a team-oriented songwriter and producer of contemporary
musical styles along with the ability to further develop an organizational foundation for well-rounded self-study.
104 105
BACHELOR OF MUSIC
SONGWRITING & PRODUCTION
QUARTER/CREDIT BREAKD0WN
Q1 Q2 Q3 Q4 Q5 Q6 Q7 Q8 Q9 Q10 Q11 Q12
2 2 2 2 2 2 2 2 2 2 2 2
1.5 1.5 2 2 2 2
2 2
2 2
2 2 2 2 2
1
1
2 2
2
2
2 2
BACHELOR
BACHELOR
2 2
2 2 2 2
2
2
1 1
2 2
1
1 1
2 2
1.5 1.5 2 2 2 2 2 2
1.5 1.5 2 2 2 2
1 1 1
2 2
3 3 5 4 3 1 3 3 4 3 5 8
2 3 1
106 107
BACHELOR OF MUSIC IN PERFORMANCE
MINOR
AUDIO PRODUCTION [+30 CREDITS*]
Q13 Q14
MAJOR AREA 1 MAJOR AREA
AUDIO-101 Recording Techniques I 2 AUDIO-201 Recording Techniques 2 1
AUDIO-102 Console Operation 1: Neve with Practical Recording 2 AUDIO-209 Console Operation 2: API with Practical Recording 2
AUDIO-057 Pro Tools 101 1 AUDIO-157 ProTools 110 2
AUDIO-104 The Business of Audio 2 AUDIO-204 Mixing Essentials I 3
AUDIO-105 Critical Listening 1 AUDIO-206 Intro to Live Sound 1
AUDIO-107 Mac Basics 1 AUDIO-207 Intro to Post Production 1
AUDIO-108 Recording Theory 2 AUDIO-215 Vocal Production 1
AUDIO-151 Electronics 1 ADIO-208 Analog and Digital Signal Processing 2
AUDIO-106 Musicianship for Audio Engineers 1 ELECTIVES
AUDIO-051 Music Production 1 Various Various 2
AUDIO-140 Recording Studio Etiquette
TOTAL ` 15 TOTAL 15
BACHELOR
BACHELOR
MUSIC INDUSTRY STUDIES [+30 CREDITS*]
Q13 Q14
MINOR AREA MINOR AREA
MUBUS-101 Music Law 1 2 MUBUS-201 Music Law 2 2
MUBUS-102 Computers in Business 1 MUBUS-202 Media Relations 2
MUBUS-103 Record Labels 2 MUBUS-203 Music Distribution 1
MUBUS-104 Your Music Business Career 2 MUBUS-204 Concert & Tour Production 2
MUBUS-105 Agents & Bookings 1 MUBUS-205 Music Industry Internship 4
MUBUS-106 Digital Marketing 2 MUBUS-206 Networking Strategies 1
MUBUS-107 Music Publishing 2 MUBUS-207 Music Licensing & Supervision 2
MUBUS-108 Personal Management 2 ELECTIVES
Various Various 1
TOTAL 15 TOTAL 15
*See General Education Transfer Credits for required credit distribution on page 178. Distribution of General Education credits is based on recommended average
credit balance per quarter. General Education requirements can be found on page 224.
THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. 109
108 ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT WWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS. 109
MASTER OF MUSIC IN PERFORMANCE
CONTEMPORARY STYLES: BASS, DRUM, GUITAR, KEYBOARD, VOCAL
MASTER OF MUSIC OVERVIEW
4 QTRS IN PERFORMANCE
A collaboration between nationally recognized academic instructors and

leading industry professionals, this unique one-year graduate degree program 45 CREDITS / 4 QUARTERS
is designed to prepare students for successfully navigating the ever-changing REQUIRED TO COMPLETE THIS MASTER OF MUSIC DEGREE*
landscape of today’s music industry while simultaneously assisting with the QUARTER/
development of artistic identity as a performer. The Master of Music (M.M.) from CREDIT BREAKD0WN
Musicians Institute combines advanced performance training with additional COURSE CREDIT
study in both traditional and contemporary disciplines such as music history, Q1 Q2 Q3 Q4
theory, education, research skills, recording technology, production, business
Master of Music Applied Lesson 1-4 8 2 2 2 2
relations and online brand management. Students further their performance MAJOR AREA Advanced Studio Ensemble 1-2 4 2 2
expertise in one of five major instruments: Vocals, Keyboard, Guitar, Electric Bass
= 23 CREDITS Graduate Performance Seminar 1-2 2 1 1
or Drums. Successful completion of both a written thesis and graduate recital Graduate Thesis 3 3
are required of all candidates pursuing a M.M. in Performance from Musicians Graduate Recital 6 6
Institute. Whenever possible, visiting artists are invited into the classroom to
participate in the group discussion and professional critique that serves as the Global Economics and the Performing Musician 2 2
intellectual foundation of the graduate program. SUPPORTIVE Recording Project 1-2 4 2 2
MUSIC Advanced History: Popular Music of the United States 2 2
MASTER
MASTER
ENTRANCE REQUIREMENTS = 18 CREDITS Contemporary Performance Styles and Analysis 1-2 4 2 2
Successful applicants to Musicians Institute’s Master of Music (M.M.) Performance Research Methods for the Contemporary Musician 1-2 4 2 2
program must hold either a Bachelor of Music (B.M.) degree or a Bachelor of 21st Century Music Education 2 2
Arts (B.A.) with music as the primary focus. In addition to working knowledge
of contemporary styles and advanced performance experience, students must ELECTIVES Various 4 2 2
demonstrate a strong academic record, language, writing & leadership skills = 4 CREDITS
and the ability to interact well with others while consistently displaying overall
dedication to the worldwide advancement of music as an art form
Master of Music in Performance (Contemporary Styles) Program Learning Outcomes:

1. Perform, compose, record and analyze music of various contemporary genres, including Jazz, Rock & Roll, Rhythm &
Blues/Funk, Latin and Pop with stylistic authenticity, technical accuracy, improvisational aptitude and creativity.
NOTICE: Although this program invites students to apply year-round, this program 2. Demonstrate advanced comprehension within the following areas: technique, reading, improvisation, composition and
begins during the Fall and Spring Quarters only. Please refer to the Academic Calendar arranging within the specified area of instrumental concentration.
on pages 6-7 for specific start dates for the upcoming Fall and Spring Quarters. 3. Demonstrate comprehensive knowledge within supportive areas including music history, theory, contemporary
composition and arranging, audio recording, music business, and instrumental instruction.
4. Demonstrate technological proficiency within the areas of music notation, recording, performance, business and
entrepreneurship.
5. Generate, and communicate research, (through scholarly writing and oral presentation) derived from the analysis of
specific musical works, composers, performers, music’s role in shaping world culture, the creative process of artists in
general, music education and business practices.
110 111
NON CERTIFICATE
MASTER
THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. 113
112
NON-CERTIFICATE
Enrollment is available at the beginning of any
SUMMER SHOT quarter, and may be repeated for additional
Summer Shot is a sneak peek into the variety of
quarters. MI Select features a full-time/10-week
programs offered at MI. The week long music camp
schedule, while MI Select Express has a flexible
is intended for all ages, experience levels and styles
5-week schedule.
of music. Along with MI’s expert faculty, students
learn from special guest artists who perform
professionally with some of the top names in the MI SELECT
music industry. Summer Shot includes separate The class schedule is based on an initial evaluation
week-long sessions for Performance and Artist and consultation with the MI Select student’s
Development. Two separate weeks of Summer program chair, where the student is provided with a
Shot are offered annually between the Spring and list of available courses appropriate to the student’s
Summer quarters, giving students the opportunity level of knowledge and skill.
to participate in two different sessions. Updated
details are available at summershot.mi.edu. Note: Course offerings vary by quarter and some
courses and programs are not available for MI
Select enrollment.
ELIGIBILITY
There are no specific academic entrance
Private Lessons are available for MI Select students
requirements for Summer Shot.
enrolled in a minimum of 12 units (Full Time).
Sessions include weekly, one-hour private lessons
HOW TO APPLY TO SUMMER SHOT on the student’s primary instrument. The Instructor
Please send the following items together by mail or
and student jointly develop a lesson plan based on
email (admissions@mi.edu):
the student’s particular interests and the instructor
1. Completed application form.
NON CERTIFICATE
NON CERTIFICATE
provides general guidance throughout the program.
2. $50.00 (USD) application fee.
Note: Requests for private lessons with a specific
APPLICATION REVIEW AND instructor are subject to instructor availability.
NOTIFICATION
Class sizes are limited and placement priority ACCESS
is given to applications in the order accepted. Students enrolled in a minimum of 9 units have
Fully completed applications are reviewed for 24-hour access to MI’s facilities for practice and
acceptance on an ongoing basis. Accepted rehearsal, access to extra-curricular activities and
applicants will be notified by mail or telephone. the library, and admission to clinics and seminars
Applicants who are not accepted will be notified by offered during the student’s period of enrollment.
mail or telephone.
MI SELECT EXPRESS
SCHEDULING/REGISTRATION/ MI Select Express follows the same customizable
ORIENTATION philosophy as MI Select, but offers greater flexibility
Summer Shot students are expected to arrive prior for students who cannot commit to the full 10
to the start of classes for Scheduling, Registration, weeks of study. After an initial evaluation, the MI
and Orientation. For updated information, visit Select Express student’s program chair provides a
summershot.mi.edu. list of available courses appropriate to the student’s
level of knowledge and skill. From that list, the
MI SELECT & MI SELECT EXPRESS student creates a 5-week, full-time (15 units) class
MI Select & MI Select Express are non-certificate schedule. Private lessons are not available to MI
programs designed to provide students with “a Select Express students.
taste of MI” as an alternative to enrolling in full-time
degree or certification programs. Students can IMPORTANT ADDITIONAL
create their own customized schedule from available INFORMATION
classes and workshops, while enjoying access Financial Aid: MI Select & MI Select Express are
to the music library, special guest clinics, extra- not eligible for State or Federal financial aid.
curricular activities, and other industry networking
opportunities. Materials: MI Select & MI Select Express students
are entitled to receive curriculum and other
114 THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. *As a non-certificate program, MI Select and MI Select Express is not eligible for U.S. or State government financial aid. 115
NON-CERTIFICATE WORKSHOPS
WORKSHOPS & ENSEMBLES Note: LPW offerings vary by quarter; check current
Workshops and Ensembles provide students with course schedule for availability. Due to the course
a wide range of opportunities to gain valuable requirements and time commitments required of
performing experience as well as meet their students enrolled in LPW, it is not advisable to enroll
academic requirements. Concentrating in one area in more than two separate LPW courses in any
or sampling a variety of styles is recommended single quarter.
according to each student’s needs.
LIVE PERFORMANCE
LIVE PERFORMANCE WORKSHOPS WORKSHOPS (LPW)
(LPW) - STYLE & REPERTOIRE Besides the Style and Repertoire LPW classes,
Staffed by experienced instructors, performers students have many other opportunities in which
and guest artists, these LPW use a “tune of to earn LPW credits.
the week” format. Students prepare parts in •• Real World LPW: Students perform
advance, perform on stage with other students, contemporary styles while sight reading
and receive coaching and critique on their musical charts and following the direction of a
and performing skills. In addition to MI faculty, musical director.
featured guests have included Wayne Kramer •• Traditional Jazz Ensemble: Students form
(MC5), D.H. Peligro (The Dead Kennedys), Brent ensembles at the beginning of each quarter
Harding (Social Distortion), Annabella Lwin (Bow to perform jazz styles while reading charts
Wow Wow), and others. An LPW is a great way and following the direction of a musical
materials applicable to courses included in their time to prepare for the appropriate exam. An additional for students to meet each other, learn about director.
NON CERTIFICATE
NON CERTIFICATE
official course schedule only. 4 hours of open lab time (non-proctored) will be different styles, and develop their repertoire. Style •• Jazz Improvisation LPW: Students gain
Fees: MI Select & MI Select Express students are available after each day for student use. & Repertoire LPW include: stylistic range and improvisational skills
responsible for all applicable fees; see Tuition and •• Blues under the guidance of a musical director.
Fees for specific information. For more information, including dates, times and rates, •• Classic Rock Set ensembles are set at the beginning of
please visit: Pro Tools.mi.edu •• Country each quarter.
Course Credit: Courses taken during MI Select •• Modern Rock •• Contemporary Jazz Ensemble LPW:
& MI Select Express session do not earn course ELIGIBILITY •• Hard Rock Students Perform jazz/ fusion styles while
credit. Attendance or completion of any course does Students must have basic computer knowledge •• Rock Repertoire reading charts and following the direction
not guarantee subsequent advanced placement in a including the ability to use a keyboard, mouse and an •• Metal of a musical director.
certificate or degree program. Apple or Windows based operating system. Minimum •• Punk •• Coffee House LPWs: Due to their
age is 16 years old (High School diploma/GED is not
•• American Songbook popularity, the Coffee House LPWs meet
PRO TOOLS CERTIFICATIONS required)
•• Contemporary R&B three nights a week under the guidance
The Avid Pro Tools® certification courses are non-
•• Hip-Hop of different instructors experienced
accredited courses designed for those who wish to HARDWARE REQUIREMENTS
acquire their Avid User and/or Operator Certification •• Old School Hip Hop in songwriting, production, and live
Stereo Headphones (Student will need to bring to the
through weekend classes at Musicians Institute. •• Fusion performance. Students form solos, duo,
first day of class):
•• Any brand
•• Funk and trios to perform original songs and/or
The 100 Level (User) Certificate focuses on the •• 1/4 plug •• Billboard Hot 100 arrangements.
basic concepts and theory involved in using a •• K-Pop •• Pro Performance LPW: An LPW for
digital audio workstation. Students will be able to •• Jam Band artists writing and performing original
set-up an Avid Pro Tools® session for recording, HOW TO APPLY
Please visit: Pro Tools.mi.edu
•• Brazilian songs and compositions to practice and
importing audio, editing, recording MIDI, backing-up •• Old School Hip Hop grow in professionalism, musicianship,
data, working with fire wire drives, and more. The 1. Complete the application form under the “Sign
Up” Tab. •• Neo Soul performance, and presentation. The LPW
200 Level (Operator) Certificate explores powerful
•• * includes $100 non-refundable “Application •• Soundtrack meets in the concert hall and is served by
Avid Pro Tools® editing and processing functions,
including plug-ins, automation, synchronization, Fee” which can be applied to the total cost. •• One World the concert hall production team and two
quantization, mastering and more. •• * All Avid Pro Tools books associated with the •• Sax Centric instructors.
course are included in the rate. •• Power Trio
Each course requires 48 hours of weekend class •• Latin
•• Latin Pop
•• Reggae
CAMPUS CAMPUS
Musicians Institute’s central Hollywood campus includes facilities devoted to
a variety of programs and purposes. The 60,000-square-foot Main Complex
is open 24 hours a day, seven days a week, except holidays. It includes several 2ND FLOOR
performance venues, recording studios, classrooms, practice and private lesson
rooms, a library, and more. 229 231 233 235 240 245 250
UPRIGHT UPRIGHT KEYBOARD KEYBOARD AND
BASS LAB BASS LAB TECH. LABS COMPOSITION PROJECT
1ST FLOOR STUDIOS
Women
227
KEYBOARD CLASSROOMS 252
226 232
HIGHLAND AVE
225
COMPOSITION GUITAR & BASS
IAP / SONGWRITING PRIVATE LESSON & LABS
145 150 PRIVATE LESSON ROOMS Men
254
222 234 237 239
PERFORMANCE AE
CLASSROOMS STUDIO D UTB Studios 223 DJ GUITAR & BASS
PRACTICE ROOMS PRIVATE LESSON & LABS 247 249
KEYBOARD AND COMPOSITION PROJECT STUDIOS
221
UTB
190
Women Mail Room Men UTB 220 236 210
DJ
PRACTICE Staff
219 ROOM 258
Lounge
KEYBOARD TECH. LABS

AE 218
LIVE SOUND 217
VINYL/CDJ/
GUITAR & BASS PRIVATE LESSON & LABS

CLASS ROOM
216 TURNTABLISM
The Passage: First Floor 215
LAB
CAMPUS
CAMPUS
UTB
UTB Patio
GUITAR & BASS LABS

PRIVATE LESSON & LABS
263
VOCAL PL
STUDENT ARTIST & INDUSTRY
REGISTRAR
Security AFFAIRS SUPPORT CENTER VOCAL
211 264
HOLLYWOOD BLVD
AE PRIVATE LESSON ROOM
HAWTHORNE AVE
214 VL10 VL8 VL6 VL4 VL2

THX STUDIO E Main Lobby The Passage
MUSIC LIBRARY
265
STUDENT 212
85 MAC WORK STATIONS
FINANCIAL AID ARTIST LOUNGE 207
BASS
BILLING 24 BOSS + 45 M AUDIO JAM STATIONS VL9 STUDIO
AE VL7 VL5 VL3 VL1
STUDIO C VOCAL LABS 267
STUDENTS CAN CHECK OUT INSTRUMENTS, VIDEOS, GUITAR
Passage Performance Rooms (3 levels) 205 STUDIO
155
SHEET MUSIC, EBOOKS, +MORE
VL11 VL12 VL13 VL14 VL15 269
Green PERFORMANCE
Room
Restrooms CLASSROOM 203
278 270 IAP
STUDIO
Copy
Room
VOCAL
160 PRIVATE LESSON ROOM
201
Utility Closet AE
Stage
CONCERT HALL STUDIO F
271
MICRO
MARKET Vocal 293 291 284 281 277
Booth
AE TECH IAP
102 STUDIO A OFFICE STUDIO IAP
289 283 DAW LAB IAP LAB STUDIO
DAW LAB TECH ROOM
Custodian
IAP
OFFICE STUDIO
Elevator
Isolation
Audio
Booth
Control Room
Security
PLAYER SUPPLY STORE STUDIO OFFICE COMPOSITION/AE/IAP STUDIO
MCCADDEN PLACE
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CAMPUS GUIDE
Please use the following guide to find the proper locations for your specific needs.
3RD FLOOR Changing MI Programs Locker Sign-Ups

Registrar Office Artist Support Center
331 330 335 340
Women West side of The Passage, 1st Floor West side of The Passage, 1st Floor
registrar@mi.edu asc@mi.edu
Men Changing Instructors or Class Times Lost MI ID Card

DRUM
SERATO CLASSROOMS
SERVICE Registrar Office Security Desk
ABLETON
& LAB West side of The Passage, 1st Floor McCadden Entrance
TRAKTOR 339
CONTROLLERISM registrar@mi.edu 1655 N. McCadden Place
LABS DRUM PRIVATE 345 DL43 DL44 DL2
LESSON ROOMS
Dropping Classes Parent Needs to Find Student /
337 346 DL41 DL42 DL4 DL3
Registrar Office Locate Lost Child
West side of The Passage, 1st Floor Student Affairs Office in Artist Support Center
AC Duct 347 DL39 DL40 DL6 DL5
325
registrar@mi.edu West side of The Passage, 1st Floor
DRUM PRIVATE LESSON ROOMS
studentaffairs@mi.edu
DL46 DL37 DL38 DL8 DL7
320 350 Financial Aid & Scholarships
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Financial Aid Office Paying Fees
321
DRUM LABS East side of The Passage, 1st Floor Student Billing Office
DL48 DL33 DL34 DL12 DL11 West side of The Passage, 1st Floor
Housing studentbilling@mi.edu
317 CLASSROOMS DL50 DL31 DL32 DL32 DL13
Student Affairs Office in Artist Support Center
West side of The Passage, 1st Floor Posting Flyers
315 390 360 DL15
DL51 DL29 DL30 DL16
ELECTRONIC Ask for Housing Coordinator Student Affairs Office in Artist Support Center
DRUM KIT
313
studentaffairs@mi.edu West side of The Passage, 1st Floor
studentaffairs@mi.edu
Instructor Did Not Show Up for
311 Student’s Class Practice Room Reservations
DL25 DL24 DL23 DL22 DL21 DL20 DL19
Student Affairs Office in Artist Support Center Artist Support Center

West side of The Passage, 1st Floor West side of The Passage, 1st Floor
DRUM studentaffairs@mi.edu asc@mi.edu
STUDIO 391
385 380 375 370
DRUM PRIVATE
LESSON ROOMS Locating an Instructor Visiting Friends/Family of Students
393 Registrar Office Security Desk
CLASSROOMS West side of The Passage, 1st Floor McCadden Entrance
registrar@mi.edu 1655 N. McCadden Place
Student will need to fill out a Security Permission
Form
Elevator
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Studio B
A 5.1 surround mixing/editing suite outfitted Studio 02
with AVID Artist Control and Artist Mix Multi-purpose studio with Yamaha U3 upright
components, a Dangerous Music Monitoring piano, Mesa guitar amp, Neumann, Mojave,
System and an AVID Pro Tools HD system. Royer, AKG, and Shure microphones,
Dynaudio monitors, Avalon channel strips,
Studio C Universal Audio Apollo 16 interface, Focusrite
Features a API 1608 32-channel analog Scarlett 2i4 interface, and MIDI controllers.
console and an Avid Pro Tools® HD system This studio features a Mac workstation
with three 96 interfaces. equipped with Avid Pro Tools® 12, Logic Pro
X, Reason 9, Ableton Live 10 Suite, Native
Studio D Instruments Komplete 10, Waves Gold, Waves
A Rupert Neve Designs 5088 Renaissance Max, McDSP Everything bundle,
16-channel analog console with an AVID Pro Izotope Music Production Suite, Izotope RX
Tools HD X System. Post Production Suite, Sonnox and Softube
Plugin Bundles, Eosis Air EQ Premium,
Studio E Auto-Tune 8, Melodyne 4 Editor, Arturia
A world-class THX-certified dubbing stage C-Collection 4, UAD Ultimate plug-in bundle,
equipped with a 48-channel Avid ICON and Adobe Creative Cloud.
D-Control console and an Avid Pro Tools®
HD recording system. Studio 03
Production/mixing studio equipped with
Studio F Neumann, Mojave, Royer, AKG, and Shure
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MAIN COMPLEX These rooms are located at MI-145, MI-150, Sports an Avid Euphonix S5 Fusion 24 microphones, Adam monitors, Avalon
LIVE PERFORMANCE FACILITIES MI-155, MI-190, PASS-101, PASS-201, console, an Avid Pro Tools® HD X recording channel strip, ROLI Seaboard Rise keyboard
PASS-301 and PASS-302 system, and a variety of high-end outboard controller/synthesizer, Native Instruments
Concert Hall
The 500-capacity Concert Hall is the gear. Machine controller, Universal Audio Apollo 16
Note: All performance stages are handicapped- interface, Focusrite Scarlett 2i4 interface, and
centerpiece of Musicians Institute’s accessible.
performance facilities, boasting a stage area MIDI controllers. This studio features a Mac
of 900 square feet, fixed theater seating,
INDEPENDENT ARTIST STUDIOS
workstation equipped with Avid Pro Tools®
and a comfortable backstage green room. RECORDING AND PRODUCTION Studio 01
12, Logic Pro X, Reason 9, Ableton Live 10
The Concert Hall is MI’s primary venue FACILITIES Multi-purpose studio with isolated tracking
Suite, Native Instruments Komplete 10, Waves
for concerts, seminars and clinics from MI’s extensive recording facilities, ranging and mix rooms. Equipped with DW drum
world-renowned visiting special guests; as Gold, Waves Renaissance Max, McDSP
from top-of-the-line professional studios to kit; Fender guitar amp, Budda guitar amp;
well as student performances, workshops Everything bundle, Izotope Music Production
project studios and recording classrooms, Neumann, Mojave, Royer, AKG, and Shure
and auditions. The state-of-the-art hall is Suite, Izotope RX Post Production Suite,
include industry-standard recording and microphones; as well as outboard gear from
equipped with top professional video and Sonnox and Softube Plugin Bundles, Eosis Air
audio production gear, including amplifiers mixing systems, complemented by an API, Universal Audio, and Chandler Ltd.,
EQ Premium, Auto-Tune 8, Melodyne 4 Editor,
and speaker enclosures, dual large-screen extensive array of professional microphones Universal Audio Apollo 16 interface, Focusrite
Arturia C-Collection 4, UAD Ultimate plug-in
video projectors, and a variety of multi-colored and outboard gear. Scarlett 2i4 interface, and MIDI controllers.
bundle, and Adobe Creative Cloud.
concert lighting options. The area’s backline This studio features a Mac workstation
features a variety of top-of-the-line drum kits, equipped with Avid Pro Tools® 12, Logic Pro
keyboards, microphones, guitar and bass AUDIO ENGINEERING STUDIOS Studio 04
X, Reason 9, Ableton Live 10 Suite, Native
amplifiers, monitors and a front-of-house Studio A Production studio equipped with Moog
Instruments Komplete 10, Waves Gold, Waves
sound system. Features a large tracking room for live band Little Phatty Synthesizer, Native Instruments
Renaissance Max, McDSP Everything bundle,
recording, an SSL Duality SE 24-Channel Maschine Mikro, Dynaudio monitors, Roland
Performance Rooms Izotope Music Production Suite, Izotope RX
Hybrid analog/digital console, an Avid Pro A-88 weighted MIDI controller, Universal
Eight performance rooms, between 800 to Post Production Suite, Sonnox and Softube
Tools® HD X 192 interface, 24 I/O digital Audio Apollo 16 interface, and Focusrite
1,000 square feet each, seat 25 to 50 people Plugin Bundles, Eosis Air EQ Premium,
and are fully equipped for Live Performance audio recording system, and Otari MTR 90 2” Scarlett 2i4 interface. This studio features
Auto-Tune 8, Melodyne 4 Editor, Arturia
Workshops. Each room contains a complete analog reel-to-reel recorder. a Mac workstation equipped with Avid Pro
C-Collection 4, UAD Ultimate plug-in bundle,
PA system and an assortment of guitar and Tools® 12, Logic Pro X, Reason 9, Ableton
and Adobe Creative Cloud.
bass amplifiers, keyboards, and drum sets.
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Live 10 Suite, Native Instruments Komplete 10, Waves Gold Bundles, Reason 9, Avid Omni in the Highland Annex, some classrooms
Waves Gold, Waves Renaissance Max, McDSP Interface, and Avid HD Native Thunderbolt are customized to fit the needs of specific Drums
Everything bundle, Izotope Music Production Interfaces. programs. Nine Drum Counseling Labs each contain two
Suite, Izotope RX Post Production Suite, complete drum kits for private lessons and
Sonnox and Softube Plugin Bundles, Eosis Air Ableton Live Lab Keyboards open counseling. An additional 50 personal
EQ Premium, Auto-Tune 8, Melodyne 4 Editor, (MI-330) (MI-240, MI-245) practice labs each contain a drum set as
Arturia C-Collection 4, UAD Ultimate plug-in This DJ Performance and Production lab Keyboard teaching/practice facilities include well as lockers for storage. Students need to
bundle, and Adobe Creative Cloud. facility features Mac workstations equipped two main classrooms with 32 student provide their own pedals, cymbals, and clutch.
with MIDI controllers, Ableton Live 10 Suite, keyboard stations, video-assisted instructor
DJ PERFORMANCE AND and Ableton PUSH 2 controllers. The Lab also stations, and audio systems. This room also
MUSIC LIBRARY
PRODUCTION PROGRAM LABS features an NFUZD electronic drum kit, a PA features DJ equipment, such as Vinyl and CDJ
The Musicians Institute Music Library provides
AND PRACTICE ROOMS system, and Mackie HR824 Studio monitors. stations, equipped with Serato boxes.
a wealth of media, online research databases
Vinyl/CDJ/Turntablism Lab
and resources, print materials, and related
(MI-236) Recording Techniques Lab DJ Practice Rooms
equipment to support MI’s educational
This DJ Performance lab facility features (MI-281) (MI-220, MI-222 and MI-234)
programs. Over 80 Apple Mac workstations
standing workstations equipped with Technics This Audio Engineering lab contains Apple These DJ Performance practice facilities
offer Internet as well as access to videos
SL-1200 (Mk5G, Mk5, Mk6) Vinyl Turntables, Mac workstations equipped with Avid Pro each feature a standing workstation equipped
of visiting artist concerts, seminars, and
Pioneer DJ CDJ-2000 NXS and XDJ-1000 Tools® 12, Logic X, Waves Gold Bundles, with Technics SL-1200 Mk5 Vinyl Turntables,
instructional media. Students may check out
Media Players, Pioneer DJ DJM-S9 and Traktor Reason 9, Focusrite Scarlett 2i2’s, Ni Pioneer DJ XDJ-1000 Media Players, a
CDs, CD players, books, sheet music, and
Z2 DJ Mixers, Traktor F1 Controllers, Pioneer Maschines, Line 6 Pod Pro bass and guitar Pioneer DJ DJM-900 NXS2 DJ Mixer and
instruments. Mobile printing, wireless printing,
Pro Audio RM-07 Studio Monitors. amp modelers. Pioneer Pro Audio BULIT 7 Studio Monitors.
and a self-operated copy machine are available
for student use.
PRODUCTION LABS Drums
PRODUCTION STUDIOS
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DAW Labs (MI-370, 375, 380)
Production Stage The Music Library is located in the Main
(MI-102, MI-277, HIGH-125, MBH-102, Drum-specific class/rehearsal rooms include
A fully functional 16x20 soundstage with a Building, second floor. The hours are:
MBH-201) customized padded tables designed for group
white cyclorama set. Mon-Fri: 8:30 AM – 12:00 Midnight
These Audio Engineering recording and drum instruction.
Sat-Sun: 12:00 Noon - 8:00 PM
teaching lab facilities feature Mac workstations, INSTRUMENT-SPECIFIC
each equipped with an Avid Pro Tools® 12, STUDIOS COUNSELING AND PRACTICE Media Lab
Logic Pro X, Reason 9, Ableton Live 9.5 Bass, Drums, Guitar, Keyboard
FACILITIES Within the library, 45 individual Apple Mac-
Guitar, Bass, Keyboard
Standard, McDSP Everything bundle, Sonnox Technology, Vocals based practice stations provide software,
35 general-purpose counseling/practice labs
and Softube Plugin Bundles, Eosis Air EQ Each of these studios is designed to train including Guitar Rig, GarageBand, Sibelius,
are equipped with various combinations of
Premium, Adobe Creative Cloud, Arturia students in the art and technique of studio and Adobe Creative Suite. An additional
guitar and bass amplifiers, keyboards, and
C-Collection 4, Focusrite Scarlett 2i2’s and performance as it relates to their specific 23 practice lab stations are equipped with
other specialized equipment. All counseling
MIDI controllers. instrument. Each is equipped with an Apple instrument gear.
labs are used for Private Lesson instruction
Mac, Avid Pro Tools® and/or Logic Audio
during scheduled hours, and are otherwise
Serato & Traktor Controllerism Lab and related hardware, software, and outboard AMENITIES
available for student practice.
(MI-331) gear. Player’s Supply Store
This DJ Performance lab facility features MI’s own music store, adjacent to the
Vocal main lobby, offers a wide range of music
standing workstations equipped with Pioneer DJ Class And Rehearsal Facilities
The Vocal Program features 15 individual accessories at discounted prices. These
DDJ-SX2, DDJ-SR and Traktor S4Mk2 and S8 MI’s Instrument and Vocal Programs are
Vocal Labs. Each lab is equipped with a 27- include strings, picks, drumsticks, staff paper,
Controllers, Pioneer Pro Audio RM-07 Studio taught in dual-use facilities that function
inch Apple iMac computer, weighted 88-key gig bags, tuners, instructional books, CDs,
Monitors. as classrooms during the day and student
piano keyboard, mirror (to allow students to videos, MI-logo apparel, and more.
rehearsal rooms during evenings and
check that their vocal technique is correct),
Pro Tools HD Lab weekends. Most are equipped with guitar, Artist Lounge
audio playback, and access to thousands
(MBH-103, MBH-104) bass and keyboard amps, drum kits, PA, and MI’s redesigned Artist Lounge offers a
of instrumental backing tracks, Apple Logic,
Audio Engineering students learn digital audio playback systems. In addition to 11 comfortable place to relax, study or jam. In
Sibelius, and course-specific reference
recording techniques on Apple Mac general-use classrooms on the Main Complex a room facing Hollywood Blvd., the Artist
materials. Lounge has a DJ console, sound system, TV &
workstations with Avid Pro Tools® 12, Logic X, third floor, one on the second floor and two
CAMPUS
couches for the use of the MI community. Parking
Parking is available nearby at daily and
Micro Market monthly rates. Metered and street parking
Located on the ground floor of the main building, options are also available.
the Micro Market offers a variety of premium
food and drink options that are available 24/7; Public Transportation
in addition to a microwave oven, televisions and MI’s main campus is located near the
tables with seating. Hollywood/Highland stop on the Metro Red
Line subway. A variety of convenient bus
SPECIAL FACILITIES AND routes and other trip-planning details are
SERVICES FOR HANDICAPPED available at www.metro.net. In addition, MI
STUDENTS provides students with a free evening shuttle
Main Building - First Floor: service to nearby apartments.
•• Elevator: One handicapped-equipped
elevator provides service to all three
floors. Security Access
•• Lift: A hydraulic lift provides handicapped Only current students, employees, and those
access between the main entrance and with official business with Musicians Institute
ground floor (access to upper floors is by are allowed on campus or in any Musicians
elevator). Institute facilities or buildings. Students must
•• Restrooms: There is one handicapped
stall in the men’s restroom and one present their MI ID and scan it immediately
handicapped stall in the women’s upon entering or exiting MI facilities or
restroom. The men’s restroom is also buildings. Information from these scans is
provided with one handicapped urinal. logged and can be used as documentation of
Both are provided with handicapped
CAMPUS
sinks. attendance at and/or use of the facilities at MI.

•• Drinking Fountain: There are two All personnel are required to have ID visible at
handicapped drinking fountains. all times while on campus. Visitors must check
•• Concert Hall: Handicapped seat stations in with Security upon entering the MI campus
are provided in the auditorium. Access or any MI buildings/facilities.
to the Concert Hall stage is provided by
mechanical/electrical lift.
Administration
Second And Third Floors:
•• Drinking Fountain: There is at least one Most of MI’s administrative offices are
handicapped-accessible drinking fountain housed in the Hollywood Passage building,
on each floor. including Artist & Industry Support Center,
•• Restrooms: There is one male and one
female handicapped restroom on each
floor.
Hollywood Passage:
•• Elevator: One handicapped-equipped
elevator provides service to all three
floors.
DIRECTIONS
MI’s main complex is located at 1655 N.
McCadden Place, near the major intersection
of Hollywood Boulevard and Highland Avenue.
The main entrance is located in the alley that
branches off of McCadden Place.
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Student Support Center, Office of Academic
Affairs, Registrar, Admissions, Financial Aid,
GUITAR CRAFT FACILITIES
Marketing, and Instructional and Information
Technology Services. Human Resources, The
Operations Department and Accounting are
housed in the Hawthorn Annex on Hawthorn
Avenue across from the main MI building.
ADDITIONAL FACILITY
LOCATIONS
MI’s campus also includes the following areas:
Guitar Craft Annex

(Classrooms, Workshops):
6920 Santa Monica Boulevard, one-and-a-half
blocks west of Highland Avenue.
Guitar Craft Building

(Classrooms, Workshops):
7070 Santa Monica Blvd. at the corner of La
Brea Avenue.
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Hawthorn Annex
(Administration):
1621 N. McCadden Place; one block south of
Hollywood Boulevard and one block east of
Highland Avenue (opposite the Main Building
entrance)
Highland Annex
(Classrooms, Lesson/Practice Rooms, The Guitar Craft facilities
Recording Lab):
1622 N. Highland Avenue; one block south
contain state-of-the-art
of Hollywood Boulevard on the corner of workshop equipment, including
Hawthorn Avenue. industry-standard tools &
Hollywood Passage technology used for the design,
(Administration, Artist Support Center, fabrication, electrical wiring and
Performance Rooms): repair of guitars and basses.
6752 Hollywood Boulevard, one half-block
east of Highland Avenue
Music Business Annex

(Classrooms, DAW/Computer Lab Rooms):
1518 N. Highland Avenue, one half-block north
of Sunset Boulevard.
MUSICIANS INSTITUTE GUITAR CRAFT ACADEMY NASHVILLE MUSICIANS INSTITUTE GUITAR CRAFT ACADEMY NASHVILLE
Musicians Institute Guitar Craft Academy Nashville is located at:

5000 Harding Place
Nashville, TN 37211
https://nashville.mi.edu
800-255-7529 (Toll Free)
615-333-9423 (Local & International)
Mission Statement
Musicians Institute’s Guitar Craft Academy Nashville is dedicated to inspiring excellence in the art of guitar
building and design, while preparing students for careers in the music industry. By providing hands-on
instruction from top professionals in a state-of-the-art educational environment, we give students the skills
necessary to achieve their goals. We strive to develop a diverse array of talented individuals who can enrich
the global community by contributing their expertise and craftsmanship.
CERTIFICATE
GUITAR CRAFT
Q1 Q2
Students learn to build an electric guitar or bass from scratch—including design, fabrication,
wiring, electronics, repair and maintenance. This program provides comprehensive preparation MAJOR AREA MAJOR AREA
GCRFT-103 Instrument Design 1 2 GCRFT-203 Instrument Design 2 1
for professions in the fields of instrument manufacturing and repair. GCRFT-104 Instrument Fabrication 1 6 GCRFT-204 Instrument Fabrication 2 6
GCRFT-102 Fretwork & Setup 1 2 GCRFT-202 Fretwork & Setup 2 2
NASHVILLE
NASHVILLE
GCRFT-101 Electronics 1 1 GCRFT-201 Electronics 2 1
GCRFT-105 Instrument Repair 2 GCRFT-206 Finish Work 3
PERFORMANCE PERFORMANCE
GCRFT-107 Instrument Performance 1 2 GCRFT-207 Instrument Performance 2 2
30 CREDITS / 2 QUARTERS TOTAL 15 TOTAL 15
GUITAR CRAFT
COURSE CREDIT // ACOUSTIC GUITAR DESIGN Q3 (Q1 + Q2 ARE THE SAME AS ABOVE)
45 CREDITS / 3 QUARTERS* CODE COURSE CREDIT
Instrument Design 1 & 2 3 EMPHASIS
GCRFT-303 Acoustic Guitar Design 2
Instrument Fabrication 1 & 2 12 GCRFT-304 Acoustic Guitar Fabrication 5
Fretwork & Setup 1 & 2 4 In addition to learning the material taught in GCRFT-305 Acoustic Guitar Fixtures 4
MAJOR AREA = 26 CREDITS the Certificate program for Guitar Craft, which GCRFT-306 Acoustic Guitar Finishing 2
Electronics 1 & 2 2 GCRFT-307 Instrument Performance 3 2
covers electric instruments, students can also
Instrument Repair 2
learn in the specific design, fabrication and TOTAL 15
Finish Work 3 finishing requirements of acoustic guitars.
APPROVAL AND ACCREDITATION

Musicians Institute Guitar Craft Academy Nashville is authorized by the Tennessee Higher Education Commission.
PERFORMANCE = 4 CREDITS Instrument Performance 1 & 2** 4 This authorization must be renewed each year and is based on an evaluation by minimum standards concerning
quality of education, ethical business practices, health and safety, and fiscal responsibility.
In order to view detailed job placement and graduation information on the programs offered by Musicians Institute
NOTICE: Although this program invites students to apply year-round, this program begins during the Guitar Craft Academy Nashville, please visit http://www.tn.gov/thec/topic/authorized-institutions-data.
Fall and Spring Quarters only. Please refer to the Academic Calendar on pages 6-7 for specific start
Musicians Institute has been an accredited institutional member of the National Association of Schools of Music
dates for the upcoming Fall and Spring Quarters.
since 1981. The National Association of Schools of Music is recognized by the United States Department of
Education (USDE).
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CONCERT HALL CONCERT HALL
MI’s backline features

a variety of top-of-the-
line drum kits, keyboards,
microphones, guitar and bass
amplifiers, monitors and a
front-of-house sound system.
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The 500-capacity Concert
Hall has a stage area of 900
square feet, fixed theater
seating, and a comfortable
backstage green room.
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STUDIOS & LABS
Left: Studio A
Below (left to right):
Studio F, Studio E (THX)
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MI’s extensive recording
facilities range from
top-of-the-line
professional studios
to project studios and
recording classrooms.
CAMPUS COURSE DESCRIPTIONS
STUDIOS & LABS AUDIO ENGINEERING
Students are exposed to various musical content and production
styles. Identifying frequencies and key instruments will be
MAJOR AREA // AUDIO ENGINEERING an integral part of this class, along with the equipment and
processes involved in producing commercial recordings. Two
AUDIO-051 MUSIC PRODUCTION (1) lecture hours per week for one quarter.
This course exposes students to the “ins and outs” of both
the business and creative sides of album production. Classes AUDIO-106 MUSICIANSHIP FOR AUDIO ENGINEERS (1)
are hands-on, intensive, and based in real-world situations, Students will be introduced to the fundamentals of music
covering concepts such as budgeting, choosing studios and notation on the staff, including the basics of harmony and
musicians, working with engineers and management, and theory that are discussed between producers, engineers, and
finessing the best performance out of artists. Two lab hours musicians in the studio. Upon completion, students will be able
per week for one quarter. to differentiate between major vs. minor keys, Roman numeral
harmony, song form, and the basics of chart creation. Two lab
AUDIO-057 PRO TOOLS 101 (2) hours per week for one quarter.
This course focuses on the basic concepts and theory
involved in using a digital audio workstation. Students will AUDIO-107 MAC BASICS (1)
be able to set-up an Avid Pro Tools® session for recording, Students explore hardware and software of the Apple Macintosh
importing audio, editing, recording MIDI, backing-up data, and computer with an emphasis on the Mac operating system. Also,
more. Completion of the course prepares students to take the this course surveys common digital audio file types that currently
Avid 101 Pro Tools Certified User Exam. Two lecture hours in use, as well as file management techniques for content
per week for one quarter. creators. Common hard drives are discussed including how to
format, erase, and repair drive volumes. Students also examine
AUDIO-101 RECORDING TECHNIQUES (1) many of the applications bundled with the OS software. One
This course focuses on the techniques of recording drums, lecture hour per week for one quarter.
bass, different types of guitars, vocals, piano and more, as
they pertain to building a complete, multitrack arrangement. AUDIO-108 RECORDING THEORY (1)
Upon completion, students will understand how to Students are introduced to the fundamentals of analog recording
COURSES
demonstrate the process of miking single instruments. One
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theory and practice, including an overview of studio components.

lecture hour per week for one quarter. EQ and filters, dynamic processors, microphones, auxiliary
routing and effects processors will be covered. One lecture hour
AUDIO-157 PRO TOOLS 110 (2) per week for one quarter.
Prerequisite: AUDIO-057 Pro Tools 101. This course is a
continuation on the basic concepts and theory involved in AUDIO-140 RECORDING STUDIO ETIQUETTE (1)
using a digital audio workstation. Students will be able to This course provides a basic understanding of terms used by
set-up an Avid ProTools® session for recording, importing musicians, engineers and producers, providing the information
audio, editing, recording MIDI, backing-up data, working with necessary to link these three crucial, but different roles. Students
fire wire drives, and more. Completion of the course prepares learn how to contribute to the songwriting process in a studio
students to take the Avid ProTools Certified User Exam. Two environment and will be exposed to real-world studio experiences
lecture hours per week for one quarter. in order to learn the importance of professional demeanor in
getting and keeping work as an engineer or assistant. One
AUDIO-102 CONSOLE OPERATION 1: NEVE WITH lecture hour per week for one quarter.
PRACTICAL RECORDING (2)
Students examine signal flow as it applies directly to high- AUDIO-151 ELECTRONICS (2)
end professional consoles while working on a Rupert Neve Students learn about the fundamentals of electricity and
Designs 5088 console. The class records live sources electronics as the course explores Ohm’s Law, basic electronic
LIVE HOUSE and executes basic mixing. Upon completion, students will components, AC/DC circuits, as well as analog audio
Music venue where AE classes and student events take understand how to route signals for tracking, overdubbing, fundamentals as implemented in electronics. Microphone
place. Venue includes: and mixing. One lecture hour and two lab hours per week for construction and characteristics are also explored. The instructor
one quarter. mentors students on basic soldering and wiring techniques as
students build their own mic cable and Direct Injection (D.I.) box
Main Stage: broadcast ready, 417 capacity AUDIO-104 THE BUSINESS OF AUDIO (1) from a DIY kit. Additional equipment fee: $85. Two lecture hours
performance venue complete with top of the line In this course, students gain a comprehensive overview per week for one quarter.
mixing and recording gear, full light rig, and 4 of operating a business as an audio engineer or producer.
permanently installed HD cameras, ready to serve. Topics include music budgets, invoicing, finances, and basic AUDIO-204 MIXING ESSENTIALS I (3)
accounting methods to legally setting up their own business. Corequisite: AUDIO-209 Console Operation 2: API. As mixing
Lounge: welcoming area, includes a cafe and a smaller Students also discuss the challenges of the new business music is an important skill for the professional audio engineer, this
stage, perfect for intimate, acoustic sets, and dj sets. model as well as industry definitions and roles. One lecture course introduces professional mixing techniques. Components
Dance Studios: 4 professional dance studios with hour per week for one quarter. to effective mixing are discussed and executed in class such as
special hard foam floors, mirrors and sound system. musical balance, dynamic control (compression), tonal balance
AUDIO-105 CRITICAL LISTENING (2)
COURSE DESCRIPTIONS COURSE DESCRIPTIONS
(equalization), ambience, effects, as well as automation. Lab time Prerequisite: Successful completion of one of the following touched upon as well as a basic understanding of computer set-
mirrors the lecture content as students work individually to create
ELECTIVES // AUDIO ENGINEERING courses: AUDIO-057 Pro Tools 101, AUDIO-052 Logic 1, ups and Digital Audio Workstations (DAWs). Two lab hours per
Note: Audio Engineering students must complete their
their own mixes. Two lecture hours and two lab hours per week AUDIO-058 Ableton I, AUDIO-056 Reason I, or DJ-058 week for one quarter.
elective requirements from the following program-specific
for one quarter. Ableton Live for DJs and Electronic Music Producers 1.
electives only.
An introduction to the use and utility of Maschine Sampler AUDIO-152E LOGIC 2 (1)
AUDIO-206 INTRO TO LIVE SOUND (1) software. Students will be exposed to modern production and Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1.
Students explore the fundamentals of live sound engineering. ENTRY-LEVEL ELECTIVES // AUDIO ENGINEERING programming techniques using Native Instruments’ Maschine. This course is a continuation of the Logic Pro X user interface
FOH (“front of house”) mixing, monitor mixing, and set-up/tear- Upon completing this course, students will be able to create for songwriters, composers, producers and sound engineers.
down procedures will be covered in a working, 500-seat concert AUDIO-041E | ANALOG TAPE MACHINES (1) beat sequences as well as more complex productions and Upon completion, students will understand how to use Logic
hall environment or medium-sized venue. World-class musicians In this course, students will learn about practical application remixes using the Maschine software and hardware suite. Two Pro’s comprehensive array of software instruments, arranging
in a variety of styles provide the music. Two lab hours per week and theory behind analog tape recording. The class explores lab hours per week for one quarter. of MIDI sequences, as well as editing with Flex Time and Pitch,
for one quarter. concepts such as tape machine alignment procedures, Vari-Speed, Smart Controls, Smart Tempo, Advanced Audio and
standards, and variations, razor blade tape editing, as well CIS-150E | SERUM (1) MIDI, Recording/Editing Techniques, Logic Remote app, trouble-
AUDIO-207 INTRO TO POST- PRODUCTION (1) as tape machine maintenance and tape storage. Students Prerequisite: DJ-058 Ableton Live 1 for DJs, AUDIO-052 shooting. This course addresses the requirements needed (Part
Students are exposed to the fundamentals of audio post- participate in practical exercises that incorporate applications Logic 1, AUDIO-057 ProTools 101, AUDIO-056 Reason 1, 2 of 2) to take the “Apple Certified Pro” exam in Logic Pro X 10.4.
production concepts and techniques, including sound effects used in analog tape recording. Two lab hours per week for or AUDIO-058 Ableton Live 1. This course is designed to Two lab hours per week for one quarter.
editing, dialogue editing, Foley, and 5.1 surround mixing for film one quarter. explore the functions, workflow and creative options of the
and television. Weekly hands-on projects culminate in a final Serum synthesizer plugin. Students will demonstrate how AUDIO-155E VIDEO GAME AUDIO (1)
project. One lecture hour per week for one quarter. AUDIO-042E SMALL FOOTPRINT DIGITAL CONSOLES (1) to produce their own sounds using the software’s extensive This course is designed to teach the key concepts that are
This course is an introduction to “small footprint” digital routing and editing features. Upon successful completion essential in the creation of an engaging and immersive audio
AUDIO-208 ANALOG AND DIGITAL SIGNAL PROCESSING (2) console operation, which includes equipment setup and of this course, students will understand how to program the environment for video games. Students learn industry standard
This course focuses on how to operate professional signal “strike”, signal routing, signal flow, interfacing with ancillary Serum synthesizer plugin to create and apply sounds found sound implementation software as well as its effective use
processing gear, including traditional in-line processors equipment, and applied applications. Students learn to in modern productions. One lecture hour per week for one in game audio design. The class explores real world design
(compressor, gate, EQ), effects processors (reverb, delay, operate and work with an industry standard compact digital quarter. techniques, overall project workflow, and asset management
chorus, pitch shift), and both Avid Pro Tools® and third-party console/mixer using hands-on exercises ranging from console along with hands-on experience in all aspects of game audio
plug-ins. Two lecture hours per week for one quarter. setup and configuration, to sound reinforcement techniques CIS-125E | MAX FOR LIVE (1) including sound effects design, music composition, and voice
and approaches for live mixing through a Dante Virtual Prerequisite: DJ-058 Ableton Live for DJs & EMP 1 or over. Completion of this course prepares students to take the
COURSES
COURSES
AUDIO-209 CONSOLE OPERATION 2: API WITH PRACTICAL Soundcard. Topics such as remote control of the mixer via a AUDIO-058E Ableton Live 1. Building on the concepts Avid Certified User exam for Pro Tools | Game Audio. Two lab
RECORDING (2) tablet as well as live sound console configurations will also be learned in Ableton Live 1, students focus on creating original hours per week for one quarter.
Prerequisite: AUDIO-102 Console Operation 1: Neve with discussed. Two lab hours per week for one quarter. Max for Live devices. Starting with the basic elements of the
Practical Recording. Students continue examining signal flow programming language up to real-world examples like building AUDIO-156E REASON 2 (1)
as it applies directly to high-end professional consoles while AUDIO-161E | ADVANCED MUSIC PRODUCTION (1) note arpeggiators, audio delays, and devices that change Prerequisites: AUDIO-156E Reason 1. This course is a
working on an API 1608 console. The class records instruments Prerequisite: Successful completion of one of the following how Ableton Live functions in real-time. Upon successfully continuation of Reason and focuses on taking advantage of the
and participates in mixing on the console. Upon completion, courses: AUDIO-051 Music Production, AUDIO-051E Music completion of this course, students will be able to produce software’s capabilities. Upon completion, students will be able
students will be expected to demonstrate how to route signals for Production, or ARTST-051E Music Production. Building on their own custom Max for Live devices. One lecture hour per to “morph” their style by using the various modules (ReDrum, Dr.
tracking, overdubbing, and mixing while tracking and overdubbing the material presented in the Music Production course, the week for one quarter. Octo Rex, Thor), advanced audio editing techniques, as well as
single instruments. One lecture hour and two lab hours per week class focuses on concepts of music production and what taking advantage of the main mixer’s capabilities. They will also
for one quarter. happens behind the scenes. Students analyze previously be involved in advanced routing of signal (analog/MIDI) as well as
recorded projects spanning multiple genres of music. The ADVANCED ELECTIVES // AUDIO ENGINEERING the implementation of other Digital Audio Workstations (DAW’s)
class is encouraged to take a closer look at their favorite Note: For full details, refer to the course description for each
AUDIO-201 RECORDING TECHNIQUES 2 (1) using ReWire. Two lab hours per week for one quarter.
songs in an effort to discover the elements that make up the prerequisite named in your elective of interest.
Prerequisite: AUDIO-101 Recording Techniques 1. As a
continuation of recording techniques, Students learn common productions. This course also surveys professional studio
AUDIO-052E LOGIC 1 (1) AUDIO-058E ABLETON LIVE 1 (1)
methods for tracking strings, choirs, and other ensembles. Also, session preparation, DAW preparation, session editing,
This course introduces students to the primary features and A practical application of digital recording techniques using
this course focuses on additional single instrument recording session tuning and timing adjustments, backups, mix delivery
basic user interface of Logic Pro X. The class explores the Ableton Live, this course provides an overview for songwriters
such as upright bass, Hammond organ, trumpet, saxophone, and preparation, and mastering delivery preparation. One lecture
process of creating an actual song, from start to finish. Pre- and artists on the fundamentals of the recording process,
various percussion. Students explore recording signal chains and hour per week for one quarter.
production using Apple Loops, recording/editing audio and including file and session setup, tracking, arranging, editing, and
more complex routing for tracking. One lecture hour per week for mixing. Upon successful completion of the course, students will
CIS-010E | IOS DJ & BEAT MAKING (1) midi, arranging of tracks, producing drum beats with a virtual
one quarter. understand compose, record, and produce music using Ableton
Using the latest technology available to mobile devices such drummer, as well as basic mixing and automation techniques
are explored. This course addresses the requirements needed Live. Two lab hours per week for one quarter.
AUDIO-215 VOCAL PRODUCTION (1) as tablets and smart phones, students will understand how
to both perform and create music on several innovative DJ (Part 1 of 2) to take the “Apple Certified Pro” exam in Logic
Using industry standard programs Pro Tools and Logic, the AUDIO-158E ABLETON LIVE 2 (1)
and beat-making software applications in a reliable and Pro X 10.4. Two lab hours per week for one quarter.
course will explore templates, project management, EQ, Prerequisite: AUDIO-058 Ableton Live 1. Building on Ableton
compression, vocal FX, comping, bussing, Vocal Aligning, effective way. Advanced features, compatibility, multi-device
AUDIO-056E REASON 1 (1) Live 1, this course provides a more in-depth practical application
printing stems, and remixing techniques. Upon completion of this synchronization, and the mobile platforms’ strengths and
Propellerhead’s Reason software has long been used for of digital recording techniques using Ableton Live, including
course, students will be able to run a vocal session on their own limitations will be addressed. Students may be required to
traditional beat making and sequencing for MIDI. Upon synthesis, building racks, advanced audio effects, dummy clips,
and produce, record, edit, tune and mix vocals. One Lecture hour purchase device applications separately for the course. For
completion of this course, students will understand navigate remixing, and live performance. Upon successful completion of
per week. more information on specific applications, please contact the
through the software, including the various windows (main this course, students will have tools to create their own sounds
DJ Program Chair. One lecture hour per week for one quarter.
mixer, rack, and sequencer), route audio signal and MIDI, and and effects as well as have building blocks to perform live. Two
create basic tracks. Integration of audio loops will also be lab hours per week for one quarter.
CIS-016E BEAT MAKING AND MASCHINE (1)
for mastered products and the practical applications of typical applies directly to high-end professional consoles while Topics include: Sampling theory, The Nyquist Theorem, sample
AUDIO-215E VOCAL PRODUCTION (1) analog and digital mastering processors. Two lab hours per working on an SSL Duality console. Students record musical rates, bit depth, Word clock, dither, jitter, clocking issues, latency,
Prerequisite: Successful completion of one of the following week for one quarter. ensembles and single instruments as well as mix on the slaving to and working with external word clocks. Students learn
courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic 1, console. Upon completion, students will understand how about reconciling digital to analog decibel scales including the
or ARTST 101 Recording Project 1. Using industry standard AUDIO ENGINEERING // STUDIO RECORDING to route signals for tracking, overdubbing, and mixing. One loudness unit standards. Two lecture hours per week for one
programs ProTools and Logic, the course will explore templates, lecture hour and two lab hours per week for one quarter quarter.
project management, EQ, compression, vocal FX, comping, AUDIO-111 EVOLUTION OF AUDIO (1)
bussing, Vocal Aligning, printing stems, and remixing techniques. This course explores many of the seminal inventions and AUDIO-430 CONSOLE OPERATION 4: EUPHONIX WITH AUDIO-320 ADVANCED DIGITAL SIGNAL PROCESSING (1)
Upon completion of this course, students will be able to run a processes that have evolved over the last century and a PRACTICAL RECORDING (2) Prerequisite: AUDIO-208 Analog and Digital Signal Processing.
vocal session on their own and produce, record, edit, tune and Prerequisite: AUDIO-330 Console Operation 3: SSL with Students examine some of the more common specialized signal
half, which have helped shape recorded and live music,
mix vocals. One Lecture hour per week for one quarter. One Practical Recording. This course covers signal flow on the processors available as hardware and plug-ins. The course
sound reinforcement in general, as well as sound to
lecture hour per week for one quarter. Avid Euphonix System 5 Fusion console. Students study explores processors that can only exist in the digital domain,
picture. Students will examine professional and consumer
Euphonix specific hardware such as the ML530 mic pre, the including linear phase & dynamic EQ’s, multi-band processors,
advancements in equipment, processes, and recording and
MC524 monitor controller, and the SC264, the brains of the look ahead processors, pitch correction, and convolution reverbs.
ADVANCED ELECTIVES // AUDIO ENGINEERING playback mediums, to understand the art form. Topics include
One Lecture hour per week for one quarter.
how they have evolved, sometimes have become extinct, and console, in pursuit of mastering the configurations for mixing
AUDIO-250E AUDIO INTERNSHIP (2) in some cases, how they revolutionized the industry. One and tracking inside the E-Mix software. Students participate in
recording sources and mixing. One lecture hour and two lab AUDIO-460 MUSIC MASTERING (1) Prerequisite: Successful
Prerequisites: AUDIO-380 Console Operation 3: Yamaha CL5 lecture hour per week for one quarter.
hours per week for one quarter. completion of one of the following courses: AUDIO-057 Pro
or AUDIO-330 Console Operation 3: SSL Practical Recording,
Tools 101, or AUDIO-052 Logic 1, AUDIO-058 Ableton 1,
3.5 minimum GPA. Contact the Audio Engineering administrator AUDIO-201 RECORDING TECHNIQUES 2 (1)
for additional requirements. Students gain practical professional Prerequisite: AUDIO-101 Recording Techniques 1. As AUDIO-360 INTERACTIVE AUDIO & EMERGING or AUDIO-056 Reason 1. Students will study the theory, art,
experience in working recording studios, production houses, a continuation of recording techniques, Students learn TECHNOLOGIES (2) In this course, students learn to create, and practical applications of mastering music. Discussion
publish and market audio content for new platforms such as and practice will include analyzing stylistic approaches for
mastering labs, or live sound venues as engineering assistants. common methods for tracking strings, choirs, and other
interactive media, games, webcasting, podcasting, apps, mastering various genres of music, understanding specific
Hours and schedules will vary according to the specific ensembles. Also, this course focuses on additional single
and streaming content. Projects focus on the core elements, technical requirements for mastered products and the practical
internship-position obtained. A minimum requirement of six instrument recording such as upright bass, Hammond organ,
workflow, and concepts utilized in creating audio for gaming applications of typical analog and digital mastering processors.
internship-hours per week for one quarter. May be repeated for trumpet, saxophone, and various percussion. Students
platforms and multimedia applications. Two lecture hours per Two lab hours per week for one quarter.
credit. explore recording signal chains and more complex routing for
tracking. One lecture hour per week for one quarter. week for one quarter.
AUDIO-470 SYSTEMS INTEGRATION & FILE MANAGEMENT (2)
COURSES
COURSES
AUDIO-350E AUDIO INTERNSHIP (3)

Prerequisites: AUDIO-430 Console Operation 4: Euphonix with AUDIO-257 PRO TOOLS 201 (2) AUDIO-340 MIXING ESSENTIALS 2 (2) Students learn the basic theory and connectivity of workstation
Prerequisite: AUDIO-204 Mixing Essentials 1. Students components and industry-standard audio interfaces. File
Practical Recording or AUDIO-525 Musical Event Systems Prerequisite: AUDIO-157 Pro Tools 110. This course covers
continue to apply mixing skills learned in Mixing Essentials management techniques (employed to track the volume of data
& Components 2, 3.5 minimum GPA. Contact the Audio the core concepts and skills needed to operate an Avid
1. In this course, focus shifts to mixing multiple songs within generated in modern recording projects) are explored in detail,
Engineering administrator for additional requirements. Students Pro Tools | Ultimate system with HD-series hardware in a
a project. Students learn about delivery requirements, along with approaches for maintaining accurate data. The
gain practical professional experience in working recording professional studio environment. This course builds on the
consistency of mixes within a larger project, and production basics of device networking and standard methodologies for the
studios, production houses, mastering labs, or live sound Pro Tools Fundamentals I and II series of courses, providing
value in mixing as well as time management. One lecture hour structuring of metadata are also discussed. Two lecture hours
venues as engineering assistants. Hours and schedules will intermediate and advanced-level Pro Tools concepts and
and two lab hours per week for one quarter. per week for one quarter.
vary according to the specific internship-position obtained. A techniques. Students learn to customize the configuration
minimum requirement of nine internship-hours per week for one of Pro Tools | HD Native systems to maximize results and
AUDIO-440 MIXING ESSENTIALS 3 (2) AUDIO-510 BROADCAST MEDIA 1 (1)
quarter. May be repeated for credit. improve recording, editing, and mixing workflows. Completion
Prerequisite: AUDIO-340 Mixing Essentials 2. This course is a Broadcast Media is an introduction to the skill sets required for
of the course prepares students for the Avid Certified
continuation of Mixing Essentials with the focus on advanced careers in the television, film, Internet, commercial broadcast,
AUDIO-153E PROJECT STUDIO DESIGN (1) Operator: Pro Tools exam, which once passed, adds them
live event, and video production industries. Explorations include
Prerequisites: AUDIO-105 Critical Listening. This course focuses to Avid’s official listing. Two lecture hours per week for one mixing efforts and professional scenarios. Students continue
to mix multiple song projects and are expected to execute the fundamentals of radio, television and Internet broadcasting
on creating an acoustically viable space in the home or project quarter.
tasks in mixdown such as matching reference mixes and (and streaming), in conjunction with both fieldwork and
studio environment. Students will learn how to assess the
performing edits to the arrangement as requested. The focus studio productions. Topics include: the use of sector-specific
acoustical problems in any spare room and learn cost-effective AUDIO-357 PRO TOOLS 210M (2) equipment, as well as staging. One lecture hour per week for one
and practical methods to lessen their impact on the quality Prerequisite: AUDIO-257 Pro Tools 201. This course is on achieving commercial production value in mixdown. One
lecture hour and two lab hours per week for one quarter. quarter.
of the recording and mixing done in that space. Fabrication, covers techniques for working with Pro Tools systems
actual studio construction, advanced electronics knowledge or in a professional music production environment and is a
AUDIO-350 ADVANCED ANALOG AND DIGITAL AUDIO AUDIO-610 BROADCAST MEDIA 2 (2)
specialized math skills are not required. Two lab hours per week continued exploration of concepts and theory operating Avid
for one quarter. Pro Tools including editing and processing functions, use of PRINCIPLES 1 (1) This course builds technical knowledge of Prerequisite: AUDIO-510 Broadcast Media 1. Applying the
professional audio terminology and standards. Topics include: skills acquired in Broadcast Media 1, students complete
plug-ins, higher automation functions, synchronization, MIDI
The core principles of measuring audio levels including various independent and collaborating exercises on materials ranging
AUDIO-216E MUSIC MASTERING (1) quantization, mastering and more. Completion of the course
from documentary and dramatic productions, to news, sports,
Corequisite: AUDIO-204 Mixing Essentials. Prerequisite: prepares students for the Avid Certified Operator: Pro Tools decibel scales, dynamic range, signal to noise ratio, peak
vs. RMS, and VU metering. Tape formulations and recording live event production, commercials, and client projects. Topics
Successful completion of one of the following courses: exam, which once passed, adds them to Avid’s official listing.
levels, machine alignment, cleaning and de-magnetization are include: industry-standard broadcast and HD equipment use and
AUDIO-057 Pro Tools 101, or AUDIO-052 Logic 1, AUDIO-058 Two lecture hours per week for one quarter.
also explored. One lecture hour per week for one quarter. associated workflows, microphone techniques, approaches for
Ableton 1, AUDIO-103 Pro Tools 101 & 110, or AUDIO-056
industrial and commercial voice-over, digital audio editing and
Reason 1. Students will study the theory, art, and practical AUDIO-330 CONSOLE OPERATION 3: SSL WITH
applications of mastering music. Discussion and practice will PRACTICAL RECORDING (2) AUDIO-450 ADVANCED ANALOG AND DIGITAL AUDIO production techniques, media formats, and final product delivery
include analyzing stylistic approaches for mastering various Prerequisite: AUDIO-209 Console Operation 2: API with PRINCIPLES 2 (2) Prerequisite: AUDIO-350 Advanced logistics and specifications. One lecture hour per week for one
Analog and Digital Audio Principles 1. This course is a quarter.
genres of music, understanding specific technical requirements Practical Recording. Students examine signal flow as it
continuation in the study of audio principles and standards.
essential for use in a live sound environment. Completion of
AUDIO-520 ADVANCED RECORDING & PRODUCTION 1 delivery. Six supervised lab hours per week for one quarter. scheduling, on-site performance space modifications, portable
the course prepares students for the Avid VENUE | S6L User
(1) Prerequisite: AUDIO-430 Console Operation 4: Euphonix platforms, risers, seating, barricades, sets, dressing, scaffolding
Certification. Two lecture hours per week for one quarter.
with Practical Recording. Students synthesize the theoretical AUDIO-650 FINAL PROJECT 2 (3) “blocking,” “show flow” creation, sound checking, signage, and
and practical skills acquired in previous courses, to real- Prerequisite: AUDIO-550 Final Project 1. Building on the architectural lighting. One lecture hour and 2 lab hours per week
premise of the Final Project 1 course, in conjunction with
AUDIO-225 LIVE SOUND ESSENTIALS 1 (2) for one quarter.
world recording session scenarios, in which they assume the This course offers a comprehensive overview of all the
collaborative role of the recording team. In such exercises, ongoing learning from the program’s final quarter core
essential concepts, equipment, formats, workflow and
students arrive in “dark” studios, in which they must: execute the offerings, students continue to work collaboratively on self- AUDIO-345 MONITOR ENGINEERING 1 (2)
scheduling of live music productions. Topics include:
session setup, oversee the production, and record and mix live directed, full-cycle, music projects. Focus shifts to production Students explore the fundamental theoretical and practical
installation, acoustics, microphones and microphone
musicians. One lecture hour and two lab hours per week for one volume and quality, with students producing two songs- aspects of stage monitoring-in which students practice
placement, power amplifiers, loudspeakers, cabling, and
quarter. which, when combined with the end product of Final Project configuring and operating on-stage monitor systems for live
standard nomenclature and practices of the live sound
1, provides students with a three-song, capstone completion performance. Topics include: system set-up, routing schemes
profession. Two lecture hours per week for one quarter.
AUDIO-620 ADVANCED RECORDING & PRODUCTION 2 (2) reel. Six supervised lab hours per week for one quarter. (on various types of live console), single and multi-mix monitor
Prerequisite: AUDIO-520 Advanced Recording & Production systems, side fills, and feedback control and prevention. One
AUDIO-325 LIVE SOUND ESSENTIALS 2 (2) Prerequisite: lecture and two lab hours per week for one quarter.
1. Building on the skills and experience gained in Advanced AUDIO ENGINEERING // LIVE MUSIC EVENT AUDIO-225 Live Sound Essentials 1. Students learn to
Recording and Production 1, students are placed into
collaborative recording session scenarios of greater complexity
PRODUCTION operate a live sound console and stage monitors as they run
AUDIO-445 MONITOR ENGINEERING 2 (2)
a mock live show. Topics include: reinforcement signal flow,
and challenge-in which students must apply prior theoretical Prerequisite: AUDIO-345 Monitor Engineering 1. Building on the
AUDIO-210 SAFETY AND RIGGING (1) front of house (FOH) and monitor mixing, mic placement,
material of the Monitor Engineering 1 course, advanced aspects
and practical skills with newly acquired experiential learning cable “snakes,” interacting with performers, controlling
Students learn industry-standard safety protocols, of the practical application of stage monitoring techniques for
and critical thinking. One lecture hour and two lab hours for one live stage acoustics, signal “splitters,” stage management,
procedures and techniques-as required by OSHA and the live performance are explored. Topics include: in-ear monitoring
quarter. backline equipment, and the use of 1/3 octave EQ for both
EPA-in relation to all forms of stage work. Topics include: system components and types (such as monitors, receivers
truss assembly, pre-staging, suspension techniques, counter FOH and stage monitoring. Two lecture hours per week for
AUDIO-530 LIVE TO 2 TRACK STUDIO RECORDING (2) transmitters and antennae), as well as signal dispersion, pattern
weighting, harnesses, electrical safety (including: codes, one quarter.
Prerequisite: AUDIO-201 Recording Techniques 2. Similar to control, EQ distribution and software control. One lecture and
safety standards, metering and power distribution) and
live sound reinforcement and broadcast audio engineering, AUDIO-235 STAGE TECHNICIAN 1 (2) Students learn to two lab hours per week for one quarter.
safe sound pressure levels (“SPL”) for both FOH and stage
students practice live recording and mixing to stereo without the execute common duties of the stage technician role. Topics
monitoring. One lecture hour per week for one quarter.
aid of multitrack recording. Building on the skills and experience and practical exercises include: loading and unloading various AUDIO-401 MONITOR SETUP AND OPERATIONS (2)
gained in previous courses, students record live music acts. Prerequisites: AUDIO-205 Intro to Live Sound. As proper
AUDIO-180 CONSOLE OPERATION 1: YAMAHA M7CL (2) types of equipment, assembling sound systems, stage setup
COURSES
COURSES
These exercises help build confidence, workflow strategies, and and teardown, sound checks, and basic stage-technician- monitoring is essential to a successful live music performance,
This course is an introduction to console operation. This
decision making skills necessary for a professional career in level troubleshooting. Two lecture hours per week for one this course covers the fundamentals and practical applications
includes equipment setup and “strike,” signal routing,
engineering. Four lab hours per week for one quarter. quarter. of stage monitoring, including contemporary in-ear monitoring
signal flow, interfacing with ancillary equipment and applied
systems. Two lecture hours per week for one quarter.
applications. Students learn to operate a Yamaha M7CL
AUDIO-660 STUDIO TECHNOLOGY (2) console. Hands-on exercises range from console set-up and AUDIO-335 STAGE TECHNICIAN 2 (2)
Prerequisite: AUDIO-151 Electronics. This course is an
configuration, to techniques and approaches for live mixing. Prerequisite: AUDIO-235 Stage Technician 1. Students AUDIO-402 CONSOLE OP 3: VENUE AND YAMAHA (2)
examination of technologies behind the design and maintenance build upon and apply the information, techniques, and Prerequisites: Pre-Requisites: AUDIO-205 Intro to Live Sound
Two lecture hours per week for one quarter.
of commercial recording studios. Students learn basic acoustic approaches learned in Stage Technician 1 to real-world setup and AUDIO-103 Pro Tools 101 & 110. Students will gain hands-
principles in studio design, speaker monitors and power on experience operating the Yamaha M7CL console as well
AUDIO-280 CONSOLE OPERATION 2: AVID SC48 (2) to teardown scenarios. This includes: executing stage setups
amplifiers, audio grounding schemes, electrical service, as well and teardowns from stage plots, instrument placement, mic as Avid’s state-of-the-art Venue live sound production system.
Prerequisite: AUDIO-180 Console Operation 1: Yamaha
as electrical protection for equipment. Prior learning of Ohm’s choice and placement, monitor requirements, troubleshooting; Setup and configuration to mixing tips and tricks, including
M7CL. Building on the topics of Console Operation 1, this
Law, impedance, and cabling are reinforced. Two lecture hours and the comment elements of sound checks, show time and automation/snapshot capabilities and Avid Pro Tools® integration
course focuses on the application signal flow using the
per week for one quarter. encores. Two lecture hours per week for one quarter. for live recording, will be covered. This course prepares students
Avid VENUE | SC48 console. Students learn intermediate
for the official Avid 110 VENUE certification exam. Two lecture
techniques and approaches for live mixing. Completion of
AUDIO-140 RECORDING STUDIO ETIQUETTE (1) the course prepares students for the Avid VENUE Certified AUDIO-560 REPAIR, MAINTENANCE & hours per week for one quarter.
This course provides a basic understanding of terms used by TROUBLESHOOTING (2) Prerequisite: AUDIO-151
Operator Exam. Two lecture hours per week for one quarter.
musicians, engineers and producers, providing the information Electronics. This course offers an overview of the tools, AUDIO-415 EVENT PRODUCTION & TOUR MANAGEMENT 1
necessary to link these three crucial, but different roles. Students
AUDIO-380 CONSOLE OPERATION 3: YAMAHA CL5 (2) materials and procedures for basic live event equipment repair (2)
learn how to contribute to the songwriting process in a studio and maintenance. Students learn to identify issues with a This course focuses on live concert and event management,
Prerequisite: AUDIO-280 Console Operation 2: Avid SC48.
environment and will be exposed to real-world studio experiences variety of pieces of malfunctioning equipment and systems. through an exploration of commonly employed industry
This course focuses on the application signal flow to large
in order to learn the importance of professional demeanor in Topics include: safety, testing, schematic diagrams, routine processes and procedures. Topics include: contract riders,
format, high-end live audio consoles using the Yamaha CL5
getting and keeping work as an engineer or assistant. One inspection, malfunction diagnosis and analysis, industry- backline, scheduling, logistics, media, accounting security,
digital mixer. Students learn remote control of the mixer via
lecture hour per week for one quarter. standard tools, and preventative and corrective maintenance. capacity, security deposits, all-age shows, fire and exit
tablet as well as advanced live sound console configurations.
Two lecture hours per week for one quarter. laws, booking venues, risk minimization, ticket sales, and
AUDIO-550 FINAL PROJECT 1 (3) merchandising. Two lecture hours per week for one quarter.
Prerequisite: AUDIO-430 Console Operation 4: Euphonix with AUDIO-615 STAGING (2)
AUDIO-480 CONSOLE OPERATION 4: AVID S6L (2)
Practical Recording. Synthesizing prior theoretical, practical, and
Prerequisite: AUDIO-380 Console Operation 3: Yamaha Prerequisite: AUDIO-410 Lighting. The course focuses AUDIO-515 EVENT PRODUCTION & TOUR MANAGEMENT
experiential learning; in combination with the critical thinking and on core aspects of show production-from small stages 2 (2) Prerequisite: AUDIO-415 Event Production and Tour
CL5. This fourth Console Operation course reinforces the
subject mastery acquired throughout the program; students work to full-production live events-are discussed and then Management 1. Building on the material of the prior level of the
previously learned concepts using the Avid VENUE | S6L.
collaboratively on self-directed, full-cycle music projects. This is executed in a mock live production. Students learn scenic course, students learn to manage and plan a short tour. Topics
Students learn to configure systems, set up show files,
realized through the production of one song, from pre-production design and fabrication elements (utilizing rendering and include: planning the itinerary, staffing, routing, budgeting,
navigate the work surface and touch screens, use the record/
planning through recording and mixing to mastering and final modeling software), venue coordination, logistics, installation show advancing, working with a gig agent, equipment hire and
playback functionality with Pro Tools and learn other tips
delivery, sponsorships, working with labels/publishers/press, AUDIO-635 AUDIO/VISUAL, WIRELESS & BROADCASTING DJ-058 ABLETON LIVE© FOR DJS 1 (1) control, beat matching; absolute, relative and internal modes; the
settlements, and support acts. The course culminates in students 2 (1.5) Prerequisite: AUDIO-535 Audio/Visual, Wireless & Ableton Live is a live music solution favored by producers, use of cue points, loops, effects (“FX”), plugins, using “crates”,
collaboratively creating and planning the core aspects of a three- Broadcasting 1. Building on the material of Audio/Visual, DJs, beatmakers, and remix Artists. In this course, students playlists and recording. Two lab hours per week for one quarter.
date live event tour. Two lecture hours per week for one quarter. Wireless & Broadcasting 1, the fundamentals of video explore this platform and learn core functionality in order to Required software fee: $150.00
production (including aspect ratios, cameras and their be able to create “mashups” and remixes, as well as how
AUDIO-410 LIGHTING (2) operation, playback, communications; and the essential to incorporate external controllers in order to trigger cues, DJ-104 DJ SOFTWARE 1: TRAKTOR© (1)
Prerequisite: AUDIO-210 Safety and Rigging. Students learn lighting skills for people, objects, sets and live events) are samples, and effects (“FX”). Two lab hours per week for one To ensure a well-rounded familiarity with industry-standard vinyl
industry-standard lighting and video production systems, moving explored. Students learn how to broadcast a live music event quarter. emulation software, this course explores one of the most popular
lights and lighting design software, as well as programmable production, including: mixing techniques, specialty shows, platforms in the world: Traktor Pro. The course focuses on the
fixtures and lighting cues. Roles and associated duties of and both satellite and Internet radio. One lecture hour and one DJ-158 ABLETON LIVE© FOR DJS 2 (1) functionality of the software, including: loading and mixing tracks;
the lighting department’s staff are also explored. Students lab hour per week for one quarter. Prerequisite: DJ-058 Ableton Live 1 for DJs 1. Building on the synching tracks by beat, bar and/or phrase; cue points and “hot”
collaboratively participate in real-world lighting exercises. One material of Ableton Live for DJs, students focus on gaining cues, loops, samples and remix decks, equalization (“EQ”), filters,
lecture and two lab hours per week for one quarter. AUDIO-570 FINAL PROJECT 1 (3) a deeper understanding of Ableton’s instruments, effects, harmonic mixing, effects (“FX”), macros, and recording. Two lab
Synthesizing prior theoretical, practical, and experiential mapping, and audio warping. Students will also learn the hours per week for one quarter.
AUDIO-355 LIVE MIXING, RECORDING & PLAYBACK 1 (3) learning (in combination with the critical thinking and subject techniques used to create custom live performance setups.
Using industry standard Pro Tools® DAW, students learn to mastery acquired throughout the program), students work Two lab hours per week for one quarter. DJ-209 REMIXING (1)
collaboratively on self-directed, full-cycle live music event. Prerequisite: DJ-058 Ableton Live for DJs 1. This course explores
set up, record, and mix live music with a focus on advanced
DJ-101 DJ SET BUILDING 1 (1) the essential techniques needed to transform a pre-existing track
concepts (fader balance, automation, EQ, compression and This is realized through the production of a single band
In addition to the core skills required for the art of DJ’ing, it is into a successful remix. Students will understand how to use
limiting, editing and gating, basic mastering, etc.) as they apply performance utilizing a small lighting, audio and recording set-
imperative that DJs are able to apply those skills to create a flextime editing to change the tempo and pitch of audio stems
to live event recording and mixing. Two lecture hours and two lab up. Six lab hours per week for one quarter.
cohesive experience - one with a narrative musical “arc” - of and layer their own beats, synths, and samples. The course will
hours per week for one quarter.
the same duration (a “set”). This course is designed to aid also examine the difference between an “official” remix versus a
AUDIO-670 FINAL PROJECT 2 (3) “bootleg” and how to collect remix fees and royalties. One lecture
Prerequisite: AUDIO-570 Final Project 1. Building on the students with this goal via the exploration of core set elements
AUDIO-455 LIVE MIXING, RECORDING & PLAYBACK 2 (2) such as: determining a mood or theme, song selection, hour per week for one quarter.
Prerequisite: AUDIO-355 Live Mixing, Recording & Playback premise of the Final Project 1 course (in conjunction with
transitions, time management, and building intensity. One
1. Focus shifts to the basic concepts for the playback of audio, ongoing learning from the program’s final quarter core
video and multimedia during live event productions. This includes: offerings), students continue to work collaboratively on self-
lecture hour per week for one quarter. PROFESSIONAL DEVELOPMENT // DJ PERFORMANCE &
general playback workflow, techniques for managing diverse directed, full-cycle, capstone live music event production
DJ-201 DJ SET BUILDING 2 (1) PRODUCTION
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content, digital cues, instant replay, “snapshot” automation, and audio projects. Focus shifts to production depth and quality,
Prerequisite: DJ-101 DJ Set Building 1. Building on the
an overview of industry-standard playback computer software. with students producing a full show consisting of a band and
concepts and techniques of DJ Set Building 1, focus
DJ-105 HISTORY & ANALYSIS OF RECORDED POPULAR
full lighting, audio (FOH and monitor), recording and video
progresses to the creation of DJ sets that are tailor-made
MUSIC 1 (1)
(record and playback) setups-which, when combined with Beyond the technicality and physicality of the art of DJ’ing, DJs
for specific events (such as: fashion shows, inaugurations,
the end product of Final Project 1, provides students with a must also be knowledgeable about the music to be played with
AUDIO-425 MUSICAL EVENT SYSTEMS & COMPONENTS 1 (1) commercial events, and radio shows), extended sets, and
filmed, capstone grad reel. Six lab hours per week for one their repertoire. This course is designed to broaden and enrich
This course is an introduction to the logistical and managerial working with external parameters in a live setting (such as:
quarter. the aspiring DJ’s musical repertoire by examining the different
aspects of systems and component management. Topics theater and dance performers, master of ceremonies “MCs”,
styles of music commonly performed today. This includes:
include: key production departments’ functions, production lights, etc). One lecture hour per week for one quarter.
team member roles and duties, selecting and renting equipment;
AUDIO-625 ELECTRICAL IMPLEMENTATION (2) Top 40, Hip-Hop, Disco, Rock, Reggae, Latin, Soul-Funk, and
Prerequisite: AUDIO-151 Electronics. Students learn the Electronic Dance Music (“EDM”). One lecture hour per week for
creating and managing budgets, specification sheets, contracts DJ-102 BEAT MATCHING 1 (1.5)
importance of a consistent electrical power source and how one quarter.
and riders; and obtaining requisite permits. One lecture hour per A DJ’s most essential skill is the ability to seamlessly
electricity should be implemented in any type of venue. The match and transition between different pre-recorded
week for one quarter. course examines waveform analysis, troubleshooting, safety DJ-205 HISTORY & ANALYSIS OF RECORDED POPULAR
songs (“tracks”) on traditional DJ equipment (defined as
and hazards, Gauss’s Law; real power, reactive power and equipment without the ability to “auto-sync”) in a live setting.
MUSIC 2 (1)
AUDIO-525 MUSICAL EVENT SYSTEMS & COMPONENTS power factors; wiring terminations, phase and polarity, cables, Prerequisite: DJ-105 History and Analysis of Recorded Popular
2 (1) Prerequisite: AUDIO-425 Musical Event Systems & The concepts and techniques presented in this course will
connectors and more advanced applications of prior topics Music 1. Further to the material presented in the History and
Components 1. Building on the material of Music Event Systems allow students to execute this core function on any type of
such as power distribution and tying in power. Two lecture Analysis of Recorded Popular Music 1 course, focus switches
& Components 1, the focus moves to industry-standard audio, traditional DJ equipment. (This is done with turntables/vinyl
hours per week for one quarter. to the exploration of musical sub-genres. Under the guidance of
and CDJ-NOT Serato or Traktor.) One lecture hour and one
video and lighting components and the ways in which they faculty, students select a sub-genre in keeping with their stylistic
lab hour per week for one quarter.
are commonly configured for live event applications. Topics identity and conduct independent research to identify the core
include: networking for digital signal processing (“DSP”), system DJ PERFORMANCE & PRODUCTION elements thereof. Research results are presented to the group
design, installation, power, programming and remote system MAJOR AREA // DJ PERFORMANCE & PRODUCTION DJ-202 BEAT MATCHING 2 (1.5)
and defended viva voce with the presentation of critical listening
Prerequisite: DJ-102 Beat Matching 1. Further to the concepts
management and control. One lecture hour per week for one examples. One lecture hour per week for one quarter.
and techniques of Beat Matching 1, focus is on expanding
quarter. DJ-PL PRIVATE LESSON (2)
beat matching abilities through the mastery of advanced skills
In a one-on-one setting, students are guided by faculty to
such as: blending different styles, half-time blending, hard
DJ-108 BUSINESS OF ELECTRONIC MUSIC PRODUCTION &
AUDIO-535 AUDIO/VISUAL, WIRELESS & BROADCASTING 1 hone certain technical and artistic aspects of their live set.
“cuts”, blending a capellas, and harmonic mixing. One lecture PERFORMANCE 1 (1)
(1.5)This course is an introduction to audio/visual, wireless and Technical attention is paid to achieving convincing transitions
hour and one lab hour per week for one quarter. In this course, students gain a comprehensive overview of
broadcasting systems and processes, as they apply to live music and effective use of equipment (hardware, controllers and operating a business as an electronic music producer or DJ.
event production. This includes a full-cycle audio engineering effects “FX”). Artistic attention is paid to artistic choices, such Topics include: creating a business entity, filing taxes, the key
as: songs, creative and musical use of filters, EQ and effects;
DJ-103 DJ SOFTWARE 1: SERATO© (1)
requirement overview, with an emphasis on field-relevant personnel in an electronic music producer/performer’s business
An introduction to one of the industry-standard vinyl emulation
technologies, audio capture and playback. One lecture hour and and on-the-fly artistic decision-making. One private lesson team, session riders; performance, recording, and personnel
computer applications: Serato DJ. The course focuses on the
one lab hour per week for one quarter. hour per week for one quarter. contracts; an overview of copyright law and the basics of
functionality of the Serato DJ platform, including: playback
publishing; along with common situations in which the producer/
performer may find him/herself in the execution of the craft. One quality of their recorded music to the professional level-whilst on various synthesizer instruments within Ableton Live. One sequencer, launch clips, play melodies and chords, and edit
lecture hour per week per quarter. also enabling them to develop a stylistic identity, in utilization lecture and one lab hour per week per quarter. sounds. We’ll also take an in-depth look at how this powerful
of those skills, in differentiation of their peers. Two lecture controller can be used for live performances. One lecture hour
MUBUS-0307 INDEPENDENT ARTIST MARKETING (2) hours per week for one quarter. DJ-013E CONTROLLERISM FOR SERATO DJ (1) per week for one quarter.
This course reveals basic marketing concepts applicable to This course explores the new possibilities offered by DJ
any professional business venture and focuses on the creation DJ-207 SONG BUILDING 2 (2) controllers in conjunction with Serato DJ Intro (entry-level DJ-128E TURNTABLISM (1)
of a fully customized, low-budget marketing plan of attack. This course focuses on providing students with production and travel controllers) and Serato DJ (pro-controllers). Topics Prerequisite: DJ-102 Beat Matching 1 and Program Chair
Furthermore, at a time when new technologies make it more skills that are designed to elevate the quality of their recorded such as using pads, recording sets, triggering multi-effects, approval. This course introduces the concept that vinyl turntables
possible than ever for artists to leverage their own careers, music to the professional level. Additionally, students will using loops, samples, and cue points with controllers will be and/or CD turntables (CDJ) can be used as rhythmic and
there has never been a greater need for practical, independent develop a stylistic identity, utilizing such skills, in a unique covered. Students will become comfortable using the leading melodic instruments. Students will understand the basic skills
marketing advice. After identifying a business vision, students and individualized manner. The instructor mentors on the Serato controllers currently on the market. One lecture hour necessary to become proficient in this technique, such as:
conduct research, set short-term goals, and create an integrated production aspects involved in recorded music for the modern per week for one quarter. cutting, cueing, drops, etc. One lecture hour per week for one
mix of marketing strategies to achieve their objective, including electronic music producer. Two lecture hours per week for quarter.
defining an image, brand, position, and format, identifying the one quarter. DJ-014E CONTROLLERISM FOR TRAKTOR PRO (1)
target audience, gaining access to radio, as well as effectively Co-requisite requirement: DJ-104 Traktor. This course CIS-150E SERUM (1)
utilizing live shows, the Internet, press, video promotion,
advertising and sponsorships, sales and licensing. Students
ELECTIVES // DJ PERFORMANCE & PRODUCTION explores the new possibilities offered by DJ controllers in Prerequisite: DJ-058 Ableton Live 1 for DJs, AUDIO-052
conjunction with Traktor Pro. Topics such as using pads, Logic 1, AUDIO-057 ProTools 101, AUDIO-056 Reason 1, or
create a complete marketing plan utilizing handy templates PROGRAM-SPECIFIC ELECTIVES recording sets, triggering multi-effects, using loops, samples, AUDIO-058 Ableton Live 1. This course is designed to explore
included in the course resource, and receive useful feedback and cue points with controllers will be covered. Students will the functions, workflow and creative options of the Serum
during three in-class work hours. Two lecture hours per week for CIS-010E IOS DJ & BEAT MAKING (1) become comfortable using the leading Traktor controllers synthesizer plugin. Students will demonstrate how to produce
one quarter. Using the latest technology available to mobile devices such currently on the market. Non-DJP program students: additional their own sounds using the software’s extensive routing and
as tablets and smart phones, students will understand how software fee may be required for non-DJP program students; editing features. Upon successful completion of this course,
MUSICIANSHIP // DJ PERFORMANCE & PRODUCTION to both perform and create music on several innovative DJ please contact the DJP Program Chair for more information. students will understand how to program the Serum synthesizer
and beat-making software applications in a reliable and One lecture hour per week for one quarter. plugin to create and apply sounds found in modern productions.
effective way. Advanced features, compatibility, multi-device One lecture hour per week for one quarter.
DJ-106 MUSICIANSHIP 1 (1.5) synchronization, and the mobile platforms’ strengths and
Designed for aspiring music professionals, this course is the DJ-114E ADVANCED PERFORMANCE WITH TRAKTOR PRO
limitations will be addressed. Students may be required to (1.50) DJ-228E ADVANCED TURNTABLISM (1)
study of popular music composition devices and their foundation
purchase device applications separately for the course. For
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in the basic music theory. This is accomplished through the Prerequisite: DJ-104 Traktor or DJ-014e Controllerism w/ Prerequisite: DJ-128E Turntablism. Building on the information
more information on specific applications, please contact the Traktor Pro. Utilizing Native Instruments’ flagship DJ and live and techniques of the Turntablism course, this course will explore
analysis of popular harmonic structures, melodies, and various
DJ Program Chair. One lecture hour per week for one quarter. performance software, Traktor Pro, this course is focused on advanced turntablism skills such as beat-juggling and will also
common rhythmic patterns. Basics of harmony and theory will be
covered, including the role of melody, harmony and rhythm, major creating unique live artist performances beyond the traditional cover the most difficult scratches, such as the One-Click Flare
CIS-016E BEAT MAKING AND MASCHINE (1) realms of DJing. Recommended for the electronic music Orbit. Students will also be able to use these skills alongside a
vs. minor chord qualities, Roman numeral harmonic analysis,
Prerequisite: Successful completion of one of the following producers and DJs interested in bringing musical productions live band. This course is repeatable for credit. One lecture hour
song form and the basics of chart creation. Students will also
courses: AUDIO-057 Pro Tools 101, AUDIO-052 Logic 1, into a live performance setting, Advanced Performance with per week for one quarter.
be introduced to basic rhythmic notation and will study ear
AUDIO-058 Ableton I, AUDIO-056 Reason I, or DJ-058 Traktor Pro provides students with hands-on training and
training by using popular songs as examples. Upon completing
Ableton Live for DJs and Electronic Music Producers 1. knowledge to create and execute a uniquely live performance
this course students will be able to effectively communicate
An introduction to the use and utility of Maschine Sampler
ELECTRONIC MUSIC PRODUCTION
with other musical professionals by using appropriate music of their own. Topics include deep examinations of MIDI
software. Students will be exposed to modern production and mapping, Remix Decks and the Remix Deck Step Sequencer, MAJOR AREA // EMP
terminology, which will prove invaluable during writing or
programming techniques using Native Instruments’ Maschine. the Kontrol F1 Remix controller, Loop Recorder, Stems, EMP-PL EMP PRIVATE INSTRUCTION (1)
recording sessions in the studio. This course is equivalent to
Upon completing this course, students will be able to create working with external instruments and microphones, and In a weekly private session with an instructor, the student is
the IAP Musicianship course (ARTST-106). This course is NOT
beat sequences as well as more complex productions and synchronizing multiple applications and computers with guided in the development of technique, musicianship, and style
equivalent to the Audio Engineering Department’s Musicianship
remixes using the Maschine software and hardware suite. Two Traktor. One lecture hour and one lab hour per week for one in support of electronic music production skills. Students will
course (AUDIO-106). One lecture hour and one lab hour per
lab hours per week for one quarter. quarter. enhance their basic music production knowledge with the goal of
week for one quarter.
creating dynamic and professional quality material. Topics include
DJ-012E LIVE SYNC (1) CIS-125E MAX FOR LIVE (1) drum programming, sampling, synthesis, arrangement, and more.
DJ-206 MUSICIANSHIP 2 (1.5) Focusing on performance, this course will teach the aspiring
Prerequisite: DJ-106 or ARTST-106 Musicianship 1. Building on Prerequisite: DJ-058 Ableton Live for DJs & EMP 1 or One private instruction hour per week per quarter.
DJ to play alongside live bands. Listening to fellow players, AUDIO-058E Ableton Live 1. Building on the concepts
Musicianship 1, this course provides a more in-depth practical
quick reaction, and complete mastery of the DJ equipment learned in Ableton Live 1, students focus on creating original
application of Harmony and Theory, addressing concepts such
are essential to adequately complement the special kind of
DJ-106 MUSICIANSHIP 1 ( 1.5)
as Time Signatures, Minor Scales, Triad Cadences, Inversions, Max for Live devices. Starting with the basic elements of the Designed for aspiring music professionals, this course is the
musical energy generated by a group of live musicians. One programming language up to real-world examples like building
and Voice Leading. Upon successful completion of this course, study of popular music composition devices and their foundation
lecture hour per week for one quarter. note arpeggiators, audio delays, and devices that change
students will be able to effectively communicate with other music in the basic music theory. This is accomplished through the
professionals by using appropriate music terminology, which how Ableton Live functions in real-time. Upon successfully analysis of popular harmonic structures, melodies, and various
DJ-111E SOUND DESIGN WITH ABLETON LIVE 1 (1) completion of this course, students will be able to produce
will prove invaluable during writing or recording sessions in the common rhythmic patterns. Basics of harmony and theory will be
Prerequisite: DJ-058 Ableton Live for DJs & Electronic Music their own custom Max for Live devices. One lecture hour per
studio. One lecture hour and one lab hour per week for one covered, including the role of melody, harmony and rhythm, major
Producers 1. This course examines the fundamental elements week for one quarter.
quarter. vs. minor chord qualities, Roman numeral harmonic analysis,
of sound synthesis and signal flow, including critical concepts
song form and the basics of chart creation. Students will also
in subtractive and additive forms of synthesis as well as the DJ-126E SEQUENCING WITH PUSH© (1)
DJ-107 SONG BUILDING 1 (2) important basics of sampling. The course material focuses on
be introduced to basic rhythmic notation and will study ear
An examination of the production aspects involved in recorded Prerequisite: DJ-058 Ableton Live for DJs 1. This course training by using popular songs as examples. Upon completing
tools within Ableton Live. Although concepts are applicable provides an in-depth look at Ableton’s flagship controller,
music for modern DJ’ing. This course focuses on providing this course, students will be able to effectively communicate
to any platform, students will learn to design unique sounds Push. Students will learn how to make beats, use the
students with production skills that are designed to elevate the with other musical professionals by using appropriate music
terminology, which will prove invaluable during writing or including three or more original or remixed tracks, and a EMP-111 SOUND DESIGN WITH ABLETON LIVE 1 (1.5) analyzing stylistic approaches for mastering various genres
recording sessions in the studio. This course is equivalent to marketing/career plan. One hour production advising meeting This course examines the fundamental elements of sound of music, understanding specific technical requirements for
the IAP Musicianship course (ARTST-106). This course is NOT per week for one quarter. synthesis and signal flow, including critical concepts in mastered products and the practical applications of typical
equivalent to the Audio Engineering Department’s Musicianship subtractive and additive forms of synthesis as well as the analog and digital mastering processors. Two lab hours per week
course (AUDIO-106). One lecture hour and one lab hour per important basics of sampling. The course material focuses on per quarter.
EMP-202 PRODUCTION ADVISING 2 (1)
week for one quarter. Prerequisite: EMP-102 Production Advising 1. Working tools within Ableton Live. Although concepts are applicable
to any platform, students will learn to design unique sounds DJ-058 | ABLETON LIVE FOR DJS & ELECTRONIC MUSIC
in close consultation with various production advisors,
DJ-206 MUSICIANSHIP 2 (1.5) with whom they are required to meet at least once a week, on various synthesizer instruments within Ableton Live. One PRODUCERS 1 (1)
Prerequisite: DJ-106 or ARTST-106 Musicianship 1. Building on students continue planning and fine-tuning their project for lecture and one lab hour per week per quarter. Ableton Live is a production and live music solution favored by
Musicianship 1, this course provides a more in-depth practical the Final Project for Electronic Music Production requirement, electronic music producers, DJs, beatmakers, and remix Artists.
application of Harmony and Theory, addressing concepts such including three or more original or remixed tracks, and a EMP-211 SOUND DESIGN WITH ABLETON LIVE 2 (1.5) In this course, students explore this platform and learn core
as Time Signatures, Minor Scales, Triad Cadences, Inversions, marketing/career plan. One-hour production advising meeting Prerequisite: EMP-111 Sound Design w/Ableton Live 1. functionality in order to be able to create tracks from the ground
and Voice Leading. Upon successful completion of this course, per week for one quarter. Students will continue to develop the skills introduced up, put together “mashups” and remixes, and how to incorporate
students will be able to effectively communicate with other music in Sound Design with Ableton 1, by learning new, more external controllers in order to trigger cues, samples, and effects
professionals by using appropriate music terminology, which advanced techniques to further define their unique musical (“FX”). Two lab hours per week for one quarter.
EMP-107 SONG BUILDING 1 (2)
will prove invaluable during writing or recording sessions in the This course focuses on providing students with production sound beyond the scope of preset patches. This course
studio. One lecture hour and one lab hour per week for one skills that are designed to elevate the quality of their recorded introduces additional, more complex forms of sound synthesis, DJ-158 | ABLETON LIVE FOR DJS & ELECTRONIC MUSIC
quarter. music to the professional level. Additionally, students will including a in-depth examination of Frequency Modulation PRODUCERS2 (1)
(FM) synthesis, as well as Amplitude Modulation, Phase Prerequisite: DJ-058 Ableton Live for DJs & Electronic Music
develop a stylistic identity, utilizing such skills, in a unique
Modulation and Physical Modelling. The course material Producers 1. Building on the material of Ableton Live for DJs &
ARTST-380 KEYBOARD ESSENTIALS 1 (1) and individualized manner. The instructor mentors on the
explores examples in Ableton as well as Native Instruments EMP 1, students focus on gaining a deeper understanding of
This is an introductory course on contemporary keyboard production aspects involved in recorded music for the modern
Komplete. One lecture hour and one lab hour per week per Ableton’s instruments, effects, mapping, and audio warping.
technique. Through the study of physical posture, major scales electronic music producer. Two lecture hours per week for
quarter. Students will also learn the techniques used to create custom live
and common chord progressions, this course will enable one quarter.
performance setups. Two lab hours per week for one quarter.
students to develop the necessary motor skills required for using
the keyboard as an arranging and compositional tool. Upon EMP-207 SONG BUILDING 2 (2) EMP-203 FINAL PROJECT FOR EMP (2)
completion of this course, students will gain a basic knowledge Prerequisite: EMP-102 Production Advising 1. Corequisite:
EMP-108 THE BUSINESS OF ELECTRONIC MUSIC
Prerequisite: EMP-107 Song Building 1. Building on the
of keyboard skills through focused study of performance posture, teaching of Song Building 1, students focus on refining their EMP-202 Production Advising 2. Electronic Music PRODUCTION & PERFORMANCE 1 (1)
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practice routine development, major scale construction, finger Production students are required to complete a culminating In this course, students gain a comprehensive overview of
stylistic identity and production skills (their unique “sound”)
dexterity, interval and triad construction as well as common chord experience that serves as both a practicum and a bridge to operating a business as an electronic music producer or DJ.
by developing a short body of work encompassing several
progressions. One lecture hour per week for one quarter. the professional world. This experience takes the form of a Topics include: creating a business entity, filing taxes, the key
compositions. Advanced production techniques such as
directed final project, that enables the student to utilize their personnel in an electronic music producer/performer’s business
tracking, arranging, and mixing will also be covered. Two
work within (and experience from) Song Building, Production team, session riders; performance, recording, and personnel
ARTST-480 KEYBOARD ESSENTIALS 2 (1) lecture hours per week for one quarter.
Advising, Ableton Live, Remixing, Beat Making with Maschine, contracts; an overview of copyright law and the basics of
Prerequisite: ARTST-380 Keyboard Essentials 1. Building
Private Lesson and Sound Design. The student will work publishing; along with common situations in which the producer/
upon the foundation provided in Keyboard Essentials 1, this EMP-209 REMIXING (1) in consultation with a mentor during weeks 2, 4, 7 and 10 performer may find him/herself in the execution of the craft. One
course focuses on more advanced contemporary keyboard Prerequisite: DJ-058 Ableton Live for DJs & Electronic Music to develop his/her unique project, set of compositions/ lecture hour per week per quarter.
techniques through the introduction and study of 4-note chords. Producers 1. This course explores the essential techniques
Topics include Major and Minor 7, Dominant 7, Augmented and arrangements, produced tracks and and a marketing/
needed to transform a pre-existing track into a successful career plan, the goal of which is a professional outcome. A EMP-208 THE BUSINESS OF ELECTRONIC MUSIC
Diminished 7, Sus4 and Sus2 chords, natural minor and blues remix. Students will understand how to use flextime editing
scales. Upon completion of this course, students will be able committee evaluates the final project that results from the PRODUCTION & PERFORMANCE 2 (1)
to change the tempo and pitch of audio stems and layer their culminating experience.
to continue developing the necessary motor skills and music Prerequisite: EMP-108 The Business of Electronic Music
own beats, synths, and samples. The course will also examine
vocabulary required for using the keyboard as an arranging, Production & Performance 1. This course reveals basic marketing
the difference between an “official” remix versus a “bootleg”
compositional and production tool. One Lecture hour per week and how to collect remix fees and royalties. One lecture hour STUDIES IN MUSIC concepts applicable to any professional producer business
per quarter. venture and focuses on the creation of a fully customized
per week per quarter. EMP-214 PLUGIN PROCESSING (1)
business and revenue plan. After identifying an overarching
This course covers topics such as EQ, compression,
vision, students conduct research, set short-term and long-term
EMP-115 VOCAL PRODUCTION (1) AUDIO-016 BEAT MAKING AND MASCHINE (1) reverb, delay, pitch correction, sound replacing, and signal
goals, and create an integrated mix of business and revenue
Using industry standard program Ableton Live, the course will Corequisite: DJ-058 Ableton Live for DJs & Electronic Music flow. Students will be exposed to different types of effects
generating strategies to achieve their unique career objectives.
explore templates, project management, EQ, compression, Producers 1. Prerequisite: Successful completion of one of processors, as well as how to operate and apply them to
One lecture hour per week per quarter.
vocal FX, comping, bussing, vocal aligning, printing stems, and the following courses: AUDIO-052 Logic 1, AUDIO-057 recorded music. Upon successful completion of this course,
remixing techniques. Students will observe one vocal production ProTools 101, AUDIO-056 Reason 1, or AUDIO-058 students will understand how to use and implement these
session with a student vocalist per quarter. Upon successful Ableton Live 1. An introduction to the use and utility of tools appropriately. One lecture hour per week per quarter. GUITAR CRAFT
completion of this course, students will be able to run a vocal
session on their own and produce, record, edit, and mix vocals.
Maschine Sampler software. Students will be exposed to MAJOR AREA // GUITAR CRAFT
modern production and programming techniques using EMP-216 MUSIC MASTERING (1)
One lecture hour per week for one quarter. Native Instruments’ Maschine. Upon completing this course, Prerequisite: Successful completion of one of the following GCRFT-101 ELECTRONICS 1 (1)
students will be able to create beat sequences as well as courses: DJ-058 Ableton Live for DJs & Electronic Music An introduction to guitar and bass electronics. Topics include:
EMP-102 PRODUCTION ADVISING 1 (1) more complex productions and remixes using the Maschine Producers 1, AUDIO-052 Logic 1, AUDIO-057 ProTools understanding magnetic, piezo, and active pickups, proper
Working in close consultation with various production advisors, software and hardware suite. This course is equivalent to 101, AUDIO-056 Reason 1, or AUDIO-058 Ableton live 1. shielding techniques, switching options, and proper soldering
with whom they are required to meet at least once a week, ARTST-016E Beat Making and Maschine. Two lab hours per Students will study the theory, art, and practical applications technique as well as trouble-shooting and repair. Students are
students begin planning and creating their final project for the week per quarter. of mastering music. Discussion and practice will include required to research a wide range of after-market electronics. Ten
Final Project for Electronic Music Production requirement,
lecture hours and 10 supervised lab hours plus projects for one supervised lab hours plus independent research assignments Prerequisites: GCRFT-203 Instrument Design 2. Design and GCRFT-407 INSTRUMENT PERFORMANCE 3 (2)
quarter. and design projects for one quarter. manufacture of all necessary fixtures for the construction of an Prerequisite: GCRFT-207 Instrument Performance 2. Private
acoustic guitar. Includes molds, clamping fixtures and layout instrument instruction on electric guitar or bass. The instructor
GCRFT-102 FRETWORK AND SETUP 1 (2) GCRFT-204 INSTRUMENT FABRICATION 2 (6) templates. Six lecture hours and 28 supervised lab hours. mentors student on understanding the relationship between
In this course, students will learn essential guitar maintenance Prerequisites: GCRFT-104 A continuation of Fabrication 1, musical style, technique, sound and set neck guitar design. One
techniques used by professional technicians. String height and culmination of constructing a unique personal instrument. GCRFT-306 ACOUSTIC GUITAR FINISHING (2) Private Lesson hour per week for one quarter.
and truss rod adjustment, intonation, fret dressing and fret Each student designs and fabricates a the body for an electric Prerequisites: GCRFT-106 Finish Work. Techniques for
replacement are covered along with effective methods for guitar or bass from raw materials, fabricates pickguards and finishing acoustic guitars, including wood preparation, filling, INDEPENDENT ARTIST DEVELOPMENT
troubleshooting related problems. Students will learn principles control plates, learns techniques and procedures for final masking, sealing, top coating, sanding, color sanding and
of temperament and harmonics as well as how to adjust the instrument assembly. Four lecture hours and 35 supervised buffing. Eight lecture hours and fourteen supervised lab hours. MAJOR AREA // INDEPENDENT ARTIST DEVELOPMENT
instrument for proper musical “feel.” Eight lecture hours and 24 lab hours plus independent fabrication project for one quarter.
supervised lab hours plus projects for one quarter. GCRFT-307 INSTRUMENT PERFORMANCE 3 (2) ARTST-103 ARTIST IDENTITY (1)
GCRFT-206 FINISH WORK (3) Prerequisites: GCRFT-207 Instrument Performance 2. This is a course in which students explore various concepts
Private instrument instruction on acoustic guitar with focus of aesthetics, with a focus on developing their own musical
GCRFT-103 INSTRUMENT DESIGN 1 (2) Prerequisites: GCRFT-103 Instrument Design 1, GCRFT-104
fingerprint, artistic identity and personal branding. Students
Students learn how to properly design and make an accessed Instrument Fabrication 1: An instrument’s finish is not only on understanding the relationship between musical style,
technique, sound and acoustic guitar design. One private receive an overview of all the tools necessary to establish
instrument heel blend, how to co-design an instrument body cosmetic, but can have a profound effect on its musical
lesson hour per week for one quarter themselves as Independent Artists when it comes to online
and headstock, modify an existing instrument body design, properties. This course covers procedures and techniques
branding, communicating in the industry and launching original
focus on designing specific application templates for custom for finishing and repairing musical instruments, including
content. One lecture hour per week for one quarter.
fabrication. Eight lecture hours and 14 supervised lab hours preparation, painting, and buffing. Twelve lecture hours GUITAR CRAFT// SET NECK DESIGN
plus independent research assignments and design projects for and 24 supervised lab hours plus projects for one quarter. AUDIO-057 STUDIO RECORDING 1: PRO TOOLS 101 (2)
one quarter. Required equipment fee: $35.00. GCRFT-403 SET NECK GUITAR DESIGN (2) This course focuses on the basic concepts and theory involved
Prerequisite: GCRFT-203 Instrument Design 2. In this course, in using a digital audio workstation. Students will be able to set-
GCRFT-104 INSTRUMENT FABRICATION 1 (6) PERFORMANCE // GUITAR CRAFT students will examine the considerations and principles unique up an Avid Pro Tools® session for recording, importing audio,
This course is an introduction to the use of woodworking to set neck guitar design, headstock and body geometry as editing, recording MIDI, backing-up data, and more. Completion
tools and techniques, including routing, jointing, milling, and GCRFT-107 INSTRUMENT PERFORMANCE 1 (2) it relates to design, including selection of hardware. Students of the course prepares students to take the Avid 101 Pro Tools
shaping, along with the use of large industrial and hand-held Private instrument instruction on electric guitar or bass with will be able to demonstrate how to design and draw a set Certified User Exam. Two lecture hours per week for one quarter.
tools. Students will learn the basics of template fabrication, and a focus on understanding the relationship between musical neck guitar in a variety of configurations. Eight lecture hours, AUDIO-157 STUDIO RECORDING 2: PRO TOOLS 110 (2)
fabricate the neck for a guitar or bass. Six lecture hours and 33 fourteen supervised lab hours, research assignments and Prerequisite: AUDIO-057 Pro Tools 101. This course expands
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style, technique, sound, and instrument design. One private

supervised lab hours plus independent fabrication projects for lesson hour per week for one quarter. design projects. upon the basic principles taught in Pro Tools 101 introduces the
one quarter Required equipment fee: $400.00. core concepts and techniques students need to competently
GCRFT-207 INSTRUMENT PERFORMANCE 2 (2) GCRFT-404 SET NECK GUITAR FABRICATION (5) operate a Pro Tools system running mid-sized sessions. Students
GCRFT-105 INSTRUMENT REPAIR (2) Prerequisites: GCRFT-107 Instrument Performance 1. Prerequisite: GCRFT-204 Instrument Fabrication 2. Building
learn to build sessions designed for commercial purposes and
This course covers the methodology and organization of Continuation of private instrument instruction on electric improve the results of their recording, editing, and mixing efforts.
upon the skills acquired in Instrument Fabrication 2, this
materials and procedures for instrument repair, as well as basic Completion of the course prepares students to take the Avid 101
guitar or bass with a focus on understanding the relationship course focuses on contouring, neck and body construction,
guitar repair and modification techniques. Topics include: Pro Tools Certified User Exam. Two lecture hours per week for
between musical style, sound, and instrument design. One advanced joinery techniques, and setup. Upon successful
building the relationship between musician-client and technician, one quarter.
private lesson hour per week for one quarter. completion of the course students will have built a complete
acoustic saddle making, doweling holes, finish touch up. Twelve set neck guitar from raw materials. Twenty lecture hours and
lecture hours plus projects for one quarter. AUDIO-052 STUDIO RECORDING 1: LOGIC 1 (1)
GUITAR CRAFT thirty-nine supervised lab hours plus projects. This course introduces songwriters, composers, producers and
GCRFT-201 ELECTRONICS 2 (1) // ACOUSTIC GUITAR DESIGN sound engineers to the primary features and basic user interface
Prerequisites: GCRFT-101 Electronics 1 EMPHASIS // GUITAR CRAFT ACOUSTIC DESIGN GCRFT-405 TEMPLATE DESIGN & FABRICATION (4) of Logic Pro X. Upon completion, students will be exposed
Prerequisite: GCRFT-203 Instrument Design 2 and to the process of creating an actual song, from start to finish!
A continuation of Electronics 1; students learn electronic
GCRFT-204 Instrument Fabrication 2. Applying the skills Preproduction using Apple Loops, recording/editing audio &
troubleshooting and wiring modifications, coil taps, phase GCRFT-303 ACOUSTIC GUITAR DESIGN (2) acquired in Instrument Design 2 and Instrument Fabrication MIDI, arranging tracks and producing drum beats with a virtual
switching, and other more advanced electronics applications. Prerequisites: GCRFT-203 Instrument Design 2. Every detail 2, students learn to draft, design, and fabricate all of the drummer, as well as basic mixing and automation techniques
Students will also learn how to make their own magnetic pickups, of an instrument’s design affects ergonomics, function, sound templates needed to construct a functional set-neck electric will be touched on. This course covers the requirements needed
balancing output and tone to arrive at optimal tonal properties for and playability. This course covers principals of acoustic guitar (Part 1 of 2) to take the Apple Certified Pro Level One exam in
guitar or bass. Topics include the design and fabrication
different instruments and stylistic applications. Ten lecture hours neck, headstock and body design, including selection of Logic Pro X. Two lab hours per week for one quarter.
of silhouette templates, neck taper templates, neck pocket
and 12 supervised lab hours plus projects for one quarter. hardware and template design. Eight lecture hours, fourteen templates, transfer templates, drill templates as well as
supervised lab hours, research assignments and design variations on headstock and body templates. Six lecture hours AUDIO-152 STUDIO RECORDING 2: LOGIC 2 (1)
GCRFT-202 FRETWORK & SETUP 2 (2) projects. and twenty-eight supervised lab hours. Pre-Requisites: AUDIO-052 Logic 1. This course is a
Prerequisites: GCRFT-102 Fretwork & Setup 1 Continuation continuation of the Logic Pro X user interface for songwriters,
of Fretwork & Setup 1 with emphasis on final preparation for GCRFT-304 ACOUSTIC GUITAR FABRICATION (5) GCRFT-406 SET NECK GUITAR FINISHING (2) composers, producers and sound engineers. Upon completion,
demands of professional setup. Four lecture hours and 30 Prerequisites: GCRFT-204 Instrument Fabrication 2. Each Prerequisite: GCRFT-206 Finish Work. In this course, students will be expected to demonstrate how to use Logic
supervised lab hours plus projects for one quarter. student builds a complete acoustic guitar from raw materials. students learn and apply techniques for finishing set neck Pro’s comprehensive array of software instruments, arranging
Topics include: wood selection, sizing stock and surfacing, guitars, including wood preparation, filling, masking, sealing, of MIDI sequences, as well as editing with Flex Time & Pitch,
GCRFT-203 INSTRUMENT DESIGN 2 (1) bracing, neck and body construction, scaling, marquetry, top coating, sanding, color sanding and buffing. The instructor digital effects processing, mixing, automation, trouble-shooting.
Prerequisites: GCRFT-103 Instrument Design 1 Students inlay work and setup. 20 lecture hours and 39 supervised lab mentors students on advanced painting techniques, and This course covers the requirements needed (Part 2 of 2) to take
design a tilt-back neck and body and research the design and hours plus projects. alternative methods of finishing. Eight lecture hours and the Apple Certified Pro Level One exam in Logic Pro X. Two lab
fabrication of classic instrument designs, including the Fender fourteen supervised lab hours. hours per week for one quarter.
Stratocaster and Gibson Les Paul. Four lecture hours and six GCRFT-305 ACOUSTIC GUITAR FIXTURES (4)
AUDIO-056 STUDIO RECORDING 1: REASON 1 (1) one-hour Project Advising meeting per week minimum for one and contrasted with a DIY approach. One lecture hour per Prerequisite: ARTST-106 Musicianship 1. Building on
Propellerhead’s Reason software has long been used for quarter. week for one quarter. Musicianship 1, this course provides a more in-depth practical
traditional beat-making and sequencing for MIDI. Upon application of Harmony and Theory, addressing concepts such
completion of this course, students will be able to navigate ARTST-202 PROJECT ADVISING 2 (1) CC-307 VISUAL MEDIA 1 (2) as Time Signatures, Minor Scales, Triad Cadences, Inversions
through the software, including the various windows (main mixer, Prerequisite: Project Advising 1. Working in close consultation Learn to use Adobe Photoshop to design original CD artwork, and Voice Leading. Upon successful completion of this course,
rack and sequencer), route audio signal and MIDI, and create with various project advisors, whom they are required to flyers, promotional tools, and other visual materials vital to students will be able to effectively communicate with other music
basic tracks. Integration of audio loops will also be touched upon meet with at least once a week, students continue planning modern Independent Artists. Emphasis is on creating exciting professionals by using appropriate music terminology, which
as well as a basic understanding of computer set-ups and Digital and creating their final Independent Artist project, including and expressive designs that directly support music marketing will prove invaluable during writing or recording sessions in the
Audio Workstations (DAWs). Two lab hours per week for one three or more original songs, artwork, an Internet presence, a campaigns. Topics covered in this class include: typography, studio. Two lecture hours per week for one quarter.
quarter. press kit and a marketing/career plan. One one-hour Project flyer design, album artwork design, image manipulation,
Advising meeting per week minimum. merchandise design, and more. Two lecture hours per week SONG-101 SONGWRITING 1: INTRODUCTION TO POP
AUDIO-156 STUDIO RECORDING 2: REASON 2 (1) for one quarter. SONGWRITING (1.5)
Prerequisite: AUDIO-056 DAW: Reason 1. The second level of ARTST-203 FINAL PROJECT FOR THE INDEPENDENT This course enables students to develop the analytical,
this course focuses on using Reason as a mixing and mastering CC-407 VISUAL MEDIA (2)
ARTIST (2) compositional and performance skills necessary for successfully
tool. Topics include EQ, compression, effects, automation, and Prerequisites: CC-307 Visual Media 1. The Internet has
Prerequisite: ARTST-102 Project Advising 1. Co-requisite: navigating contemporary music’s ever changing stylistic
mastering using Reason’s Channel Strip. Upon successful opened up an enormous opportunity for musicians to
ARTST-202 Project Advising 2. Students are required to landscape. Group study of the compositional and production
completion, students should be able to create, edit, mix and promote themselves directly to music fans. This class focuses
complete a culminating experience that serves as both components that contribute to authenticity pertaining to key
master their work. One lecture hour per week for one quarter. on the technical skills needed to promote music online.
a practicum and bridge to the professional world. This genres and repertoire serves as the curricular foundation of these
directed study project enables the student to utilize his/ Topics include: building a strong online presence, creation classes. One lecture hour and one lab hour per week for one
AUDIO-058E STUDIO RECORDING 1: ABLETON LIVE 1 (1) of a content-rich artist website, online marketing tools and
her research within (and experience from) our Visual Media, quarter.
A practical application of digital recording techniques using
Recording Project, Independent Artist Marketing and Artist strategies, video editing basics, and social media. Two lecture
Ableton Live, this course provides an overview for songwriters
and artists on the fundamentals of the recording process, Identity courses. During the quarter, the student will work hours per week for one quarter. SONG-201 SONGWRITING 2: POP AND COUNTRY
including file and session setup, tracking, arranging, editing, and in consultation with a mentor during weeks 2, 4, 7 and 10 SONGWRITING (1.5)
mixing. Upon successful completion of the course, students will to develop his/her unique, professional project, which will MUBUS-0307 INDEPENDENT ARTIST MARKETING (2) Prerequisites: SONG-101 Songwriting 1: Introduction to Pop
be able to compose, record, and produce music using Ableton include a set of compositions/arrangements, videos, DIY This course reveals basic marketing concepts applicable Songwriting. This course enables students to develop the skills
Live. Two lab hours per week for one quarter. marketing plan, website and album art. Two lecture hours per to any professional business venture and focuses on the necessary to create, analyze, critique, and revise song lyrics
week for one quarter. creation of a fully customized, low-budget marketing plan of in the contemporary songwriting market. Students will learn
AUDIO-158 STUDIO RECORDING 2: ABLETON LIVE 2 (1) attack. Furthermore, at a time when new technologies make important concepts relating to lyrics, including finding inspiration,
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Prerequisite: AUDIO-058E Ableton Live 1. Building on Ableton it more possible than ever for artists to leverage their own mastering tools of the craft, and tailoring lyrics to different styles
PROFESSIONAL DEVELOPMENT // INDEPENDENT careers, there has never been a greater need for practical,
Live 1, this course provides a more in-depth practical application and situations. One lecture hour and one lab hour per week for
of digital recording techniques using Ableton Live, including ARTIST DEVELOPMENT independent marketing advice. After identifying a business one quarter.
effects, timing, pitch correction, automation, mastering, and vision, students conduct research, set short-term goals, and
MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS 1 (1.5) ELECTIVES // INDEPENDENT ARTIST DEVELOPMENT
sound for picture. Upon successful completion of this course, create an integrated mix of marketing strategies to achieve
students will be able to produce a project from beginning to end. Applied Entertainment Business 1 is the first course of a their objective, including defining an image, brand, position, PROGRAM-SPECIFIC ELECTIVES
Two lab hours per week for one quarter. two-part series that provides “all you need to know about and format, identifying the target audience, gaining access
the music business.” This course covers the essentials of to radio, as well as effectively utilizing live shows, the Internet, ARTST-010E MUSIC PRODUCTION WORKSHOP (1)
ARTST-101 RECORDING PROJECT 1 (2) selecting and hiring a winning team of advisors (including press, video promotion, advertising and sponsorships, sales Computer-based weekly one-on-one workshop with an instructor
Learn to produce professional recordings in a project studio attorneys, personal managers, producers, and agents) and licensing. Students create a complete marketing plan who guides the student in developing technique, musicianship,
environment. This portion of this course focuses on recording and reviews how to structure their fees, commissions, utilizing handy templates included in the course resource, and and style in support of music production skills. Students
fundamentals and the process of tracking and overdubbing. and percentages in a way that will help maximize these receive useful feedback during three in-class work hours. Two learn how to enhance their basic production knowledge into
Students learn how to record their original songs using the relationships and protect the artist. After learning about your lecture hours per week for one quarter. dynamic and professional quality material. Topics include drum
school’s studios as well as their own home setups. Specific professional team of advisors, you will receive up to-the programming, sampling, remixing, synth development and more.
topics include: project-studio terminology, mic choice and minute information on copyrights and publishing concepts One workshop hour per week for one quarter. May be repeated
followed by an examination of working relationships. Finally,
MUSICIANSHIP // INDEPENDENT ARTIST for credit.
placement, EQ, compression and vocal production techniques.
Two lecture hours per week for one quarter. it covers business relationships and sponsorships. Overall, DEVELOPMENT
students will understand the latest practices, laws, and ARTST-011E SYNTHESIS AND SAMPLING 1 (1)
ARTST-201 RECORDING PROJECT 2 (2) technologies shaping the music industry today. One lecture ARTST-106 MUSICIANSHIP 1 (1.5) This course covers the history of synthesizers, fundamentals of
Prerequisite: ARTST-101 Recording Project 1. Building on the hour per week for one quarter. Designed for aspiring music professionals, this course is subtractive synthesis, sampling techniques and their application
foundation of Recording Project I, this course focuses on the the study of popular music composition devices and their using Apple Logic software. Includes practical application of
mixing and mastering process. Students learn how to turn basic MUBUS-0460 APPLIED ENTERTAINMENT BUSINESS 2 (1.5) foundation in basic music theory. This is accomplished theory using the ES-1, ES-2, and Sculpture synthesizers as well
tracks into dynamic and professional finished products. Topics Prerequisite: Applied Entertainment Business 1. This course through the analysis of popular harmonic structures, melodies as the EXS-24 sampler and Apple Loops utility. Two lecture
include effects, mixing, mastering, buying equipment and home- follows Applied Entertainment Business 1, and continues to and various common rhythmic patterns. Basic harmony hours per week for one quarter.
studio setup. Two lecture hours per week for one quarter. explore the music business today. Income generation is its and theory will be covered, including the role of melody,
focus, as it examines a variety of areas that involve income harmony and rhythm, major vs. minor chord qualities, Roman ARTST-013E INTRO TO MUSIC PUBLISHING (1)
ARTST-102 PROJECT ADVISING 1 (1) streams. By Illustrating and contrasting the various ways numeral harmonic analysis, song form and the basics of chart An overview of music publishing from the artist’s perspective.
Working in close consultation with various project advisors, income is made, Applied Entertainment Business 2 shows creation. Students will also be introduced to basic rhythmic Topics include copyright basics, how co-writers divide
whom they are required to meet with at least once a week, how a career in music and entertainment can be viable and notation and will study ear training by using popular songs as percentages in a composition, when the producer gets credit,
students begin planning and creating their final Independent sustaining. Areas this course covers include: record deals, examples. Two lecture hours per week for one quarter. protecting your compositions (PA and SR forms), what publishing
Artist project, including three or more original songs, artwork, an funding projects, distribution, touring, live performance deals companies can do for your career (song-plugging, advances,
internet presence, a press kit and a marketing/career plan. One and merchandising. Deal points in each area are examined ARTST-206 MUSICIANSHIP 2 (1.5) administration, marketing funds), and more. One lecture hour per
lecture hour per week for one quarter. ARTST-111E SYNTHESIS AND SAMPLING 2 (1) ARTST-GPL (Guitar)
ARTST-014E MUSIC PRODUCTION ANALYSIS (1) Prerequisites: ARTST-011E Synthesis and Sampling 1. More ARTST-KPL (Keyboard)
Group-based course in which students and instructor listen to ARTST-021E PERSONAL FINANCE FOR THE INDEPENDENT advanced elements of subtractive synthesis as well as an ARTST-VPL (Vocal)
and discuss music of different styles and genres. Discussions ARTIST (1) introduction to FM and granular synthesis. Students also learn
center on what production techniques are being employed Using practical and proven concepts, the course will offer to work with hardware synths and samplers, such as the Little Weekly lesson with an instructor who guides the student in
musically and sonically. One discussion-based lecture hour per an introduction to saving, banking, building and paying off Phatty and Akai MPC. One lecture hour per week for one developing technique, musicianship, and style in support of
week for one quarter. credit, protecting oneself against identity theft, investing quarter. student goals and program requirements. One private lesson hour
(stocks, bonds, mutual funds), building retirement plans, per week for one quarter. May be repeated for credit.
ARTST-015E THE WORKING SONGWRITER (1) understanding basic tax concepts, and protecting oneself and ARTST-153E PROJECT STUDIO DESIGN (1)
This course will dive deeper into the realm of current industry one’s possessions with necessary insurance (auto, home/ Prerequisite: ARTST-101 Recording Project 1. This course ARTST-216E | MUSIC MASTERING (1)
hit songwriting and help students learn what it takes to become renter, equipment, and life). Upon completion of this course, focuses on creating an acoustically viable space in the home Corequisite: ARTST-201 Recording Project 2. Prerequisite:
a working songwriter plus practice current forms of industry students will be able to think more practically about money, or project studio environment. Students will learn how to Successful completion of one of the following courses:
songwriting techniques. One lecture hour per week for one understand how to better manage consumer credit, build a assess the acoustical problems in any spare room and learn AUDIO-052 Logic 1, AUDIO-057 ProTools 101, AUDIO-056
quarter. higher credit rating score, and how to manage their financial cost-effective and practical methods to lessen their impact Reason 1, or AUDIO-058 Ableton Live 1. Students will study
resources. One lecture hour per week for one quarter. on the quality of the recording and mixing done in that space. the theory, art, and practical applications of mastering music.
CIS-016E BEAT MAKING AND MASCHINE (1) Fabrication, actual studio construction, advanced electronics Discussion and practice will include analyzing stylistic approaches
Prerequisite: Successful completion of one of the following ARTST-022E BUILDING A SUCCESSFUL YOUTUBE knowledge or specialized math skills are not required. This for mastering various genres of music, understanding specific
courses: AUDIO-057 Pro Tools 101, AUDIO-052 Logic 1, CHANNEL (1) course is equivalent to AUDIO-153E: Project Studio Design. technical requirements for mastered products and the practical
AUDIO-058 Ableton I, AUDIO-056 Reason I, or DJ-058 Ableton This is an introductory course on creating a successful Two lab hours per week for one quarter. applications of typical analog and digital mastering processors.
Live for DJs and Electronic Music Producers 1. An introduction to YouTube music channel. Students will study how to create, Two lab hours per week for one quarter.
the use and utility of Maschine Sampler software. Students will edit and post music videos to their YouTube channel. ARTST-205E TC HELICON FOR VOCALISTS 1 (1)
be exposed to modern production and programming techniques Upon completion of this course, students will be able to Prerequisite: Audition required for IAP Students. Please ARTIST/PRODUCER/ENTREPRENEUR
using Native Instruments’ Maschine. Upon completing this independently and successfully manage their YouTube contact your Program Chair via email to schedule an audition.
course, students will be able to create beat sequences as well channel. Topics addressed will include original content This course provides students with skills to record, loop
MAJOR AREA/ ARTIST/PRODUCER/ENTREPRENEUR
as more complex productions and remixes using the Maschine creation, how to increase audience traffic and boost organic and design vocals in live performance situations. The class
software and hardware suite. Two lab hours per week for one views, time management and post scheduling, seeking will create vocal improvisations and harmonies with diverse
ARTST-101 | RECORDING PROJECT 1 (2)
Learn to produce professional recordings in a project-studio
quarter. branding and sponsorships, collaborations via YouTube, as effects that expand a vocalist’s presentation utilizing TC environment. This portion of this course focuses on recording
well as understanding metrics and analytics. One lecture hour Helicon’s VoiceLive Touch 2, a vocal effects processor and
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fundamentals and the process of tracking and overdubbing.

ARTST-018E ACCENT REDUCTION (1) per week for one quarter. looping device. The class will discover how to engage vocal Students learn how to record their original songs using the
This course enables non-native English speaking students effects and operate presets that result in vocal versatility school’s studios as well as their own home setups. Specific topics
to develop an American English accent for effective English- ARTST-032E LIVE PERFORMANCE WORKSHOPS (1) while onstage. Two lecture/ensemble hours per week for one include project-studio terminology, mic choice and placement, EQ,
language vocals. Students learn to break words into their Live Performance Workshops (LPWs) and Ensembles quarter. compression and vocal production techniques. Two lecture hours
phonetic elements and identify and concentrate on specific provide students with a wide range of opportunities to gain per week for one quarter.
problematic sounds. One lecture-lab hour per week for one valuable performing experience by concentrating in one area ARTST-214E PLUGIN PROCESSING (1)
quarter. or by sampling a variety of styles and musical settings. A Prerequisite: Successful completion of one of the following ARTST-201 | RECORDING PROJECT 2 (2)
minimum of ten performance credits are required per quarter. courses: AUDIO-057 Pro Tools 101, or AUDIO-052 Logic 1, Prerequisite: ARTST-101 Recording Project 1. Learn to produce
ARTST-019E SOCIAL MEDIA BRANDING FOR THE or ARTST-101 Recording Project 1. This course covers topics professional recordings in a project-studio environment. This
INDEPENDENT ARTIST (1) ARTST-051E MUSIC PRODUCTION (1) such as EQ, compression, reverb, delay, pitch correction, portion of this course focuses on recording fundamentals and
This is an introductory course on navigating the world of social This course exposes students to the “ins and outs” of both sound replacing, and signal flow. Students will be exposed the process of tracking and overdubbing. Students learn how to
media as a musician. Students will study how to share their the business and creative sides of album production. Classes to different types of effects processors, as well as how to record their original songs using the school’s studios as well as
story and music effectively through Social Media platforms are hands-on, intensive, and real-world, covering concepts operate and apply them to recorded music. Upon successful their own home setups. Specific topics include project-studio
such as YouTube, Facebook and Instagram. Throughout this such as budgeting, choosing studios and musicians, working completion of this course, students will understand how to terminology, mic choice and placement, EQ, compression and
course, students will be guided through various practical steps with engineers and management, and finessing the best vocal production techniques. Two lecture hours per week for one
use and implement these tools appropriately. One lecture hour
quarter.
to shape their image and expand their fan base. Upon successful performance out of artists. Two lab hours per week for one per week for one quarter.
completion of this course, students will be able to use effective quarter.
ARTST-301 | RECORDING PROJECT 3 (2)
branding strategies as well as practical skills to create and post ARTST-215E VOCAL PRODUCTION (1) Prerequisite: ARTST-201 Recording Project 2. This course delves
relevant content. One lecture hour per week for one quarter. ARTST-080E KEYBOARD ESSENTIALS FOR THE Prerequisite: Successful completion of one of the following deeper in to the specifics of production, with an increased focus
INDEPENDENT ARTIST (1) courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic 1, on performance, arrangement, and recording. Students learn
ARTST-119E SOCIAL MEDIA BRANDING FOR THE This is an introductory course on contemporary keyboard or ARTST 101 Recording Project 1. Using industry standard what it takes to transform their tracks into dynamic, professional
INDEPENDENT ARTIST 2 (1) technique. Through the study of physical posture, major programs ProTools and Logic, the course will explore products. Topics include production vision, home studio setup,
Prerequisite: ARTST-319 or CC-019E Social Media Branding 1. scales and common chord progressions, this course will templates, project management, EQ, compression, vocal FX, live instrument tracking, time/pitch editing, MIDI performance/
This course continues to navigate the world of Social enable students to develop the necessary motor skills comping, bussing, Vocal Aligning, printing stems, and remixing programming, and virtual instruments/samplers. Upon completion
Media for musicians. By further developing their storytelling skills, required for using the keyboard as an arranging and techniques. Upon completion of this course, students will be of this course, students should be able to conceptualize and
students will grow their social media channels through compositional tool. Upon completion of this course, students able to run a vocal session on their own and produce, record, execute all steps needed to create commercial-quality recordings
song and visuals and will gain practical experience in live will gain a basic knowledge of keyboard skills through focused edit, tune and mix vocals. One Lecture hour per week for one leading up the post-production stage. Two lecture hours per week
streaming and on-the-go filmmaking to showcase their musical study of performance posture, practice routine development, quarter. One lecture hour per week for one quarter. for one quarter.
abilities. Upon successful completion of this course, students major scale construction, finger dexterity, interval and triad
will be able to create and regularly post content on Social Media construction as well as common chord progressions. One IAP Private Lesson (1) ARTST-401 | RECORDING PROJECT 4 (2)
platforms while putting solid strategies in place to continue lecture hour per week for one quarter. ARTST-BPL (Bass) Prerequisite: ARTST-301 Recording Project 3. Building on the
building their fan base and monetizing via Social Media. One ARTST-DPL (Drum) foundation of Recording Project 3, this course focuses on the
mixing and mastering process. Students learn how to turn basic
tracks into dynamic and professional finished products. Topics professionals by using appropriate music terminology, which compositional and performance skills necessary for create and post relevant content. One lecture hour per week for
include remixing, mix bus processing, and mix delivery. Two will prove invaluable during writing or recording sessions in successfully navigating contemporary music’s ever changing one quarter.
lecture hours per week for one quarter. the studio. This course is equivalent to the DJ Performance stylistic landscape. Group study of the compositional and
and Production Program’s Musicianship course (DJ-106). production components that contribute to authenticity ARTST-419 | SOCIAL MEDIA BRANDING FOR THE
ARTST-102 | PROJECT ADVISING 1 (2) This course is NOT equivalent to the Audio Engineering pertaining to key genres and repertoire serves as the INDEPENDENT ARTIST (1)
Working in close consultation with project advisors, begin Department’s Musicianship course (AUDIO-106). One lecture curricular foundation of these classes. One lecture hour and Prerequisite: ARTST-319 or CC-019E Social Media Branding 1.
planning and creating your final Independent Artist project, hour and one lab hour per week for one quarter. one lab hour per week for one quarter. Building upon the foundation provided in Social Media Branding
including two or more original songs, artwork, an Internet 1, this course focuses on more advanced concepts in navigating
presence, a press kit and a marketing/career plan. Initial ARTST-206 | MUSICIANSHIP 2 | CREDITS: (1.5) SONG-201 | SONGWRITING 2: POP AND COUNTRY the world of social media as a musician. Students will continue
assignments include choosing a project category/focus, Prerequisite: ARTST-106 or DJ-106 Musicianship 1. Building SONGWRITING (1.5) to study how to share their story effectively through song and
creating a production schedule and creating a project on Musicianship 1, this course provides a more in-depth Prerequisites: SONG-101 Songwriting 1: Introduction to Pop visuals by fully harnessing the power of Social Media platforms
proposal. One lecture hour per week for one quarter. practical application of Harmony and Theory, addressing Songwriting. This course enables students to develop the such as YouTube, Facebook and Instagram. Students will gain
concepts such as Time Signatures, Minor Scales, Triad skills necessary to create, analyze, critique, and revise song experience in live streaming and on-the-go filmmaking aimed at
ARTST-202 | PROJECT ADVISING 2 (2) Cadences, Inversions, and Voice Leading. Upon successful lyrics in the contemporary songwriting market. Students will showcasing their musical abilities. Upon successful completion
Prerequisite ARTST-102 Project Advising 2. Working in completion of this course, students will be able to effectively learn important concepts relating to lyrics, including finding of this course, students will be better able to use more advanced
close consultation with project advisors, students continue communicate with other music professionals by using inspiration, mastering tools of the craft, and tailoring lyrics to branding strategies as well as practical skills to create, post and
to develop a music performance, production, and marketing appropriate music terminology, which will prove invaluable different styles and situations. One lecture hour and one lab monetize relevant content and build their fan base. One lecture
plan for their final culminating experience (The Final Project). during writing or recording sessions in the studio. One lecture hour per week for one quarter. hour per week for one quarter.
They also complete a promotional package, to consist of a hour and one lab hour per week for one quarter.
recording of their recording and supporting materials. The final ARTST-307 | ADVANCED SONGWRITING FOR THE ARTIST/ ARTST-380 | KEYBOARD ESSENTIALS 1 (1)
package must be defended before a faculty committee chaired PRODUCER/ENTREPRENEUR 1 (1.5) This is an introductory course on contemporary keyboard
by the student’s advisor/mentor. One lecture hour per week for
ARTST-306 | MUSICIANSHIP 3 (1.5)
Prerequisite: ARTST-206 or DJ-206 Musicianship 2. Prerequisite: SONG-201 Songwriting 2. Building upon the technique. Through the study of physical posture, major scales
one quarter. foundation provided in Songwriting 2, this course delves in and common chord progressions, this course will enable
This course provides continued study of popular music
composition devices and their foundation in music theory a deeper study of songwriting, concentrating on song form, students to develop the necessary motor skills required for using
ARTST-302 | PROJECT ADVISING 3 (1) and ear training. This is accomplished through the analysis of construction and lyric. Topics covered include: finding and the keyboard as an arranging and compositional tool. Upon
Prerequisite ARTST-202 Project Advising 2. Working in close popular harmonic structures, melodies and various common defining a concept, different forms of songs through the 20th completion of this course, students will gain a basic knowledge
consultation with various project advisors, whom they are rhythmic patterns. Topics will include the role of melody, Century including folk, blues, Broadway, rock and country. of keyboard skills through focused study of performance posture,
required to meet with at least once a week, students begin harmony and rhythm, common chord progressions, 7th Types of lyric writing including story songs, love songs and practice routine development, major scale construction, finger
planning and creating their final project, including five or more chords, song form and the basics of chart creation will be descriptive songs. The use of rhyming and word usage will dexterity, interval and triad construction as well as common chord
COURSES
COURSES
original songs, artwork, an internet presence, four videos, a covered, as well as continued study of ear training. Upon also be covered. Upon successful completion of this course, progressions. One lecture hour per week for one quarter.
press kit and a marketing/career plan. One lecture hour per completion of this course, students will be able to understand students will be able to deepen their understanding of the
week for one quarter. advanced harmonic concepts and to demonstrate a high craft of lyric writing and song form. One lecture and one lab ARTST-480 | KEYBOARD ESSENTIALS 2 (1)
degree of proficiency in the aural recognition skills required by hour per week for one quarter. Prerequisite requirement: ARTST-380 Keyboard Essentials 1.
ARTST-402 | PROJECT ADVISING 4 (1) a professional musician. One lecture hour and one lab hour Building upon the foundation provided in Keyboard Essentials 1,
Working in close consultation with various project advisors, per week per quarter. this course focuses on more advanced contemporary keyboard
ARTST-407 | ADVANCED SONGWRITING FOR THE ARTIST/ techniques through the introduction and study of 4-note chords.
with whom they are required to meet at least once a week, PRODUCER/ENTREPRENEUR 2 (1.5)
students begin planning and creating their final project, ARTST-406 | MUSICIANSHIP 4 (1.5) Topics include Major and Minor 7, Dominant 7, Augmented and
Prerequisite: ARTST-307 Adv. Songwriting for APE 2. Diminished 7, Sus4 and Sus2 chords, natural minor and blues
including three or more original songs, artwork, an internet Prerequisite: ARTST-306 Musicianship 3. Building on Building upon the foundation provided in Songwriting 3,
presence, a press kit and a marketing/career plan. One lecture Harmony/Theory/Ear Training for Independent Artists 3 scales. Upon completion of this course, students will be able
this course focuses on more advanced songwriting tips and to continue developing the necessary motor skills and music
hour per week for one quarter. (Musicianship 3), this course provides students with detailed techniques, further study of lyrical development, melody,
instruction in the principles of modulation, tonicization, and vocabulary required for using the keyboard as an arranging,
groove and chords, as well as continued analytical study of compositional and production tool. One Lecture hour per week
ARTST-103 | ARTIST IDENTITY (1) reharmonization and how different types of diminished contemporary songs. One lecture and one lab hour per week
This is a workshop in which students explore various concepts 7th chords resolve within chord progressions. Advanced per quarter.
for one quarter.
of aesthetics, with a focus on developing their own musical concepts such as second inversion triads, smaller formal
aesthetic philosophy, artistic identity and personal branding. structures, sequences, and irregular resolution will also be ARTST-353 | MUSIC VIDEO BOOT CAMP (1.5) ARTST-454 | MUSIC VIDEO EDITING WITH ADOBE PREMIERE
Students present their own original material to the class for addressed. Students will also be introduced to such topics An introductory course in creating simple, single-camera-style (1.5)
feedback and advice. Guest lecturers and artists-in-residence as aural recognition skills using the solfege labeling system; music videos. Students, sourcing their own bands or artists, An introduction to editing music videos and other short-form
from a variety of diverse backgrounds will also join the concentrates on identification, arpeggiation, sightsinging, will create a music video under the guidance of the instructor video content. Techniques include importing footage, file
discussions. One lecture hour per week for one quarter. dictation, and transcription of musical elements that are in a series of seminar-style workshops. Topics covered will be: management, time code, building sequences, working with
diatonic to Minor key centers (Natural Minor, Harmonic the basics of directing performance, camera operation, and effects and transitions, fine-cutting, and delivering outputs from
ARTST-106 | MUSICIANSHIP 1 (1.5) Minor, and Melodic Minor) including single notes, intervals, video editing. One lecture hour and one lab hour per week for Adobe Premiere Pro. The quarter culminates with the student
Designed for aspiring music professionals, this course is diatonic triads and seventh chords, and melodic patterns. one quarter. editing their final project to completion. Students will be exposed
the study of popular music composition devices and their Upon completion of this course, students will be able to to the basic skills of editing, color correction, and creating
foundation in the basic music theory. This is accomplished understand advanced harmonic concepts such as second outputs. Upon completion of this course, students will be able
inversion triad formation, smaller formal structures, and
ARTST-319 | SOCIAL MEDIA BRANDING FOR THE
through the analysis of popular harmonic structures, melodies, INDEPENDENT ARTIST (1) to understand the post-production process and how it relates to
and various common rhythmic patterns. Basics of harmony diatonic and chromatic modulation. Students will also be other aspects of production. One lecture hour and one lab hour
This is an introductory course on navigating the world of social
and theory will be covered, including the role of melody, able to demonstrate a high degree of proficiency in the aural per week per quarter.
media as a musician. Students will study how to share their
harmony and rhythm, major vs. minor chord qualities, Roman recognition skills required by a professional musician. One
story and music effectively through Social Media platforms
numeral harmonic analysis, song form and the basics of lecture hour and one lab hour per week per quarter. ARTST-415 | VOCAL PRODUCTION (1)
such as YouTube, Facebook and Instagram. Throughout this
chart creation. Students will also be introduced to basic course, students will be guided through various practical Prerequisite: Successful completion of one of the following
rhythmic notation and will study ear training by using popular SONG-101 SONGWRITING 1: INTRODUCTION TO POP steps to shape their image and expand their fan base. Upon courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic 1,
songs as examples. Upon completing this course students SONGWRITING (1.5) successful completion of this course, students will be able to or ARTST 101 Recording Project 1. Using industry standard
will be able to effectively communicate with other musical This course enables students to develop the analytical, use effective branding strategies as well as practical skills to programs ProTools and Logic, the course will explore templates,
project management, EQ, compression, vocal FX, comping, album through the entire marketing process, including AUDIO-056 | REASON 1 (1) similarities and differences in company structure and artist deals
bussing, Vocal Aligning, printing stems, and remixing techniques. defining an image, brand, position, and format, identifying Propellerhead’s Reason software has long been used for between major and indie labels. As a final project, each student
Upon completion of this course, students will be able to run a the target audience, creating practical plans for booking traditional beat making and sequencing for MIDI. Upon seeks out an independent artist album and writes a full A&R
vocal session on their own and produce, record, edit, tune and live shows, gaining access to radio, Internet, press, and completion of this course, students will be able to navigate report, including demographics, genre of music, radio airplay,
mix vocals. One Lecture hour per week for one quarter. One video promotion, advertising and sponsorships, sales and through the software, including the various windows (main marketing ideas, suggested record producer. Two lecture hours
lecture hour per week for one quarter. distribution, film and TV licensing, and development and mixer, rack, and sequencer), route audio signal and MIDI, and per week for one quarter.
distribution of press kits. As the final project, students track, create basic tracks. Integration of audio loops will also be
ARTST-403 | FINAL PROJECT FOR APE (2) compile, and report on marketing results. This is the real thing! touched upon as well as a basic understanding of computer MUBUS-104 YOUR MUSIC BUSINESS CAREER (2)
Prerequisite: ARTST-302 Project Advising 3. Corequisite: Two lecture hours per week for one quarter. set-ups and Digital Audio Workstations (DAWs). Two lab hours An overview of the varied career opportunities available in the
ARTST-402 Project Advising 4. Students are required to per week for one quarter. music business. Technical, creative and business professions
complete a culminating experience that serves as both a MUBUS-0202 | MEDIA RELATIONS | CREDITS: 2.00 are covered for positions as music producers, engineers
practicum and bridge to the professional world. This directed The Internet has forever changed the music industry. This AUDIO-156 | REASON 2 (1) for studio and live settings, A&R and publishing executives,
study project enables the student to utilize his/her research within course covers all aspects of how the Internet has impacted Prerequisite: AUDIO-056 DAW: Reason 1. The second level of music supervisors, distribution and sales teams, the various
(and experience from) our Visual Media, Recording Project, music industry distribution, promotion, marketing and retail this course focuses on using Reason as a mixing and mastering types of managers and more. In addition, professionals in those
Songwriting, Video, Social Media Branding and Artist Identity practices. Topics include: blogging, podcasts, widgets and tool. Topics include EQ, Compression, effects, automation, careers will be guest speakers to provide insight and real-world
courses. During the quarter, the student will work in consultation online retail. Students engage in real-time research. Two mastering using Reason’s Channel Strip. Upon successful information particular to their fields. Two lecture hours per week
with a mentor during weeks 2, 4, 7 and 10 to develop his/ lecture hours per week for one quarter. completion, students should be able to create, edit, mix and for one quarter.
her unique, professional project, which will include a set of master their work. One lecture hour per week for one quarter.
compositions/arrangements, videos, DIY marketing plan, website AUDIO-052 | LOGIC 1 (1) MUBUS-105 AGENTS AND BOOKINGS (1)
and album art. A committee evaluates the final project that results This course introduces students to the primary features and AUDIO-058 | ABLETON LIVE 1 (1) Booking Agents are important and essential members of
from the culminating experience. basic user interface of Logic Pro X. The class explores the A practical application of digital recording techniques using an artist’s management team. This course discusses their
process of creating an actual song, from start to finish. Pre- Ableton Live, this course provides an overview for songwriters responsibilities, how they interact with artists, how they are paid,
MUBUS-0360 | APPLIED ENTERTAINMENT BUSINESS 1 (1.5) production using Apple Loops, recording/editing audio and and artists on the fundamentals of the recording process, and how artists can choose among agents. Guest lectures by
This course provides the student with an understanding of the midi, arranging of tracks, producing drum beats with a virtual including file and session setup, tracking, arranging, editing, and agents as available. One lecture hour per week for one quarter.
entertainment industry as it exists today - essential knowledge for drummer, as well as basic mixing and automation techniques mixing. Upon successful completion of the course, students will
anyone looking to sustain a career as a vocalist in the digital era. are explored. This course addresses the requirements needed be able to compose, record, and produce music using Ableton MUBUS-106 DIGITAL MARKETING (2)
Topics include: an overview of record companies, distributors, (Part 1 of 2) to take the “Apple Certified Pro” exam in Logic Live. Two lab hours per week for one quarter. The Internet has forever changed the music industry. Together
representation, contracts, publishing, copyright, viable industry Pro X 10.4. Two lab hours per week for one quarter. with foundational marketing concepts, this course covers all
positions and more. This course is equivalent to the IAP AUDIO-152 | LOGIC 2 (1) AUDIO-158 | ABLETON LIVE 2 (1) aspects of how the Internet continues to impact the music
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Entertainment Business course. One lecture hour per week for Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1. Prerequisite: AUDIO-058 Ableton Live 1. Building on industry, particularly in the areas of distribution, promotion,
one quarter. This course is a continuation of the Logic Pro X user interface Ableton Live 1, this course provides a more in-depth practical marketing and retail practices. Topics include: press outreach,
for songwriters, composers, producers and sound engineers. application of digital recording techniques using Ableton Live, online retail, viral marketing techniques, video content marketing,
MUBUS-0460 | APPLIED ENTERTAINMENT BUSINESS 2 (1.5 ) Upon completion, students will understand how to use Logic including synthesis, building racks, advanced audio effects, social media, and other direct-to-fan platforms. Students engage
Prerequisite: MUBUS-0360 Applied Entertainment Business 1. Pro’s comprehensive array of software instruments, arranging dummy clips, remixing, and live performance. Upon successful in real-time research. Two lecture hours per week for one quarter.
Further exploration of the entertainment business with a focus of MIDI sequences, as well as editing with Flex Time and completion of this course, students will have tools to create
on the independent aspects of the industry and how musicians Pitch, Vari-Speed, Smart Controls, Smart Tempo, Advanced their own sounds and effects as well as have building blocks to MUBUS-107 MUSIC PUBLISHING (2)
can best exploit them to their career advantage. Topics include: Audio and MIDI, Recording/Editing Techniques, Logic perform live. Two lab hours per week for one quarter. Publishing remains one of the most lucrative segments of the
how to start a record company, indie distribution deals; agents, Remote app, trouble-shooting. This course addresses the music industry. Topics covered include: how to copyright songs
managers, and lawyers; starting a publishing company and requirements needed (Part 2 of 2) to take the “Apple Certified
entrepreneurship. One lecture hour per week for one quarter. Pro” exam in Logic Pro X 10.4. Two lab hours per week for
MUSIC BUSINESS and recorded works using the online form CO, how royalties
are paid to writers and publishers, and the functions and
one quarter. MAJOR AREA // MUSIC BUSINESS (CERTIFICATE)
responsibilities of the Performing Rights Organizations
CC-307 | VISUAL MEDIA 1 (2) — ASCAP, BMI, and SESAC. Two lecture hours per week for
Learn to design album artwork, flyers, posters, promotional
AUDIO-057 | PROTOOLS 101 (2) MUBUS-101 MUSIC LAW 1: THE FUNDAMENTALS (2)
merchandise, and Internet banners using Adobe Photoshop. An overview of the various areas of music law and basic one quarter.
This course focuses on the basic concepts and theory
Emphasis is on creating exciting and expressive designs that legal concepts that play a significant role in music industry
involved in using a digital audio workstation. Students will MUBUS-108 PERSONAL MANAGEMENT (2)
directly support music marketing campaigns. Detailed topics transactions, including Property Law; Intellectual Property;
be able to set-up an Avid Pro Tools® session for recording, An overview of the responsibilities of personal managers and
covered include Adobe Photoshop basics, image manipulation, Personality & Publicity Rights; Name & Likeness; Equitable
importing audio, editing, recording MIDI, backing-up data, the nature of the relationships they maintain with their artists.
color theory, photo retouching, filters, and elements of effective Principles & Remedies (Injunctions & Declaratory Relief;
and more. Completion of the course prepares students to Topics include: developing the artist and preparing a career
design in promotional materials and packaging. Two lecture Indemnification); Common Law & Statutory Enactments;
take the Avid 101 Pro Tools Certified User Exam. Two lecture
hours per week for one quarter. Contract Law; and Constitutional Principles (Fair Use plan, contractual agreements between the artist and manager,
exceptions, free speech, commercial speech). Two lecture the steps a manager takes to fulfill those obligations, and
hours per week for one quarter. management responsibilities with regard to negotiating and
CC-407 | VISUAL MEDIA 2 (2) AUDIO-157 | PROTOOLS 110 (2)
Prerequisite: CC-307 Visual Media 1. The Internet has opened concluding recording and publishing contracts. Two lecture
up an enormous opportunity for musicians to promote themselves
Prerequisite: AUDIO-057 Pro Tools 101. This course MUBUS-102 COMPUTERS IN BUSINESS (1) hours per week for one quarter.
expands upon the basic principles taught in Pro Tools 101 Overview of essential software used in the music business
directly to music fans. This course focuses on the technical
introduces the core concepts and techniques students need workplace, including Microsoft Word, Excel and PowerPoint. MUBUS-201 MUSIC LAW 2: CONTRACTS (2)
skills needed to promote music online. Topics include: building a
to competently operate a Pro Tools system running mid- Hands-on projects include preparing visual presentations, Prerequisites: MUBUS-101 Music Law 1. This course provides
strong online presence, creation of a content-rich artist website,
sized sessions. Students learn to build sessions designed business letters, and spreadsheets. One lecture hour per week
online marketing tools and strategies, video editing basics and students with hands-on experience in analyzing, drafting, and
for commercial purposes and improve the results of their for one quarter.
social media. Two lecture hours per week for one quarter. negotiating common music industry agreements. Practical
recording, editing, and mixing efforts. Completion of the
course prepares students to take the Avid 101 Pro Tools exercises include supervised mock negotiations of music
MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2)Learn MUBUS-103 RECORD LABELS (2) contracts, licenses, releases, and other common transactions.
Certified User Exam. Two lecture hours per week for one An inside look at record companies, including an analysis of
do-it-yourself grass-roots marketing strategies designed for quarter. Two lecture hours per week for one quarter.
limited budgets. Each student guides an independent artist’s the various departments within a label and how they interact
with each other to build an artist’s career. Students analyze the
MUBUS-202 MEDIA RELATIONS (2)
Students learn the difference between publicity and public An introduction to the key components of the music business Contracts 2. Analysis of real-world disputes in the music disbursement, along with a review of the numerous publishing
relations, how to create and implement media campaigns, and and a comprehensive historical overview of the recorded industry, including the various legal and equitable doctrines deals available in today’s business. Students also study to employ
how to write artist bios, press releases, news releases, and eye- music industry from 1909 to the onset of the rock ’n’ roll era. as applied by courts rendering judgment in those cases, online resources to gather information on film and TV productions
catching headlines. Skills apply to independent artists as well as Students listen to and analyze the music of each era, including exploring a broad range of legal issues and causes of action: as well as methods for connecting with industry professionals
those aspiring to work in the industry. Two lecture hours per week sources and influences on subsequent trends in the context copyright infringements, contract disputes, artist/manager to further their own careers. Two lecture hours per week for one
for one quarter. of social and cultural movements and political events. In disputes, trademark infringements and dilutions, trade quarter.
addition, students are given an overview of the basic concepts dress, misappropriations of personality and publicity rights,
MUBUS-203 MUSIC DISTRIBUTION (1) and steps in the recording process, and its evolution from “sound-alike” and “look alike” personality rights infringements, MUBUS-140 MUSIC INDUSTRY 1 (2)
Effective distribution is one of the most important elements in a invention to the end of the 1950’s. Two lecture hours per week performers’ actions to disaffirm contracts entered when they (Record Label Structure & Talent Acquisition)
successful career. This course focuses on traditional distribution for one quarter. were minors, co-authors’ disputes, fraud cases, publishing Co-requisite: MUBUS-170 Personal Management and The
methods and outlets including radio, retail and TV as well as disputes, licensing disputes, and conflict-of-law cases Artist’s Team. An overview of typical record label structures
strategies for digital and mobile platforms along with new and MUBUS-210 MUSIC INDUSTRY HISTORY 2 (2) balancing the interactions between the laws of different and how they evolved, including an analysis of the functions of
emerging models. Topics also include: how sales and radio plays Prerequisite: MUBUS-110 Music Industry History 1. An countries in the same case. One lecture hour per week for one specific departments and how they interact to build an artist’s
are tallied through SoundScan, Mediabase and BDS as well as overview of the evolution of the industry through an era of quarter. career. Students analyze the similarities and differences in
innovative companies using a range of metrics to measure the increasingly rapid change beginning in the ‘60s and coming company structure as well as artist deals between major and
impact of artists’ music in various media. One lecture hour per into the digital age. Includes listening and musical analysis as MUBUS-130 MUSIC PUBLISHING AND LICENSING 1 (2) indie labels. In addition, students will study the evolution and
week for one quarter. well as examination of sources and influences on subsequent Introduction to Music Publishing. Topics include the business responsibilities of the A&R (Artist & Repertoire) role, including
trends in the context of social and cultural movements and and creative responsibilities of a publisher, how to copyright the screening of new material, new artist discovery, the signing
MUBUS-204 CONCERT AND TOUR PRODUCTION (2) political events. Additional topics include the advent and songs and recorded works, how royalties are paid to writers process, artist development, song selection and the artist-label-
Students learn how to produce a live concert, musical event, exponential growth of new technologies in the recording and publishers, an overview of various royalty income management dynamic. The course culminates in a final project in
festival, or tour. Topics include: booking and sizing of venues, process as well as with music consumption and formats, streams, and the scope and functions of the Performing which each student will be challenged to find an unsigned artist,
ticket sales, concert promotion, selling merchandise, all-age and the remodeling of business practices and economic Rights Organizations (PRO) and emerging music rights carefully articulate their A&R decision to “sign” the act and create
shows, talent agents and buyers, contracts, technical aspects, structures throughout the entertainment arena. The course organizations. Hands-on exercises include copyright and PRO a full A&R report with analysis of how they would prepare/record
security & laws, minimizing risks, and much more. Guests include concludes with an overview of industry careers in the modern form execution, completing cue sheets using online forms, an album, as well as define a marketing, promotion and sales
booking agents and concert promoters. Two lecture hours per era. Two lecture hours per week for one quarter. and performance, sync, and mechanical licenses used in both campaign for the act. Two lecture hours per week for one quarter.
week for one quarter. traditional and new digital medias. Two lecture hours per week
MUBUS-120 MUSIC BUSINESS LAW AND CONTRACTS 1 (2) for one quarter. MUBUS-240 MUSIC INDUSTRY 2 (2)
(Distribution & Label Services Companies)
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MUBUS-205 MUSIC INDUSTRY INTERNSHIP (4) This course is designed to develop an understanding of the
Students gain firsthand experience within the music industry fundamentals of law and legal rights which permeate the MUBUS-230 MUSIC PUBLISHING AND LICENSING 2 (2) Prerequisite: MUBUS-140 Music Industry 1. A complete study of
by working as interns for music related companies. Students music industry by providing an overview of legal concepts Prerequisite: MUBUS-130 Music Publishing and Licensing 1. the area of distribution in the music industry including traditional,
are coached on specific areas of music business employment, which govern all business activities, with particular emphasis Global Markets. A study of publishing with a global focus. online and digital channels, independent and major distributors,
such as writing professional résumés, personal interview skills, on those which play a significant role in music-related Concepts include sub-publishing in non-U.S. territories, varied deal structures and innovative strategies for releasing
and professionalism. Specific firms, positions, and duties vary transactions, including copyrights, trademarks, “name international copyright terms and extensions, royalty payments and positioning music in an evolving global marketplace. Topics
according to availability. Average of twelve internship hours per & likeness” (publicity rights), property law (generally), and international PRO’s (Songwriter Societies). In addition, cover all distribution platforms, including terrestrial radio, digital,
week for one quarter. Students must present signed Verification Constitutional rights and guaranties in the context of the creative aspects of music publishing with a global online and mobile platforms, pitching distributors in each area,
of Course Credit sheet and completed Hours Log to earn course the music industry (e.g., freedom of speech, freedom of perspective are examined, including songwriter relationships, alternative distribution, consignments, servicing retail outlets,
credits. assembly), and the basics of contract law (with introduction song plugging and promoting music in alternative markets. coordinating promotions and marketing with distribution, and
to common industry agreements, negotiation techniques, and Two lecture hours per week for one quarter. packaging and bundling music for added-value. Additionally, how
MUBUS-206 NETWORKING STRATEGIES (1) specialized terminology). Two lecture hours per week for one sales are monitored, tracked and compiled will be examined,
Success in a changing music industry is determined by the quarter. MUBUS-330 MUSIC PUBLISHING AND LICENSING 3 (2) the importance of UPC bar codes, ISRC’s, metadata and
strength and longevity of personal contacts: who you know, Prerequisite: MUBUS-230 Music Publishing and Licensing 2. digital watermarks. A special focus will be given to independent
what you know and, most important, who knows you. In this MUBUS-220 MUSIC BUSINESS LAW AND CONTRACTS 2 (2) Co-requisite: MUBUS-350 Accounting and Finance 2. artists who forego traditional record deals, and instead utilize
practical, application-oriented course, students analyze and Prerequisite: MUBUS-120 Music Business Law and Music Licensing and Alternative Catalog Income. An label services provided by a variety of companies, including
practice different types of communication, social techniques, and Contracts 1. More advanced principles of contract law examination of the significant revenue streams generated by distributors. Two lecture hours per week for one quarter.
presentation skills important to making personal contacts in all including analysis of commonly-encountered contract clauses licensing recordings for use in TV, film, trailers, commercials,
strata of the music business and building a professional support and provisions, as well as practical exercises with expert video games, digital and mobile platforms, print music and MUBUS-340 MUSIC INDUSTRY 3A (2)
coaching in the negotiation and drafting of effective legal lyrics, compilations/special projects, karaoke, toys, greeting (Broadcast Media)
network. One lecture hour per week for one quarter.
contracts, licenses, releases, and other written instruments, cards, and more. Topics include an overview and analysis of Prerequisite: MUBUS-240 Music Industry 2. Co-requisites:
MUBUS-207 MUSIC LICENSING AND SUPERVISION (2) coupled with study of real-world disputes as a guide to what typical deal structures, contracts, forms, and licenses used in MUBUS-341 Music Industry 3B, and MUBUS-342 Music
Artists can open up significant additional revenue streams by to include and what to avoid in formulating contracts. During the field along with the process of music rights clearance and Industry 3C. Topics include the evolution of radio, as well as
licensing their recordings to international record labels, TV, film, the course, students will actually negotiate and draft at least royalty disbursements. Also explored is the use of metadata other broadcast media, and their impact on the music industry.
video games, and for Internet content. This course explains how five complete contracts including: a mechanical license; a and advancements in music recognition technology. Two Various broadcast outlets are examined with a focus on how
to submit your music to labels and music supervisors and how personal management agreement; a general partnership lecture hours per week for one quarter. they operate, determine formats and programming, and help
deals are typically structured. Two lecture hours per week for one agreement (band agreement); a “sync” license for first-use to promote music. Forms of broadcasts for study include
quarter. inclusion of a musical composition in a motion picture; and a MUBUS-430 MUSIC PUBLISHING AND LICENSING 4 (2) commercial and non-commercial radio, public radio, mix and
comprehensive recording contract deal memo. Two lecture Prerequisite: MUBUS-330 Music Publishing and Licensing 3. specialty shows, satellite and internet radio, digital broadcasts
hours per week for one quarter. Music Supervision and Music Libraries. The role of the music and streaming services. Focus is given to how music is chosen
MAJOR AREA // MUSIC BUSINESS (ASSOCIATE) supervisor is explored as well as how to submit music for and prepared for programming, with an overview of industry
MUBUS-320 MUSIC BUSINESS LAW AND CONTRACTS 3 (1) various types of projects. Topics also include music libraries, charts, monitoring services and tracking systems. Techniques for
MUBUS-110 MUSIC INDUSTRY HISTORY 1 (2) Prerequisite: MUBUS-220 Music Business Law and configuration of music for them and how this affects royalty obtaining airplay in both commercial and non-commercial media
are explored, along with promo-tours and live concerts used to
support broadcasts. Two lecture hours per week for one quarter. Concert Promoter is explored. Topics include the history models (subscription, peer-to-peer (P2P), streaming, pay- Social Media 1. Continued study of marketing strategies focusing
of promoters and talent buyers, venue ownership, and the per-play), contract analysis to quantify financial elements, on the principles and methods of public relations (PR) as well as
MUBUS-341 MUSIC INDUSTRY 3B (1) evolution and rise of large corporations such as Live Nation royalty collections, royalty accounting, international currency effective use of video content in this current digital age. Topics
(Agents & Bookings) and AEG. In addition, the specifics of how to produce a considerations, preparing and analyzing royalty statements, include the logistics of media relationships, implementing a
Prerequisite: MUBUS-240 Music Industry 2. Co-requisites: live concert, musical event, festival or tour are covered, management and distribution of licensing revenues, press plan, creating PR materials, promotional writing and image
MUBUS-340 Music Industry 3A, and MUBUS-342 Music including sizing of venues, ticket sales, contracts, negotiating considerations arising under multiple-rights (“360”) recording development; online video platforms such as YouTube and an
Industry 3C. The Booking Agent has emerged as a vital team with booking agents, technical aspects and more. Industry contracts (live performance revenue, endorsement and overview of how to use content; and integration of social media to
member for the artist. This critical role and its corresponding resources for the live industry are reviewed such as Pollstar merchandise revenue, other entertainment-related revenue support and tie-in. As a final project, students will write a press
responsibilities in the live concert industry are explored. Topics and Celebrity Access. One lecture hour per week for one streams), and general strategies for minimizing tax liabilities. release incorporating live links to a video series starring an artist,
include the history and evolution of agencies, methods involved quarter. One lecture hour and one lab hour per week for one quarter. and then share on multiple social media platforms. Two lecture
in booking tours (local to major), sourcing contacts and venues, hours per week for one quarter.
offers and pitching, performance contracts, fee structures, and MUBUS-150 COMPUTER TECH MUSIC BUSINESS MUBUS-170 PERSONAL MANAGEMENT & THE ARTIST’S
negotiating with talent buyers and promoters. Logistical aspects APPLICATIONS 1 (1.5) TEAM (1) MUBUS-380 MUSIC BUSINESS MARKETING AND SOCIAL
and execution of contract requirements and riders along with A practical introduction to commonly used music business Co-requisite: MUBUS-140 Music Industry 1. An overview MEDIA 3 (2)
the steps in advancing shows will be introduced. Additionally, software. Using on-site computer rooms, students explore of the responsibilities of personal managers as leaders Prerequisite: MUBUS-280 Music Business Marketing and Social
the specifics of college tours and booking conferences will be office basics and develop projects using MS Office (Word, of the artist’s team, and the nature of the relationships Media 2. Continued study of marketing strategies focusing on
discussed. One lecture hour per week for one quarter. Excel and PowerPoint) as well as a survey of Mac productivity they maintain with their artists. Topics include: contractual the areas of airplay and retailing as well as expanded social
suite applications (Keynote, Pages, Numbers, Preview). Also agreements between the artist and manager, fulfillment of media techniques. Topics include an overview of airplay platforms
MUBUS-342 MUSIC INDUSTRY 3C (1) includes an overview of cloud-based and mobile productivity those obligations, and management responsibilities with (terrestrial, internet and satellite radio, streaming, mobile and
(Tour Management) applications such as the Evernote and Google applications. regard to the negotiation and concluding of various contracts. alternative outlets), and how to position artists and their music.
Prerequisite: MUBUS-240 Music Industry 2. Co-requisites: One lecture hour and one lab hour per week for one quarter. In addition, the specific roles of an artist’s team are defined Strategies in retailing for music and merchandise, effective social
MUBUS-340 Music Industry 3A, and MUBUS-341 Music and discussed, including the attorney, agent, business media integration and online advertising are also reviewed. Major
Industry 3B. Working in tandem with the agent, the Tour MUBUS-450 COMPUTER TECH MUSIC BUSINESS manager, tour manager and publicist. Overview of planning platforms such as Facebook and Twitter are explored for creating
Manager handles all responsibilities on the ground for the artist APPLICATIONS 2 (1.5) and positioning an artist’s career along with strategies are relationships with and marketing products and services to
during the tour. All logistical aspects are explored, including Prerequisites: MUBUS-150 Computer Tech Music Business discussed. One lecture hour per week for one quarter. relevant demographic communities, along with web analytics and
sound checks, performance deliverables, advancing shows, Applications 1, MUBUS-330 Music Publishing and search engine optimization (SEO) techniques. Students study
coordinating itineraries to follow routing, dealing with stage Licensing 3, and MUBUS-350 Accounting and Finance 2. MUBUS-470 ARTIST DEVELOPMENT: SKILLS FOR THE how to allocate budgets for maximum impact utilizing a diverse
managers, merchandising, budgets, per diems, personnel Building on core computer skills, students explore programs CREATIVE ENVIRONMENT (1.5) media mix. Two lecture hours per week for one quarter.
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management, interviews, and running a mobile production office. designed to manage and administer music publishing tasks Prerequisites: MUBUS-170 Personal Management and The
The specifics in working festival tours are also discussed. One and songwriter catalogs, rights and royalty accounting and Artist’s Team, MUBUS-340 Music Industry 3A, MUBUS-341 MUBUS-480 MUSIC BUSINESS MARKETING AND SOCIAL
lecture hour per week for one quarter. tracking, production music library digital distribution (including Music Industry 3B, MUBUS-342 Music Industry 3C, and MEDIA 4 (2)
generating cue sheets), and music licensing. One lecture hour MUBUS-360 Song Structure and Content. Co-requisite: Prerequisite: MUBUS-380 Music Business Marketing and Social
MUBUS-440 MUSIC INDUSTRY 4A (2) and one lab hour per week for one quarter. Required lab fee MUBUS-460 Songs, Recordings and Production: A&R Media 3. Continued study of marketing strategies focusing on the
(Entrepreneurial Strategies for Music Based Companies) (software license): $195.00. Analysis. This class explores the roles of the arranger, areas of consumer lifestyles and sponsorship. Topics include an
Prerequisites: MUBUS-340 Music Industry 3A, MUBUS-341 producer, engineer, road technicians, side musicians, overview of platforms where consumers and fans can be targeted
Music Industry 3B, and MUBUS-342 Music Industry 3C. MUBUS-250 MUSIC BUSINESS ACCOUNTING AND background vocalists and technical support personnel and how to reach them, including festivals and related events.
Co-requisite: MUBUS-441 Music Industry 4B. An overview of FINANCE 1 (1.5) employed on a tour or session. Students study musical Students also study about endorsements vs. sponsorships and
creative and business requirements for starting an independent Prerequisite: MUBUS-150 Computer Tech Music Business terminology required for effective communication in rehearsal, the typical deals, with more extensive study of the specifics
record label or music-based company (related product or Applications 1. An introduction to core concepts and stage, or studio environments and strategies for carrying of sponsorship including identifying brand partners and the
service). Students developing a mock label define the music techniques of business accounting and fiscal management, out constructive critique and musical decision-making with potential credibility/visibility benefits, methods of appealing to
genre; identify the target audience; find and sign artists; set including: cash accounting and accrual accounting methods; artistic/creative personalities. Students apply relationship potential sponsors, creating sponsorship decks and alternative
recording budgets; select producers, arrangers, backup debits and credits; charts of accounts; double-entry scenarios, communication and artist-development skills presentations, delivering results to the brand partner, and
musicians, audio engineers and recording studios; and develop bookkeeping; the “acid test” and other commonly used fiscal during one-on-one sessions with actual independent artists. building in social media engagement. As a final project, students
the image, branding, promotion, advertising and publicity. ratios; inventory controls (“LIFO” vs. “FIFO”); personal and One lecture hour and one lab hour per week for one quarter. implement a lifestyle marketing program with video, images and
Similarly, students developing a music-related product or business budgeting and financial planning; fundamentals of social media along with creating reports with deliverables to the
service define the company, products and services, identify entertainment industry project budgeting (“above-the-line” MUBUS-180 MUSIC BUSINESS MARKETING AND SOCIAL sponsor. Two lecture hours per week for one quarter.
the target consumer, outline costs, and likewise develop the and “below-the-line” elements); common financial reports MEDIA 1 (2)
image, branding, promotion and advertising. As a final project, (balance sheets, income statements, cash flow statements); An overview of the principles of marketing for music as well as MUBUS-580 MUSIC BUSINESS MARKETING AND SOCIAL
music business students develop business and marketing plan tax considerations and common government forms (W-2, the distinct channels used, including airplay, publicity, video MEDIA 5 (2)
elements and promotional media for actual independent artists W-4, W-7, W-9, 1099, SS-4, etc.). One lecture hour and one and social media. Students study how to structure effective Prerequisite: MUBUS-480 Music Business Marketing and
or for the product or service. Two lecture hours per week for one lab hour per week for one quarter. marketing campaigns, as well as strategies for maximizing Social Media 4. Topics include analyzing consumer behavior,
quarter. results. The course culminates with students developing an influence and persuasion, principles and ethics of successful
MUBUS-350 MUSIC BUSINESS ACCOUNTING AND online marketing campaign for an artist, including creating campaigns, and core branding concepts. Students examine
MUBUS-441 MUSIC INDUSTRY 4B (1) FINANCE 2 (1.5) the message, slogans, media and visual elements along with various techniques for conducting consumer-based market
(Concert Promoters) Prerequisites: MUBUS-250 Accounting and Finance 1, defining their methods and channels of exposure. Two lecture research, including identification of the product, idea, or problem;
Prerequisites: MUBUS-340 Music Industry 3A, MUBUS-341 and MUBUS-220 Music Business Law and Contracts 2. hours per week for one quarter. collecting data; observation, focus groups, interviews, and
Music Industry 3B, and MUBUS-342 Music Industry 3C. Co-requisite: MUBUS-330 Music Publishing and Licensing experiments; analyzing, interpreting, and drawing conclusions
Co-requisite: MUBUS-440 Music Industry 4A. As the live 3. More advanced study of accounting principles and MUBUS-280 MUSIC BUSINESS MARKETING AND SOCIAL from data; and making recommendations based on findings.
concert industry has become one of the most dominant areas techniques as applied to the music industry, including: MEDIA 2 (2) Students apply concepts to actual research models by gauging
of the music and entertainment business, the distinct role of the digital rights management, internet marketing and revenue Prerequisite: MUBUS-180 Music Business Marketing and consumer response to packaging, logos, band names, set lists,
visual images, and more. As a final project, students apply skills in a field of their choice (management, booking, label, music and logistical considerations), and developing the manager/ or to a crowd. Topics include making business presentations,
covered by creating a complete and detailed plan taking a new library, publishing, licensing, app development). Based on artist relationship through concert observation and post-event inspirational speaking, motivational speaking and debating.
artist’s music release through the entire marketing process. Two the business plan, each student then develops a marketing analysis. Student and artist progress is tracked and assessed Plus, how to diplomatically handle difficult business situations
lecture hours per week for one quarter. Required fee for research and promotion strategy. Topics include identifying a physical through the completion of project worksheets featuring and communicate with artists, managers, agents, record label
assignment (song/crowd review): $40.00. location, naming the business, obtaining financing, and finding qualitative and quantitative tasks and milestones. Four group personnel, studio personnel, accountants, and audiences. One
and retaining customers/clients. Two lecture hours per week project advisement hours per week for one quarter plus lecture hour and one lab hour per week for one quarter.
MUBUS-540 MUSIC INDUSTRY INTERNSHIP I (2) for one quarter. independent project completion.
Prerequisite: MUBUS-110 Music Industry History 1, MUBUS-120 MUBUS-490 MANAGEMENT AND BUSINESS SKILLS 4 (2)
Music Business Law and Contracts 1, Prerequisite: MUBUS-130 MUBUS-570 PUBLISHING/A&R PRACTICUM (4) PROFESSIONAL DEVELOPMENT //
Music Publishing and Licensing 1, MUBUS-140 Music Industry Prerequisites: MUBUS-430 Music Publishing and Licensing (Leadership, Business Relations and Applied Methods)
1, MUBUS-150 Computer Tech Music Business Applications 4, MUBUS-440 Music Industry 4A, MUBUS-170 Personal MUSIC BUSINESS ASSOCIATE
Prerequisite: MUBUS-390 Management and Business Skills
1, MUBUS-170 Personal Management and The Artist’s Team, Management and The Artist’s Team, MUBUS-220 Music 3. A study of methods for developing the leadership qualities
MUBUS-180 Music Business Marketing and Social Media 1, Business Law and Contracts 2, MUBUS-350 Accounting MUBUS-190 MANAGEMENT AND BUSINESS SKILLS 1 (1.5) that enable music business professionals to deal with business
and MUBUS-190 Management and Business Skills 1. Students and Finance 2, MUBUS-460 Songs, Recordings and associates ethically and tactfully, set an example for employees,
gain firsthand experience within the music industry by working as Production: A&R Analysis, MUBUS-470 Artist Development: (Business Writing and Time Management) and motivate them in the workplace. Topics include how to be an
interns for music-related companies. Students are coached on Skills For The Creative Environment, MUBUS-480 Music Learning and applying effective written communication is effective leader, how to hire/recruit employees, rewarding your
music business employment skills including writing professional Business Marketing and Social Media 4, and MUBUS-490 essential in the music business as is completing tasks with workers, leadership traits, delegating, becoming a better listener,
résumés, personal interview techniques and professionalism. Management and Business Skills 4. Co-requisite: tight deadlines. In addition to creating business appropriate and more. Additional focus will be on maintaining leadership
Specific firms, positions and duties vary according to availability. MUBUS-560 Production Music For Visual Media 1 (Critical communication, students will identify and use industry specific in your field of specialty by staying ahead of the curve, setting
Average of six internship hours per week for one quarter, 60 Listening). Under the guidance of instructors as project language and expand their vocabularies with new words. trends, and holding membership in executive organizations. Two
hours total. Students must present signed Verification of Course advisors, business students undertake the responsibilities Topics also cover using words as a productive business lecture hours per week for one quarter.
Credit sheet and completed Hours Log to earn course credits. of the roles of Publishing executive and A&R executive. With tool to establish a professional image, as well as clear,
application to MI student artists or their own artists/projects, effective written communication in business letters, email CC-307 VISUAL MEDIA 1 (2)
MUBUS-640 MUSIC INDUSTRY INTERNSHIP 2 (4) business students’ activities will include determining musical (with email etiquette), and web content. In time management, Students learn to use Adobe Photoshop to design original CD
Prerequisite: MUBUS-110 Music Industry History 1, MUBUS-120 direction as well as providing advice and assistance on new methods to increase efficiency and productivity will artwork, flyers, promotional tools, and other visual materials vital
Music Business Law and Contracts 1, Prerequisite: MUBUS-130 copyrighting their songs, co-writer agreements, publishing be analyzed and implemented. Topics include maintaining to modern independent artists. Emphasis is on creating exciting
Music Publishing and Licensing 1, MUBUS-140 Music Industry agreements, and joining the appropriate Performing Rights written records, setting goals, creating a vision, prioritizing, and expressive designs that directly support music marketing
1, MUBUS-150 Computer Tech Music Business Applications Organization alongside song critiquing, polishing material punctuality, reducing information overload, organizing,
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campaigns. Topics covered in this class include: typography, flyer

1, MUBUS-170 Personal Management and The Artist’s Team, and advising preparation of competitive demo recordings; delegating, and how to focus and use time effectively. design, album artwork design, image manipulation, merchandise
MUBUS-180 Music Business Marketing and Social Media 1, determining “casting” (pitching for a self-contained singer/ design, and more. Two lecture hours per week for one quarter.
and MUBUS-190 Management and Business Skills 1. Students songwriter vs. promoting the songs to other artists) and MUBUS-290 MANAGEMENT AND BUSINESS SKILLS 2 (1.5)
may continue their internship with the same firm in an expanded potential for pitching the songs to artist management and (Networking Strategies and Professionalism) CC-407 VISUAL MEDIA 2 (2)
capacity or undertake a new internship with a different firm. record label A&R reps as well as music supervisors for film/ Prerequisite: MUBUS-190 Management and Business Skills Prerequisite: CC-307 Visual Media 1. The Internet has opened
Specific firms, positions and duties vary according to availability. TV/media placement. With respect to the A&R role, business 1. Success in a changing music industry is determined by the up an enormous opportunity for musicians to promote themselves
Average of twelve internship hours per week for one quarter, 120 students advise and develop artists/projects towards being strength and longevity of personal contacts: who you know, directly to music fans. This course focuses on the technical
hours total. Students must present signed Verification of Course signable for a record deal or marketability and viability as what you know, and most important, who knows you. In this skills needed to promote music online. Topics include: building a
Credit sheet and completed Hours Log to earn course credits. an independent. Interaction with industry professionals and practical, application-oriented course, students analyze and strong online presence, creation of a content-rich website, online
relevant industry organizations integrated throughout the practice different types of communication, social techniques, marketing tools and strategies, video editing basics, and social
MUBUS-550 PERSONAL ENTREPRENEURSHIP 1 (2) quarter as well. Four group project advisement hours per and presentation skills important to making personal contacts media. Two lecture hours per week for one quarter.
Prerequisite: MUBUS-250 Accounting and Finance 1. The week for one quarter plus independent project completion. in all strata of the music business, plus study how to comport
legal aspects of starting a business, including defining the themselves professionally at events and in corporate
business type (proprietorship, partnership, LLC, corporation), MUBUS-670 BOOKING & MANAGEMENT PRACTICUM (4) SUPPORTIVE MUSIC // MUSIC BUSINESS ASSOCIATE
situations. Students select and attend appropriate music
securing licenses, financial/tax planning, trademark searches and Prerequisites: MUBUS-330 Music Publishing and Licensing performance and music business events where they network,
clearances, DBAs, permits, setting up the tax structure, obtaining 3, MUBUS-440 Music Industry 4A, MUBUS-441 Music MUBUS-260 MUSICIANSHIP FOR BUSINESS PROFESSIONALS
follow up with professionals, and report on the activity and
business loans, and maintaining compliance with federal, state, Industry 4B, MUBUS-170 Personal Management and (1)
results. Building on the aforementioned, students develop
and local laws and regulations that govern business ventures. The Artist’s Team, MUBUS-220 Music Business Law Students will be introduced to the fundamentals of music
career strategies to seek out job opportunities or business
Students also carry out analysis to determine if a proposed and Contracts 2, MUBUS-350 Accounting and Finance notation on the staff, including the basics of harmony and
ventures through networking, establish a reputation in chosen
business is financially viable and study daily business operations 2, MUBUS-460 Songs, Recordings and Production: theory that are discussed between producers, engineers, and
career area, and meet the right people and identify the primary
management skills such as hiring employees, managing inventory, A&R Analysis, MUBUS-470 Artist Development: Skills musicians in the studio. Upon completion, students will be able
players (companies and people) in a chosen field in order to
and more. Two lecture hours per week for one quarter. For The Creative Environment, MUBUS-480 Music to differentiate between major vs. minor keys, Roman numeral
enter the industry at the highest level possible. One lecture
Business Marketing and Social Media 4, and MUBUS-490 harmony, song form, and the basics of chart creation. Two lab
hour and one lab hour per week for one quarter.
MUBUS-650 PERSONAL ENTREPRENEURSHIP 2 (2) Management and Business Skills 4. Under the guidance of hours per week for one quarter.
Prerequisites: MUBUS-550 Personal Entrepreneurship instructors as project advisors, business students provide MUBUS-390 MANAGEMENT AND BUSINESS SKILLS 3 (1.5) MUBUS-360 SONG STRUCTURE AND CONTENT (2)
1, MUBUS-220 Music Business Law and Contracts 2, career development assistance for artists drawn from the MI (Public Speaking and Managing Professional Relations) Prerequisite: MUBUS-260 Musicianship For Business
MUBUS-440 Music Industry 4A, MUBUS-441 Music Industry student pool or from their own artists/projects. The focus is Prerequisite: MUBUS-290 Management and Business Professionals. A study of the basic elements of popular song
4B, MUBUS-430 Music Publishing and Licensing 4, and on advising artists on all aspects of their live performance, Skills 2. Whether in the boardroom or the employee lounge, structure, including melody, lyric patterns and construction,
MUBUS-580 Music Business Marketing and Social Media including creative and image development (set lists, band you must be able to speak clearly and concisely in order to harmony, scales, intervals, rhythm, and form; analysis of
5. Utilizing research and product/service development skills, members, stage attire and performance suggestions), inspire and motivate your employees, artists or clients. This the structure of successful songs and the application of
students write a formal business plan, including projections, booking and management (sourcing appropriate venues, course helps students overcome stage fright and helps them those elements to songwriting, including lyric and melodic
strategies, and resource materials, for a new music business firm amending performance agreements, technical requirements prepare to speak in public, whether to a handful of people development, hook recognition, chord structures, and
accompaniment styles. Includes analysis of songwriting styles in
various genres including pop, rock, country, rap/hip-hop, R&B/ requirements by choosing among the following courses only: the Chair after completing their first quarter. budgets, selecting producers and studios, and choosing a
soul, jazz, blues, Latin, and folk/Americana. Through role-playing, distributor. Two lecture hours per week for one quarter.
students develop techniques for communicating on a musical MUBUS-114E GETTING GIGS (1) MUBUS-415E ADVANCED PERSONAL MANAGEMENT (1)
level with performers, arrangers, engineers, and producers. Two Students learn the most efficient ways for artists and bands Prerequisites: MUBUS-170 Personal Management & MUBUS-304 SOCIAL NETWORKING AND FAN MANAGEMENT
lecture hours per week for one quarter. to book live shows and tours. Subjects include: where to The Artist’s Team, MUBUS-320 Music Business Law & (1)
play, checking out the venue, personal appearance contracts, Contracts 3, MUBUS-330 Music Publishing & Licensing Students learn to use social networking tools to build a fan base,
MUBUS-460 SONGS, RECORDING & PRODUCTION: A&R getting paid, and putting together your own tours. Guest 3, MUBUS-340 Music Industry 3A, MUBUS-341 Music attract attention, build a reliable network of listeners, and harness
ANALYSIS (2) speakers (as available) include club owners, promoters, Industry 3B, MUBUS-342 Music Industry 3C, MUBUS-350 the energy of fans for marketing, promotion, and outreach. One
Prerequisite: MUBUS-360 Song Structure and Content. booking agents, and touring artists. One lecture hour per Accounting & Finance 2, MUBUS-380 Marketing & lecture hour per week for one quarter.
Continued development of musical analysis skills and week for one quarter. Social Media 3. Building upon the foundational Personal
terminology, with a specific focus on critical listening from Management course (MUBUS-170) as well as courses up MUBUS-305 SHOWCASE PROMOTION (2)
an A&R standpoint of songs and talent at various levels and MUBUS-115E BUSINESS WRITING (1) to Qtr. 3 in the Associate of Science in Music Business In this hands-on course, students select Los Angeles-area
stages across a range of musical genres. Along with covering Students learn how to use words as a productive business program, this advanced course in personal management independent artists and then plan, organize, produce and
the phases of the recording process, production elements tool to establish a professional image. This course prepares further cultivates the necessary skills and abilities to promote a live industry showcase at a local venue. Students
for enhancing a musical composition and identifying them students to communicate clearly and efficiently in written successfully grow and manage music careers, as well as carry out all aspects of promotion, marketing, and publicity
in a recording will be explored. Analysis and comparison of communication, including business letters, email, press develop artists. Topics include: 5-year career goal setting, under instructor supervision. Two lecture hours per week for one
preliminary song demos by prominent popular artists with the releases, and website content. One lecture/workshop hour the application of business structures and new media tools quarter.
commercially-released versions, identifying choices that led to a per week for one quarter. to acquire fans and funding, developing successful touring
“good song” becoming a “hit song.” Students are also guided on scenarios, executing deal negotiations and creating money- MUBUS-306 BROADCAST STRATEGIES (2)
Students learn how to use radio to promote independent music.
how to assess the artist’s needs and provide effective advice on MUBUS-212E THE TOURING MUSICIAN (1) making ventures to expand the artist’s career. Additionally
Topics include: techniques for securing radio airplay from college
performance, song selection, melody, and lyrics as well as how Students learn how to plan tours, including planning the covered are insider tips and case studies of prominent
personal managers in the industry (past and present). One and commercial radio, approaching music and program directors,
to work and communicate with the other creative personnel (i.e. itinerary, creating a budget checklist, and establishing anchor
and different broadcast formats, including mix shows, specialty
producers, engineers, musicians, co-writers, etc.). One lecture dates, plus how to make the most of sales, concessions, and lecture hour per week for one quarter.
shows, satellite radio, and Internet radio. Two lecture hours per
hour and two lab hours per week for one quarter. press. As the culmination, students plan a ten-day tour. One week for one quarter.
lecture hour per week for one quarter. MUBUS-416E ADVANCED TOUR MANAGEMENT (1)
MUBUS-560 PRODUCTION MUSIC FOR VISUAL MEDIA 1 Prerequisites: MUBUS-342 Music Industry 3C: Tour
MUBUS-307 INDEPENDENT ARTIST MARKETING (2)
(CRITICAL LISTENING) (2) MUBUS-214E NEWS AND INDUSTRY TRENDS (1) Management and MUBUS-250 Accounting & Finance 1.
This course reveals basic marketing concepts applicable to
Prerequisites: MUBUS-430 Music Publishing and Licensing Students and instructor review and discuss all of the latest This advanced course provides a more in-depth study of
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any professional business venture and focuses on the creation

4, and MUBUS-360 Song Structure and Content. Introduction music business news as reported in Billboard, trade websites tour management practices including the development of of a fully customized, low-budget marketing plan of attack.
to musical analysis from the perspectives of the composer/ and newspapers, and general media. Discussions center show pre-advancing information and advancing packages, Furthermore, at a time when new technologies make it more
songwriter and the music supervisor, including identifying and on how the news impacts the industry and students’ own travel and logistical planning, leadership and communication possible than ever for artists to leverage their own careers,
interpreting aspects of tone, timbre, instrumentation, dynamics careers. One lecture hour per week for one quarter. management techniques, more involved tour budgeting there has never been a greater need for practical, independent
and motifs within a custom composition or song placement for exercises, developing a technical understanding of show marketing advice. After identifying a business vision, students
film or television. Students are assigned to review various pieces MUBUS-216E GRANT WRITING: GETTING FREE MONEY production, and common considerations in planning conduct research, set short-term goals, and create an integrated
of visual media from the perspective of a music supervisor, FOR YOUR MUSIC PROJECTS (1) international tours. Throughout the course, students will plan mix of marketing strategies to achieve their objective, including
assigning specific aspects of lyric content, melodic tone, Prerequisites: MUBUS-150 Computer Tech Music Business and manage a mock tour scenario while developing a tour defining an image, brand, position, and format, identifying the
dynamics and other factors to significant markers in the film, Applications 1, MUBUS-170 Personal Management & The book that includes the creation of common documents and target audience, gaining access to radio, as well as effectively
and communicating the desired aspects to the composer. Two Artist’s Team, and MUBUS-180 Music Business Marketing information collected throughout the process. One lecture utilizing live shows, the Internet, press, video promotion,
lecture hours per week for one quarter. & Social Media 1 OR MUBUS-102 Computers In Business, hour per week for one quarter. advertising and sponsorships, sales and licensing. Students
MUBUS-106 Digital Marketing, and MUBUS-108 Personal create a complete marketing plan utilizing handy templates
MUBUS-660 PRODUCTION MUSIC FOR VISUAL MEDIA 2 Management. Grant Writing is becoming an essential skill MUSIC BUSINESS // included in the course resource, and receive useful feedback
(CRITICAL LISTENING) (2) in our new music world. The National Endowment for the during three in-class work hours. Two lecture hours per week for
Prerequisite: MUBUS-560 Production Music For Visual Media 1 Arts will annually support more than 30,000 concerts and ENTREPRENEUR one quarter.
(Critical Listening). Continued study of the relationship between performances. In this course, the student will be taken MAJOR AREA // MUSIC BUSINESS ENTREPRENEUR
music and visual media from the perspectives of both the through the entire process of researching and applying for MUBUS-308 OWNING AND OPERATING A MUSIC BUSINESS
composer and the music supervisor. Professionals in the field grants, plus connecting with corporate awards that align MUBUS-301 MUSIC LAW 3 (2) (2)
explain and demonstrate the role and requirements of production with specific music missions and branding. Detailed topics Students learn the legal aspects of starting a business,
Prerequisites: MUBUS-201 Music Law 2. This course
music libraries by screening film, TV and ad cues and interpreting include: preparing your purpose and audience analysis, provides practical application of music industry-related legal including trademark searches and clearances, DBAs, licenses,
the accompanying sound effects, compositions and soundtrack drafting and formatting a written proposal plus defining your doctrines and fundamentals. Includes research and analysis setting up the tax structure, and obtaining business loans
elements. Topics of discussion include the process of custom SMART goals and strategies that can lead to successful of historical disputes in the industry followed by lectures and grants. Topics also include: managing daily business
composing for short films, feature films, various TV show formats, awarded grants. One lecture hour per week for one quarter. and discussions aimed at determining how they could have operations such as hiring employees, taking inventory, basic
ads/commercials, corporate events, and religious institutions. been avoided or minimized through negotiation or appropriate business accounting, and more. Two lecture hours per week for
Students are required to source and select (“place”) existing contract provisions. Students conduct a mock trial of a one quarter.
ELECTIVES // MUSIC BUSINESS ASSOCIATE
song material for use in a commercial, a film trailer and as a TV breach-of-contract case between artist and record company.
theme song, including researching the availability of material and Two lecture hours per week for one quarter. ELECTIVES // MUSIC BUSINESS ENTREPRENEUR
Music Business Associate students may choose from all
analyzing and explaining the musical attributes of selections. Two Music Business Entrepreneur students must complete their
electives listed above (except MUBUS-115E), as well as the
lecture hours per week for one quarter.
following electives. MUBUS-303 START YOUR OWN RECORD LABEL (2) elective requirements by choosing among the following courses
This course details what is needed to start a label from the only:
ELECTIVES // MUSIC BUSINESS Music Business Associate students may also choose from a creative perspective. Topics discussed include: defining the
Music Business students must complete their elective limited selection of Common Course electives approved by label’s genre, finding and signing artists, setting recording MUBUS-314E SPONSORSHIPS AND
ENDORSEMENTS (1) signatures, intervals, triads, and major scale harmonies. One week for one quarter. and synchronization licenses, works made for hire, sampling,
Sponsorships and endorsements provide a variety of resources lecture hour and one lab hour per week for industry organizations and resources for further study. One
that can advance an artist’s career. In this course, students learn one quarter. SONG-210 SONGWRITING FINAL PROJECT (2)Prerequisites: lecture hour per week for one quarter.
strategies for approaching companies and presenting successful SONG-101: Songwriting 1: Introduction to Pop Songwriting
proposals. One lecture hour per week for one quarter. CC-021 HARMONY & THEORY 021 (1.5) and SONG-125: Lyric Writing 1: Introduction to Lyric Writing. SONG-487 BUSINESS OF COMPOSING 2(1)
Prerequisite: CC-011 Harmony and Theory 011. This Co-requisite SONG-225: Lyric Writing 2. This class focuses Prerequisite: SONG-486 The Business of Composing 1.
MUBUS-316E LEADERSHIP (1) course is a continuation of Harmony and Theory 1. This is on the student’s all-around abilities for complete presentation This course examines music licensing and the process of
Students learn methods for developing the leadership qualities accomplished through the further study of musical notation, and performance of their composed and arranged music. placing music and songs into film, television, video games,
that enable music business professionals to set an example diatonic structures, rhythmic values, time signatures, Skills required include: Chart Preparation, Composition and commercials and other productions. Topics include: music
for employees and motivate them in the workplace. Class natural minor scales (and variations), minor key signatures, Arrangement, Repertoire, and Program Note licensing terminology, songwriter co-administration agreements,
discussions include: What are the qualities of a leader? Why harmonized minor scales, chord inversions, diatonic seventh Writing. Students learn how to be an effective bandleader the importance of music and songs in the film and television
do some lead and others follow? How to hire the best workers, chords, triad analysis, chord progressions, and key centers. and musical director, with the goal of delivering a complete production process, sources of musical content for producers,
reward employees, identify employee behavior, and motivate One lecture hour and one lab hour per week for one quarter. live musical performance that showcases the student's the “Two Sides,” music production libraries and one-stop
people. One lecture hour per week for one quarter. creativity and comprehension of song form, melody, and harmony. shopping, the role of the music supervisor, source cues, music
ARTST-380 KEYBOARD ESSENTIALS 1 (1) Five bi-weekly mentoring sessions with a project advisor for one clearance, spotting sessions and a composer’s timing notes,
MUBUS-317E PREPARING YOUR PROFESSIONAL BUSINESS This is an introductory course on contemporary keyboard quarter, and a final performance at the end of the quarter. temp music, how to negotiate synchronization and master use
PLAN (2) technique. Through the study of physical posture, major licenses, composer package deals, music production and sound
Students learn how to develop and write a professional plan for scales and common chord progressions, this course will SUPPORTIVE MUSIC // SONGWRITING recordings, union contracts, and how to fill out a cue sheet. One
starting and growing your business. Topics include: market and enable students to develop the necessary motor skills SONG-102 DEMO RECORDING AND PRODUCTION 1 (1) lecture hour per week for one quarter.
industry analysis, management and organizational structure, required for using the keyboard as an arranging and This course prepares students for successfully navigating a
financial projections, estimating start-up costs, and more. As a compositional tool. Upon completion of this course, students project studio environment as songwriter, arranger and producer. DIGITAL AUDIO WORKSHOP (DAW) // SONGWRITING
final project, each student presents a complete plan for his or her will gain a basic knowledge of keyboard skills through focused Demo Recording and Production I focuses on recording theory
own music-related business. Two lecture hours per week for one study of performance posture, practice routine development, and pre-production techniques including interface operation, TRACK OPTION A:
quarter. major scale construction, finger dexterity, interval and triad recording techniques, microphone, preamp and headphone
construction as well as common chord progressions. One mixes, EQ considerations and general session operation. One AUDIO-052 LOGIC 1 (1)
SONGWRITING lecture hour per week for one quarter. lecture hour per week for one quarter. This course introduces students to the primary features and
MAJOR AREA // SONGWRITING basic user interface of Logic Pro X. The class explores the
ARTST-480 KEYBOARD ESSENTIALS 2 (1) SONG-202 DEMO RECORDING AND PRODUCTION 2 (1)
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process of creating an actual song, from start to finish. Pre-

SONG-PL SONGWRITING PRIVATE LESSON (2) Fostering the Prerequisite requirement: ARTST-380 Keyboard Essentials 1. Prerequisite: SONG-102: Demo Recording and Production 1. production using Apple Loops, recording/editing audio and midi,
development of students “compositional voices” serves as the Building upon the foundation provided in Keyboard Essentials Recording and Production II continues to focus on recording, arranging of tracks, producing drum beats with a virtual drummer,
main objective within the Songwriting lesson program. One 1, this course focuses on more advanced contemporary basic mixing and general post-production techniques. Students as well as basic mixing and automation techniques are explored.
private lesson hour per week per quarter. keyboard techniques through the introduction and study of will learn proper studio techniques such as tracking, overdubs This course addresses the requirements needed (Part 1 of 2) to
4-note chords. Topics include Major and Minor 7, Dominant 7, and “punch-in” for use in demo recording. At the same time, the take the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab
Augmented and Diminished 7, Sus4 and Sus2 chords, natural course will discuss how to organize and plan/pre-produce all hours per week for one quarter.
SONG-101 SONGWRITING 1: INTRODUCTION TO POP
minor and blues scales. Upon completion of this course, aspects of a demo recording session using loops, samples and
SONGWRITING (1.5) students will be able to continue developing the necessary MIDI. One lecture hour per week for one quarter. AUDIO-152 LOGIC 2 (1)
This course enables students to develop the analytical, motor skills and music vocabulary required for using the Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1.
compositional and performance skills necessary for successfully keyboard as an arranging, compositional and production tool. SONG-011 SONGWRITERS LAB (1) This course is a continuation of the Logic Pro X user interface
navigating contemporary music’s ever changing stylistic One Lecture hour per week per quarter. This class is designed to foster open discussion, idea sharing, for songwriters, composers, producers and sound engineers.
landscape. Group study of the compositional and production
performance, and relationship-building for songwriters. Student Upon completion, students will understand how to use Logic
components that contribute to authenticity pertaining to key SONG-125 LYRIC WRITING 1: INTRODUCTION TO LYRIC songwriters perform their songs and share the writing process Pro’s comprehensive array of software instruments, arranging
genres and repertoire serves as the curricular foundation of these
classes. One lecture hour and one lab hour per week for one WRITING (2) followed by open discussion of alternative writing techniques of MIDI sequences, as well as editing with Flex Time and Pitch,
quarter. Corequisite: SONG-101 Songwriting 1. This course and the creative process. Two workshop hours per week for one Vari-Speed, Smart Controls, Smart Tempo, Advanced Audio and
enables students to develop the skills necessary to create, quarter. MIDI, Recording/Editing Techniques, Logic Remote app, trouble-
analyze, critique, and revise song lyrics in the contemporary shooting. This course addresses the requirements needed (Part
SONG-201 SONGWRITING 2: POP AND COUNTRY
songwriting market. Students will learn important concepts SONG-015 THE WORKING SONGWRITER (1) 2 of 2) to take the “Apple Certified Pro” exam in Logic Pro X 10.4.
SONGWRITING (2) relating to lyrics, including finding inspiration, mastering This class delves into the realm of current industry hit songwriting, Two lab hours per week for one quarter.
Prerequisites: SONG-101 Songwriting 1: Introduction to Pop tools of the craft, and tailoring lyrics to different styles and helping students learn what it takes to become a working
Songwriting. This course enables students to develop the skills situations. Two lecture hours per week for one quarter. songwriter along with studying current industry songwriting TRACK OPTION B:
necessary to create, analyze, critique, and revise song lyrics techniques. One lecture hour per week for one quarter.
in the contemporary songwriting market. Students will learn
SONG-225 LYRIC WRITING 2 |CREDITS:2.00 AUDIO-058 ABLETON LIVE 1 (1)
important concepts relating to lyrics, including finding inspiration,
Prerequisite: SONG-101:Songwriting 1: Introduction to Pop SONG-486 BUSINESS OF COMPOSING 1 (1) A practical application of digital recording techniques using
mastering tools of the craft, and tailoring lyrics to different styles
Songwriting and SONG-125: Lyric Writing 1: Introduction to This course explores of the world of music publishing and the Ableton Live, this course provides an overview for songwriters
and situations. One lecture hour and one lab hour per week for
Lyric Writing. This course enables students to develop the how-to of owning and exploiting musical copyrights. Topics and artists on the fundamentals of the recording process,
one quarter.
skills necessary to create, analyze, critique, and revise song include: copyright law and terminology, the online electronic including file and session setup, tracking, arranging, editing, and
lyrics in the contemporary songwriting market. Students will Copyright Office (eCO) process, publishing rights, how to set mixing. Upon successful completion of the course, students will
CC-011 HARMONY & THEORY 011 (1.5) learn important concepts relating to lyrics, including finding up a music publishing company, US PROs, public performance be able to compose, record, and produce music using Ableton
This course is an introduction to the harmony and theory inspiration, mastering tools of the craft, and tailoring lyrics royalties, how to affiliate with a PRO, cue sheets, songwriter Live. Two lab hours per week for one quarter.
used within popular music. This is accomplished through the to different styles and situations. This course will introduce contracts and co-publishing agreements, administration
application of music notation (for pitch), major scales, key advanced story-telling techniques. Two lecture hours per agreements, sub publishing, joint works, royalty splits, mechanical AUDIO-158 ABLETON LIVE 2 (1)
Prerequisite: AUDIO-058 Ableton Live 1. Building on Ableton continued position and specified key reading, this course preps be discussed. One lecture/lab hour per week for one quarter.
Live 1, this course provides a more in-depth practical application BASS-011 BASS TECHNIQUE & FRETBOARD 011 (2) the student to read longer forms through bass clef notation
of digital recording techniques using Ableton Live, including This course covers techniques for finger-style bass transcriptions and chord charts. Interpreting melodies and BASS-350 UPRIGHT BASS WORKSHOP 1 (1)
synthesis, building racks, advanced audio effects, dummy clips, playing, including correct posture, hand positioning, finger rhythms in different styles are also presented in detail. Position Study and performance of the upright bass. The curriculum is
remixing, and live performance. Upon successful completion of independence, as well as picking (use of plectrum) and playing has the student revisiting the lower register but with designed to be a comprehensive resource for the electric bass
this course, students will have tools to create their own sounds muting. All techniques are mastered through extensive concentrated focus on the middle register of the neck. Sight- player making the transition to the upright bass. Use of fingers
and effects as well as have building blocks to perform live. Two exercises. Fretboard harmony is introduced through major reading concepts will be introduced. This class coordinates with and the bow will be discussed. When repeated for credit, the
lab hours per week for one quarter. scales, triads and intervals. Technique meets for one hour and Bass Technique 110 and Bass Performance 130 topics. One instructor will determine course content and objectives. One
fretboard meets for two hours per week. lecture hour and one lab hour per week for one quarter. lecture/lab hour per week for one quarter.
BASS BASS-450 UPRIGHT BASS WORKSHOP 2 (1)
BASS-021 BASS TECHNIQUE & FRETBOARD 021 (2) BASS-220 BASS READING 220 (2)
MAJOR AREA // BASS This course covers techniques for slap- style bass playing, Prerequisites: BASS-120 Bass Reading 120. The Bass Reading Prerequisites: BASS-350 Upright Bass Workshop 1:
including thumb/pluck technique, muting, articulation, 220 curriculum continues with position and specific key(s) Continuation of performance on the upright bass. The curriculum
BASS-PL PRIVATE LESSON (2) rhythmic variations and embellishment. Fretboard harmony reading in the upper register of the neck. Continuing with sight- is designed to be a comprehensive resource for the electric bass
A weekly individual instrument lesson that supports core study continues with melodic development exercises, reading concepts and exercises. This course will introduce player making the transition to the upright bass. Use of fingers
curriculum goals. An instructor guides the student in developing scale sequencing and the introduction of the minor scale. odd- meter concepts and exercise reading of treble clef notation, and the bow will be discussed. When repeated for credit, the
technique, musicianship and style. Technique meets for one hour and fretboard meets for two compound meter, metric modulation, jazz chart reading, lead instructor will determine course content and objectives. One
hours per week. sheets and transcribing. This class coordinates with Bass lecture/lab hour per week for one quarter.
CC-013B-CC403B LIVE PERFORMANCE WORKSHOPS 013- Technique 210 and Bass Performance 230 topics. One lecture
403 (1) BASS-110 BASS TECHNIQUE &FRETBOARD 110 (2) hour and one lab hour per week for one quarter. BASS-360 PROJECT RECORDING 1: BASS (2)
Students perform in a variety of styles and settings (see section Prerequisites: Bass Reading 220, Bass Technique 210, Bass
Continued study of bass guitar techniques, with a
on Live Playing Workshops for overview of workshop offerings). Performance 230. This course is designed to mimic the “real
concentration on versatile approaches to standard rhythms, BASS-014 BASS GEAR MAINTENANCE & MASTERY (1)
Minimum requirement of ten performances with an average grade This course covers critical techniques of bass setup and world” scenario of tracking bass in a 24-track studio. Topics
grooves and feels, including eighth-note and sixteenthnote
of 70% or higher per quarter. One ensemble hour per week per maintenance, such as truss rod adjustment, setting intonation, include: developing bass parts, sight-reading charts, performing
grooves, straight and swung. Fretboard harmony will cover
quarter. action, minor wiring repairs, as well as basic concepts to assure with backing tracks, overdubbing, punching in, as well as
chords and scales, including pentatonics, blues harmony,
the longevity and performance of bass amps and cables. In performing with loops and backing tracks. Studio etiquette and
minor scale variations, and extended chords. Technique meets
BASS-013 BASS PERFORMANCE 013 (2) addition, this course introduces many elements that make up a sound development are also presented in detail. Each student
for one hour and fretboard meets for two hours per week.
Students develop fundamental technical approaches to a variety contemporary bassists signal chain and how these components receives an HD video of his or her final performances. One
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of popular styles through weekly live performance. Concentration interact to best facilitate the tones and techniques required of a private recording session hour per week for one quarter.
BASS-210 BASS TECHNIQUE & FRETBOARD 210 (2)
is placed on listening, dynamics, awareness of song form, basic A continuation of Bass Technique 110 with concentration on professional bassist in multiple different working environments
chart reading, instrument & amp setup, and tone. This class grooves, additional striking hand techniques and approaches and genres. One lecture hour per week for one quarter. BASS-460 PROJECT RECORDING 2: BASS (2)
coordinates with Bass Technique 011 and Bass Reading 012 Prerequisites: BASS-360 Project Recording 1: Bass. A
to soloing. Fretboard harmony will continue examining minor
topics. Two lecture/ensemble hours per week for one quarter. BASS-025 BASS & DRUM CONCEPTS (1) continuation of Project Recording 1: Bass by learning techniques
scale variations, modes and improvisation. One lecture hour
Prerequisite: BASS-011 Bass Technique 011, BASS-016 and experiences, including advanced styles such as odd-meter
and one lab hour per week for one quarter. Technique meets
BASS-023 BASS PERFORMANCE 023 (2) Bass Fretboard 016, and BASS-013 Bass Performance 013. performance and soloing. Detailed bass tones, amp settings
for one hour and fretboard meets for two hours per week.
Prerequisites: BASS-013 Bass Performance 013. Continuation Performance workshop for bassists that takes an in-depth look and microphone placement are also covered. Each student
of ensemble performing experience, including intermediate- at the musical dependency between the two instruments and the receives an HD video of his or her final performance. One private
BASS-012 BASS READING 012 (2)
level chart reading as well as further development of practical effect that it has on the groove. Particular attention is given to the recording session hour per week for one quarter.
This course introduces the novice reader to the basic
performing techniques. This will include: giving and following intertwining of bass and drum parts and solidifying the groove.
elements of music reading in bass clef, including rhythmic
cues, dialing in appropriate tone and feel. This class coordinates One ensemble hour per week for one quarter.
subdivisions, pitch identification, introduced to time signature PROFESSIONAL DEVELOPMENT // BASS
with Bass Technique 021 and Bass Reading 022 topics. Two studies (2/4 & 3/4) and position playing on all four strings
lecture/ensemble hours per week for one quarter. AUDIO-056 DAW 1: REASON (1)
and scale forms. Students perform in solo and ensemble
An introduction to digital audio technology as an essential tool MUBUS-0360 APPLIED ENTERTAINMENT
settings. This class coordinates with Bass Technique 011 and BUSINESS 1 (1.5)
BASS-130 BASS PERFORMANCE 130 (2) for the creation of instrument-based recordings. Topics covered
Bass Performance 013 topics. One lecture hour and one lab include: working with audio and MIDI, virtual instruments, effects, The first in a two-quarter course sequence, designed to
Prerequisites: BASS-023 Bass Performance 023. Ensemble hour per week for one quarter. provide students with an understanding of the entertainment
performance emphasizing stylistic rhythm section textures and drum programming, time stretching, and working with loops. One
lecture hour per week for one quarter. industry, as it exists today, and essential knowledge for
applied techniques. Emphasis is placed on handling variations BASS-022 BASS READING 022 (2) sustaining a career in the digital era. In Applied Entertainment
in typical song form, improving chart-reading skills, and taking Prerequisites: BASS-012 Bass Reading 012. A continuation Business 1, topics include an overview of industry structure,
a leadership role within the group. This class coordinates with AUDIO-156 DAW 2: Reason (1)
of Bass Reading 012. This course introduces the bassist to Prerequisites: AUDIO-156 DAW 1: Reason. The second level of the artist’s team (manager, attorney, agent, etc.), copyrights
Bass Technique 110 and Bass Reading 120 topics. Two lecture/ more advanced elements of music reading, including triplet and music publishing, band partnerships and solo artists,
this course focuses on using Reason as a mixing and mastering
ensemble hours per week for one quarter. subdivisions, time signature studies (2/4 & 3/4), dotted employment agreements, work-for-hire, unions and more. One
tool. Topics include: EQ, compression, effects, automation,
notes, ties, dynamic markings, chord symbols, reading in and mastering using Reason’s Channel Strip. Upon successful lecture hour per week for one quarter.
BASS-230 BASS PERFORMANCE 230 (2) ensembles (duets or trio) and basic chart reading. Continued completion, students should be able to create, edit, mix and
Prerequisites: BASS-230 Bass Performance 230. Ensemble position playing has the student focusing on the lower and MUBUS-0460 APPLIED ENTERTAINMENT BUSINESS 2 (1.5)
master their work. One lecture hour per week for one quarter.
performance emphasizing applied techniques and advanced middle register of the neck. This class coordinates with Bass Prerequisites: MUBUS-0360 Applied Entertainment Business 1.
concepts, such as odd meters and metric modulation. Emphasis Technique 021 and Bass Performance 023 topics. One BASS-370 SYNTH BASS (1) This course is a continuation of Applied Entertainment Business
is also placed on handling variations in typical song form, lecture hour and one lab hour per week for one quarter. This course is an introduction to keyboard bass playing – from a 1, further covering the most important areas and aspects
strengthening chart- reading skills and developing time feel, bass player’s perspective. The layout and controls of a synthesizer of the entertainment industry. Topics include: record labels
including odd-meter concepts. This class coordinates with Bass BASS-120 BASS READING 120 (2) and basic keyboard techniques will be discussed in great detail. (major and indie), types of deals, the DIY market, distribution,
Technique 210 and Bass Reading 220 topics. Two lecture/ Prerequisites: BASS-022 Bass Reading 022. In addition to Popular songs featuring prominent keyboard basslines will also touring, merchandising, and more. S.M.A.R.T. goal setting is
ensemble hours per week for one quarter.
also covered to support students in creating a path to career application- based continuation of Ear Training 022 that will provide bass players with the needed skills to be able to sing
success. One lecture hour per week for one quarter. CC-025 RHYTHM READING WORKOUT 2 (1) focuses on the recognition and transcription of pentatonic and play their instruments in working situations. Students will be
Prerequisites: CC-015 Rhythm Reading Workout 1. This scales, simple major and minor pentatonic melodies, triplet trained in the ability to sing and play background and lead vocals
MUBUS-0202 MEDIA RELATIONS (2) class is designed to give Performance Program students an rhythms, blues scales, natural minor scale and its variations, in popular music settings. One lecture-ensemble hour per week
Students learn the difference between publicity and public understanding of intermediate rhythm concepts. Topics covered chord progressions utilizing inversions, diatonic minor key for one quarter.
relations, how to create and implement media campaigns, and include: dotted notes, tied notes, swung eighth and sixteenth chord progressions, chord progressions in Roman numerals,
how to write artist bios, press releases, news releases, and eye- notes, advanced time signatures (cut time, 3/4, 6/8) and mixed seventh chords. One lecture hour and one lab hour per week BASS-052E JAMES BROWN RHYTHM SECTION (1)
catching headlines. Skills apply to independent artists as well meters. One lecture/lab hour per week for one quarter. for one quarter. Performance workshop for bassists and drummers utilizing
as those aspiring to work in the industry. Two lecture hours per detailed transcriptions from the book The Funkmasters: The
week for one quarter. CC-011 HARMONY & THEORY 011 (1.5) CC-202 EAR TRAINING 202 (1.5) Great James Brown Rhythm Sections 1960-1973. Students will
This course is an introduction to the harmony and theory Prerequisites: CC-202 Ear Training 102. This course is an perform the bass lines and grooves in class with drummers. One
CC-307 VISUAL MEDIA 1 (2) used within popular music. This is accomplished through the application- based continuation of Ear Training 102 that lecture hour per week for one quarter.
Students learn how to use Adobe Photoshop to design application of music notation (for pitch), major scales, major key focuses on the recognition and transcription of sixteenth-note
original CD artwork, flyers, promotional tools, and other visual signatures, intervals, triads, and major scale harmonies. One rhythmic phrases, standard variations in minor-key melody BASS-060E AFRO-CUBAN BASS (1)
materials vital to modern Independent Artists. Emphasis is on lecture hour and one lab hour per week for one quarter. and harmony, and seventh chord major and minor diatonic This course explores different styles of Afro-Cuban music,
creating exciting and expressive designs that directly support harmony. One lecture hour and one lab hour per week for one including bolero, cha- cha, mambo, songo, naningo, and
music marketing campaigns. Topics covered in this class CC-021 HARMONY & THEORY 021 (1.5) quarter. merengue. Students apply rhythms to standard Latin tunes
include: typography, flyer design, album artwork design, image Prerequisites: CC-011 Harmony & Theory 011. This course is during class performances. One lecture hour per week for one
manipulation, merchandise design, and more. Two lecture hours a continuation of Harmony & Theory 011. This is accomplished CC-108 KEYBOARD PROFICIENCY 1 (1) quarter.
per week for one quarter. through the further study of musical notation, diatonic structures, Keyboard Proficiency 1 serves as an introduction to
rhythmic values, time signatures, natural minor scales (and contemporary keyboard technique. Through the study of BASS-062E BRAZLIAN BASS (1)
CC-407 VISUAL MEDIA 2 (2) variations), minor key signatures, harmonized minor scales, physical posture, finger technique, diatonic scales & chord This course explores different styles of Brazilian music, including
Prerequisites: CC-307 Visual Media 1. The Internet has chord inversions, diatonic seventh chords, triad analysis, chord progressions, this course will enable students to develop the bossa nova, samba, partido alto, and Bahia. Students apply
opened up an enormous opportunity for musicians to promote progressions, and key centers. One lecture hour and one lab necessary motor skills required for using the keyboard both as rhythms to standard Latin tunes during class performances. One
themselves directly to music fans. This course focuses on the hour per week for one quarter. a performing instrument and compositional tool. One lecture lecture hour per week for one quarter.
technical skills needed to promote music online. Topics include: hour and one lab hour per week for one quarter.
building a strong online presence, creation of a content-rich CC-101 HARMONY & THEORY 101 (1.5) BASS-068E SLAP BASS 101 (1)
artist website, online marketing tools and strategies, video Prerequisites: CC-021 Harmony & Theory 021. This course CC-208 KEYBOARD PROFICIENCY 2 (1) This hands-on workshop is designed to enhance slap technique
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editing basics, and social media. Two lecture hours per week for presents variations on diatonic structures from Harmony & Theory Prerequisites: CC-108 Keyboard Proficiency 1. This course and groove. Songs, exercises and grooves in a variety of musical
one quarter. 021. Highlights include: pentatonic and blues scales, inverted, further develops the technical skills required for successful styles are used to develop thumb strength, slap syncopation,
extended and non-standard chord types, chord symbols and keyboard performance and musical comprehension. Pop and rhythm, phrasing, ad-lib and funk licks, soloing, shuffle, swing,
MUBUS-0307 INDEPENDENT ARTIST MARKETING (2) modes, and voice leading and chord progressions. One lecture Classical repertoire performance serves as the main focus of and funk grooves. Performances are followed by critique and
This course reveals basic marketing concepts applicable to hour and one lab hour per week for one quarter. this course, in addition to further study of chord progressions discussion. One lecture hour per week for one quarter.
any professional business venture and focuses on the creation and scales. One lecture hour and one lab hour per week for
of a fully customized, low-budget marketing plan of attack. CC-201 HARMONY & THEORY 201 (1.5) one quarter. BASS-069E ODD METER BASSLINES (1)
Furthermore, at a time when new technologies make it more Prerequisites: CC-101 Harmony & Theory 101. This course This curriculum is designed to be a comprehensive resource for
possible than ever for artists to leverage their own careers, presents non-diatonic melodic and harmonic concepts. SONG-101 SONGWRITING 1 (1.5) bass players to understand odd meter rhythms and create bass
there has never been a greater need for practical, independent Highlights include: minor key harmony and melody, modal Fundamentals of contemporary music creation, including lines and solos. Students will be introduced to concepts that will
marketing advice. After identifying a business vision, students interchange, secondary dominants, diatonic substitution and song structure, tempo, lyrics, melody, harmony, rhythmic provide mastery of odd meter music and will be tested on these
conduct research, set short-term goals, and create an integrated modulation, chromatic modulations, Roman numeral analysis, elements, and subjective emotional qualities. This course is concepts at the end of the quarter. One lecture hour per week for
mix of marketing strategies to achieve their objective, including altered and symmetrical scales. One lecture hour and one lab equivalent to ARTST-112. Two lecture/lab hours per week for one quarter.
defining an image, brand, position, and format, identifying the hour per week for one quarter. one quarter.
target audience, gaining access to radio, as well as effectively BASS-070E BEATLES BASSLINES (1)
utilizing live shows, the Internet, press, video promotion, CC-012 EAR TRAINING 012 (1.5) SONG-201 SONGWRITING 2: POP AND COUNTRY This course explores the basslines of Paul McCartney in the
advertising and sponsorships, sales and licensing. Students This course is an introduction to ear training techniques, SONGWRITING (1.5) context of Beatles repertoire through transcription, analysis, and
create a complete marketing plan utilizing handy templates which can be used within popular music. This is accomplished Prerequisites: SONG-101 Songwriting 1: Introduction to Pop performance. One lecture hour per week for one quarter.
included in the course resource, and receive useful feedback through the technique of matching specific pitches, major scale Songwriting. This course enables students to develop the
during three in-class work hours. Two lecture hours per week for melodies, and melodic intervals. Melodic and harmonic intervals, skills necessary to create, analyze, critique, and revise song BASS-078E MODERN ROCK BASS: PLAYERS 1 (1)
one quarter. chromaticism, triads, diatonic harmony, rhythm are also studied. lyrics in the contemporary songwriting market. Students will This course is designed to be a comprehensive study of
One lecture hour and one lab hour per week for one quarter. learn important concepts relating to lyrics, including finding players including Flea and Les Claypool, and their electric bass
MUSICIANSHIP // BASS inspiration, mastering tools of the craft, and tailoring lyrics to performance techniques. Not only does this course include a set
CC-022 EAR TRAINING 022 (1.5) different styles and situations. One lecture hour and one lab of detailed transcriptions; but it also contains a thorough set of
CC-015 RHYTHM READING WORKOUT 1 (1) Prerequisites: CC-12 Ear Training 012. This course is a hour per week for one quarter. performance notes for each player and sub- genre as well. One
This course is designed to give Performance Program students continuation of Ear Training 012, through the further study lecture hour per week for one quarter.
a solid foundation in reading rhythms. Students will focus of meter and rhythm, eighth-note phrases, sight-singing, BASS-SPECIFIC ELECTIVES
solely on understanding rhythmic notation and subdividing transcribing melody and rhythm, melodic and harmonic intervals, BASS-171E UPRIGHT BASS WORKSHOP (1)
basics. Topics covered include: notation basics (bar lines, time triad qualities, and diatonic major chord progressions. One AVAILABLE ONLY TO BASS MAJORS Study and performance of the upright bass. A limited enrollment
signatures) notes and rests (ranging from whole note to sixteenth lecture hour and one lab hour per week for one quarter. workshop. This course is designed to be a comprehensive
note values), note value relationships, counting, triplets and BASS-048E BASS & VOCALS (1) resource for the electric bass player making the transition to the
syncopation. One lecture/lab hour per week for one quarter. CC-102 EAR TRAINING 102 (1.5) Prerequisites: BASS-012 Bass Reading 012. This course upright bass as well as continued instruction for more advanced
Prerequisites: CC-022 Ear Training 022. This course is an
upright players. Use of fingers and the bow will be discussed technique, and grooves of the great bass lines of Tower of explores the bass lines of John Paul Jones in the context of This course covers introductory hand technique for the drum
and practiced. Curriculum and course pacing will reflect the Power bassist Francis “Rocco” Prestia. One lecture hour per the Led Zeppelin repertoire, including extensive and detailed set player. Essential (and relevant) grips, strokes, posture and
level of experience and needs of the individual students. One week for one quarter. transcriptions, performance, and analysis. One lecture hour per rudiments are essential developmental areas for all drummers.
performance hour per week for one quarter. May be repeated for week for one quarter. This course coordinates with Drum Performance 013 and Drum
credit. BASS-054E ADVANCED BASS RSW1 (1) Reading 012 topics. Two lecture/ensemble hours per week for
Prerequisites: BASS-022 Bass Reading 022, BASS-021 DRUM one quarter.
ELECTIVES // BASS Bass Technique 021. For the advanced bassist, this workshop
uses original compositions to explore the intricate technical MAJOR AREA // DRUM DRUM-021 DRUM TECHNIQUE 021 (2)
Bass students may fulfill their elective credit requirements by
choosing from program-specific electives, Common Course possibilities of the instrument in a group setting, with a Prerequisites: DRUM-011 Drum Technique 011. This course
concentration on the groove. One lecture hour per week for DRUM-PL PRIVATE LESSON 1-6 (2) presents intermediate hand technique as applied to the drum
electives, or entry-level electives offered by other programs; see A weekly individual instrument lesson that supports core
course offerings for options. one quarter. set. The transition of essential rudiments from the practice pad
curriculum goals. An instructor guides the student in developing to the drum set is essential for all drummers in order to develop
BASS-154E ADVANCED BASS RSW 2 (1) technique, musicianship and style. Twelve credit units required a deep vocabulary. Creativity and functionality is developed
BASS-050E 20TH CENTURY JAZZ BASS I (1) (two per quarter).
This listening/lecture course traces the evolution of the jazz Prerequisites: BASS-022 Reading 2, BASS-021 Bass through technique building. This course coordinates with Drum
rhythm section, in particular the evolution of basslines, from the Technique 2. Additional studies in advanced rhythm section Performance 023 and Drum Reading 022 topics. Two lecture/
performance (BASS-O54E and BASS-154E may be taken in CC-013D-CC403D LIVE PERFORMANCE WORKSHOPS 013- ensemble hours per week for one quarter.
time of Louis Armstrong through Bill Evans and Brad Mehldau. 403 (1)
One lecture hour per week for one quarter. any order). One lecture hour per week for one quarter.
Students perform in a variety of styles and settings (see section DRUM-110 DRUM TECHNIQUE 110 (2)
BASS-073E JACO PASTORIUS BASSLINES (1) on Live Playing Workshops for overview of workshop offerings). Prerequisites: DRUM-021 Drum Technique 2. This course
BASS-061E BLUES BASS (1) Minimum requirement of ten performances with an average
This course focuses on standard blues progressions, rhythmic Prerequisites: BASS-022 Bass Reading 022, BASS-021 presents intermediate to advanced hand technique concepts
Bass Technique 021. This course focuses on the structural, grade of 70% or higher per quarter. One ensemble hour per as applied to the drum set, including rudimental advancement,
interpretation and pentatonic scale construction. Specific topics week per quarter. Six credit units required (one per quarter).
include: 12-bar and 8-bar form, minor blues, straight and swing theoretical, technical and harmonic aspects of classic and limb independence. Intermediate drummers need to further
eighth-note interpretation, and application of major and minor recordings and basslines from one of the most influential bass develop their ability and understanding of stick control and
guitarists in the history of contemporary music. The in-depth DRUM-013 DRUM PERFORMANCE 013 (2) the subtleties included. This course coordinates with Drum
pentatonic scales, as well as standard blues bass patterns, This course covers fundamental technical approaches to a
improvised basslines, and fills. One lecture hour per week for one analysis of Jaco’s work will include examples from his original Performance 130 and Drum Reading 120 topics. Two lecture/
compositions as well as his work with Weather Report, Joni variety of popular styles. Lessons on essential skills needed ensemble hours per week for one quarter.
quarter. for a professional drummer such as: listening, dynamics, song
Mitchell, Pat Metheny, and others. One lecture hour per week
for one quarter. form, basic chart reading, instrument setup, and drum set sound DRUM-210 DRUM TECHNIQUE 210 (2)
COURSES
COURSES
BASS-067E R&B/FUNK BASS (1) are presented. This class coordinates with topics within Drum
This course is designed to expose bassists to classic R&B and Prerequisites: DRUM-110 Drum Technique 110. This course
BASS-065E MOTOWN BASS 1 (1) Technique 011 and Drum Reading 012. Two lecture/ensemble presents advanced hand technique concepts as applied
funk styles through the extensive use of detailed transcriptions, hours per week for one quarter.
including Stax, Motown, Earth, Wind & Fire, Tower of Power and Prerequisites: BASS-022 Reading 022. Students study to the drum set, including rudimental drum set application
other influential songs, players, and styles. One lecture hour per the work of legendary bassist James Jamerson using and creative development. This course coordinates with Drum
transcriptions taken from the book Standing in the Shadows DRUM-023 DRUM PERFORMANCE 023 (2) Performance 230 and Drum Reading 220 topics. Two lecture/
week for one quarter. Prerequisites: DRUM-013 Drum Performance 013.
of Motown. Students perform examples in class with play- ensemble hours per week for one quarter.
along tracks. One lecture hour per week for one quarter. Continuation of ensemble performing experience, including
BASS-071E CLASSIC METAL BASSLINES (1) intermediate-level chart reading as well as further development
An examination of the history and evolution of heavy metal DRUM-012 DRUM READING 012 (2)
BASS-165E MOTOWN BASS 2 (1) of practical performing techniques, such as giving and following This course presents introductory fundamentals of single- line
basslines. Specific techniques and styles are studied through cues, drum set sound and feel. This course coordinates with
extensive transcriptions and written examples. One lecture hour Prerequisites: BASS-022 Bass Reading 022. Additional and drum set reading. Students learn notation basics, basic note
studies in Motown bass style (BASS 065E and BASS-165E topics within Drum Technique 021 and Drum Reading 022. Two and rest values, subdividing, and sight-reading skills. This course
per week for one quarter. lecture/ensemble hours per week for one quarter.
may be taken in any order). One lecture hour per week for one coordinates with Drum Technique 011 and Drum Performance
BASS-072E CONTEMPORARY METAL BASSLINES (1) quarter. 013 topics.
DRUM-130 DRUM PERFORMANCE 130 (2)
This course concentrates on specific metal bass techniques, Prerequisites: DRUM-023 Drum Performance 023. This course
including two-handed tapping and three-finger picking. Includes BASS-152E CONTEMPORARY IMPROVISATION (1) DRUM-022 DRUM READING 022(2)
Prerequisites: BASS-021 Bass Technique 021. This course covers ensemble performance emphasizing stylistic rhythm Prerequisites: DRUM-012 Drum Reading 012. This course
extensive transcriptions and written examples from such section textures and applied techniques. Emphasis is placed on
contemporary metal bands as Cynic, Lamb of God, and artists explores an in-depth analysis of diatonic and chromatic presents drum set application of fundamental rhythms. Topics
passing notes used to create basslines and solos over handling variations in typical song form, advanced chart-reading include: time signature studies, note-value relationships, false
such as Billy Sheehan and Stuart Hamm. One lecture hour per skills, and taking a leadership role within the group. This course
standard chord progressions. Students will learn to notation, counting, and subdivision exercises. Interpreting
week for one quarter. coordinates with Drum Technique 110 and Drum Reading 120
create linear basslines and solos utilizing these concepts rhythms at the drum set, 3-way independence studies and
over diatonic and non-diatonic chord progressions with topics. Two lecture/ensemble hours per week for one quarter. basic chart reading are also presented in detail. This course
BASS-077E WALKING BASSLINES (1) coordinates with Drum Technique 021 and Drum Performance
This course is designed to help the bassist construct and applications to 4-, 5-, and 6-string electric bass. One lecture
hour per week for one quarter. DRUM-230 DRUM PERFORMANCE 230 (2) 023 topics. Two lecture hours per week for one quarter.
connect walking bass lines through various chord changes and Prerequisites: DRUM-130 Drum Performance 130. Ensemble
forms. One lecture hour per week for one quarter. performance emphasizing applied techniques and advanced DRUM-120 DRUM READING 120 (2)
BASS-153E MODAL IMPROVISATION (1)
ADVANCED ELECTIVES concepts, such as odd meters and metric modulation. Prerequisites: DRUM-022 Drum Reading 022. This course
Prerequisites: BASS-021 Bass Technique 021. Students
Emphasis is also placed on handling variations in typical presents the essential reading fundamentals needed by
Note: For full details, refer to the course description for each learn how to analyze scale choices for eight standard chord
song form, improving odd meter chart reading skills, metric professional- level drummers: lead sheet interpretation, drum
prerequisite named in your elective of interest. types and play smoothly through various types of chord
modulations and developing time feel. This course coordinates set orchestration, sight-reading, and ensemble figure set-up
progressions. One lecture hour per week for one quarter. fills. One and two-bar ensemble figures are presented in varying
BASS-045E TOWER OF POWER BASSLINES (1) with Drum Technique 210 and Drum Reading 220 topics. Two
styles accompanied by orchestration and fill suggestions.
Prerequisites: BASS-022 Bass Reading 022, BASS-021 Bass BASS-174E LED ZEPPELIN BASSLINES (1) lecture/ ensemble hours per week for one quarter.
This course coordinates with Drum Technique 210 and Drum
Technique 021. Students will study, analyze, and learn the style, Prerequisites: BASS-022 Bass Reading 022. This course Performance 230 topics. One lecture hour and one lab hour per
DRUM-011 DRUM TECHNIQUE 011 (2)
week for one quarter. completion, students should be able to create, edit, mix and This course is designed to mimic the “real world” scenario of hours per week for one quarter.
master their work. One lecture hour per week for one quarter. drum tracking in a 24-track studio. Topics include: developing
DRUM-220 DRUM READING 220 (2) drum parts, sight-reading charts, performing with backing CC-407 VISUAL MEDIA 2 (2)
Prerequisites: DRUM-120 Drum Reading 120. This course DRUM-350 ADVANCED DRUMMING STYLES: JAZZ (1) tracks, overdubbing and punching in, and learning to lock in Prerequisites: CC-307 Visual Media 1. The Internet has
presents the advanced reading concepts needed by Prerequisites: DRUM-210 Drum Technique 210, DRUM-230 with loops and backing tracks. Studio etiquette and sound opened up an enormous opportunity for musicians to promote
professional- level drummers: lead sheet interpretation, drum set Drum Performance 230. This course presents the historical, development are also presented in detail. Each student themselves directly to music fans. This course focuses on the
orchestration, sight-reading, and ensemble figure set-up fills. stylistic and technical evolution of Jazz from Dixieland receives an HD video of his or her final performances. Two technical skills needed to promote music online. Topics include:
Advanced concepts such as metric modulations and cut time will to 1950s Bebop. In addition, the basic elements of jazz lecture hours per week for one quarter. building a strong online presence, creation of a content-rich
also be presented. This course coordinates with Drum Technique drumming techniques include: ride patterns and left-hand artist website, online marketing tools and strategies, video editing
210 and Drum Performance 230 topics. One lecture hour and comping, basic independence and coordination, ensemble DRUM-460 PROJECT RECORDING 2: DRUMS (2) basics, and social media. Two lecture hours per week for one
one lab hour per week for one quarter. interaction, and soloing concepts. One lecture hour plus one Prerequisites: DRUM-360 Project Recording 1: Drums. A quarter.
lab hour per week for one quarter. continuation of studio drumming techniques and experiences,
DRUM-015 DEVELOPING YOUR GROOVE 1 (1) including advanced styles, such as odd-meter performance
This course helps drummers to apply fundamental rhythms to the MUBUS-0307 INDEPENDENT ARTIST MARKETING (2)
DRUM-450 ADVANCED DRUMMING STYLES 2B: LATIN (2) and soloing. Detailed drum tuning and microphone placement This course reveals basic marketing concepts applicable to any
drum set, which improve time, feel, independence, and sound. Prerequisites: DRUM-350 Advanced Drumming Styles: are also covered. Each student receives an HD video of his
Coordination drills are introduced and performed in class within professional business venture and focuses on the creation of
Jazz. This course develops authentic stylistic hand and foot or her final performance. Two lecture hours per week for one a fully customized, low-budget marketing plan of attack. At a
rock and jazz styles. One lecture/ ensemble hour per week for techniques through listening, demonstration, and classroom quarter.
one quarter. time when new technologies make it more possible than ever
practice, with emphasis on popular Brazilian styles, including for artists to leverage their own careers, there has never been
bossa nova and samba. One lecture hour plus one lab hour
DRUM-014 DRUM GEAR MAINTENANCE & MASTERY (1) a greater need for practical, independent marketing advice.
per week for one quarter. PROFESSIONAL DEVELOPMENT // DRUM After identifying a business vision, students conduct research,
This is an introductory course presenting hands-on lessons
on seminal drum equipment care, including equipment set short-term goals, and create an integrated mix of marketing
specifications, inspection, maintenance, repair, cleaning,
DRUM-451 ADVANCED DRUMMING 2A: JAZZ 2 (2) MUBUS-0360 APPLIED ENTERTAINMENT
strategies to achieve their objective. Students create a complete
mounting, repair, restoration, storage and gear selection and Prerequisites: DRUM-210 Drum Technique 210 and DRUM- BUSINESS 1 (1.5) marketing plan utilizing handy templates included in the course
options. Additionally, this course offers in-depth sound design 350 Advanced Drumming Styles: Jazz 1. This course is The first in a two-quarter course sequence, designed to
resource, and receive useful feedback during three one-hour lab.
workshops where students learn to tune and create appropriate designed to help today’s student drummer quickly (and provide students with an understanding of the entertainment
drum sounds from multiple eras of recorded music with an efficiently) learn the Jazz idiom. It is an inclusive and in-depth industry, as it exists today, and essential knowledge for
emphasis on modern sounds. Specific topics include how to study of how to authentically perform—alongside a rhythm sustaining a career in the digital era. In Applied Entertainment
make the proper drum, drumhead and tuning choices for all section — within Jazz’s popular styles and forms. Not only Business 1, topics include an overview of industry structure, MUSICIANSHIP // DRUM
COURSES
COURSES
situations. One lecture/lab hour per week for one quarter. does this class and curricula include a set of detailed charts; the artist’s team (manager, attorney, agent, etc.), copyrights
but each composition also focuses on a particular musical and music publishing, band partnerships and solo artists, CC-011 HARMONY & THEORY 011 (1.5)
DRUM-240 E-DRUMMING ESSENTIALS (1) form, drum set sound, solo concept, and comping approach. employment agreements, work-for-hire, unions and more. One This course is an introduction to the harmony and theory
Prerequisite: Successful completion of either AUDIO-152/152E Genre-relevant, drumset-based rudimental voicings and lecture hour per week for one quarter. used within popular music. This is accomplished through the
(Logic 2), or AUDIO-157/157E (Pro Tools 110), or AUDIO- simple brush patterns will also be presented. Altogether application of music notation (for pitch), major scales, major key
156/156E (Reason 2). This course focuses on developing (and upon completing this study), the student will be able to MUBUS-0460 APPLIED ENTERTAINMENT signatures, intervals, triads, and major scale harmonies. One
a basic understanding of programming and performing function within a jazz ensemble (and sound like they belong BUSINESS 2 (1.5) lecture hour and one lab hour per week for one quarter.
with electronic percussion instruments. Concepts such as there). One lecture hour and one ensemble hour per week for Prerequisites: MUBUS-0360 Applied Entertainment Business
sampling, looping and triggering will be covered during class one quarter. CC-021 HARMONY & THEORY 021 (1.5)
1. This course is a continuation of Applied Entertainment
and explored with weekly assignments. Upon successful Business 1, further covering the most important areas and Prerequisites: CC-011 Harmony & Theory 011. This course is
completion of the course, the student will be comfortable with DRUM-452 ADVANCED DRUMMING 2C: R&B/ GOSPEL aspects of the entertainment industry. Topics include: record a continuation of Harmony & Theory 011. This is accomplished
using electronic percussion for both performance and practice (2) Prerequisites: DRUM-210 Drum Technique 210 and labels (major and indie), types of deals, the DIY market, through the further study of musical notation, diatonic structures,
settings. In addition, the student will have a basic understanding DRUM-350 Advanced Drumming Styles: Jazz 1. This course rhythmic values, time signatures, natural minor scales (and
of programming electronic percussion instruments in their distribution, touring, merchandising, and more. S.M.A.R.T.
is designed to help today’s student drummer quickly (and variations), minor key signatures, harmonized minor scales,
respective modules and with computer programs such as goal setting is also covered to support students in creating
efficiently) learn R&B/Gospel drumming techniques. It is chord inversions, diatonic seventh chords, triad analysis, chord
Ableton Live. One lecture/ lab hour per week for one quarter. a path to career success. One lecture hour per week for one
an in-depth study of how to perform popular R&B/Gospel progressions, and key centers. One lecture hour and one lab
quarter.
styles and forms. This course takes the technical building hour per week for one quarter.
DRUM-025 TIMEKEEPING (1) blocks (linear drumming, hand/foot fill combinations, over
Prerequisites: DRUM-015 Developing Your Groove. This course -the-bar rhythms, soloing ostinatos and metric modulation) MUBUS-0202 MEDIA RELATIONS (2)
applies developed groove-based coordination to metronome presented in Drum-210 and applies these techniques Students learn the difference between publicity and public CC-101 HARMONY & THEORY 101 (1.5)
usage and verbal counting. One lecture/ensemble hour per week relations, how to create and implement media campaigns, and Prerequisites: CC-021 Harmony & Theory 021. This course
within a modern R&B/Gospel rhythm section. Instructions
for one quarter. how to write artist bios, press releases, news releases, and presents variations on diatonic structures from Harmony & Theory
on understanding each song’s form, rhythmic figures, feel,
comping, solo approaches and appropriate drum set sound eye-catching headlines. Skills apply to independent artists 021. Highlights include: pentatonic and blues scales, inverted,
AUDIO-056 DAW 1: REASON (1) are also presented. This class presents each student with a as well as those aspiring to work in the industry. Two lecture extended and non-standard chord types, chord symbols and
An introduction to digital audio technology as an essential tool weekly assignment that focuses on a particular R&B/Gospel hours per week for one quarter. modes, and voice leading and chord progressions. One lecture
for the creation of instrument-based recordings. Topics covered form; drum set sound, groove concept and improvisational hour and one lab hour per week for one quarter.
include working with audio and MIDI, virtual instruments, effects, approach. Upon completing this course, the student will be CC-307 VISUAL MEDIA 1 (2)
drum programming, time stretching and working with loops. One able to apply advanced technical drumming concepts in a Students learn to use Adobe Photoshop to design original CD CC-201 HARMONY & THEORY 201 (1.5)
lecture hour per week for one quarter. musical and comprehensive manner. One lecture hour and artwork, flyers, promotional tools, and other visual materials Prerequisites: CC-101 Harmony & Theory 101. This course
one ensemble hour per week for one quarter. vital to modern independent artists. Emphasis is on creating presents non-diatonic melodic and harmonic concepts.
AUDIO-156 DAW 2: REASON (1) exciting and expressive designs that directly support music Highlights include: minor key harmony and melody, modal
Prerequisites: AUDIO-056 DAW 1: Reason. The second level of DRUM-360 PROJECT RECORDING 1: DRUMS (2) marketing campaigns. Topics covered in this class include: interchange, secondary dominants, diatonic substitution and
this course focuses on using Reason as a mixing and mastering Prerequisites: DRUM-220 DRUM Reading 220, DRUM-210 typography, flyer design, album artwork design, image modulation, chromatic modulations, Roman numeral analysis,
tool. Topics include: EQ, compression, effects, automation, Drum Technique 210, DRUM-230 Drum Performance 230. manipulation, merchandise design, and more. Two lecture altered and symmetrical scales. One lecture hour and one lab
mastering using Reason’s Channel Strip. Upon successful
hour per week for one quarter. genres and repertoire serves as the curricular foundation of situation. One lecture hour per week for one quarter. quarter.
these classes. One lecture hour and one lab hour per week
CC-012 EAR TRAINING 012 (1.5) for one quarter. DRUM-072E DOUBLE BASS DRUM WORKOUT (1) DRUM-052E THE DRUMMERS OF JAMES BROWN (1)
This course is an introduction to ear training techniques, This course covers the use of double bass drum as a means Prerequisites: DRUM-022 Drum Reading 022. Students will
which can be used within popular music. This is accomplished SONG-201 SONGWRITING 2: POP AND COUNTRY of furthering skills and broadening independence. Lectures, dissect and learn the specific drum parts to classic James Brown
through the technique of matching specific pitches, major scale SONGWRITING (1.5) demonstrations, and exercises emphasize speed, technique, tunes. Students will perform each week to either a metronome or
melodies, and melodic intervals. Melodic and harmonic intervals, Prerequisites: SONG-101 Songwriting 1: Introduction to Pop and control. One lecture hour per week for one quarter. prerecorded tracks. One lecture hour per week for one quarter.
chromaticism, triads, diatonic harmony, rhythm are also studied. Songwriting. This course enables students to develop the
One lecture hour and one lab hour per week for one quarter. skills necessary to create, analyze, critique, and revise song DRUM-074E FILL FEST (1) DRUM-152E FUNK DRUMS - CLASSIC (1)
lyrics in the contemporary songwriting market. Students will This course shows how to develop a vocabulary of fills Prerequisites: DRUM-022 Drum Reading 022. Students
CC-022 EAR TRAINING 022 (1.5) learn important concepts relating to lyrics, including finding on the drum set. Each week, students are introduced to a will study the evolution of funk drumming from James Brown
Prerequisites: CC-12 Ear Training 012. This course is a inspiration, mastering tools of the craft, and tailoring lyrics to new fill concept that can be applied to a variety of musical to the early 1980s through listening and analysis of each
continuation of Ear Training 012, through the further study different styles and situations. One lecture hour and one lab situations. This course includes written and audio examples groove supported by transcriptions. This course also includes
of meter and rhythm, eighth-note phrases, sight-singing, hour per week for one quarter. of top contemporary rock drummers. Students write out and discussions on how to practice the techniques covered. One
transcribing melody and rhythm, melodic and harmonic intervals, demonstrate their own fills and concepts throughout the class. lecture hour per week for one quarter.
triad qualities, and diatonic major chord progressions. One ELECTIVES // DRUM One lecture hour per week for one quarter.
lecture hour and one lab hour per week for one quarter. Drum students may fulfill their elective credit requirements by DRUM-154E PROGRESSIVE DRUMMING (1)
choosing from program-specific electives, Common Course DRUM-075E HOW TO PRACTICE (1) Prerequisites: DRUM-022 Drum Reading 022. This pre-
CC-102 EAR TRAINING 102 (1.5) electives, or entry-level electives offered by other programs; This course covers the structure and discipline of efficient, intermediate course examines various concepts from some
Prerequisites: CC-022 Ear Training 022. This course is an see course offerings for options. productive practicing on the drum set. Students develop of today’s most advanced progressive drummers. The course
application- based continuation of Ear Training 022 that focuses individual practice routines and apply them to material covered covers contemporary concepts and creative methods for playing
on the recognition and transcription of pentatonic scales, simple in core courses. Also includes performance preparation styles of music such as; Drum-n-Bass/Jungle as well as odd
major and minor pentatonic melodies, triplet rhythms, blues DRUM-SPECIFIC ELECTIVES
(prioritizing, overcoming anxiety and more). One lecture hour meter and odd groupings with a emphases on groove and fluidity.
scales, natural minor scale and its variations, chord progressions AVAILABLE ONLY TO DRUM MAJORS per week for one quarter. “Progressive Drumming” also introduces the technique called
utilizing inversions, diatonic minor key chord progressions, D.D. (Double Drumming) to develop capacities related to double
chord progressions in Roman numerals, seventh chords. One DRUM-150E INTRODUCTION TO DRUM RECORDING (1) DRUM-151E NEW ORLEANS DRUMMING (1) bass and four-way coordination for all styles of music. Applying
lecture hour and one lab hour per week for one quarter. Prerequisites: DRUM-013 Drum Performance 013. An D.D. techniques through simultaneous duet performances,
This course explores the historical, stylistic, and technical
introductory course which presents the traditional recording development of drummers from New Orleans. Students will students will explore new rhythm and coordination concepts
COURSES
COURSES
CC-202 EAR TRAINING 202 (1.5) studio to drum students. Specific topics presented include: learn the second-line grooves of early brass bands up through while focusing on timekeeping and feel. One lecture hour per
Prerequisites: CC-202 Ear Training 102. This course is an the various physical attributes and components of the studio, the invention of the “backbeat” and the irresistible funk that week for one quarter.
application- based continuation of Ear Training 102 that focuses common studio terms, and vernacular and performance forces people to “take it to the streets” in a Mardi Gras
on the recognition and transcription of sixteenth-note rhythmic techniques needed to be successful in the studio. Other
phrases, standard variations in minor-key melody and harmony,
parade. The individuals, rhythms, and culture of New Orleans DRUM-155E RUDIMENTAL WORKOUT (1)
topics include: techniques for altering and controlling your that have shaped American music for the last 100 years will be Prerequisite: DRUM-021 Drum Technique 021. This pre-
and seventh chord major and minor diatonic harmony. One sound, how to manage headphone mixes, and playing to a
lecture hour and one lab hour per week for one quarter. presented. One lecture hour per week for one quarter. intermediate course covers application of hand technique for
click track plus prerecorded instrument tracks. One lecture/ rudimental development and strength training. Using simple
lab hour per week for one quarter. exercises, and an intuitive method for breaking down rudiments,
CC-108 KEYBOARD PROFICIENCY 1 (1) ADVANCED ELECTIVES // DRUM
Keyboard Proficiency 1 serves as an introduction to the student will gain necessary tools for developing technique,
DRUM-260E HYBRID DRUMMING ENSEMBLE WORKSHOP Note: For full details, refer to the course description for each control and analysis. Students are taught how to develop an
contemporary keyboard technique. Through the study of physical (1) prerequisite named in your elective of interest.
posture, finger technique, diatonic scales & chord progressions, exercise routine for improving the core aspects of hand control
Prerequisite: DRUM-160E E-Drumming Essentials. An (strength, stamina, speed, consistency, rhythmic interpretation,
this course will enable students to develop the necessary motor
intermediate to advanced ensemble workshop designed DRUM-025E DEVELOPING YOUR GROOVE 2 (1) dynamics, sound quality, rebound management and efficiency,
skills required for using the keyboard both as a performing
to rehearse and perform as an electronic/acoustic drum Prerequisite: DRUM-015 Developing Your Groove. Covers etc). Students will also learn toncrease rudimental vocabulary
instrument and compositional tool. One lecture hour and one lab
ensemble. Students will apply their e-drumming knowledge drum set coordination techniques necessary for playing by understanding how single and multiple bounce strokes,
hour per week for one quarter.
as a performance ensemble. One additional aspect of this beats between the bass drum, snare drum, hi-hat, hi-hat with combined with the four Moeller strokes (full, down, tap, up) create
workshop is to include essential set-up/tear down technique the foot and ride cymbal. Limb synchronization and dynamic all rudimental possibilities. One lecture hour per week for one
CC-208 KEYBOARD PROFICIENCY 2 (1)
Prerequisites: CC-108 Keyboard Proficiency 1. This course and etiquette. Two workshop hours per week for one quarter. independence techniques are presented in systematic steps quarter.
further develops the technical skills required for successful May be repeated for credit. to help drummers develop a solid foundation needed for
keyboard performance and musical comprehension. Pop and professional-level timekeeping skills. This is an introductory- DRUM-252E FUNK DRUMS - MODERN (1)
Classical repertoire performance serves as the main focus of DRUM-050E HYBRID CAJON TECHNIQUES (1) plus course that will help drummers dramatically improve Prerequisites: DRUM-022 Drum Reading 022. Students study
this course, in addition to further study of chord progressions This is an introductory course which presents Cajon playing their time, feel, independence and sound. Through weekly the evolution of funk drumming from the early 1980s to the
and scales. One lecture hour and one lab hour per week for one basics in a contemporary setting. In addition to basic Cajon coordination drills (as applied to contemporary musical styles) present day, including R&B and jazz influences on funk music,
quarter. playing, hybrid set-ups are introduced with the addition of students will learn to sync and control all limbs when playing and the relationship between acid jazz, hip-hop, R&B, and earlier
hand held percussion, mounted percussion, foot-operated beats. One lecture/lab hour per week for one quarter. funk music. One lecture hour per week for one quarter.
SONG-101 SONGWRITING 1: INTRODUCTION TO POP percussion and drum set elements. Audio examples and
playalongs are also included. One lecture hour per week for DRUM-117E DEVELOPING YOUR GROOVE: DRUM-156E BEBOP AND BEYOND (1)
SONGWRITING (1.5) one quarter.
This course enables students to develop the analytical, ADVANCED (1) Prerequisites: DRUM-022 Drum Reading 022. This course
compositional and performance skills necessary for successfully Prerequisites: DRUM-025E Developing Your Groove 2. A focuses on a modern approach to playing jazz with a strong
navigating contemporary music’s ever changing stylistic
DRUM-051E BASIC CARIBBEAN DRUMSET (1) continuation of Develop Your Groove with an emphasis on emphasis on bebop vocabulary and developing a musical flow
Students learn how to perform basic Afro-Cuban and learning and applying “ghost note” patterns to grooves in a of ideas. Topics discussed include: advanced comping and ride
landscape. Group study of the compositional and production
Brazilian styles on the drumset. Emphasis is on gaining the variety of styles along with variations of previously-learned cymbal approach, advanced hi-hat techniques, development
components that contribute to authenticity pertaining to key
ability to effectively handle any Latin music-based performing patterns. One lecture-ensemble hour per week for one
of motifs over standard song forms, polyrhythmic overlap, and of 70% or higher per quarter. One ensemble hour per week of the minor scales, applying rhythms to scales, how to measures will also be covered, in addition to gig survival tactics
metric modulation. One lecture hour per week for one quarter. per quarter. Six credit units required (one per quarter). structure a solo, fingerstyle technique, acquiring knowledge as they apply to gear. One lecture hour per week for one quarter.
of chord voicings, and essential performance techniques
DRUM-162E-01 ESSENTIAL REPERTOIRE (1) GUIT-013 GUITAR PERFORMANCE 013(2) commonly used in contemporary music. One lecture hour and GUIT-024 GUITAR GEAR MASTERY (1)
Prerequisites: DRUM-012 Drum Reading 012. This intermediate Students develop fundamental technical approaches to a two lab hours per week for one quarter. Prerequisites: GUIT-014 Guitar Gear Maintenance. This course
course presents a study of crucial musical repertoire for variety of popular styles through weekly live performance. helps the student to achieve contemporary and time-honored
drummers. Through lectures, audio/video presentations and in Concentration is placed on getting good lead and rhythm GUIT-110 GUITAR TECHNIQUE 110 (2) guitar tones. This is accomplished by using combinations of
class performances students learn mandatory, “must know”, fills, tones, stage etiquette, dynamics, and basic chart reading and Prerequisites: GUIT-021 Guitar Technique 021. Emphasis effects, amp settings and amp types, and guitars. In addition,
grooves and solos from all relevant genres and eras of music. writing. This course coordinates with Guitar Technique 011 in this course will be on scales such as Major and Minor the course will cover how to implement effects into your rig, build
and Guitar Reading 012 topics. Two lecture/ensemble hours a pro pedalboard, understand and troubleshoot signal flow,
Pentatonic, Blues, Dorian, Mixolydian, and Lydian, plus
per week for one quarter. employ effects loops, run in stereo through two or more amps,
DRUM-165E DRUM SET SOLOING & ARTISTIC DEVELOPMENT introduction to drop voicings, chord progressions, Roman
play direct, record direct, and more. How to please producers by
(1) numeral harmony, extended and altered chords, motive
GUIT-023 GUITAR PERFORMANCE 023 (2) delivering the iconic guitar sounds they request and how to be
Prerequisite: DRUM-110 Drum Technique 110. This intermediate development, shuffle feel, and Blues tonalities. One lecture
a professional guitar tech will also be covered. One lecture hour
class is designed to present students techniques in which they Prerequisites: GUIT-13 Guitar Performance 013. This course hour and two lab hours per week for one quarter.
per week for one quarter.
can develop ideas in order to construct a cohesive drum solo. covers fundamental technical approaches to a variety of
Students build a repertoire of drumming data by detailed listening popular styles are presented and students will perform live GUIT-210 GUITAR TECHNIQUE 210 (2) AUDIO-056 DAW 1: REASON (1)
to (and crucial analysis of) classic drum solos from drumming on a weekly basis. Emphasis will be on playing acoustic Prerequisites: GUIT-110 Guitar Technique 110. Emphasis in
This course is introduction to digital audio technology as an
pioneers. In addition to audio and transcription analysis, students guitar in ensemble settings, use of open tunings, Travis this course is placed on advanced concepts such as 16th
essential tool for the creation of instrument-based recordings.
perform and explore conceptual soloing exercises over loops and picking, performing rhythm parts which include effects, plus note strum technique, scales such as Phrygian, Harmonic and
Topics covered include: working with audio and MIDI, virtual
sans accompaniment. Abstract concepts designed to assist the introduction to styles such as reggae, punk rock, thrash Melodic minor, modal interchange and common approaches
instruments, effects, drum programming, time stretching, and
student to move away from the technical side by thinking outside metal, and classic metal. This course coordinates with Guitar for playing over dominant chords. One lecture hour and two
working with loops. One lecture hour per week for one quarter.
the box are also presented and practiced. One lecture/lab hour Technique 021 and Guitar Reading 022 topics. Two lecture/ lab hours per week for one quarter.
per week for one quarter. ensemble hours per week for one quarter.
GUIT-012 GUITAR READING 012 (2) AUDIO-156 DAW 2: REASON (1)
Prerequisites: AUDIO-056 DAW 1: Reason. The second level of
DRUM-170E BRIDGING THE GAPS (1) GUIT-130 GUITAR PERFORMANCE 130 (2) This course introduces the fundamentals of music reading and
this course focuses on using Reason as a mixing and mastering
Prerequisites: DRUM-022 Drum Reading 022. This course Prerequisites: GUIT-023 Guitar Performance 023. This the basic terminology used in written notation. The emphasis
tool. Topics include: EQ, Compression, effects, automation,
covers the application of essential drum rudiments, including course covers fundamental technical approaches to a variety will be placed on how to read single-note lines in open
and mastering using Reason’s Channel Strip. Upon successful
single strokes, double strokes, triplets, flams, ruffs, 5-strokes, of popular styles are presented and students will perform live position, key signatures and accidentals, how to navigate a
completion, students should be able to create, edit, mix and
6-strokes, 7-strokes, single paradiddle, double paradiddle, and basic chart, plus the chromatic note names and their position
COURSES
COURSES
on a weekly basis. Emphasis is placed on handling variations master their work. One lecture hour per week for one quarter.
triple paradiddle to grooves and fills utilizing the entire drum set. in typical song form, improving chart-reading skills, taking a on the neck. The course will also introduce basic music
One lecture hour per week for one quarter. leadership role within the group, plus introduction to a variety topics such as motives, phrases, melodies, and form. This
course coordinates with Guitar Technique 011 and Guitar GUIT-350 ADVANCED MUSICIANSHIP CONCEPTS (FOR THE
of styles such as classic and modern urban blues, classic GUITARIST) 1 (2)
DRUM-303E DRUM PERFORMANCE: STUDIO EDITION (1) Performance 013 topics. Two lecture hours per week for one
R&B and Motown, contemporary R&B and neo-soul, the early Prerequisites: GUIT-210 Guitar Technique 210, GUIT-230
Prerequisite: DRUM-230 Drum Performance 230. This course quarter.
rock styles of Bo Diddley and Chuck Berry, surf/rockabilly, Guitar Performance 230. This course will introduce the student
takes all Drum Performance (DRUM-013, 023, 130, 230) charts contemporary musical theater, classic and modern country,
GUIT-022 GUITAR READING 022 (2) to essential aspects of musicianship as needed for becoming
and gives the students the opportunity to track their drum part country-rock, and southern rock. This course coordinates with
Prerequisites: GUIT-012 Guitar Reading 012. Emphasis in a skilled improvising instrumentalist and a complete musician.
in a professional recording studio. This intermediate-advanced Guitar Technique 110 and Guitar Reading 120 topics. Two
this course is placed on reading in 5th position, various key The basic principles covered in Guitar Technique 011-210 will
class allows students to perform material they have previously
lecture/ensemble hours per week for one quarter. be applied towards larger musical goals and more advanced
performed over the previous 3-12 months. By minimizing centers, real-world charts, plus symbols and terms commonly
found in written notation. This course coordinates with Guitar improvisational concepts, and the class will cover topics such as
prep time, students will be able to focus on professional drum
recording techniques; such techniques include drum tuning, GUIT-230 GUITAR PERFORMANCE 230 (2) Technique 021 and Guitar Performance 023 topics. Two playing over changes, chromaticism, harmonic relationships and
Prerequisites: GUIT-130 Guitar Performance 130. This lecture hours per week for one quarter. chord substitutions. Two lecture hours per week for one quarter.
sound production, time/feel, playing to a click and/or track, drum
set orchestration and parts creation. One lecture/lab hour per course covers fundamental technical approaches to a variety
week for one quarter. of popular styles are presented and students will perform GUIT-120 GUITAR READING 120 (2) GUIT-450 ADVANCED MUSICIANSHIP CONCEPTS (FOR THE
live on a weekly basis. Emphasis will be on advanced chart Prerequisites: GUIT-022 Guitar Reading 022. Emphasis GUITARIST) 2 (2)
reading, stage craft, playing in various meters such as 3/4, 6/8 in this course is placed on reading in 2nd and 7th position, Prerequisites: GUIT-350 Advanced Musicianship Concepts
GUITAR and odd meters, plus introduction to styles such as jam- band, reading harmonies, duo and trio performances, and advanced (For The Guitarist) 1. Topics to be covered include: advanced
Delta blues, urban/Chicago blues, Gypsy jazz, minor blues, real-world charts. This course coordinates with Guitar improvisational concepts, deeper harmonic understanding, and
MAJOR AREA // GUITAR American Songbook, Latin, bossa nova, Big Band comping Technique 110 and Guitar Performance 130 topics. Two more sophisticated aspects of musicianship. Two lecture hours
and modern jazz. This course coordinates with Guitar lecture hours per week for one quarter. per week for one quarter.
GUIT-PL PRIVATE LESSON (2) Technique 210 and Guitar Reading 220 topics. Two lecture/
A weekly individual instrument lesson that supports core ensemble hours per week for one quarter. GUIT-220 GUITAR READING 220 (2) GUIT-360 PROJECT RECORDING 1: GUITAR (2)
curriculum goals and, time permitting, also focuses on student’s Prerequisites: GUIT-120 Guitar Reading 120. Emphasis Prerequisites: GUIT-220 Guitar Reading 220, GUIT-210 Guitar
personal musical development goals. An instructor guides the GUIT-011 GUITAR TECHNIQUE 011 (2) in this course is placed on reading in multiple positions, Technique 210, GUIT-230 Guitar Performance 230. This course
student in developing technique, musicianship and style. One This course is an introduction to the basic fretting and picking reading polyphonic music, trio and quartet performances and, will introduce the student to the basic knowledge required to be
hour per week per quarter. Twelve credit units required (two per techniques, the layout of the guitar fretboard, basic chords, advanced real-world charts. This course coordinates with able to record, engineer and produce their own music. Topics
quarter). chord progressions, and a general introduction to the most Guitar Technique 210 and Guitar Performance 230 topics. include: basic studio etiquette, signal path, creating guitar parts
common solo and rhythm guitar approaches. One lecture Two lecture hours per week for one quarter. and tracking tactics. The student will finish 1-3 songs/pieces for
CC-013G-CC-403G LIVE PERFORMANCE hour and two lab hours per week for one quarter. the purposes of a “demo reel” for his/her website. Two lecture
WORKSHOPS 013-403 (1) GUIT-014 GUITAR GEAR MAINTENANCE (1) hours per week for one quarter.
Students perform in a variety of styles and settings (see section GUIT-021 GUITAR TECHNIQUE 021 (2) This course will discuss how to set up, repair, maintain,
on Live Playing Workshops for overview of workshop offerings). Prerequisites: GUIT-011 Guitar Technique 011. General intonate, customize, and manage acoustic and electric guitars. GUIT-460 PROJECT RECORDING 2: GUITAR (2)
Minimum requirement of ten performances with an average grade Basic amplifier maintenance, tube replacement and safety Prerequisites: GUIT-360 Project Recording 1: Guitar. A
musicianship is developed through learning the five-patterns
for artists to leverage their own careers, there has never
continuation of studio techniques and approaches, with interchange, secondary dominants, diatonic substitution and
been a greater need for practical, independent marketing
emphasis on more advanced styles, soloing and sophisticated
advice. After identifying a business vision, students conduct
modulation, chromatic modulations, Roman numeral analysis, SONG-101 SONGWRITING 1: INTRODUCTION TO POP
post-production techniques such as effects processing and altered and symmetrical scales. One lecture hour and one lab
editing. Two lecture hours per week for one quarter. research, set short-term goals, and create an integrated mix SONGWRITING (1.5)
hour per week for one quarter. This course enables students to develop the analytical,
of marketing strategies to achieve their objective. Students
create a complete marketing plan utilizing handy templates compositional and performance skills necessary for successfully
PROFESSIONAL DEVELOPMENT // GUITAR included in the course resource, and receive useful feedback
CC-012 EAR TRAINING 012 (1.5) navigating contemporary music’s ever changing stylistic
This course is an introduction to ear training techniques, landscape. Group study of the compositional and production
during three one-hour lab. Two lecture hours per week for one
MUBUS-0360 APPLIED ENTERTAINMENT which can be used within popular music. This is components that contribute to authenticity pertaining to key
quarter.
accomplished through the technique of matching specific genres and repertoire serves as the curricular foundation of these
BUSINESS 1 (1.5)
pitches, major scale melodies, and melodic intervals. Melodic classes. One lecture hour and one lab hour per week for one
The first in a two-quarter course sequence, designed to provide MUSICIANSHIP // GUITAR and harmonic intervals, chromaticism, triads, diatonic quarter.
students with an understanding of the entertainment industry,
harmony, rhythm are also studied. One lecture hour and one
as it exists today, and essential knowledge for sustaining a CC-015 RHYTHM READING WORKOUT 1 (1) lab hour per week for one quarter. SONG-201 SONGWRITING 2: POP AND COUNTRY
career in the digital era. In Applied Entertainment Business 1, This course is designed to give Performance Program
topics include an overview of industry structure, the artist’s team SONGWRITING (1.5)
students a solid foundation in reading rhythms. Students CC-022 EAR TRAINING 022 (1.5)
(manager, attorney, agent, etc.), copyrights and music publishing, Prerequisites: SONG-101 Songwriting 1: Introduction to Pop
will focus solely on understanding rhythmic notation and Prerequisites: CC-12 Ear Training 012. This course is
band partnerships and solo artists, employment agreements, Songwriting. This course enables students to develop the skills
subdividing basics. Topics covered include: notation basics a continuation of Ear Training 012, through the further
work-for-hire, unions and more. One lecture hour per week for necessary to create, analyze, critique, and revise song lyrics
(bar lines, time signatures) notes and rests (ranging from study of meter and rhythm, eighth-note phrases, sight-
one quarter. in the contemporary songwriting market. Students will learn
whole note to sixteenth note values), note value relationships, singing, transcribing melody and rhythm, melodic and important concepts relating to lyrics, including finding inspiration,
counting, triplets and syncopation. One lecture/lab hour per harmonic intervals, triad qualities, and diatonic major chord
MUBUS-0460 APPLIED ENTERTAINMENT BUSINESS 2 (1.5) week for one quarter. mastering tools of the craft, and tailoring lyrics to different styles
progressions. One lecture hour and one lab hour per week for and situations. One lecture hour and one lab hour per week for
Prerequisites: MUBUS-0360 Applied Entertainment Business 1.
one quarter. one quarter.
This course is a continuation of Applied Entertainment Business CC-025 RHYTHM READING WORKOUT 2 (1)
1, further covering the most important areas and aspects of Prerequisites: CC-015 Rhythm Reading Workout 1. This
the entertainment industry. Topics include: record labels (major class is designed to give Performance Program students
CC-102 EAR TRAINING 102 (1.5)
Prerequisites: CC-022 Ear Training 022. This course is an ELECTIVES // GUITAR
and indie), types of deals, the DIY market, distribution, touring, an understanding of intermediate rhythm concepts. Topics Guitar students may fulfill their elective credit requirements by
merchandising, and more. S.M.A.R.T. goal setting is also application- based continuation of Ear Training 022 that
covered include: dotted notes, tied notes, swung eighth and choosing from program-specific electives, Common Course
covered to support students in creating a path to career success. sixteenth notes, advanced time signatures (cut time, 3/4, 6/8) focuses on the recognition and transcription of pentatonic
scales, simple major and minor pentatonic melodies, triplet electives, or entry-level electives offered by other programs. See
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COURSES
One lecture hour per week for one quarter. and mixed meters. One lecture/lab hour per week for one current course offering for options.
quarter. rhythms, blues scales, natural minor scale and its variations,
chord progressions utilizing inversions, diatonic minor key
MUBUS-0202 MEDIA RELATIONS (2)
Students learn the difference between publicity and public CC-011 HARMONY & THEORY 011 (1.5) chord progressions, chord progressions in Roman numerals, ENTRY-LEVEL ELECTIVES // GUITAR
This course is an introduction to the harmony and theory seventh chords. One lecture hour and one lab hour per week
relations, how to create and implement media campaigns, and
how to write artist bios, press releases, news releases, and eye- used within popular music. This is accomplished through the for one quarter. GUIT-061E CLASSICAL GUITAR (1)
catching headlines. Skills apply to independent artists as well as application of music notation (for pitch), major scales, major This course covers the fundamental right-hand classical guitar
those aspiring to work in the industry. Two lecture hours per week key signatures, intervals, triads, and major scale harmonies. CC-202 EAR TRAINING 202 (1.5) techniques for arpeggios, scales, tremolo, harmonics, and
for one quarter. One lecture hour and one lab hour per week for one quarter. Prerequisites: CC-202 Ear Training 102. This course is an rasgueado and apply them to classical guitar literature. One
application- based continuation of Ear Training 102 that lecture hour per week for one quarter.
CC-021 HARMONY & THEORY 021 (1.5) focuses on the recognition and transcription of sixteenth-note
CC-307 VISUAL MEDIA 1 (2)
Students learn to use Adobe Photoshop to design original CD Prerequisites: CC-011 Harmony & Theory 011. This course is rhythmic phrases, standard variations in minor-key melody GUIT-082E BLUES LISTENING (1)
a continuation of Harmony & Theory 011. This is accomplished and harmony, and seventh chord major and minor diatonic This course is designed to expose guitarists to the most
artwork, flyers, promotional tools, and other visual materials vital
through the further study of musical notation, diatonic harmony. One lecture hour and one lab hour per week for one influential players in the development of modern electric styles
to modern independent artists. Emphasis is on creating exciting
structures, rhythmic values, time signatures, natural minor quarter. and techniques. Recordings by such icons as T-Bone Walker
and expressive designs that directly support music marketing
campaigns. Topics covered in this class include: typography, flyer scales (and variations), minor key signatures, harmonized and the “Three Kings” (B.B., Albert and Freddie), among
design, album artwork design, image manipulation, merchandise
minor scales, chord inversions, diatonic seventh chords, triad CC-108 KEYBOARD PROFICIENCY 1 (1) others, will be analyzed and their influence traced through later
analysis, chord progressions, and key centers. One lecture Keyboard Proficiency 1 serves as an introduction to generations of players. One lecture hour per week for one
design, and more. Two lecture hours per week for one quarter.
hour and one lab hour per week for one quarter. contemporary keyboard technique. Through the study of quarter.
CC-407 VISUAL MEDIA 2 (2) physical posture, finger technique, diatonic scales & chord
Prerequisites: CC-307 Visual Media 1. The Internet has opened
CC-101 HARMONY & THEORY 101 (1.5) progressions, this course will enable students to develop the GUIT-086E JAZZ LISTENING (1)
Prerequisites: CC-021 Harmony & Theory 021. This course necessary motor skills required for using the keyboard both as A survey of jazz styles spanning classic through contemporary
up an enormous opportunity for musicians to promote themselves
presents variations on diatonic structures from Harmony a performing instrument and compositional tool. One lecture jazz. The works of Charlie Parker, Wes Montgomery, John
directly to music fans. This course focuses on the technical
& Theory 021. Highlights include: pentatonic and blues hour and one lab hour per week for one quarter. Coltrane, and other jazz legends are explored using video and
skills needed to promote music online. Topics include: building a
scales, inverted, extended and non-standard chord types, audio excerpts to demonstrate how they have influenced the
strong online presence, creation of a content-rich artist website,
online marketing tools and strategies, video editing basics, and
chord symbols and modes, and voice leading and chord CC-208 KEYBOARD PROFICIENCY 2 (1) playing of modern jazz guitar icons such as John Scofield, Pat
progressions. One lecture hour and one lab hour per week for Prerequisites: CC-108 Keyboard Proficiency 1. This course Metheny, Allan Holdsworth, and Adam Rogers. One lecture hour
social media. Two lecture hours per week for one quarter.
one quarter. further develops the technical skills required for successful per week for one quarter.
MUBUS-0307 INDEPENDENT ARTIST MARKETING (2) keyboard performance and musical comprehension. Pop and
This course reveals basic marketing concepts applicable to any
CC-201 HARMONY & THEORY 201 (1.5) Classical repertoire performance serves as the main focus of GUITAR-SPECIFIC ELECTIVES
Prerequisites: CC-101 Harmony & Theory 101. This course this course, in addition to further study of chord progressions
professional business venture and focuses on the creation of AVAILABLE ONLY TO GUITAR MAJORS
presents non-diatonic melodic and harmonic concepts. and scales. One lecture hour and one lab hour per week for
a fully customized, low-budget marketing plan of attack. At a
Highlights include: minor key harmony and melody, modal one quarter.
time when new technologies make it more possible than ever GUIT-046E ALTERNATIVE GUITAR HEROES (1.5)
Analysis and performance of contemporary rock guitar solos, This course covers the fundamentals of the blues style, developing lines for standard jazz progressions. Also covered are
including those of Kurt Cobain, Jerry Cantrell, Tom Morello, Billy including rhythm techniques for shuffles, slow blues, jump
ADVANCED ELECTIVES // GUITAR practice techniques for jazz development. One lecture hour per
Note: For full details, refer to the course description for each
Corgan, Kim Thayil, John Frusciante, Dave Navarro, The Edge, blues, and other blues-related rhythms, as well as such week for one quarter.
soloing concepts as chord/scale relationships, and stylistic prerequisite named in your elective of interest.
and Lenny Kravitz. One lecture hour and one lab hour per week
for one quarter. phrasing. One hour lecture plus one lab hour per week for one GUIT-145E GUITAR HEROES OF The ’80S (1.5)
quarter. GUIT-051E CHORD MELODY 1 (1) Prerequisites: GUIT-021 Guitar Technique 021. Students will
GUIT-047E GYPSY JAZZ WORKSHOP (1) Prerequisites: GUIT-210 Guitar Technique 4. An introduction analyze and perform the solos of modern rock players, such as
An introduction to the basic concepts of Gypsy Jazz, based on GUIT-166E BLUES GUITAR 2 (1.5) to the art of interweaving melody, chords, and bass lines into Eddie Van Halen, Steve Vai, Randy Rhoads, Nuno Bettencourt,
the style of the French guitarist Django Reinhardt. Students will Prerequisites: GUIT-110 Guitar Technique 110, GUIT-066E compelling song arrangements for solo guitar. Lead sheet John Petrucci, Marty Friedman, and Yngwie Malmsteen as a way
study and perform the basic chord voicings, chord progressions, Blues Guitar. This course explores expanded jazz-blues interpretation and jazz improvisation techniques are also of improving rock soloing skills. One lecture hour and one lab
stylistic signatures, repertoire and a general introduction to the harmony, soloing techniques, and the relationship between covered. One lecture hour per week for one quarter. hour per week for one quarter.
most common solo and rhythm guitar approaches used in this blues and other musical styles, including jazz, rock & roll, and
R&B. Students gain a deeper understanding and appreciation GUIT-150E GUITAR TRACKING TACTICS (1)
style. Two workshop hours per week for one quarter. GUIT-151E CHORD MELODY 2 (1)
of the blues tradition and related technical skills. One lecture Prerequisites: GUIT-210 Guitar Technique 210. In weekly
Prerequisites GUIT-051E Chord Melody 1. The application of
GUIT-052E GUITAR/VOCAL ACCOMPANIMENT (1) hour and one lab hour per week for one quarter. one- on-one recording sessions with a professional guitarist/
chord melody techniques taught in Chord Melody 1. Emphasis
Students learn to accompany their own vocals on guitar with is on incorporating techniques and expanding repertoire. One instructor, students gain studio performance skills mandatory
practical techniques, rhythm patterns, and exercises based GUIT-070E APPLIED METAL GUITAR (1.5) lecture hour per week for one quarter. for the modern session guitarist. Techniques range from dialing
This course examines influential metal bands and iconic metal in appropriate tones, effective vibrato and bends, and playing
on song excerpts common to styles including: pop, rock, folk,
guitar styles with an emphasis on harmonic analysis and
country, and alternative. One lecture hour per week for one
applied metal techniques. Students will learn solos riff-by- GUIT-067E JAZZ GUITAR IMPROVISATION (1.5) “in-the-pocket” to using capos, slides, EBows, timed delays,
quarter. Prerequisites: GUIT-210 Guitar Technique 210. This course pre- and post-input effects, open tunings, and other creative
riff as they develop skills that are essential to the genre. Each
covers the vocabulary used in jazz improvisation of all eras, devices and applications. Students complete a multi-song demo
student is required to perform three times during the quarter.
GUIT-060E ACOUSTIC GUITAR (1) One lecture hour and one lab hour per week for one quarter. from swing and bebop to the present, including the use of recording under the guidance of a guitar instructor-producer,
This course covers the basic techniques and guitar gear used scales, modes, idioms, and typical bebop phrases. One creating and recording rhythm patterns, fills, melodies, and solos
in popular steel-string acoustic performance, from flatpicking to lecture hour and one lab hour per week for one quarter. over prerecorded rhythm tracks. One private session hour per
GUIT-088E ACID JAZZ GUITAR 1 (1)
fingerpicking, strumming to plucking. One lecture hour per week This course covers the instrumental funk style of Maceo week for one quarter.
for one quarter. Parker, Ronny Jordan, Greyboy Allstars, Herbie Hancock, GUIT-167E MODERN JAZZ CONCEPTS (1.5)
and others. Particular emphasis is placed on rhythm guitar Prerequisites: GUIT-210 Guitar Technique 210. This GUIT-153E JIMI HENDRIX RHYTHM GUITAR (1)
GUIT-062E METAL GUITAR (1.5) course explores inside and outside playing, symmetrical Prerequisites: GUIT-021 Guitar Technique 021. This course
COURSES
COURSES
playing, rhythmic soloing, and chart reading. Some weekly

This course analyzes and examines the role of the guitar in preparation work is required. Two workshop hours per week scales, polychords, and pentatonics as tools for jazz guitar will cover how to improvise rhythm parts in the style of “Little
metal’s heaviest and most successful bands throughout for one quarter. improvisation. One lecture hour and one lab hour per week for Wing,” “Bold as Love,” and “Castles Made of Sand.” Students
the ‘80s and ‘90s, including Metallica, Slayer, Pantera, and one quarter. will develop major and minor pentatonic double-stop vocabulary
Megadeth. The curriculum will break down each riff and solo, GUIT-170E RECORDING GUITAR (1) and learn to adapt Hendrix-style rhythm fills to fit popular
laying the groundwork for proper rock/metal technique while Uniting the art of guitar playing with the skills of engineering, GUIT-068E SLAP, POP, and BEYOND (1.5) progressions or original songs. Techniques include: thumb-
also providing historical perspective. One lecture hour and one this course is designed for guitarists who wish to learn the ins Prerequisites: GUIT-021 Guitar Technique 021. This course fretting, the “Hendrix Chord,” chord ornamentation, and funk-rock
lab hour per week for one quarter; each student is required to and outs of a full-size studio featuring a professional mixing explores and details a variety of modern full-contact funk and rhythms. One lecture hour per week for one quarter.
perform in class three times. console. Topics include: signal flow, microphone selection rock approaches, with special emphasis on “bass-style” guitar
and placement, EQ, dynamic processing, and effects. slapping and popping. Also explored are slapped harmonics, GUIT-154E BEATLES FOR SOLO GUITAR (1)
GUIT-063E RUMBA WORKOUT (1) Students will learn techniques used to capture and define tapped harmonics, and various two-hands-on-the-neck Prerequisites: GUIT-021 Guitar Technique 021. The
This course focuses on the strumming-hand rhythms of the the tone of some of the world’s greatest guitar players. One Beatles are the most successful pop songwriters of all
rhythm and lead techniques. Playing approaches from Van
rumba and other Latin guitar grooves to generate a rhythm- lecture hour per week for one quarter. time and their music remains popular with every new generation.
Halen, Jeff Beck, Marcus Miller, and Michael Hedges, to Rage
guitar intensive workout experience. Recommended for any Learning solo guitar chord-melody arrangements of The
Against the Machine, Primus, and Bumblefoot are analyzed,
GUIT-173E GUITAR WORKOUT (1) Beatles’ songs provides a deeper understanding of effective
guitar student who wants to gain a new rhythmic vocabulary along with the use of guitar effects that complement full-
This course offers a one-hour weekly “training session” that songwriting as well as an introduction to chord-melody
and break out of the alternating up/down strum approach that contact styles. One lecture hour and one lab hour per week
exposes guitarists to exercises, licks, and concepts that can technique. One lecture hour per week for one quarter.
dominates mainstream guitar music. One lecture hour per week for one quarter.
for one quarter. be adapted and added to their personal practice routines.
One lecture-workshop hour per week for one quarter. GUIT-155E THE ART OF TWO-LINE IMPROVISATION PART 1 (1)
GUIT-085E JAZZ WORKSHOP 1 (1) Prerequisites: GUIT-210 Guitar Technique 210. This course
GUIT-064E SLIDE GUITAR (1) Prerequisites: CC-021 Harmony & Theory 021, GUIT-021 was developed by contrapuntal jazz pioneer and longtime
This course covers the fundamentals of slide guitar and its GUIT-174E PLAYING TECHNIQUES FOR GUITAR (1) Guitar Technique 021. This course is designed for the guitarist
Students learn to apply classical guitar vocabulary and MI Instructor, Jimmy Wyble., and provides step-by-step
application to various styles. Topics include: achieving proper with little or no jazz experience or the guitarist who would like development of the harmonic awareness, right- and left-hand
touch and good tone, essential rock and blues vocabulary, open techniques to the electric guitar. One lecture hour per week to fill in the holes in his or her jazz playing. Topics include:
for one quarter. techniques, and intervallic designs necessary for contrapuntal
tunings, and more. One lecture hour for one quarter. playing through chord changes and developing a vocabulary improvisation. Emphasis is placed on development of intervals,
for standard jazz progressions. This course also covers duo chord structures, vocabulary, and phrases that exemplify two-line
GUIT-065E SURF/SPY GUITAR (1) GUIT-175E GUITAR EFX (1) accompaniment techniques, such as walking bass lines with artistry. One lecture hour and one lab hour per week for one
This course explores classic guitar instrumentals in the “surf/ This course is an overview of the most popular guitar effect chords and bossa nova bass/chord comping styles. One quarter.
spy” genre. Students learn timeless songs and riffs from artists, devices. Topics such as gain and tone shaping, modulation, lecture hour per week for one quarter.
including the Ventures, Duane Eddy, and Dick Dale, and perform delay, and reverb are covered through audio examples and
live demonstrations. Additional topics include: building a GUIT-156E MELODIC SOLOING (1)
them with a rhythm section. One half-hour lecture and one-and-
pedalboard, guitar synthesizers, and using effects loops. One
GUIT-185E JAZZ WORKSHOP 2 (1) Prerequisites: GUIT-021 Guitar Technique 021. Students will
one-half hour lab per week for one quarter. Prerequisites: GUIT-085E Jazz Workshop 1. This course learn how to solo over basic-to-complex chord progressions
lecture hour per week for one quarter.
covers an in-depth study of the modes of melodic minor and with an emphasis on the elements of melodic playing including
GUIT-066E BLUES GUITAR (1.5) their application in jazz improvisation. Emphasis is placed on chord tones, phrasing, sound, and technique. Additional
topics include: rhythm section accompaniment and critiqued Prerequisites: GUIT-021 Guitar Technique 021. Students soloing, grooving, and playing over changes in odd meters aids in the further development of giving and following cues,
performances. One lecture- workshop hour per week for one will learn the essential techniques of funk rhythm guitar from — all skills that are crucial for anyone interested in metal, jazz, keyboard patch programming, and stylistic improvisation. This
quarter. fundamental to advanced, as well as tools to improve fusion, progressive, or shred. One lecture hour per week for course coordinates with Keyboard Technique 021 and Keyboard
overall rhythm skills. The curriculum is based on traditional one quarter. Reading 022 topics. Two lecture/ensemble hours per week for
GUIT-157E FUSION MASTERS (1.5) and contemporary funk, inspired by artists such as James one quarter.
Prerequisites: GUIT-110 Guitar Technique 110, GUIT-120 Guitar Brown, Earth, Wind & Fire, Prince, the Red Hot Chili Peppers, GUIT-187E JAZZ GUITAR READING ENSEMBLE (1)
Reading 120. This course covers intermediate- to-advanced Michael Jackson, Maroon 5, and beyond. One lecture hour Prerequisites: GUIT-022 Guitar Reading 022. This course KEYBD-130 KEYBOARD PERFORMANCE 130 (2)
topics in fusion performance and their application to the guitar, and one lab hour per week for one quarter. covers an in-depth development of small (4- and 5-part) Prerequisites: KEYBD-023 Keyboard Performance 023. A
including chord voicings, re-harmonization, transcription, and electric guitar ensemble reading skills based on jazz performance course that utilizes both technical and popular
improvising over changes. One lecture hour and one lab hour per GUIT-165E SHRED GUITAR (1) repertoire. Students refine and enhance all aspects of their music approaches, with an emphasis on atypical song forms,
week for one quarter. Prerequisites: GUIT-210 Guitar Technique 210. This course musicianship in the context of rehearsal and performance. stylistic embellishments, volume swells, use of the modulation
focuses on improvisation with advanced shred concepts and Some sight-reading involved. One ensemble hour per week wheel, keyboard splits and sonic layering. Each topic is applied
GUIT-158E ADVANCED ELECTRIC GUITAR STYLES (1.5) techniques, including speed picking, sweep picking, tapping, for one quarter. to a particular groove, comping pattern and musical form.
Prerequisites: GUIT-210 Guitar Technique 210. Students will string skipping, as well as applying three- and four-note- Leadership within a group is also discussed. This course
per-string scale patterns. One lecture hour per week for one GUIT-188E ACID JAZZ GUITAR 2 (1) coordinates with Keyboard Technique 110 and Keyboard
learn how to make the leap into becoming a professional guitarist
quarter. Reading 120 topics. Two lecture/ensemble hours per week for
through a comprehensive study of the interplay between the Prerequisites: GUIT-088E Acid Jazz Guitar 1. Some weekly
picking and strumming hands as it pertains to great tone, sterling preparation work is required. Students will be given charts one quarter.
melodic, execution, accurate string muting, and punchy rhythm
GUIT-168E ROCK RHYTHM GUITAR (1.5) and a CD to prepare for the course. Two workshop hours per
Prerequisites: GUIT-021 Guitar Technique 021. This course KEYBD-230 KEYBOARD PERFORMANCE 230 (2)
playing. Additional topics include: three-octave major and minor week for one quarter.
covers the application of chord and riff techniques integral Prerequisites: KEYBD-130 Keyboard Performance 130. A
scales, chord-tone and approach-note improvisation, use of
to contemporary rock styles. Students will learn specific performance- based course that utilizes practical techniques
pentatonic, “synthetic,” and other scales. Practical ear training
contemporary examples from various rock subgenres. One GUIT-255E The ART OF TWO-LINE (1.5)
is also explored and students perform with a rhythm section Prerequisites: GUIT-155E The Art of Two-Line Improvisation and advanced concepts, such as dual keyboard playing, multiple
lecture hour and one lab hour per week for one quarter. keyboard splits, key transposition and detailed improvisation.
every week. One lecture hour and one lab hour per week for one Part 1. The etudes from Jimmy Wyble’s seminal books
quarter. are vehicles for solo guitar pieces as well as lessons in Each topic is applied to a particular groove, style and song
GUIT-169E ROCK LEAD GUITAR (1) contrapuntal techniques, and serve as a bridge between form. Further leadership within a group is also discussed. This
Prerequisites: GUIT-021 Guitar Technique 021. This course course coordinates with Keyboard Technique 210 and Keyboard
GUIT-159E ADVANCED GROOVE CONCEPTS (1.5) classical guitar technique and jazz harmony. This course
covers the melodic application of techniques and concepts intends to examine the harmonic material found in several Reading 220 topics. Two lecture/ensemble hours per week for
Prerequisites: GUIT-021 Guitar Technique 021. This course
covers both technical and practical approaches to groove- based taught in core coures to rock guitar styles. Topics include: of the etudes, and by isolating some of the moves and one quarter.
hammer-ons, pull-offs, string bending, two-handed fretting
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styles. Techniques of time discipline, odd-meter studies, and transposing them to different keys, the material will be made
playing over shifts in feel and meter will be explored. Stylistic techniques, and other stylistic nuances of rock soloing. One applicable to students’ own arrangements and improvisations. KEYBD-011 KEYBOARD TECHNIQUE 011 (2)
studies include early R&B, Motown, reggae, contemporary lecture hour per week for one quarter. One lecture hour and one lab hour per week for one quarter. This course serves as an introduction to contemporary keyboard
African styles and New Orleans grooves. One lecture hour and technique. Weekly group study centers on the development and
one lab hour per week for one quarter. GUIT-172E APPLIED TECHNIQUE (1) subsequent mastery of the performance skills necessary for
Prerequisites: GUIT-021 Guitar Technique 021. This course KEYBOARD TECHNOLOGY
becoming a successful keyboardist. Students will gain a thorough
GUIT-160E AFRO-CUBAN GUITAR (1) is designed to increase playing speed through chord changes MAJOR AREA // KEYBOARD TECHNOLOGY understanding of both the mental and physical components
Prerequisites: GUIT-021 Guitar Technique 021. This course is over the entire fretboard, and combine all the techniques that contribute to proper technique. Subsequent curricular
an introduction to the role of the guitar in the Afro-Cuban rhythm learned in Guitar Technique courses. One lecture hour per KEYBD-PL PRIVATE LESSON (2) topics include: performance posture, warm-up/practice routine
section. Students will learn how to create authentic-sounding week for one quarter. This course may be repeated for credit. A weekly individual instrument lesson that supports core development, major & melodic minor scale performance &
parts. One lecture hour per week for one quarter. curriculum goals. An instructor guides the student in
memorization, finger dexterity, interval & triad construction based
GUIT-180E CLASSIC ROCK READING ENSEMBLE (1) developing technique, musicianship and style. Twelve credit
on the major scale, as well as chord progressions, complete with
GUIT-161E BRAZILIAN GUITAR (1) Prerequisites: GUIT-022 Guitar Reading 022. This course units required (two per quarter).
preferred voicings. Two lecture hours per week for one quarter.
Prerequisites: GUIT-021 Guitar Technique 021. This course is covers an in-depth development of small (4- and 5-part)
an introduction to the role of the guitar in the Brazilian rhythm electric guitar ensemble reading skills based on pop music CC-013K-CC-403K LIVE PERFORMANCE
section, including bossa nova and samba. Students will learn WORKSHOPS 013-403 (1) KEYBD-021 KEYBOARD TECHNIQUE 021 (2)
repertoire. Students refine and enhance all aspects of their Prerequisites: KEYBD-011 Keyboard Technique 011. This
how to create authentic-sounding parts. One lecture hour per musicianship in the context of rehearsal and performance. Students perform in a variety of styles and settings (see
week for one quarter. section on Live Playing Workshops for overview of workshop course serves as a continuation of Keyboard Technique
Some sight-reading involved. One ensemble hour per week 011. Weekly group study centers on the development and
offerings). Minimum requirement of ten performances with an
for one quarter. subsequent mastery of the performance skills necessary for
GUIT-162E COUNTRY GUITAR (1.5) average grade of 70% or higher per quarter. One ensemble
Prerequisites: GUIT-021 Guitar Technique 021. Students will hour per week per quarter. Six credit units required (one per becoming a successful keyboardist. Students will gain a thorough
learn typical progressions involving rhythm guitar and soloing GUIT-181E CLASSICAL GUITAR READING quarter). understanding of both the mental and physical components that
techniques applicable to contemporary country music. This ENSEMBLE (1) contribute to proper technique. Subsequent curricular topics
course begins with the essentials and moves into specialized Prerequisites: GUIT-022 Guitar Reading 022. This course KEYBD-013 KEYBOARD PERFORMANCE 013 (2) include: harmonic & natural minor scales, diatonic & chromatic
techniques, including banjo rolls, open-string licks, and pedal covers an In-depth development of small (four- and five-part) A performance course that utilizes both technical and popular interval alterations, triad construction based on minor scales
steel effects. One lecture hour and one lab hour per week for one electric guitar ensemble performance skills based on guitar music approaches. Concentration is placed on listening, (major, minor, diminished & augmented), first & second inversion
quarter. reading curriculum. Students refine and enhance all aspects dynamics, awareness of song form, and basic chart reading. triads, root-position seventh chords, triad-based arpeggios and
of their musicianship in the context of guitar ensemble This course coordinates with Keyboard Technique 011 and modal interchange using the I-IV-V-I, I-VI-II-V-I & I-VI- iv-iidim-
GUIT-163E ECLECTIC ELECTRIC GUITAR (1.5) rehearsal and performance. Some sight-reading involved. Keyboard Reading 012 topics. Two lecture/ensemble hours V-viidim-I progressions, complete with preferred voicings. Two
Prerequisites: GUIT-021 Guitar Technique 021. Students learn One lecture- ensemble hour per week for one quarter. per week for one quarter. lecture hours per week for one quarter.
how to play lines and solos in the style of Larry Carlton, Robben
Ford, Lee Ritenour, and others. One lecture hour and one lab GUIT-182E ODD-METER WORKOUT (1) KEYBD-023 KEYBOARD PERFORMANCE 023 (2) KEYBD-110 KEYBOARD TECHNIQUE 110 (2)
hour per week for one quarter. Prerequisites: GUIT-021 Guitar Technique 021. This course Prerequisites: KEYBD-013 Keyboard Performance 013. A Prerequisites: KEYBD-021 Keyboard Technique 021. Weekly
incorporates many genres of contemporary music. This performance course that utilizes both technical and popular
group study centers on the development and subsequent
GUIT-164E FUNK GUITAR (1.5) weekly workout course focuses on counting, playing, riffing, music approaches. Intermediate-level chart reading also
mastery of the performance skills necessary for becoming through in-class application of basic programming techniques KEYBD-150 SYNTHESIS AND SAMPLING (1) DIY market, distribution, touring, merchandising, and more.
a successful keyboardist. Students will gain a thorough such as, patch selection, layering, splitting and transposition. This course covers the history of synthesizers, fundamentals S.M.A.R.T. goal setting is also covered to support students in
understanding of both the mental and physical components that Students will also learn how to use the pitch bend wheel, of subtractive synthesis, sampling techniques and their creating a path to career success. One lecture hour per week for
contribute to proper technique. Subsequent curricular topics modulation wheel, change octaves and set up a keyboard rig. application using Apple Logic software. Includes practical one quarter.
include: pentatonic & blues scales, the Mixolydian & Dorian One lecture/lab hour per week for one quarter. application of theory using the ES-1, ES-2 and Sculpture
modes, chromatic interval-based extensions, first, second & synthesizers as well as the EXS-24 sampler and Apple Loops MUBUS-0202 MEDIA RELATIONS (2)
third inversion seventh chords, ii7-V7-Ima7, iimi7(b5)-V7-Ima7/i7 AUDIO-056 DAW 1: REASON (1) utility. One lecture hour per week for one quarter. Students learn the difference between publicity and public
progressions, major & dominant cycles, add9 & sus4 chords and This course is an introduction to digital audio technology relations, how to create and implement media campaigns, and
seventh chord-based arpeggios. Two lecture hours per week for as an essential tool for the creation of instrument-based KEYBD-140 DIGITAL MUSIC 1 (2) how to write artist bios, press releases, news releases, and eye-
recordings. Topics covered include: working with audio and
one quarter. This course is an introduction to digital audio technology catching headlines. Skills apply to independent artists as well as
MIDI, virtual instruments, effects, drum programming, time
as an essential tool for the creation of computer-based those aspiring to work in the industry. Two lecture hours per week
stretching, and working with loops. One lecture hour per
KEYBD-210 KEYBOARD TECHNIQUE 210 (2) week for one quarter.
recordings. Students learn intuitive set-up procedures and for one quarter.
Prerequisites: KEYBD-110 Keyboard Technique 110. Weekly use of controllers and DAWs.
group study centers on the development and subsequent AUDIO-156 DAW 2: REASON (1) CC-307 VISUAL MEDIA 1 (2)
mastery of the performance skills necessary for becoming Prerequisites: AUDIO-056 DAW 1: Reason. The second KEYBD-240 DIGITAL MUSIC 2 (2) Students learn to use Adobe Photoshop to design original CD
a successful keyboardist. Students will gain a thorough level of this course focuses on using Reason as a mixing and Prerequisite: KEYBD-140 Digital Music 1. Building from the artwork, flyers, promotional tools, and other visual materials vital
understanding of both the mental and physical components that mastering tool. Topics include: EQ, compression, effects, foundation set in Digital Music 1, this class continues with the to modern independent artists. Emphasis is on creating exciting
contribute to proper technique. Subsequent curricular topics automation, and mastering using Reason’s Channel Strip. development of using digital audio technology as a tool for and expressive designs that directly support music marketing
include: Locrian & Lydian modes, altered scales, ii7-V7-Ima7 & Upon successful completion, students should be able to creating computer-based recordings. campaigns. Topics covered in this class include: typography, flyer
iimi7(b5)-V7- Ima7/i7 progressions utilizing chromatic extensions create, edit, mix and master their work. One lecture hour per design, album artwork design, image manipulation, merchandise
& tri-tone substitutions and lead-sheet interpretation, complete week for one quarter. KEYBD-340 DIGITAL MUSIC 3 (2) design, and more. Two lecture hours per week for one quarter.
with three & four-note voicings. Two lecture hours per week for Prerequisite: KEYBD-240 Digital Music 2. This course is the
one quarter. KEYBD-350 COMMERCIAL COMPOSITION 1 (2) study and application of mixing techniques with emphasis CC-407 VISUAL MEDIA 2 (2)
Prerequisites: DAW 2. This course is an introduction to on audio processing using effects plug-ins. Prerequisite: Prerequisites: CC-307 Visual Media 1. The Internet has opened
KEYBD-012 KEYBOARD READING 012 (2) composing musical background scores, in order to enhance KEYBD-240 Digital Music 2. up an enormous opportunity for musicians to promote themselves
Students learn basic single-line note reading, symbols for the emotional qualities of video images. This course includes directly to music fans. This course focuses on the technical
notating melody, rhythm and harmony. Highlights include: Clefs, both the creative and technical aspects of scoring for KEYBD-330 PRODUCER PROJECT 1 (2) skills needed to promote music online. Topics include: building a
Grand Staff, Ledger Lines, Key Signatures, fingering, and song commercials, T.V. and film. One lecture hour and one lab hour Prerequisite: KEYBD-2240 Digital Music 2. In this class, strong online presence, creation of a content-rich artist website,
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per week for one quarter. students will work collaboratively in teams to produce original
forms. This course coordinates with Keyboard Technique 011 online marketing tools and strategies, video editing basics, and
and Keyboard Performance 013 topics. Two lecture hours per material for a “client” played by the instructor. Students will be social media. Two lecture hours per week for one quarter.
KEYBD-450 COMMERCIAL COMPOSITION 2 (2) required to produce a number of drafts and revisions of the
Prerequisites: KEYBD-350 Commercial Composition 1. project to meet the requirements of the client.
This intermediate level course delves deeper into the popular MUBUS-0307 INDEPENDENT ARTIST MARKETING (2)
KEYBD-022 KEYBOARD READING 022 (2) compositional and music production devices used in TV, This course reveals basic marketing concepts applicable to any
Prerequisites: KEYBD-012 Keyboard Reading 012. Topics
KEYBD-430 PRODUCER PROJECT 2 (2) professional business venture and focuses on the creation of
film and video music creation. Topics include: combining live A continuation of Producer Project 1. Students will work
include: time signature studies, note-value relationships, counting instruments with software, editing MIDI instruments for a more a fully customized, low-budget marketing plan of attack. At a
collaboratively in teams to produce original material for a
and subdivision exercises as applied to particular grooves, “realistic” sound, mixing and basic mastering. One lecture time when new technologies make it more possible than ever
“client” played by the instructor. Students will be required to
articulations and ornaments, syncopated rhythms, chart reading, hour and one lab hour per week for one quarter. for artists to leverage their own careers, there has never been
produce a number of drafts and revisions of the project to
part independence, comping patterns and musical forms. This a greater need for practical, independent marketing advice.
meet the requirements of the client.
course coordinates with Keyboard Technique 021 and Keyboard KEYBD-360 PROJECT RECORDING 1: KEYBOARDS (2) After identifying a business vision, students conduct research,
Performance 023 topics. Two lecture hours per week for one Prerequisites: KEYBD-220 Keyboard Reading 220, set short-term goals, and create an integrated mix of marketing
quarter. KEYBD-210 Keyboard Technique 210, KEYBD-230 PROFESSIONAL DEVELOPMENT // KEYBOARD strategies to achieve their objective. Students create a complete
Keyboard Performance 230. Students will begin planning TECHNOLOGY marketing plan utilizing handy templates included in the course
KEYBD-120 KEYBOARD READING 120 (2) and creating their final keyboard recording project, including resource, and receive useful feedback during three one-hour lab.
Prerequisites: KEYBD-022 Keyboard Reading 022. Topics two or more original songs. Digital recording, home studios, MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS 1 (1.5) Two lecture hours per week for one quarter.
include: interpreting rhythmic, harmonic and melodic patterns writing and arranging, programming MIDI and some business The first in a two-quarter course sequence, designed to
within a particular groove, and song form. This course discussions are all covered. Initial assignments include
provide students with an understanding of the entertainment
coordinates with Keyboard Technique 110 and Keyboard producing song demos and creating a production schedule.
industry, as it exists today, and essential knowledge for
MUSICIANSHIP // KEYBOARD TECHNOLOGY
Performance 130 topics. Two lecture hours per week for one Two lecture hours per week for one quarter.
sustaining a career in the digital era. In Applied Entertainment
quarter. CC-015 RHYTHM READING WORKOUT 1 (1)
Business 1, topics include an overview of industry structure,
KEYBD-460 PROJECT RECORDING 2: KEYBOARDS (2) This course is designed to give Performance Program students a
the artist’s team (manager, attorney, agent, etc.), copyrights
Prerequisites: KEYBD-360 Project Recording 1: Keyboards. solid foundation in reading rhythms. Students will focus solely on
KEYBD-220 KEYBOARD READING 220 (2) and music publishing, band partnerships and solo artists,
Students will complete and submit all elements of their final understanding rhythmic notation and subdividing basics. Topics
Prerequisites: KEYBD-120 Keyboard Reading 120. Topics employment agreements, work-for-hire, unions and more. One
include: reading compound time signatures, meter changes, project, including final mixes, to the faculty panel for review covered include: notation basics (bar lines, time signatures) notes
and evaluation. Have a basic understanding of analog signal lecture hour per week for one quarter.
harmonic and melodic patterns within a particular groove, and rests (ranging from whole note to sixteenth note values),
keyboard patch, and song form. This course coordinates with flow and how it translates to the digital domain. Understand note value relationships, counting, triplets and syncopation. One
what’s involved in a live studio session including creating MUBUS-0460 APPLIED ENTERTAINMENT BUSINESS 2 (1.5) lecture/lab hour per week for one quarter.
Keyboard Technique 210 and Keyboard Performance 230 topics. Prerequisites: MUBUS-0360 Applied Entertainment
Two lecture hours per week for one quarter. charts and how to stay organized and efficient. Understand
and identify different Microphone types and recording Business 1. This course is a continuation of Applied
CC-025 RHYTHM READING WORKOUT 2 (1)
techniques. Understand the concept of signal processing and Entertainment Business 1, further covering the most important
KEYBD-024 KEYBOARD GEAR MASTERY (1) areas and aspects of the entertainment industry. Topics
Prerequisites: CC-015 Rhythm Reading Workout 1. This
This course is an introduction to the basic functions and controls basic mixing and mastering methods. class is designed to give Performance Program students an
include: record labels (major and indie), types of deals, the
of popular hardware electric keyboards. This is accomplished understanding of intermediate rhythm concepts. Topics covered
include: dotted notes, tied notes, swung eighth and sixteenth utilizing inversions, diatonic minor key chord progressions, series. Students will be able to practice all triads in a cycle more. One lecture hour per week for one quarter.
notes, advanced time signatures (cut time, 3/4, 6/8) and mixed chord progressions in Roman numerals, seventh chords. One of 4ths sequence with proper voice leading. Students will
meters. One lecture/lab hour per week for one quarter. lecture hour and one lab hour per week for one quarter. apply triadic voicings to Rootless voicings of 7th chords. One KEYBD-070E ACCOMPANY THYSELF (1)
lecture hour per week for one quarter. This course is designed for singer/keyboard players who want
CC-011 HARMONY & THEORY 011 (1.5) CC-202 EAR TRAINING 202 (1.5) to learn performing skills and keyboard arranging techniques in
This course is an introduction to the harmony and theory Prerequisites: CC-202 Ear Training 102. This course is an KEYBD-250E ADVANCED ABLETON LIVE WORKSHOP (1) order to improve the quality of their self-accompaniment. One
used within popular music. This is accomplished through the application- based continuation of Ear Training 102 that Prerequisites: KEYBD-150E Ableton Live Workshop. lecture hour per week for one quarter. May be repeated for credit.
application of music notation (for pitch), major scales, major key focuses on the recognition and transcription of sixteenth-note Students will learn advanced applications for Ableton Live.
signatures, intervals, triads, and major scale harmonies. One rhythmic phrases, standard variations in minor-key melody Students will focus on gaining a deeper understanding KEYBD-071E BLUES KEYBOARDS (1)
lecture hour and one lab hour per week for one quarter. and harmony, and seventh chord major and minor diatonic of Ableton’s software synths, controller mapping, MIDI This course focuses on technique, groove, scales, and
harmony. One lecture hour and one lab hour per week for one implementation, mix setup, and audio warping. Students progressions used in authentic blues and R&B playing. This
CC-021 HARMONY & THEORY 021 (1.5) quarter. will also learn the techniques used to create custom live course will trace the evolution of the blues through recordings
Prerequisites: CC-011 Harmony & Theory 011. This course is performance and touring setups using Ableton. One lecture and transcribed solos. One lecture hour per week for one quarter.
a continuation of Harmony & Theory 011. This is accomplished SONG-101 SONGWRITING 1: INTRODUCTION TO POP hour per week for one quarter.
through the further study of musical notation, diatonic structures, SONGWRITING (1.5) KEYBD-073E FUNK KEYBOARDS (1)
rhythmic values, time signatures, natural minor scales (and This course enables students to develop the analytical, KEYBD-251E KEYBOARD DUET ENSEMBLE (1) This course covers the analysis of contemporary funk players
variations), minor key signatures, harmonized minor scales, compositional and performance skills necessary for Prerequisite: CC-101 Harmony & Theory 101 and with an emphasis on understanding the subtle differences
chord inversions, diatonic seventh chords, triad analysis, chord successfully navigating contemporary music’s ever changing KEYBD-110 Keyboard Technique 110. This course focuses in their approach to groove playing. Students will learn two-
progressions, and key centers. One lecture hour and one lab stylistic landscape. Group study of the compositional and on real-world skills and requirements for a professional handed rhythm parts, which is common to most funk music. One
hour per week for one quarter. production components that contribute to authenticity performing keyboard player-including musicianship, critical lecture hour per week for one quarter.
pertaining to key genres and repertoire serves as the listening, pianistic approach, comping, and improvisation.
CC-101 HARMONY & THEORY 101 (1.5) curricular foundation of these classes. One lecture hour and Students perform with other keyboard player(s) in a duet KEYBD-074E HIP-HOP KEYBOARDS (1)
Prerequisites: CC-021 Harmony & Theory 021. This course one lab hour per week for one quarter. structure throughout the quarter. Upon successful completion This course covers the technical, stylistic and historic look at hip-
presents variations on diatonic structures from Harmony & Theory of the course, students will have advanced capacities in hop from the keyboard perspective. Students analyze influential
021. Highlights include: pentatonic and blues scales, inverted, SONG-201 SONGWRITING 2: POP AND COUNTRY groove, comping style, musicianship, stylistic improvisation, artists and styles, learn to compose genre-specific grooves and
extended and non-standard chord types, chord symbols and SONGWRITING (1.5) and collaborative performance. One ensemble hour per week melodic phrases, and use synthesizers and samplers to create
modes, and voice leading and chord progressions. One lecture Prerequisites: SONG-101 Songwriting 1: Introduction to Pop for one quarter. classic and contemporary sounds. In-depth, hands-on instruction
hour and one lab hour per week for one quarter. Songwriting. This course enables students to develop the provides students with a genuine hip-hop experience. One
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skills necessary to create, analyze, critique, and revise song KEYBD-151E AFRO-CUBAN KEYBOARDS (1) lecture hour per week for one quarter.
CC-201 HARMONY & THEORY 201 (1.5) lyrics in the contemporary songwriting market. Students will Prerequisites: KEYBD-210 Keyboard Technique 210.
Prerequisites: CC-101 Harmony & Theory 101. This course learn important concepts relating to lyrics, including finding Students will learn techniques and repertoire used in Afro- KEYBD-077E R&B/SOUL KEYBOARDS (1)
presents non-diatonic melodic and harmonic concepts. inspiration, mastering tools of the craft, and tailoring lyrics to Cuban music with an emphasis on stylistic rhythms and Students will learn how to develop grooves, rhythms, and
Highlights include: minor key harmony and melody, modal different styles and situations. One lecture hour and one lab melodic patterns. One lecture hour per week for one quarter. harmonic structure of R&B/ soul keyboard arrangements from the
interchange, secondary dominants, diatonic substitution and hour per week for one quarter. classic era of the ‘60s and ‘70s. This course also covers chord
modulation, chromatic modulations, Roman numeral analysis, KEYBD-152E BRAZILIAN KEYBOARDS (1) voicings, techniques, independence drills, and sounds associated
altered and symmetrical scales. One lecture hour and one lab Prerequisites: KEYBD-210 Keyboard Technique 210. with the styles of masters such as Richard Tee, Billy Preston, Earl
ELECTIVES // KEYBOARD TECHNOLOGY Students will learn the techniques and repertoire used in Van Dyke, and others. One lecture hour per week for one quarter.
Keyboard students may fulfill their elective credit requirements
Brazilian music with an emphasis on stylistic rhythms and
by choosing from program-specific electives, Common
CC-012 EAR TRAINING 012 (1.5) melodic patterns. One lecture hour per week for one quarter. KEYBD-078E ROCK KEYBOARDS (1)
Course electives, or entry-level electives offered by other
This course is an introduction to ear training techniques, Students will learn classic and modern rock keyboard techniques
programs; see course offerings for options.
which can be used within popular music. This is accomplished KEYBD-154E JAZZ KEYBOARDS 2 (1) as applied to performance repertoire. One lecture hour per week
through the technique of matching specific pitches, major scale Prerequisites: KEYBD-054E Jazz Keyboards 1. This course for one quarter.
melodies, and melodic intervals. Melodic and harmonic intervals, covers the advanced study of jazz improvisation, chord and
KEYBOARD-SPECIFIC ELECTIVES
chromaticism, triads, diatonic harmony, rhythm are also studied. key changes, chord- scale relationships, rhythmic patterns, KEYBD-079E ROLAND FANTOM WORKSTATION WORKSHOP
One lecture hour and one lab hour per week for one quarter. AVAILABLE ONLY TO KEYBOARD MAJORS and phrasing. One lecture hour per week for one quarter. (1)
This course covers advanced instruction on Roland’s Fantom
CC-022 EAR TRAINING 022 (1.5) KEYBD-054E JAZZ KEYBOARDS 1 (1) KEYBD-156E COMPOSITION FOR KEYBOARDS (1) workstations, including sequencing, sampling, recording, and
Prerequisites: CC-12 Ear Training 012. This course is a Prerequisites: KEYBD-021 Keyboard Technique 021. This Prerequisites: KEYBD-021 Keyboard Technique 021. live performance functionality. One lecture hour per week for one
continuation of Ear Training 012, through the further study course covers the development of professional concepts and Students will learn how to compose melodies based on quarter.
of meter and rhythm, eighth-note phrases, sight-singing, techniques for jazz improvisation, including handling rapid simple chord progressions in a variety of styles through the
transcribing melody and rhythm, melodic and harmonic intervals, chord and key changes, analyzing chord/scale relationships, analysis of Top 40 tunes and widely used diatonic chord KEYBD-150E ABLETON LIVE WORKSHOP (1)
triad qualities, and diatonic major chord progressions. One and developing stylistic rhythm patterns and phrasing. progressions. One lecture hour per week for one quarter. Students learn how to use Ableton Live software as a tool for
lecture hour and one lab hour per week for one quarter. Includes analysis of major jazz artists and their approaches. creating, producing and performing music. Students will be
One lecture hour per week for one quarter. shown how to create a live set, record and manipulate audio,
ENTRY-LEVEL ELECTIVES
CC-102 EAR TRAINING 102 (1.5) edit and record MIDI, use softsynths and plug-ins, and how to
Prerequisites: CC-022 Ear Training 022. This course is an KEYBD-108E KEYBOARD VOICING (1) AVAILABLE TO NON- KEYBOARD MAJORS incorporate it all into spontaneous live performances. One lecture
application- based continuation of Ear Training 022 that focuses Prerequisite: KEYBD-021 Keyboard Technique 021. hour per week for one quarter.
on the recognition and transcription of pentatonic scales, simple Students will study and utilize Keyboard chord voicings and KEYBD-061E ROLAND GAIA SYNTH PROGRAMMING (1)
major and minor pentatonic melodies, triplet rhythms, blues progressions ranging from simple triads to complicated 7th This course covers programming techniques for Roland
chords. This course will complete the current Keyboard Gaia synthesizers. Topics include: oscillators, waveforms, VOCAL
scales, natural minor scale and its variations, chord progressions
technique curriculum and support the Keyboard performance envelopes, filters, effects, real-time parameter changes, and MAJOR AREA // VOCAL
Prerequisites: VOCAL-021 Vocal Technique 021. Topics covered include: rock, rhythm & blues, jazz, and Latin. One The first in a two-quarter course sequence, designed to provide
VOCAL-PL PRIVATE LESSON (2) include: The International Phonetic Alphabet (IPA) will be lecture hour per week for one quarter. students with an understanding of the entertainment industry,
A weekly individual instrument lesson that supports core introduced, the American Standard Pronunciation will be as it exists today, and essential knowledge for sustaining a
curriculum goals. An instructor guides the student in developing discussed, addresses the formation and placement of vowels AUDIO-056 DAW 1: REASON (1) career in the digital era. In Applied Entertainment Business 1,
technique, musicianship and style. Twelve credit units required and consonants, diphthongs and triphthongs with exercises This course is an introduction to digital audio technology as an topics include an overview of industry structure, the artist’s team
(two per quarter). and resources to improve diction, exploring your speaking essential tool for the creation of instrument-based recordings. (manager, attorney, agent, etc.), copyrights and music publishing,
range. Two lecture/lab hours per week for one quarter. Topics covered include: working with audio and MIDI, virtual band partnerships and solo artists, employment agreements,
CC-013V-CC-403V LIVE PERFORMANCE WORKSHOPS 013- instruments, effects, drum programming, time stretching, work-for-hire, unions and more. One lecture hour per week for
403 (1) VOCAL-210 VOCAL TECHNIQUE 210 (2) and working with loops. One lecture hour per week for one one quarter.
Students perform in a variety of styles and settings (see section Prerequisites: VOCAL-110 Vocal Technique 110. This quarter.
on Live Playing Workshops for overview of workshop offerings). course continues the development and execution of melodic MUBUS-0460 APPLIED ENTERTAINMENT BUSINESS 2 (1.5)
Minimum requirement of ten performances with an average grade ornamentation (vocabulary embellishment, improvisation, AUDIO-156 DAW 2: REASON (1) Prerequisites: MUBUS-0360 Applied Entertainment Business 1.
of 70% or higher per quarter. One ensemble hour per week per inflection) through the study of jazz, gospel, soul, R&B and Prerequisites: AUDIO-056 DAW 1: Reason. The second This course is a continuation of Applied Entertainment Business
quarter. Six credit units required (one per quarter). pop vocal performance techniques. Therefore, these genres’ level of this course focuses on using Reason as a mixing and 1, further covering the most important areas and aspects of
harmonic subtleties and melodic vocabulary will be presented mastering tool. Topics include: EQ, compression, effects,
the entertainment industry. Topics include: record labels (major
VOCAL-013 VOCAL PERFORMANCE 013 (2) in great detail. Two lecture/lab hours per week for one automation, mastering using Reason’s Channel Strip. Upon
and indie), types of deals, the DIY market, distribution, touring,
Students develop fundamental technical approaches to vocal quarter. successful completion, students should be able to create,
merchandising, and more. S.M.A.R.T. goal setting is also covered
performance via twice-weekly performances in a number of edit, mix and master their work. One lecture hour per week for
to support students in creating a path to career success. One
popular genres with a live, three-piece backing band, assisted by VOCAL-012 SIGHTSINGING 012 (2) one quarter.
This course is an introduction to sight-reading and lecture hour per week for one quarter.
extensive curricular materials, including performance notes, vocal
charts, and reference audio. Two ensemble hours per week for sightsinging for the vocalist. Topics include: an overview of VOCAL-350 CONTEMPORARY VOCAL ENSEMBLE (2)
one quarter. music notation, the basic elements of written music, major Students will learn the essentials of backing vocals with an MUBUS-0202 MEDIA RELATIONS (2)
scales, intervals, ties, dotted notes, warm-ups, simple diatonic emphasis on blending, singing unison, counterpoint, mic Students learn the difference between publicity and public
VOCAL-023 VOCAL PERFORMANCE 023 (2) melodies with whole, half, quarter, eighth, and sixteenth-note techniques, and sightsinging while in a small or large group relations, how to create and implement media campaigns, and
Prerequisites: VOCAL-013 Vocal Performance 023. Continued rhythmic patterns. Two lecture/lab hours per week for one and as individuals. Two ensemble hours per week for one how to write artist bios, press releases, news releases, and eye-
live-ensemble performing experience, featuring progressively quarter. quarter. This course may be repeated for credit. catching headlines. Skills apply to independent artists as well as
more complex material and additional musical genres. Two those aspiring to work in the industry. Two lecture hours per week
ensemble hours per week for one quarter. VOCAL-022 SIGHTSINGING 022 (2) VOCAL-450 ADVANCED CONTEMPORARY VOCAL for one quarter.
Prerequisites: VOCAL-012 Sightsinging 012. Continued ENSEMBLE (2) Prerequisites: VOCAL-350 Contemporary
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VOCAL-130 VOCAL PERFORMANCE 130 (2) development of sightsinging skills with emphasis on Vocal Ensemble. This course covers backing vocals for CC-307 VISUAL MEDIA 1 (2)
Prerequisites: VOCAL-023 Vocal Performance 023. Prepares combining notes and values, an introduction to the bass clef, advanced students. Topics include: containing intricate Students learn how to use Adobe Photoshop to design
students for live ensemble and background vocals. Students triplet rhythms, cadences and 6/8 time signature. Two lecture/ vocals, jazz harmonies, cluster chords, plus 4-part and 6-part original CD artwork, flyers, promotional tools, and other visual
are placed into sections and assigned vocal parts. Emphasis lab hours per week for one quarter. harmony song structures, along with soloing and backup materials vital to modern Independent Artists. Emphasis is on
on harmony, blending, individual parts, sight reading and group singing within the same song. creating exciting and expressive designs that directly support
sound. Two ensemble hours per week for one quarter. VOCAL-120 SIGHTSINGING 120 (2) music marketing campaigns. Topics covered in this class
Prerequisites: VOCAL-022 Sightsinging 022. This course VOCAL-360 PROJECT RECORDING 1: VOCAL (2) include: typography, flyer design, album artwork design, image
VOCAL-230 VOCAL PERFORMANCE 230 (2) expands sightsinging skills to include the introduction of major Prerequisites: VOCAL-220 Sightsinging 220, VOCAL-210 manipulation, merchandise design, and more. Two lecture hours
Prerequisites: VOCAL-130 Vocal Performance 130. Additional and minor diatonic melodies, mixed rhythms and complex Vocal Technique 210, VOCAL-230 Vocal Performance 230. per week for one quarter.
live ensemble performing experience featuring progressively harmonies. Topics include: intervals, major and minor triad Students will learn the art and practical skills of creating their
more complex material, additional musical genres, and the ability inversions, minor scales, modes, extended chords, and minor own professional-quality vocal reel in the recording studio CC-407 VISUAL MEDIA 2 (2)
for students to perform their own material at set points within the key chord progressions. Two lecture/lab hours per week for using industry-standard audio equipment. Topics include: Prerequisites: CC-307 Visual Media 1. The Internet has opened
course. Two ensemble hours per week for one quarter. one quarter. pre-production, microphone techniques, equipment choice, up an enormous opportunity for musicians to promote themselves
essential recording studio terminology, pre- amplification, EQ directly to music fans. This course focuses on the technical skills
VOCAL-011 VOCAL TECHNIQUE 011 (2) VOCAL-220 SIGHTSINGING 220 (2) and effects for lead vocals, as well as other equipment and needed to promote music online. Topics include: building a strong
This course is an introduction to the anatomy, the physiology Prerequisites: VOCAL-120 Sighsinging 120. This course techniques essential to creating and capturing the best vocal
online presence, creation of a content-rich artist website, online
and production of the voice. Topics include: vocal physiological includes: tension/resolution and chord/scale relationships, performance. Two lecture/lab ensemble hours per week for
marketing tools and strategies, video editing basics, and social
terminologies, breathing techniques, breath management and review of the modes, eighth note grooves, introduction one quarter.
media. Two lecture hours per week for one quarter.
its’ impact, effective practice habits, registers and efficient to swing, jazz transcription, advanced blues reading, and
phonation techniques. Two lecture/lab hours per week for one advanced two-part reading. Two lecture/lab hours per week VOCAL-460 PROJECT RECORDING 2: VOCAL (2) MUBUS-0307 INDEPENDENT ARTIST MARKETING (2)
quarter. for one quarter. Prerequisites: VOCAL-360 Studio Recording 1: Building
This course reveals basic marketing concepts applicable to
on the knowledge and techniques learned in Project
VOCAL-014 STYLES SURVEY 1 (1) Recording 1: Students will further experience recording with any professional business venture and focuses on the creation
VOCAL-021 VOCAL TECHNIQUE 021 (2) of a fully customized, low-budget marketing plan of attack.
Prerequisites: VOCAL-011 Vocal Technique 011. This course This course provides students with an analytical overview both a Producer and an Engineer, using industry-standard
of styles, chart reading and critical listening as they relate to recording equipment. This course sees students arranging Furthermore, at a time when new technologies make it more
focuses on understanding the nature of vocal production.
repertoire requirements. Styles covered include: rock, rhythm and recording a cover version or original song, including possible than ever for artists to leverage their own careers,
Topics include: assessing and increasing vocal range, study of
& blues, jazz, and Latin. One lecture hour per week for one overdubs, backing vocals, final EQ and effects. as a means there has never been a greater need for practical, independent
the Passaggio (the break), expansion of listening techniques,
formation of speech sounds, vowel placement, exploration of quarter. to understand studio vocal performances. Two lecture/lab marketing advice. After identifying a business vision, students
resonance, vibrato, agility, ad-libbing, tonal colors, singing in ensemble hours per week for one quarter. conduct research, set short-term goals, and create an integrated
harmony, endurance and factors that affect vocal health. Two VOCAL-024 STYLES SURVEY 2 (1) mix of marketing strategies to achieve their objective, including
lecture/lab hours per week for one quarter. Prerequisites: VOCAL-014 Styles Survey 1. This course is defining an image, brand, position, and format, identifying the
a continuation of style exploration through chart reading and
PROFESSIONAL DEVELOPMENT // VOCAL target audience, gaining access to radio, as well as effectively
VOCAL-110 VOCAL TECHNIQUE 110 (2) critical listening as they relate to advanced repertoire. Styles utilizing live shows, the Internet, press, video promotion,
MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS 1 (1.5)
advertising and sponsorships, sales and licensing. Students can be used within popular music. This is accomplished production components that contribute to authenticity One lecture/ ensemble hour per week for one quarter. This
create a complete marketing plan utilizing handy templates through the technique of matching specific pitches, major pertaining to key genres and repertoire serves as the course may be repeated for credit.
included in the course resource, and receive useful feedback scale melodies, and melodic intervals. Melodic and harmonic curricular foundation of these classes. One lecture hour and
during three in-class work hours. Two lecture hours per week for intervals, chromaticism, triads, diatonic harmony, rhythm are one lab hour per week for one quarter. VOCAL-015E ROCK VOCAL STYLES (1.5)
one quarter. also studied. One lecture hour and one lab hour per week for Students learn the unique styles of influential classic and
one quarter. SONG-201 SONGWRITING 2: POP AND COUNTRY modern rock vocalists through listening, analysis, demonstrations
MUSICIANSHIP // VOCAL SONGWRITING (1.5) of technique, class discussion, and weekly in-class
CC-022 EAR TRAINING 022 (1.5) Prerequisites: SONG-101 Songwriting 1: Introduction to Pop performances. Two lecture/lab hours per week for one quarter.
CC-015 RHYTHM READING WORKOUT 1 (1) Prerequisites: CC-12 Ear Training 012. This course is Songwriting. This course enables students to develop the
This course is designed to give Performance Program students a a continuation of Ear Training 012, through the further skills necessary to create, analyze, critique, and revise song VOCAL-016E CONTEMPORARY VOCAL ENSEMBLE (1)
solid foundation in reading rhythms. Students will focus solely on study of meter and rhythm, eighth-note phrases, sight- lyrics in the contemporary songwriting market. Students will Ensemble class designed to teach entry-level vocal students the
understanding rhythmic notation and subdividing basics. Topics singing, transcribing melody and rhythm, melodic and learn important concepts relating to lyrics, including finding essentials of backing vocals with an emphasis on blending during
covered include: notation basics (bar lines, time signatures) notes harmonic intervals, triad qualities, and diatonic major chord inspiration, mastering tools of the craft, and tailoring lyrics to live performance. Topics include: harmonizing and holding parts
and rests (ranging from whole note to sixteenth note values), progressions. One lecture hour and one lab hour per week for different styles and situations. One lecture hour and one lab in a large or small ensemble. Two ensemble hours per week for
note value relationships, counting, triplets and syncopation. One one quarter. hour per week for one quarter. one quarter. This course may be repeated for credit.
lecture/lab hour per week for one quarter.
CC-102 EAR TRAINING 102 (1.5) ELECTIVES // VOCAL VOCAL-020E RAP TECHNIQUES (1.5)
CC-025 RHYTHM READING WORKOUT 2 (1) Prerequisites: CC-022 Ear Training 022. This course is an Voice students may fulfill their elective credit requirements by This course prepares the student to become a versatile rap singer
Prerequisites: CC-015 Rhythm Reading Workout 1. This application- based continuation of Ear Training 022 that choosing from program-specific electives, Common Course as well as a background rap singer (a.k.a. “hypeman”) and gives
class is designed to give Performance Program students an focuses on the recognition and transcription of pentatonic electives, or entry-level electives offered by other programs; an overview of rap history. Emphasis is placed on articulation,
understanding of intermediate rhythm concepts. Topics covered scales, simple major and minor pentatonic melodies, triplet see course offerings for options. syncopation, independence on individual parts, breathing
include: dotted notes, tied notes, swung eighth and sixteenth rhythms, blues scales, natural minor scale and its variations, technique, microphone technique, cadence, timing, flow, delivery,
notes, advanced time signatures (cut time, 3/4, 6/8) and mixed chord progressions utilizing inversions, diatonic minor key vocal timbres, dynamics, animation, and group sound. Two
chord progressions, chord progressions in Roman numerals, VOCAL-SPECIFIC ELECTIVES lecture/lab hours per week for one quarter.
meters. One lecture/lab hour per week for one quarter.
seventh chords. One lecture hour and one lab hour per week AVAILABLE ONLY TO VOCAL MAJORS
CC-011 HARMONY & THEORY 011 (1.5) for one quarter. VOCAL-022E COUNTRY VOCALS (1.5)
This course is an introduction to the harmony and theory VOCAL-010E BRAZILIAN VOCALS (1.5) This course examines the development of country music from its
CC-202 EAR TRAINING 202 (1.5) This course examines Brazilian music from the 1950s to inception to the present. The emphasis of this course will be on
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used within popular music. This is accomplished through the

Prerequisites: CC-202 Ear Training 102. This course is an the present. The emphasis of this course will be on vocal vocal performance. Weekly lectures, readings, and performances
application of music notation (for pitch), major scales, major key
application- based continuation of Ear Training 102 that performance. Weekly lectures, readings, and performances will explore approaches to the music and its subgenres
signatures, intervals, triads, and major scale harmonies. One
focuses on the recognition and transcription of sixteenth-note will explore four approaches to the music—bossa nova, samba (bluegrass, western swing, rockabilly, honky tonk, country-
lecture hour and one lab hour per week for one quarter. song, MPB (Brazilian pop music) and contemporary Brazilian
rhythmic phrases, standard variations in minor-key melody influenced 1950’s rock,, 1960’s country-folk , 1970’s Southern
and harmony, and seventh chord major and minor diatonic jazz. Contemporary international crossover artist approaches rock, pop-country, and alternative country). Contemporary
CC-021 HARMONY & THEORY 021 (1.5) will also be explored to highlight the relevance of these vocal
Prerequisites: CC-011 Harmony & Theory 011. This course is harmony. One lecture hour and one lab hour per week for one crossover artist approaches will also be explored to highlight
styles for present-day jazz and pop vocalists in the U.S. and
a continuation of Harmony & Theory 011. This is accomplished quarter. the relevance of these styles for present- day country and pop
other countries. Two lecture/lab hours per week for one
through the further study of musical notation, diatonic structures, vocalists. This course will also explore the business of country
quarter.
rhythmic values, time signatures, natural minor scales (and CC-108 KEYBOARD PROFICIENCY 1 (1) music and how it compares to other popular genres. Two lecture/
Keyboard Proficiency 1 serves as an introduction to lab hours per week for one quarter.
variations), minor key signatures, harmonized minor scales, VOCAL-011E BLUES VOCALS (1.5)
chord inversions, diatonic seventh chords, triad analysis, chord contemporary keyboard technique. Through the study of A study of the African Diaspora and the development of the
progressions, and key centers. One lecture hour and one lab physical posture, finger technique, diatonic scales & chord blues genre, scale, and form, including a study of vocalists VOCAL-026E R&B VOCALS (1.5)
hour per week for one quarter. progressions, this course will enable students to develop the in the blues genre. It provides students with an insight into A study of the African Diaspora and the development of the R&B
necessary motor skills required for using the keyboard both as blues phrasing and emotional delivery in order to create more genre, including a study of vocalists in the R&B genre, providing
CC-101 HARMONY & THEORY 101 (1.5) a performing instrument and compositional tool. One lecture authentic and convincing blues performances. One lecture- students with an insight into R&B phrasing and vocal timbre
Prerequisites: CC-021 Harmony & Theory 021. This course hour and one lab hour per week for one quarter. lab hour per week for one quarter. delivery in order to create more authentic and convincing R&B
presents variations on diatonic structures from Harmony & Theory performances. One lecture, and one lab hour per week for one
021. Highlights include: pentatonic and blues scales, inverted, CC-208 KEYBOARD PROFICIENCY 2 (1) VOCAL-012E EXTREME VOCALS 1 (1) quarter.
extended and non-standard chord types, chord symbols and Prerequisites: CC-108 Keyboard Proficiency 1. This course Vocalists performing in an extreme style who maintain long
modes, and voice leading and chord progressions. One lecture further develops the technical skills required for successful careers do so because they apply effective vocal techniques VOCAL-031E DIGITAL NOTATION & ARRANGING 1 (1)
hour and one lab hour per week for one quarter. keyboard performance and musical comprehension. Pop and that prevent damage to their voices. Techniques taught This course explores the art of musical notation as applied
Classical repertoire performance serves as the main focus of include: “The Gravel” (James Hetfield/Metallica), “The to contemporary chart-writing. Focus is on evaluating music
this course, in addition to further study of chord progressions Bobcat” (Phil Anselmo/Pantera), “The Drill Sergeant” (Slayer, information, then determining what details need to be contained
CC-201 HARMONY & THEORY 201 (1.5) Godsmack), and “The White Scream” (Roger Daltrey/The
Prerequisites: CC-101 Harmony & Theory 101. This course and scales. One lecture hour and one lab hour per week for on the charts, learning chart-writing by hand, and utilizing the
one quarter. Who). Note: Due to the nature of the techniques taught, professional digital notation software, Sibelius. Students will
presents non-diatonic melodic and harmonic concepts. students enrolling in this class must sign an Extreme Vocal
Highlights include: minor key harmony and melody, modal acquire the skill to create easy-to-understand and easy-to-
SONG-101 SONGWRITING 1: INTRODUCTION TO POP Release Form. Two lecture/lab hours per week for one edit charts and lead sheets, along with some basic arranging
interchange, secondary dominants, diatonic substitution and quarter.
modulation, chromatic modulations, Roman numeral analysis, SONGWRITING (1.5) exercises. One lecture hour per week for one quarter.
altered and symmetrical scales. One lecture hour and one lab This course enables students to develop the analytical, VOCAL-014E JAZZ VOCALS (1.5)
hour per week for one quarter. compositional and performance skills necessary for VOCAL-131E DIGITAL NOTATION & ARRANGING 2 (1)
Students learn how to communicate with a band and work in
successfully navigating contemporary music’s ever changing Prerequisite: VOCAL-031E Digital Notation & Arranging 1.
a jazz ensemble. Emphasis is placed on learning the standard
CC-012 EAR TRAINING 012 (1.5) stylistic landscape. Group study of the compositional and A continuation of Digital Notation & Arranging 1. This course
repertoire and developing a personal stylistic interpretation.
This course is an introduction to ear training techniques, which
explores the art of musical notation as applied to contemporary listening, the class will compare written melodies to ad lib, utilize vocal improvisation, recognizing musical phrases 2. The Humanities (Foreign Language, Humanities,
chart-writing. Focus is on evaluating music information, then recorded performances by genre-defining vocalists. and instrumental elements by interacting with a rhythm section Linguistics, Speech, Literature, Philosophy)
determining what details need to be contained on the charts, Every class will include guided listening, as well as in numerous genres, various music styles and grooves. Chart-
learning chart-writing by hand, and utilizing the professional practical application through performances. Chord/ writing by hand will be taught utilizing the whiteboard in class. *Students with a concentration in Vocals are required to complete
digital notation software, Sibelius. Students will increase their scale relationships, as they relate to improvisation, and Lead sheets will be brought to class, interpreted in a style 3 semester hours/4.5 quarter hours of language courses in
skills in creating easy-to-understand and easy-to-edit charts and transcription analysis and performance, will also be different than its original, and performed with a full rhythm French, German, or Italian as part of their minimum Humanities
lead sheets, along with arranging exercises. One lecture hour per presented in detail. Two lecture/lab hours per week for one section. Two songs will be selected and performed weekly. course requirements.
week for one quarter. quarter. This course is transferable as core credit for the Bachelor of
Music in Performance (Vocal). Two lecture/ensemble hours Social and Behavioral Sciences: minimum of 9 semester-units or
VOCAL-106E THE ART OF SUCCESS 1 (1) VOCAL-116E ADVANCED CONTEMPORARY VOCAL per week for one quarter. 13.5 quarter-units, including:
This course offers real-world advice about how to define ENSEMBLE (1.5) 1. American Institutions and Government (African-
success, how to realistically create the next step to evolve as a Prerequisites: Enrollment by audition only. This course VOCAL-321E A CAPELLA VOCALS (2) American Studies, Chicano Studies, History, Political
performer, and how to keep moving up the industry ladder. Two prepares the student to become a versatile ensemble Prerequisites: Sight Singing 220, Harmony & Theory or Science): 3 semester-units or 4.5 quarter-units
workshop hours per week for one quarter. member and background singer. Students will be placed permission via Audition. Contact the Vocal Chair to schedule in American Institutions and Government
into sections and will be assigned parts. Emphasis is an audition at dbyrd@mi.edu. Students explore vocal 2a. Social and Behavioral Sciences
placed on sight-reading, independence on individual parts, harmony and contemporary a capella singing as showcased (Anthropology, Family & Consumer Studies,
ENTRY-LEVEL ELECTIVES inter-section blending, microphone technique, and group in Universal Studio’s “Pitch Perfect” and NBC-TV’s “The Sing Geography, History, Linguistics, Psychology,
sound. Two lecture/lab hours per week for one quarter. Off.” Emphasis on vocal arranging, rehearsing as a group, Sociology) or:
AVAILABLE TO NON-VOCAL MAJORS preparing for live performances and utilizing mic amplification. 2b. Economics and Politics (Business, Economics,
VOCAL-125E VOCAL AUDITION FUNDAMENTALS (2) Two lecture/ensemble hours per week for one quarter. Journalism, Law, Political Science):
VOCAL-013E GOSPEL CHOIR (1) Vocal Technique 021, VOCAL-022 Sightsinging 022, 3 semester-units or 4.5 quarter-units
An ensemble course in which students perform traditional 3. A minimum of 3 additional semester-units or 4.5
and contemporary Gospel songs. Students rotate lead vocal
VOCAL-023 Vocal Performance 023, or audition via BACHELOR OF MUSIC DEGREES
Program Chair. Enrollment is contingent upon approval quarter-units from 1, 2a, or 2b above.
performances with the class acting as choir/background.
of three submitted talent-videos. This course exposes GENERAL EDUCATION REQUIREMENTS
Topics include: constructing lead vocals, learning and arranging
harmonies by ear, and group vocal blending and dynamics. Two students to the skills necessary to audition in diverse
musical situations. The class will cover: the importance Bachelor of Music Degree requirements include completion COMM-121 COMMUNICATION 121: INTERPERSONAL
ensemble hours per week for one quarter. This course may be of 30 semester-units or 45 quarter-units of coursework
repeated for credit. of song choice in audition settings; the requirements and COMMUNICATION (4.5)
expectations of multiple audition-style situations including in General Studies. For general reference, the required This course allows students to delve into their personal
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live auditions; a singing competition; a musical theater distribution of units is shown below along with representative communication knowledge and skills. It will challenge students
VOCAL-018E ACCENT REDUCTION (1) areas of coursework. Please refer to the General Education
This course enables non-native English speaking students audition; fronting a band; becoming a backup vocalist; and to critically analyze and consciously examine their own personal
auditioning while playing an instrument. Submitted videos Transfer Agreement between Los Angeles City College and style of communication. This course will introduce the principles
to develop an American English accent for effective English-
will be discussed in class. Two lecture/ ensemble hours Musicians Institute for specific course titles and numbers that and practices of interpersonal social communication and
language vocals. Students learn to break words into their
phonetic elements and identify and concentrate on specific per week for one quarter. meet the requirements. Units completed at other institutions interactions in both dyadic and group settings. Students will
problem sounds. One lecture/lab hour per week for one quarter. will be evaluated to determine their equivalency; see explore the significance of perception, emotional expression,
VOCAL-205E TC HELICON FOR VOCALISTS 1 (1) Admissions: Transfer of Credit for more information. effective listening, verbal and nonverbal communication,
Prerequisite: VOCAL-120 Sightsinging 120 and the influence of culture and gender roles in regards to
ADVANCED ELECTIVES // VOCAL VOCAL-130 Vocal Performance 130. This course provides Language and Rationality: minimum of 12 semester-units or communication, conflict management, and it will also generate
Note: For full details, refer to the course description for each students with skills to record, loop and design vocals in 18 quarter-units in: students to be self-aware on how to build better relationships in
prerequisite named in your elective of interest. live performance situations. The class will create vocal 1. English Composition (English, Journalism): 3 everyday living based on effective communication skills in both
improvisations and harmonies with diverse effects that semester-units or 4.5 quarter-units personal and professional environments. Four and a half lecture
VOCAL-040E VOCAL TEACHER TRAINING 1 (1) expand a vocalist’s presentation utilizing TC Helicon’s 2a. Communication and Analytical Thinking hours per week for one quarter.
Prerequisites: VOCAL-210 Vocal Technique 210. This course is VoiceLive Touch 2, a vocal effects processor and looping (Mathematics): 3 semester-units or 4.5 quarter-units
an introduction to building a private vocal studio, keeping track device. The class will discover how to engage vocal effects 2b. Communication and Analytical Thinking (Computer ENGL-25 GRAMMAR AND READING REVIEW (4.50)
of assignments and students, and vocal training techniques, and operate presets that result in vocal versatility while Science, Computer Technology, English, Philosophy, Students must complete a placement test prior to enrollment.
including: techniques for evaluating the throat; establishing a onstage.Two lecture/ensemble hours per week for one Psychology, Speech): 3 semester-units or 4.5 quarter- Please contact your Program Chair for additional information. This
viable starting-point for the student; correcting interferences; quarter. units class reviews fundamental writing elements such as grammar,
increasing range; applying scale exercises; and effective 3. A minimum of 3 additional semester-units or 4.5 punctuation, and vocabulary usage. Students develop their skills
communication of the science of vocal technique. One lecture VOCAL-206E THE ART OF SUCCESS 2 (1) quarter-units from 1, 2a, or 2b above. through writing and reading exercises. Four and a half lecture
hour per week for one quarter. Prerequisites: VOCAL-106E The Art of Success 1. Natural Sciences: minimum of 3 semester-units or 4.5 hours per week for one quarter.
Students expand their perception of the entertainment quarter-units in:
VOCAL-112E EXTREME VOCALS 2 (1) industry — and their definitions of success within it — 1. Physical Universe (Astronomy, Chemistry, Earth
Prerequisites: VOCAL-012E Extreme Vocals 1. A review of Science, Environmental Science, Geography, ENGL-28 INTERMEDIATE READING AND COMPOSITION (4.50)
while engaging in activities designed to hone the skills Prerequisite: ENGL-25 Grammar and Reading Review or
various extreme vocal styles followed by extreme-style-specific necessary to be professional musicians and artists. Two Geology, Meteorology, Mineralogy, Oceanography,
vocal exercises. Each student is required to prepare a number of Physical Science, Physics) or: Students must complete a placement test prior to enrollment.
workshop hours per week for one quarter. Please contact your Program Chair for additional information.
different performances, including a final performance, for class 2. Life Forms (Anatomy, Anthropology, Biology,
critique and instructor evaluation. Two lecture/lab hours per week Microbiology, Physiology) This class focuses on the skills students need to write effective
BACH-V 320 VOCAL CREATIVITY 320 (2) essays, including grammar, lexicon, and essay structure. Students
for one quarter. Prerequisite: VOCAL-230 Vocal Performance 230 and
Humanities: minimum of 6 semester-units or 9 quarter-units* learn essential writing approaches and increase their reading
permission via Audition. Please contact the Vocal Chair level by analyzing literary texts. Four and a half lecture hours per
VOCAL-114E JAZZ VOCALS 2 (1.5) to schedule an audition at dbyrd@mi.edu. This course in:
Prerequisites: VOCAL-014E Jazz Vocals. This course analyzes 1. The Arts (Architecture, Cinema, Photography, week for one quarter.
prepares students to expand their creativity by learning to
vocal interpretation of jazz language and form. Through guided Theater) or:
ENGL-101 COLLEGE READING AND COMPOSITION (4.50) Four lecture hours per week for one quarter. Concurrent MAJOR AREA // COMPOSITION ranges and characteristic usage of the violin, viola, cello and
Prerequisite: ENGL-28 Intermediate Reading and Composition enrollment in Mathematics 113 and Mathematics 114 is not contrabass. As a final project, each student completes a studio
or Students must complete a placement test prior to enrollment. permitted. BACH-C.PL PRIVATE MEDIA SCORING COMPOSITION recording of an arrangement for string quintet. Two lecture hours
Please contact your Program Chair for additional information. LESSON (2) per week for one quarter. Required lab fee: $200.
This class teaches students how to write college-level essays PHIL-001 INTRODUCTION TO PHILOSOPHY (4.50) Weekly private lesson focused on developing and applying
that provide academic documentation. Fiction and non-fiction In this course, students will develop critical thinking skills traditional and contemporary compositional techniques and BACH-P503 CONTEMPORARY ARRANGING 5 (2)
texts are analyzed at the appropriate level. Four and a half lecture necessary for the evaluation of philosophical teachings and skills. Includes analysis and critique of compositions as well Prerequisites: BACH-P403 Contemporary Arranging 4. This
hours per week for one quarter. writings by well-known thinkers from the early ages to the as preparation for scoring assignments plus Sophomore and course combines all previous course materials. Introduces
present time. Also, students will work toward answering Senior projects. One private lesson hour per week per quarter. additional concepts of sweetening and overdubbing for
philosophical questions regarding topics such as: life’s recording. Students learn to combine techniques to build
FREN-1 FRENCH 1 (4.50)
meaning, theodicy, ethics, and the existence of a divine BACH-P103 CONTEMPORARY ARRANGING 1 (2) intermediate level arrangements. As a final project, each student
This course serves as an introduction to the French language.
being. Further, the course will examine traditional Western Prerequisites: BACH-C301 Harmony & Theory 301 and completes a studio recording of an arrangement for 5 horns
The primary focus and goal is for students to gain fundamental
philosophy alongside ancient African, Near East, and Eastern BACH-P127 Sibelius Notation. This course is an introduction (trumpet, trombone, alto saxophone, tenor saxophone, and
skills in speaking, reading, and writing in French, which includes
philosophies. Part one of the course will give a historical to instrumentation, arranging techniques, and notation practices baritone saxophone), guitar, piano, bass, drums, and “sampled”
spelling and grammar. Special emphasis will be given to the
understanding of philosophical thought’s development. The for a live rhythm section. Emphasis is placed on score and parts strings. Two lecture hours per week for one quarter. Required lab
development of basic communication skills. In addition, the
course will focus on the Pre-Socratic, Socratic/Classical, and preparation and notation in selected contemporary styles. The fee: $200.00.
course will provide the student with basic information on French
Hellenistic periods, as it takes a close look at the works of objective is to learn the characteristic usage of each instrument
culture and the Francophone world. The course will make use of
text materials, written assignments, quizzes, music, videos, and
ancient Egyptian and Greek philosophers such as Imhotep, in the rhythm section, and to prepare an arrangement step-by- BACH-M603 CONTEMPORARY ARRANGING 6 (2)
Ptahotep, Plato, and Aristotle. The course’s part two will step using a verbal outline, sketch score, and master score. As Prerequisites: BACH-P503 Contemporary Arranging 5. This
web sources. The course also includes a midterm and a final
introduce students to the works of ancient Asian and Middle a final project, each student completes a studio recording of course covers arranging techniques for the large jazz ensemble.
exam. Four and a half lecture hours per week for one quarter.
Eastern thinkers, while examining the Medieval and Romantic an arrangement for piano, guitar, bass and drums. Two lecture Students will study the techniques and conventions common
philosophies of the West. The Protestant Reformation will be hours per week for one quarter. Required lab fee: $200. to big band writing. Homework assignments applying these
HIST-001 INTRODUCTION TO WESTERN CIVILIZATION 1 (4.50)
the topic of focus during part three of the course, as students techniques and conventions will be assigned. The final project
This course introduces Western Civilization from pre-history to
will view how the contributions of theologians like Martin BACH-P203 CONTEMPORARY ARRANGING 2 (2) will be a full-length arrangement for large jazz ensemble.
the early modern era. Topics include ancient Greece, Rome, and
Luther influenced the wider world. Students will become Prerequisites: BACH-P103 Contemporary Arranging 1. This
Christian institutions of the Middle Ages up to the Reformation.
Four and a half lecture hours per week for one quarter.
familiar with the works of the writings Locke, Rousseau, course is a continuation of Contemporary Arranging 1, with BACH-M334 SCORING 1 (2)
and other enlightenment period authors during part six of the addition of brass and woodwind instruments. Topics will Corequisite requirement: Students must be concurrently enrolled
the course. The course’s final study will include a critical in a Composition Private Lesson in order to enroll into Scoring
COURSES
COURSES
HIST-002 WESTERN CIVILIZATION 2 (4.50) include transposition, range, and idiomatic usage of the trumpet
examination of the religious, social, and political contributions and tenor saxophone in popular styles. The objective is to 1. This course covers basic scoring practices and concepts,
This course will cover developments from the early 1800s
of Martin Luther King Jr., Angela Y. Davis, Cornell West, and study the brass and reed family with emphasis on two-part including the difference between score and source cues,
through the recent past. Topics include the factors that
Gustavo Gutiérrez to the world of philosophy. soli writing and background lines. Students analyze and learn diegetic versus non-diegetic music, and underscore. Research
contributed to the causes of WWI and WWII as well as the
to build arrangements for rhythm section and two horns. As a covers the functions of media music, the role of the media music
results of these World Wars. Four and a half lecture hours per
PHYS-101 INTRODUCTION TO PHYSICS (4.50) final project, each student completes a studio recording of an professional and his or her employers, and the scoring process
This course is an introduction and examination of the arrangement for trumpet, tenor sax, guitar, piano, bass, and pipeline. Two lecture hours per week for one quarter.
groundwork and structure of some of the fundamental drums. Two lecture hours per week for one quarter. Required lab
MATH-124A INTERMEDIATE ALGEBRA A (4) areas of physics. Through demonstrations, lectures, and BACH-M335 SCORING 2 (2)
Prerequisite: MATH-114 Elementary Algebra B or equivalent. This fee: $200.
group activities, the course will explore areas such as heat, Prerequisites: BACH-M334 Scoring 1. This course gives
course is the first half of a two-quarter course in Intermediate
sound, classical Newtonian mechanics, magnetism, and BACH-P303 CONTEMPORARY ARRANGING 3 (2) students an understanding of how emotion is communicated
Algebra. Topics include linear and quadratic equations, factoring
radiation. Students will also develop their skills with respect Prerequisites: BACH-P203 Contemporary Arranging 2. This through instrumentation choices. Students will also study the
polynomials, radical expressions and basic algebraic geometry.
to proportional reasoning, estimation, scientific notation, course is a continuation of Contemporary Arranging 2, with process of scoring with or against picture. Two lecture hours per
Four lecture hours per week for one quarter.
and graphing. While advanced mathematical skills such as additional brass and woodwind instruments. Topics will include week for one quarter.
calculus are not required for this course, basic math and some transposition, range, and idiomatic usage of the trombone, alto
MATH-124B INTERMEDIATE ALGEBRA B (4) simple trigonometry and algebra will be used. By taking this BACH-M336 SCORING 3 (2)
Prerequisite: MATH-124A Intermediate Algebra A or equivalent. saxophone, flute and clarinet. Students will learn arranging
course, students will develop problem solving and reasoning techniques for standard 4-horn ensembles with “doubling” Prerequisites: BACH-M335 Scoring 2. This course features
This course is the second half of a two-quarter course in
skills, improve their scientific literacy, and further their instruments. The objective is to study the brass and woodwind in-depth melodic and harmonic analysis, along with instruction
Intermediate Algebra. Topics include basic algebraic geometry,
appreciation for the physical universe. Four and a half lecture family with emphasis on four-part harmonization. As a final in applied sequencer skills and rudimentary mixing techniques.
exponential and logarithmic functions and equations, series and
hours per week for one quarter. project, each student completes a studio recording of an This class will address “genre” in film scores, with an emphasis
sequences. Four lecture hours per week for one quarter.
arrangement for trumpet, alto saxophone, tenor saxophone, on accepted musical tropes. Students will complete a variety of
SPAN-1 ELEMENTARY SPANISH I (4.50) trombone, piano, bass, and drums. Two lecture hours per week scoring assignments focused on writing a good motif and motor
MATH-113 ELEMENTARY ALGEBRA A (4) This class teaches students the basics of the Spanish as well as orchestration and transcription. Two lecture hours per
Prerequisite: MATH-112 Pre-Algebra or equivalent. The first half for one quarter. Required lab fee: $200.00
language. Essential grammar, vocabulary, and pronunciation week for one quarter.
of a two-quarter course in Elementary Algebra. Topics include
skills are developed by way of in-class exercises and BACH-P403 CONTEMPORARY ARRANGING 4 (2)
inequalities, an introduction to polynomials and their arithmetic,
equations, factoring, and graphs of two variables. Four hours per
homework. Key information about Hispanic culture and Prerequisites: BACH-P303 Contemporary Arranging 3. This BACH-M337 SCORING 4 (2)
geography is presented in class. Four and a half lecture hours course focuses on chord progressions and reharmonization, Prerequisites: BACH-M336 Scoring 3: Introduction to
per week for one quarter. and scoring for strings. Topics include harmonic rhythm, chord Scoring for Animation. This course is a survey of historical
substitution, dominant and substitute dominant resolution, and contemporary animation styles and scoring approaches.
MATH-114 ELEMENTARY ALGEBRA B (4)
Prerequisite: MATH-113 Elementary Algebra A or equivalent. BACHELOR OF MUSIC IN modal interchange, basic contrapuntal arranging and voice Students will do takedown exercises with the instructor,
COMPOSITION (SCORING IN leading. Extensive score analysis of string arrangements is emphasizing complex rhythm and melody, as well as addressing
The second half of Elementary Algebra. Topics include factoring
included. The objective is to gain an understanding of effective animation conventions in traditional and modern film. Students
polynomials, rational expressions and equations, properties of VISUAL MEDIA) will complete a variety of animated film scores as part of this
roots and radicals, solving and graphing quadratic equations. chord progressions and reharmonization, and to learn the
class. Two lecture hours per week for one quarter. Additional lab quarter, students will have a recording session with full orchestra. Music I 600-1820. The history of musical styles from the completion of this course, students will be able to navigate
fee required. Two lecture hours per week for one quarter. Additional lab fee Romantic period through the 20th century including cultural through the software, including the various windows (main mixer,
required. contexts and social meaning. Composers and musical rack, and sequencer), route audio signal and MIDI, and create
BACH-M338 SCORING 5 (2) developments in European and American Art Music, orchestral, basic tracks. Integration of audio loops will also be touched upon
Prerequisites: BACH-M337 Scoring 4. This course features BACH-M434 ORCHESTRATION 1 (2) choral, band, chamber music and solo repertoire are combined as well as a basic understanding of computer set-ups and Digital
an exploration of the use of music in the comedy genre and Prerequisite: BACH-P403 Contemporary Arranging 4. with the influences of music from other world cultures. Audio Workstations (DAWs). Two lab hours per week for one
associated subgenres. There will be in-depth analysis of scoring Chronological analysis of the orchestra as used in chamber and Compositional techniques, style characteristics, and relationships quarter.
approaches, both historical and contemporary, used for comedy. symphonic styles, including instrumentation and common rules. will be emphasized. In addition to a midterm and final examination,
Applying the techniques of these scoring approaches, students Orchestration techniques will be studied through score study the course requires one critical concert report, workbook AUDIO-156 DAW: REASON 2 (1)
will complete a variety of film scoring assignments. Two lecture assignments, and presentation. Two lecture hours per week for Prerequisites: AUDIO-056 Reason 1. This course is a
and through the application of writing skills. Two lecture hours
hours per week for one quarter. Additional lab fee required. one quarter. continuation of Reason and focuses on taking advantage of the
software’s capabilities. Upon completion, students will be able
BACH-M339 SCORING 6 (2) BACH-M254 HISTORY OF SCORING (1) to “morph” their style by using the various modules (ReDrum, Dr.
BACH-M435 ORCHESTRATION 2 (2) Octo Rex, Thor) and advanced audio editing techniques, as well
Prerequisites: BACH-M338 Scoring 5. This course features an Survey and analysis of scoring from its roots in photography
Prerequisite: BACH-M435 Orchestration 1. Corequisite as taking advantage of the main mixer’s capabilities. They will also
exploration of the use of music in horror, thriller, and other film requirements: BACH-M343 Scoring 10 and BACH-M409 through silent films, “talkies,” television, animation and current
digital formats, including the roles and influences of musical be involved in advanced routing of signal (analog/MIDI) as well as
genres that involve suspense. There will be in-depth analysis of Mechanics of Score Production 2. In-depth study of the
styles on this global art form. One lecture hour per week for one the implementation of other Digital Audio Workstations (DAW’s)
a wide variety of compositional styles and techniques often used orchestration techniques used in contemporary media scoring,
quarter. using ReWire. Two lab hours per week for one quarter.
for these genres – including expressionism, set theory, serialism, including style, instrumentation in relation to picture, combining
aleatory, micropolyphony, and minimalism. Applying these styles with other ensemble types, and synth tracks. Projects will
BACH-M255 CONTEMPORARY VANGUARD (1) AUDIO-052 LOGIC 1 (1)
and techniques, students will complete a variety of film scoring demonstrate orchestration skills. Two lecture hours per week for
This course will survey the leading edge of current innovators This course introduces students to the primary features and basic
assignments. Two lecture hours per week for one quarter. one quarter. user interface of Logic Pro X. The class explores the process
Additional lab fee required. in mainstream film, independent film, games and television
of creating an actual song, from start to finish. Pre-production
BACH-M230 SOPHOMORE PROJECT (2) composition. A focused study of current innovators will energize
using Apple Loops, recording/editing audio and midi, arranging
BACH-M340 SCORING 7 (2) Prerequisite: BACH-M337 Scoring 4 and BACH-C501 students’ creative thinking. Graduates from this program will be
of tracks, producing drum beats with a virtual drummer, as well
Prerequisites: BACH-M339 Scoring 6. This course covers Harmony & Theory 501. Student will give lecture about a Media entering a crowded and competitive marketplace. Among the
as basic mixing and automation techniques are explored. This
fundamental game scoring concepts and techniques, along with Composer and one detailed score analysis along with refined most valuable skills a composer can cultivate in order to rise course addresses the requirements needed (Part 1 of 2) to take
an introduction of interactive paradigm and a survey of prevailing scoring clips from previous quarters. through all the noise is innovation. One lecture hour per week for the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab hours
styles. The emphasis is on common cue types, including loops, one quarter. per week for one quarter.
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stingers, and cinematics. Students complete multiple scoring BACH-M430 SENIOR PROJECT (2)
assignments and learn basic audio implementation. Two lecture Prerequisites: BACH-M342 Scoring 9, BACH-M230 BACH-M297 COUNTERPOINT (1) AUDIO-152 LOGIC 2 (1)
hours per week for one quarter. Additional lab fee required. Sophomore Project. Each student will compose a complete The study of two, three, and four-part writing as it applies to Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1.
musical score for a short film. The final project bundle will include species counterpoint. Areas of concentration include: creating This course is a continuation of the Logic Pro X user interface
BACH-M341 SCORING 8 (2) spotting notes, a cue sheet, stems, and a full mix of the score. lines in diatonic, modal, and serial writing. One lecture hour per for songwriters, composers, producers and sound engineers.
Advanced Applied Thematic Scoring Techniques I in Drama, Epic week for one quarter. Upon completion, students will understand how to use Logic
Drama, Historical/Period Drama, Romance (2). Prerequisites: Pro’s comprehensive array of software instruments, arranging
BACH-M340 Scoring 7. This course features an analysis of
SUPPORTIVE MUSIC // COMPOSITION BACH-P125 DIRECTING AND CONDUCTING 1 (2) of MIDI sequences, as well as editing with Flex Time and Pitch,
different types of drama from relationship/family drama and Fundamentals of conducting including: beat patterns, posture, Vari-Speed, Smart Controls, Smart Tempo, Advanced Audio and
political drama to larger epic works considering geographical, BACH-P121 MUSIC HISTORY I – ROOTS OF ROCK AND ROLL arm and hand position, articulations, dynamics, left hand MIDI, Recording/Editing Techniques, Logic Remote app, trouble-
social and time period settings. Students learn about the (2) functions, incomplete beats, fermatas, basic score reading and shooting. This course addresses the requirements needed (Part
subtle considerations needed when building a sound palette A survey of rock’s roots including rhythm & blues, rockabilly, New application of skills to contemporary music. Students will be 2 of 2) to take the “Apple Certified Pro” exam in Logic Pro X 10.4.
for storytelling. Two lecture hours per week for one quarter. Orleans, vocal groups, doo-wop, and early 60’s pop, plus an videotaped for study. Two lecture hours per week for one quarter. Two lab hours per week for one quarter.
Additional lab fee required. examination of the founding figures and major influences. Two
lecture hours per week for one quarter. BACH-P126 DIRECTING AND CONDUCTING 2 (2) AUDIO-057 PRO TOOLS 101 (2)
BACH-M342 SCORING 9 (2) Prerequisites: BACH-P125 Directing and Conducting 1. This This course focuses on the basic concepts and theory involved
Prerequisites: BACH-M341 Scoring 8. This course features an BACH-P122 MUSIC HISTORY II – WORLD MUSIC (2) course is a continuation of Directing and Conducting 1, focusing in using a digital audio workstation. Students will be able to set-
exploration of approaches to scoring feature-length films. With Prerequisites: BACH-P121 Music History I – Roots of Rock and on longer scores and various musical styles. Emphasis is placed up an Avid Pro Tools® session for recording, importing audio,
a focus on the Western genre, the class will examine a variety of Roll. A study of music in the context of selected cultures around on conducting for film/video soundtrack recording. Topics editing, recording MIDI, backing-up data, and more. Completion
methods for spotting a film and plotting the path of a film score. the world, aka World Music. Ways in which music and lyrics include conducting to click track, variable click, meter changes, of the course prepares students to take the Avid 101 Pro Tools
function in these cultures are explored through listening and odd meters, and use of visual aids on the soundstage: punches, Certified User Exam. Two lecture hours per week for one quarter.
The course-long project will require students to compose the
transcriptions. Two lecture hours per week for one quarter. streamers and flutters. Two lecture hours per week for one
music for a substantial section of a given feature-length film.
Two lecture hours per week for one quarter. Additional lab fee quarter. AUDIO-157 PRO TOOLS 110 (2)
required. BACH-P123 MUSIC HISTORY III – WESTERN ART MUSIC I Prerequisite: AUDIO-057 Pro Tools 101. This course expands
600-1820 (2) BACH-P127 SIBELIUS NOTATION (1) upon the basic principles taught in Pro Tools 101 introduces the
Prerequisites: BACH-P122 Music History II – World Music. A Using Sibelius notation software to create lead sheets, master core concepts and techniques students need to competently
BACH-M343 SCORING 10 (2)
survey of Western art music from the Middle Ages through the rhythm scores and individual parts formatted in a way similar operate a Pro Tools system running mid-sized sessions. Students
Prerequisite: BACH-M342 Scoring 9. Corequisite requirements:
end of the 18th century. The course will include discussion of to those students will need to create for Arranging 1-5 and learn to build sessions designed for commercial purposes and
BACH-M435 Orchestration 2 and BACH-M409 Mechanics
major styles and forms in historical context, supplemented by Sophomore and Senior Juries. One lecture hour per week for one improve the results of their recording, editing, and mixing efforts.
of Score Production 2. Subgenres: World Music and applied
representative listening. Two lecture hours per week for one quarter. Completion of the course prepares students to take the Avid 101
scoring techniques using ethnic elements in relation to all quarter.
dramatic genres. Covering music for documentaries, this course Pro Tools Certified User Exam. Two lecture hours per week for
features an analysis of documentaries about various subjects.
AUDIO-056 DAW: REASON 1 (1) one quarter.
BACH-P222 MUSIC HISTORY IV - WESTERN ART MUSIC Propellerhead’s Reason software has long been used
Students will be required to compose for music libraries, trailers, II 1820-21ST CENTURY (2) for traditional beat making and sequencing for MIDI. Upon BACH-M309 MECHANICS OF SCORE PRODUCTION 1 (2)
reality TV challenges, jingles and commercials. At the end of the Prerequisites: BACH-P123 Music History III – Western Art
Prerequisites: AUDIO-157 Pro Tools 110. Students will copyrights. Topics include: Copyright law and terminology, the enharmonic properties of diminished 7th chords and augmented development of advanced musical reflexes through the use
gain knowledge of and practical experience in performing each online eCO process, publishing rights and how to set up a music sixth chords in order to create modulations between distant keys. of “movable do solfege.” Topics include parallel minor scale
duty required of a film music editor. Through course lectures, publishing company, US PROs and public performance royalties, The course also teaches students about the analysis of smaller- harmony in its three basic forms: natural minor, harmonic minor,
exercises, critiques and collaborative projects encompassing film how to affiliate with a PRO, cue sheet preparation, songwriter scale forms, including binary and ternary form. and melodic minor in all twelve keys. Techniques include: note
score recording sessions, students will gain an understanding contracts and co-publishing agreements, administration recognition, intervallic structures, melodic patterns, identification
of the music editor’s position, artistic scope, responsibilities, and agreements, sub-publishing, joint works, royalty splits, BACH-C601 HARMONY & THEORY 601 (2) and arpeggiation of harmonic forms in all inversions, dictation,
mechanical and synchronization licenses, works made-for-hire, Prerequisite: BACH-C501 Harmony & Theory 501. This course transcription, and sightsinging while conducting. Two lecture
techniques in the post-production process of a film. Includes
sampling, industry organizations and resources for further study. provides students with detailed instruction on the construction, hours per week for one quarter.
Pro Tools session setup for film scoring, spotting sessions and
documentation for film music production. Two lecture hours per One lecture hour per week for one quarter. analysis, and use of chord extensions, chord alterations, added
note chords, suspended chords, and slash chords. Students BACH-C502 EAR TRAINING 502 (2)
BACH-M487 THE BUSINESS OF COMPOSING 2 (1) learn how composers have employed the modes and various Prerequisites: BACH-C402 Ear Training 402. Continued
Prerequisite: BACH-M486 Business of Composing 1. development of advanced musical reflexes through the use of
BACH-M409 MECHANICS OF SCORE PRODUCTION 2 (2) types of modulations. The course also teaches students about
A practical application of all topics covered in BACH-M486, “movable do solfege.” Topics include modal harmony that
Prerequisite: BACH-M309 Mechanics of Score Production the typical formal structures found in jazz and popular music.
this course examines music licensing and the process of placing is nondiatonic to the major or parallel minor scales in all twelve
1. Corequisite requirements: BACH-M343 Scoring 10 keys. Techniques include: note recognition, intervallic structures,
and BACH-M435 Orchestration 2. This course covers music and songs into Film, TV, video games, commercials and BACH-C701 HARMONY & THEORY 701 (2)
other productions. Music licensing terminology, composer melodic patterns, identification and arpeggiation of harmonic
fundamentals of subtractive synthesis, sampling techniques Prerequisite: BACH-C601 Harmony & Theory 601. This course forms in all inversions, dictation, transcription, and sightsinging
and their application using Apple Logic software. Includes co-administration agreements, sources of musical content for provides students with detailed instruction on the elements within
producers, music production libraries, the role of the music while conducting. Two lecture hours per week for one quarter.
practical application of theory using the ES-1, ES-2 and and use of larger formal structures in classical music. Students
Sculpture synthesizers as well as the EXS-24 sampler and supervisor, source cues, spotting sessions, how to negotiate
study and apply various techniques of motivic and rhythmic BACH-C602 EAR TRAINING 602 (2)
synchronization and master use licenses, composer package
Apple Loops utility. The class also covers midi mockup transformation. The course also teaches students about the use Prerequisites: BACH-C502 Ear Training 502. Continued
deals, music production and sound recordings. One lecture hour
process using the vast catalog of virtual instruments included of motive and rhythmic transformation techniques by classical development of advanced musical reflexes through the use of
with Logic Audio and Native Instruments Komplete. Students and popular composers. “movable do solfege.” Topics include advanced modes, altered
will learn about editing and programming of various instrument and symmetrical scale harmony in all twelve keys. Techniques
and effects combinations in a variety of practical applications. CC-101 HARMONY & THEORY 101 (1.5)
Prerequisites: CC-021 Harmony & Theory 021 or Bachelor BACH-C801 HARMONY & THEORY 801 (2) include: note recognition, intervallic structures, melodic patterns,
One lecture hour and one lab hour per week for one quarter. Prerequisites: BACH-C701 Harmony & Theory 701. This course identification and arpeggiation of harmonic forms in all inversions,
Program Entrance Exam. This course presents variations on
covers the analysis of late 19th and early 20th century scores. dictation, transcription, and sightsinging while conducting. Two
diatonic structures from Harmony and Theory 2. Highlights
BACH-M350 COMPOSERS ENSEMBLE 1 (1) include: pentatonic and blues scales; inverted, extended and Discussions include: pandiatonicism, serial writing, polytonality, lecture hours per week for one quarter.
Prerequisites: BACH-M351 Composers Ensemble 1. This is parallel harmony, and use of symmetrical scales. Two lecture
non-standard chord types, chord symbols and modes; voice
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a continuation of Composers Ensemble 1. In this course, three

leading; and chord progressions. One lecture hour and one lab hours per week for one quarter. CC-108 KEYBOARD PROFICIENCY 1 (1)
students will work together as a team. Students will perform This course serves as an introduction to contemporary keyboard
various roles within a composing team that includes a lead CC-102 EAR TRAINING 102 (1.5) technique. Through the study of physical posture, finger
composer, a MIDI programmer, and an orchestrator. As they work technique, diatonic scales & chord progressions, this course will
on projects, students will learn how to make effective changes to
CC-201 HARMONY & THEORY 201 (1.5) Prerequisites: CC-022 Ear Training 022 or Bachelor Program
enable students to develop the necessary motor-skills required
Prerequisites: CC-101 Harmony & Theory 101. This course Entrance Exam or Bachelor Program Entrance Exam. This course
a track or cue at various stages of the process. One lecture hour for using the keyboard both as a performing instrument and
presents non-diatonic melodic and harmonic concepts. is an application-based continuation of Ear Training 022 that compositional tool. One lecture hour and one lab hour per week
Highlights include: minor key harmony and melody, modal focuses on the recognition and transcription of pentatonic scales, for one quarter.
interchange, secondary dominants, diatonic substitution and simple major and minor pentatonic melodies, triplet rhythms,
BACH-M351 COMPOSERS ENSEMBLE 2 (1) modulation, chromatic modulations, Roman numeral analysis, blues scales, natural minor scale and its variations, chord
Prerequisites: BACH-M351 Composers Ensemble 2. This is CC-208 KEYBOARD PROFICIENCY 2 (1)
altered and symmetrical scales. One lecture hour and one lab progressions utilizing inversions, diatonic minor key chord Prerequisites: CC-108 Keyboard Proficiency 1. This course
a continuation of Composers Ensemble II. In this course, three hour per week for one quarter. progressions, chord progressions in Roman numerals, seventh further develops the technical skills required for successful
students will work together as a team. Students will perform
chords. One lecture hour and one lab hour per week for one keyboard performance and musical comprehension. Pop and
various roles within a composing team that includes a lead BACH-C301 HARMONY & THEORY 301 (2)
composer, a MIDI programmer, and an orchestrator. As they work quarter. Classical repertoire performance serves as the main focus of
Prerequisites: CC-201 Harmony & Theory 201. This course this course, in addition to further study of chord progressions
on projects, students will learn how to make effective changes to focuses on topics including: musical textures, irregular
a track or cue at various stages of the process. One lecture hour CC-202 EAR TRAINING 202 (1.5) and scales. One lecture hour and one lab hour per week for one
resolutions, use of melodic and harmonic sequences, and Prerequisites: CC-102 Ear Training 102. This course is an quarter.
per week for one quarter. diminished seventh chords. Two lecture hours per week for one application-based continuation of Ear Training 102 that focuses
quarter. on the recognition and transcription of sixteenth-note rhythmic CC-308 KEYBOARD PROFICIENCY 3 (1)
BACH-M499 COMPOSERS COLLABORATIVE (1) Prerequisites: CC-208 Keyboard Proficiency 2. Degree-specific
Prerequisite: BACH-M351 Composers Ensemble 2 and phrases, standard variations in minor-key melody and harmony,
BACH-C401 HARMONY & THEORY 401 (2) and seventh chord major and minor diatonic harmony. One requirement for non-keyboard majors. Emphasizes using the
BACH-M434 Orchestration 1. This is a continuation of Prerequisite: BACH-C301 Harmony & Theory 301. This course lecture hour and one lab hour per week for one quarter. keyboard as an arranging tool, lead sheet interpretation, basic
Composers Ensemble II and preparatory course for Senior provides students with detailed instruction in the principles of score reading and outlining an arrangement. One lecture hour per
Project. Each group of students will work together towards modulation, tonicization, and reharmonization. Students learn week for one quarter.
completing a comprehensive portfolio, discovering individual how different types of diminished 7th chords resolve within
BACH-C302 TRAINING 302 (2)
styles and refining scoring clips from previous courses. Students Prerequisites: CC-202 Ear Training 202. Development of
chord progressions in music of the common practice period.
advanced musical reflexes through the use of “movable do BACH-P413 KEYBOARD PROFICIENCY 4 (1)
will be given roles as part of a Music Team, to complete their The course also teaches students about second inversion triads, Prerequisites: CC-308 Keyboard Proficiency 3. A survey
portfolio during the quarter. Roles may include: Engineer/Mixer, solfege.” Topics include diatonic major scale harmony in all twelve
melodic elements, smaller formal structures, sequences, and of score reading techniques and practices as applied to
Recordist, Music Editor, Music Supervisor, Studio Manager, keys. Techniques include note recognition, intervallic structures,
irregular resolution. melodic patterns, identification and arpeggiation of harmonic the keyboard, including: “C” clefs, transposing and non-
Music Contractor, Conductor, Orchestrator, Copyist, and transposing instruments, as well as scores of different sizes and
Assistant. One lecture hour per week for one quarter. forms in all inversions, dictation, transcription, and sightsinging
BACH-C501 HARMONY & THEORY 501 (2) while conducting. Two lecture hours per week for one quarter. instrumentations. One lecture hour per week for one quarter.
Prerequisite: BACH-C401 Harmony & Theory 401. This course
BACH-M486 THE BUSINESS OF COMPOSING 1 (1) provides students with detailed instruction in the construction, BACH-P513 KEYBOARD PROFICIENCY 5 (1)
Prerequisites: None. This course explores the world of music BACH-C402 EAR TRAINING 402 (2)
analysis, resolution, and use of the Neapolitan and augmented Prerequisites: BACH-P413 Keyboard Proficiency 4. A “keyboard
publishing and the how-to of owning and exploiting musical Prerequisites: BACH-C302 Ear Training 302. Continued
sixth chords. Students learn how composers have employed the
orchestra” performance class. Students play written scores and BACH-P104-P164 PERFORMANCE 1-14 (1) advisor to review arrangements and/or original compositions,
improvised parts based on repertoire in a variety of styles. One An in-depth study of a variety of contemporary and commercial rehearsal progress and related issues. Five bi-weekly BACH-P123 MUSIC HISTORY III – WESTERN ART MUSIC I
lecture hour per week for one quarter. performance-related subjects, including: prototypical mentoring sessions with a jury advisor for one quarter, and a 600-1820 (2) A survey of Western art music from the Middle
characteristics of influential styles, repertoire, improvisation, jury performance at the end of the quarter. Ages through the end of the 18th century. The course will
BACH-M613 PRO READING ENSEMBLE 1 (1) and interpretation. Dedicated sections for instrumentalists and include discussion of major styles and forms in historical context,
Prerequisites: BACH-P513 Keyboard Proficiency 5. A keyboard- supplemented by representative listening. Two lecture hours per
based performance class developing sight-reading skills with
vocalists. Weekly critiqued performances of selected repertoire. SUPPORTIVE MUSIC // ALL INSTRUMENTS
One ensemble hour per week for one quarter. This course may week for one quarter.
various instrumentations and ensemble configurations. Reading be repeated for credit. AUDIO-056 DAW: Reason 1 (1)
selections will include multiple styles and degrees of difficulty. BACH-P222 MUSIC HISTORY IV - WESTERN ART MUSIC
Propellerhead’s Reason software has long been used
One lecture hour per week for one quarter. BACH-P118 SOPHOMORE JURY PREP (1) II 1820-21ST CENTURY (2)
for traditional beat making and sequencing for MIDI. Upon
Individual preparation for the Sophomore Jury including song completion of this course, students will be able to navigate The history of musical styles from the Romantic period through
BACH-M713 PRO READING ENSEMBLE 2 (1) selection (see Sophomore Jury course below), lead sheet through the software, including the various windows (main the 20th century including cultural contexts and social meaning.
Prerequisites: BACH-M613 Pro Reading Ensemble 1. This preparation and requirements for master scores under the Composers and musical developments in European and
mixer, rack, and sequencer), route audio signal and MIDI, and
course is a continuation of advanced sight-reading performance. guidance of jury advisors and student’s private instructor. Songs American Art Music, orchestral, choral, band, chamber music
create basic tracks. Integration of audio loops will also be
One ensemble hour per week for one quarter. must be approved by a formal committee and students should and solo repertoire are combined with the influences of music
touched upon as well as a basic understanding of computer
perform one of their Jury selections at the Week 8 Jury prep set-ups and Digital Audio Workstations (DAWs). Two lab from other world cultures. Compositional techniques, style
BACHELOR OF MUSIC concert. Five bi-weekly mentoring sessions with a jury advisor for hours per week for one quarter. characteristics, and relationships will be emphasized. In addition
one quarter. to a midterm and final examination, the course requires one
SPECIFIC ELECTIVE COURSES AUDIO-156 DAW: Reason 2 (1) critical concert report, workbook assignments, and presentation.
Baccalaureate elective requirements may be fulfilled through BACH-P108 SOPHOMORE JURY (1) Prerequisites: AUDIO-056 Reason 1. This course is a Two lecture hours per week for one quarter.
any combination of the courses listed below as well as General Prerequisite: BACH-P118 Sophomore Jury Prep. Co-requisite: continuation of Reason and focuses on taking advantage of
Electives and Instrument-Specific electives listed under Students enrolled in this course must also be enrolled in the software’s capabilities. Upon completion, students will BACH-P103 CONTEMPORARY ARRANGING 1 (2)
Associate of Arts Degree programs. a Private Lesson concurrently- regardless of whether the be able to “morph” their style by using the various modules Prerequisites: BACH-C301 Harmony & Theory 301 and
student has fulfilled other BACH-PL requirements. A judged (ReDrum, Dr. Octo Rex, Thor) and advanced audio editing BACH-P127 Sibelius Notation. This course is an introduction
BACH-P015 SPECIAL TOPICS IN JAZZ (2) performance (including rhythm section) takes place at the techniques, as well as taking advantage of the main mixer’s to instrumentation, arranging techniques, and notation practices
Topics vary and may focus on a theme, genre, a historical period, end of the quarter. Student performance is evaluated by a capabilities. They will also be involved in advanced routing of for a live rhythm section. Emphasis is placed on score and parts
composers, or an influential group. Consult with course instructor panel consisting of members of the Bachelor Program faculty. signal (analog/MIDI) as well as the implementation of other preparation and notation in selected contemporary styles. The
or Program Dean for information. Two lecture hours per week for Students must demonstrate significant skills in the following objective is to learn the characteristic usage of each instrument
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Digital Audio Workstations (DAW’s) using ReWire. Two lab

one quarter. areas: solo performance, solo transcription, stylistic competency hours per week for one quarter. in the rhythm section, and to prepare an arrangement step-by-
in ensemble repertoire (R&B, funk, rock, Latin, swing), rhythm step using a verbal outline, sketch score, and master score. As
BACH-P010 INDEPENDENT STUDY (2) section scoring /arranging, band leadership / musical direction, BACH-P127 SIBELIUS NOTATION (1) a final project, each student completes a studio recording of an
Provides students with an opportunity to explore a specific and sight-reading. Preparation includes biweekly meetings with Using Sibelius notation software to create lead sheets, master arrangement for piano, guitar, bass and drums. Two lecture hours
subject area in depth through independent course work with a jury advisor to review arrangements, rehearsal progress and rhythm scores and individual parts formatted in a way similar per week for one quarter. Required lab fee: $200.
faculty supervision. A maximum of six credits may be applied related issues. Five bi- weekly mentoring sessions with a jury to those students will need to create for Arranging 1-5 and
toward BM requirements. Weekly hours vary. advisor for one quarter, and a jury performance at the end of the Sophomore and Senior Juries. One lecture hour per week for BACH-P203 CONTEMPORARY ARRANGING 2 (2)
quarter. one quarter. Prerequisites: BACH-P103 Contemporary Arranging 1. This
BACH-P016 SPECIAL TOPICS IN MUSIC (2) course is a continuation of Contemporary Arranging 1, with
Analysis and comparison within focused topic areas such as an BACH-P218 SENIOR JURY PREP (1) BACH-P107 STYLES SURVEY (1) the addition of brass and woodwind instruments. Topics will
historical period, a particular artist’s work, or a world music topic. Prerequisites: BACH-P108 Sophomore Jury. Individual Provides students with an analytical overview of styles, chart include transposition, range, and idiomatic usage of the trumpet
Two ensemble hours per week for one quarter. preparation for the Senior Jury including song selection reading and critical listening as they relate to repertoire and tenor saxophone in popular styles. The objective is to
(see Senior Jury course below), lead sheet preparation and requirements. Styles covered include rock, rhythm & blues, study the brass and reed family with emphasis on two-part
BACHELOR OF MUSIC IN requirements for master scores under the guidance of a jury jazz and Latin. One lecture hour per week for one quarter. soli writing and background lines. Students analyze and learn
PERFORMANCE (CONTEMPORARY advisor and student’s private instructor. Songs must be approved to build arrangements for rhythm section and two horns. As a
by a formal committee and students should perform one of their BACH-P151–P453 BACHELOR ENSEMBLES 1-12 (1) final project, each student completes a studio recording of an
STYLES) Jury selections at the Week 8 Jury prep concert. Five bi-weekly arrangement for trumpet, tenor sax, guitar, piano, bass, and
Weekly live performance workshops providing development
MAJOR AREA // ALL INSTRUMENTS mentoring sessions with a jury advisor for one quarter. of ensemble techniques, improvisational skills and building drums. Two lecture hours per week for one quarter. Required lab
repertoire in various styles. One ensemble hour per week per fee: $200.
BACH-PL PRIVATE LESSON 1-12 (2) BACH-P208 SENIOR JURY (1) quarter.
Weekly private lessons on student’s primary instrument. Topics Prerequisite: BACH-P218 Senior Jury Prep. Co-requisite: BACH-P303 CONTEMPORARY ARRANGING 3 (2)
vary based on the needs of the individual – from fundamentals to Students enrolled in this course must also be enrolled in a Private BACH-P121 MUSIC HISTORY I – ROOTS OF ROCK & Prerequisites: BACH-P203 Contemporary Arranging 2. This
advanced techniques; as well as personal topics of interest and Lesson concurrently- regardless of whether the student has ROLL (2) A survey of rock’s roots including rhythm & blues, course is a continuation of Contemporary Arranging 2, with
preparation for juries and final projects. One private lesson hour fulfilled other BACH-PL requirements. A judged performance rockabilly, New Orleans, vocal groups, doo-wop, and early additional brass and woodwind instruments. Topics will include
per week per quarter. (with rhythm section and horns) takes place at the end of the 60’s pop, plus an examination of the founding figures and transposition, range, and idiomatic usage of the trombone, alto
quarter. Student performance must demonstrate ability to meet major influences. Two lecture hours per week for one quarter. saxophone, flute and clarinet. Students will learn arranging
BACH-P151–P453 BACHELOR ENSEMBLES 1-12 (1) final graduation requirements. Performance is evaluated by a techniques for standard 4-horn ensembles with “doubling”
Weekly live performance workshops providing development panel consisting of members of the Bachelor Program faculty. BACH-P122 MUSIC HISTORY II –WORLD MUSIC (2) instruments. The objective is to study the brass and woodwind
of ensemble techniques, improvisational skills and building Students must demonstrate advanced technical skill, stylistic A study of music in the context of selected cultures around family with emphasis on four-part harmonization. As a final
repertoire in various styles. One ensemble hour per week per awareness, arranging abilities using a small horn section, overall the world, aka World Music. Ways in which music and lyrics project, each student completes a studio recording of an
quarter. musicianship in contrasting styles, and stylistic identity as a function in these cultures are explored through listening and arrangement for trumpet, alto saxophone, tenor saxophone,
performer. Preparation includes bi-weekly meetings with a jury transcriptions. Two lecture hours per week for one quarter. trombone, piano, bass, and drums. Two lecture hours per week
for one quarter. Required lab fee: $200.00 MIDI sequences, as well as editing with Flex Time and Pitch, course covers the analysis of late 19th and early 20th century
Vari-Speed, Smart Controls, Smart Tempo, Advanced Audio CC-101 HARMONY & THEORY 101 (1.5) scores. Discussions include: pandiatonicism, serial writing,
BACH-P403 CONTEMPORARY ARRANGING 4 (2) and MIDI, Recording/Editing Techniques, Logic Remote app, Prerequisites: CC-021 Harmony & Theory 021 or Bachelor polytonality, parallel harmony and, use of symmetrical scales. Two
Prerequisites: BACH-P303 Contemporary Arranging 3. This trouble-shooting. This course addresses the requirements Program Entrance Exam. This course presents variations on lecture hours per week for one quarter.
course focuses on chord progressions and reharmonization, needed (Part 2 of 2) to take the “Apple Certified Pro” exam in diatonic structures from Harmony & Theory 021. Highlights
and scoring for strings. Topics include harmonic rhythm, chord Logic Pro X 10.4. Two lab hours per week for one quarter. include: pentatonic and blues scales; inverted, extended and CC-102 EAR TRAINING 102 (1.5)
substitution, dominant and substitute dominant resolution, modal non-standard chord types, chord symbols and modes; voice Prerequisites: CC-022 Ear Training 022 or Bachelor Program
interchange, basic contrapuntal arranging and voice leading. AUDIO-057 PRO TOOLS 101 (2) leading; and chord progressions. One lecture hour and one Entrance Exam. This course is an application-based continuation
Extensive score analysis of string arrangements is included. This course focuses on the basic concepts and theory lab hour per week for one quarter. of Ear Training 022 that focuses on the recognition and
The objective is to gain an understanding of effective chord involved in using a digital audio workstation. Students will transcription of pentatonic scales, simple major and minor
progressions and reharmonization, and to learn the ranges and be able to set-up an Avid Pro Tools® session for recording, CC-201 HARMONY & THEORY 201 (1.5) pentatonic melodies, triplet rhythms, blues scales, natural minor
characteristic usage of the violin, viola, cello and contrabass. As importing audio, editing, recording MIDI, backing-up data, Prerequisites: BACH-C201 Harmony & Theory 201. scale and its variations, chord progressions utilizing inversions,
a final project, each student completes a studio recording of an and more. Completion of the course prepares students to This course presents non-diatonic melodic and harmonic diatonic minor key chord progressions, chord progressions in
arrangement for string quintet. Two lecture hours per week for take the Avid 101 Pro Tools Certified User Exam. Two lecture concepts. Highlights include: minor key harmony and Roman numerals, seventh chords. One lecture hour and one lab
one quarter. Required lab fee: $200. hours per week for one quarter. melody, modal interchange, secondary dominants, diatonic hour per week for one quarter.
substitution and modulation, chromatic modulations, Roman
BACH-P503 CONTEMPORARY ARRANGING 5 (2) AUDIO-157 PRO TOOLS 110 (2) numeral analysis, altered and symmetrical scales. One lecture CC-202 EAR TRAINING 202 (1.5)
hour and one lab hour per week for one quarter. Prerequisites: CC-102 Ear Training 102. This course is an
Prerequisites: BACH-P403 Contemporary Arranging 4. This Prerequisite: AUDIO-057 Pro Tools 101. This course
course combines all previous course materials. Introduces expands upon the basic principles taught in Pro Tools 101 application-based continuation of Ear Training 102 that focuses
additional concepts of sweetening and overdubbing for introduces the core concepts and techniques students need
BACH-C301 HARMONY & THEORY 301 (2) on the recognition and transcription of sixteenth-note rhythmic
Prerequisites: BACH-C201 Harmony & Theory 201. This
recording. Students learn to combine techniques to build to competently operate a Pro Tools system running mid- phrases, standard variations in minor-key melody and harmony,
course focuses on topics including: musical textures, irregular
intermediate level arrangements. As a final project, each student sized sessions. Students learn to build sessions designed and seventh chord major and minor diatonic harmony. One
resolutions, use of melodic and harmonic sequences and
completes a studio recording of an arrangement for 5 horns for commercial purposes and improve the results of their lecture hour and one lab hour per week for one quarter.
diminished seventh chords. Two lecture hours per week for
(trumpet, trombone, alto saxophone, tenor saxophone, and recording, editing, and mixing efforts. Completion of the
one quarter.
baritone saxophone), guitar, piano, bass, drums, and “sampled” course prepares students to take the Avid 101 Pro Tools BACH-C302 EAR TRAINING 302 (2)
strings. Two lecture hours per week for one quarter. Required lab Certified User Exam. Two lecture hours per week for one Prerequisites: BACH-C202 Ear Training 202. Development
fee: $200.00. quarter.
BACH-C401 HARMONY & THEORY 401 (2) of advanced musical reflexes through the use of “movable do
solfege.” Topics include: diatonic major scale harmony in all
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COURSES
course covers the analysis and application of the incomplete

BACH-P125 DIRECTING AND CONDUCTING (2) twelve keys. Techniques include note recognition, intervallic
Fundamentals of conducting including: beat patterns, posture,
PROFESSIONAL DEVELOPMENT // ALL INSTRUMENTS major ninth chord, seventh chords in non-dominant harmonic
structures, melodic patterns, identification and arpeggiation
function, neighbor chord harmony, ninth, eleventh, thirteen
arm and hand position, articulations, dynamics, left hand of harmonic forms in all inversions, dictation, transcription, and
functions, incomplete beats, fermatas as well as basic score
MUBUS-0360 APPLIED ENTERTAINMENT BUSINESS 1 (1.5) and appoggiatura chords. Two lecture hours per week for one
sightsinging while conducting. Two lecture hours per week for
The first in a two-quarter course sequence, designed to quarter.
reading and application of skills to contemporary music. Students one quarter.
provide students with an understanding of the entertainment
will be videotaped for study. Two lecture hours per week for one
quarter.
industry, as it exists today, and essential knowledge for BACH-C501 HARMONY & THEORY 501 (2) BACH-C402 EAR TRAINING 402 (2)
sustaining a career in the digital era. In Applied Entertainment Prerequisites: BACH-C401 Harmony & Theory 401. This
Prerequisites: BACH-C302 Ear Training 302. Continued
Business 1, topics include an overview of industry structure, course covers the analysis and application of chromatic
BACH-P120 CONTEMPORARY MUSIC INSTRUCTION (1) development of advanced musical reflexes through the use
the artist’s team (manager, attorney, agent, etc.), copyrights altered chords including the +II7 and +VI7, Neapolitan,
The skill and art of teaching contemporary music to students of “movable do solfege.” Topics include: parallel minor scale
and music publishing, band partnerships and solo artists, augmented sixth chords and chords with lowered and raised
of all ages in various settings, including group classes, private harmony in its three basic forms: natural minor, harmonic minor,
employment agreements, work-for-hire, unions and more. One fifths. Two lecture hours per week for one quarter.
lessons, rehearsals, lectures, and master classes. Covers and melodic minor in all twelve keys. Techniques include note
modern educational philosophies and techniques. Two lecture recognition, intervallic structures, melodic patterns, identification
BACH-C601 HARMONY & THEORY 601 (2) and arpeggiation of harmonic forms in all inversions, dictation,
MUBUS-0460 APPLIED ENTERTAINMENT BUSINESS 2 (1.5) Prerequisites: BACH-C501 Harmony & Theory 501. This transcription, and sightsinging while conducting. Two lecture
Prerequisites: MUBUS-0360 Applied Entertainment course covers the analysis and application of the incomplete
AUDIO-052 LOGIC 1 (1) hours per week for one quarter.
Business 1. This course is a continuation of Applied major ninth chord, seventh chords in non- dominant harmonic
This course introduces students to the primary features and
Entertainment Business 1, further covering the most important function, neighbor-chord harmony, ninth, eleventh, thirteenth,
basic user interface of Logic Pro X. The class explores the BACH-C502 EAR TRAINING 502 (2)
areas and aspects of the entertainment industry. Topics and appoggiatura chords. Continued focus on four-part
process of creating an actual song, from start to finish. Pre- Prerequisites: BACH-C402 Ear Training 402. Continued
include: record labels (major and indie), types of deals, the writing, figured bass and harmonization. Two lecture hours per
production using Apple Loops, recording/editing audio and midi, development of advanced musical reflexes through the use of
DIY market, distribution, touring, merchandising, and more. week for one quarter.
arranging of tracks, producing drum beats with a virtual drummer, “movable do solfege.” Topics include: modal harmony that is
S.M.A.R.T. goal setting is also covered to support students in
as well as basic mixing and automation techniques are explored. nondiatonic to the major or parallel minor scales in all twelve
This course addresses the requirements needed (Part 1 of 2) to
creating a path to career success. One lecture hour per week BACH-C701 HARMONY & THEORY 701 (2) keys. Techniques include note recognition, intervallic structures,
for one quarter. Prerequisites: BACH-C601 Harmony & Theory 601. This
take the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab melodic patterns, identification and arpeggiation of harmonic
course covers the analysis and application of chromatic
hours per week for one quarter. forms in all inversions, dictation, transcription, and sightsinging
MUBUS-0202 MEDIA RELATIONS (2) altered chords, including the +II7 and +VI7, Neapolitan
while conducting. Two lecture hours per week for one quarter.
Students learn the difference between publicity and public chords, augmented sixth chords and chords with lowered
AUDIO-152 LOGIC 2 (1)
relations, how to create and implement media campaigns, and and raised fifths. Continued focus on four-part writing, figured
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1. BACH-C602 EAR TRAINING 602 (2)
how to write artist bios, press releases, news releases, and bass and harmonization. Two lecture hours per week for one
This course is a continuation of the Logic Pro X user interface Prerequisites: BACH-C502 Ear Training 502. Continued
eye-catching headlines. Skills apply to independent artists quarter. development of advanced musical reflexes through the use of
for songwriters, composers, producers and sound engineers.
as well as those aspiring to work in the industry. Two lecture “movable do solfege.” Topics include advanced modes, altered
Upon completion, students will understand how to use Logic
Pro’s comprehensive array of software instruments, arranging of
hours per week for one quarter. BACH-C801 HARMONY & THEORY 801 (2) and symmetrical scale harmony in all twelve keys. Techniques
MUSICIANSHIP // ALL INSTRUMENTS
include: note recognition, intervallic structures, melodic patterns, scoring information, including difference between score and of Bass Technique 110 with concentration on grooves, PERFORMANCE (CONTEMPORARY
identification and arpeggiation of harmonic forms in all inversions, source, diegetic versus non-diegetic music, and underscore. additional striking hand techniques and approaches to
dictation, transcription, and sightsinging while conducting. Two Research about functions of Media Music, the roles of Media soloing. Fretboard harmony will examine continue with minor
STYLES) // DRUMS
lecture hours per week for one quarter. Music professionals and their employers, and the scoring scale variations, modes and improvisation.
process pipeline. Two lecture hours per week for one quarter. DRUM-PL PRIVATE LESSON 1-6 (2)
CC-108 KEYBOARD PROFICIENCY 1 (1) The credit will be transferred to core credits of Bachelor BACH-B310 BASS TECHNIQUE 310 (2) A weekly individual instrument lesson that supports core
Keyboard Proficiency 1 serves as an introduction to Program’s Scoring for Visual Media if students decide Prerequisites: BASS-210 Bass Technique 210. This course curriculum goals. An instructor guides the student in developing
contemporary keyboard technique. Through the study of physical to change their major. Two lecture hours per week for one applies both finger and slap-style electric bass techniques to technique, musicianship and style. Twelve credit units required
quarter. a variety of contemporary grooves, including: Latin, jazz, odd- (two per quarter).
posture, finger technique, diatonic scales & chord progressions,
this course will enable students to develop the necessary motor meter, funk, swing, shuffles, hip-hop, and others. One lecture
skills required for using the keyboard both as a performing
BACH-M336 / CC-M336E SCORING 3 (2) hour and two lab hours per week for one quarter. DRUM-130 DRUM PERFORMANCE 130 (2)
Prerequisites: BACH-M335 / CC-M335E: Scoring 2. In- Prerequisites: Bachelor placement test. Covers ensemble
instrument and compositional tool. One lecture hour and one lab
depth melodic and harmonic analysis and transcription of film
hour per week for one quarter. scores as well as other modern media scores, including non- BACH-B410 BASS TECHNIQUE 410 (2) performance emphasizing stylistic rhythm section textures and
Prerequisites: BACH-B310 BASS TECHNIQUE 310. applied techniques. Emphasis is placed on handling variations
traditional form, score reading and orchestration techniques.
CC-208 KEYBOARD PROFICIENCY 2 (1) At the end of the quarter, students will have a recording Continued application of finger and slap-style electric bass in typical song form, advanced chart-reading skills, and taking
Prerequisites: CC-108 Keyboard Proficiency 1. This course session with string quartet. Two lecture hours per week for techniques to a variety of contemporary grooves, including a leadership role within the group. This class coordinates with
further develops the technical skills required for successful one quarter. Afro- Cuban, jazz ballad, 4/4 swing, blues, cut-time Latin, and Drum Technique 110 and Drum Reading 120 topics. Two lecture/
keyboard performance and musical comprehension. Pop and funk. One lecture hour and two lab hours per week for one ensemble hours per week for one quarter.
Classical repertoire performance serves as the main focus of quarter.
this course, in addition to further study of chord progressions
BACH-M337 / CC-M337E SCORING 4 (2)
Prerequisites: BACH-M336 / CC-M336E: Scoring 3. DRUM-230 DRUM PERFORMANCE 230 (2)
and scales. One lecture hour and one lab hour per week for one BASS-120 BASS READING 120 (2) Prerequisites: DRUM-130 Drum Performance 130. Ensemble
quarter. Applied Scoring Techniques: Introduction to Scoring for
Animation. Survey of historical and contemporary animation Prerequisites: Bachelor placement test. In addition to performance emphasizing applied techniques and advanced
styles and scoring approaches. Utilizing the tools and continued position and specified key reading, this course concepts, such as odd meters and metric modulation. Emphasis
CC-308 KEYBOARD PROFICIENCY 3 (1) preps the student to read longer forms through bass clef is also placed on handling variations in typical song form,
Prerequisites: Keyboard Proficiency 2. Degree-specific techniques previously taught, students complete take-down
of animation scenes, recreating the scores virtually to match notation transcriptions, chord charts. Interpreting melodies improving odd-meter chart-reading skills, metric modulations and
requirement for non-keyboard majors. Emphasizes using the developing time feel. This class coordinates with Drum Technique
picture. Scoring projects are assigned in cartoon and science and rhythms in different styles are also presented in detail.
keyboard as an arranging tool, lead sheet interpretation, basic 210 and Drum Reading 220 topics. Two lecture/ensemble hours
fiction styles. Two lecture hours per week for one quarter. Position playing has the student revisiting the lower register
score reading and outlining an arrangement. One lecture hour per week for one quarter.
Additional lab fee required. but with concentrated focus of the middle register of the
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neck. Sight reading concepts will be introduced. This class

BACH-C.PL / CC-C.PL PRIVATE MEDIA SCORING coordinates with Bass Technique 110 and Bass Performance DRUM-110 DRUM TECHNIQUE 110 (2)
BACHELOR OF MUSIC COMPOSITION LESSON (2) 130 topics. One lecture hour and one lab hour per week for Prerequisites: Bachelor placement test. This course presents
intermediate to advanced hand technique concepts as applied
SPECIFIC ELECTIVE COURSES Weekly private lesson focused on developing and applying one quarter.
to the drum set. Including rudimental advancement and limb
Baccalaureate elective requirements may be fulfilled through traditional and contemporary compositional techniques and
BASS-220 BASS READING 220 (2) independence. Intermediate drummers need to further develop
any combination of the courses listed below as well as General skills. Includes analysis and critique of compositions as well their ability and understanding of stick control and the subtleties
Electives and Instrument-Specific electives listed under as preparation for scoring assignments plus Sophomore Prerequisites: BASS-120 Bass Reading 120. The Bass
included. This class coordinates with Drum Performance 130
Associate Degree Programs. and Senior projects. One private lesson hour per week Reading 220 curriculum continues with position and specific
and Drum Reading 120 topics. Two lecture/ensemble hours per
per quarter. The credit will be transferred to core credits of key(s) reading in the upper register of the neck. Continuing
BACH-P015E SPECIAL TOPICS IN JAZZ (2) Bachelor Program’s Scoring for Visual Media major if students with sight-reading concepts and exercises, this course will
Topics vary and may focus on a theme, genre, historical period, decide to change their major. One lecture hour per week for introduce and exercise odd- meter concepts, reading treble
composers, or an influential group. Consult with course instructor clef notation, compound meter as well as metric modulation,
DRUM-210 DRUM TECHNIQUE 210 (2)
one quarter. Prerequisites: DRUM-110 Drum Technique 110. This course
or Program Dean for information. Two ensemble hours per week jazz chart reading, lead sheets and transcribing. This class
for one quarter. presents advanced hand technique concepts as applied to the
coordinates with Bass Technique 210 and Bass Performance
BACHELOR OF MUSIC IN 230 topics. One lecture hour and one lab hour per week for
drum set, including rudimental drum set application and creative
BACH-P010E INDEPENDENT STUDY (2) PERFORMANCE (CONTEMPORARY development. This class coordinates with Drum Performance
one quarter 230 and Drum Reading 220 topics. Two lecture/ensemble hours
Prerequisites: minimum GPA of 3.25 or above in core courses STYLES) // BASS
and permission of Dean. Provides students with an opportunity per week for one quarter.
BACH-B320 BASS READING 320 (2)
to explore a specific subject area in depth through independent BASS-PL PRIVATE LESSON (2) Prerequisites: BASS-220 Bass Reading 220. Students learn
course work with faculty supervision. One lecture hour per week BACH-D310 DRUM TECHNIQUE 310 (2)
A weekly individual instrument lesson that supports core contemporary chart-reading skills through the extensive use of Prerequisites: DRUM-210 Drum Technique 210. The lecture
for one quarter. curriculum goals. An instructor guides the student in transcriptions and professionally written arrangements. Focus section of this course focuses on the stylistic adaptation of
developing technique, musicianship and style. is placed on sight-reading, pitch, rhythm pattern recognition, techniques introduced in previous levels of performance classes.
BACH-M334 / CC-334E SCORING 1 (2) position playing, and creating a cohesive sound. Course
Course requirement: Placement test required, please contact Subsequent curricular topics include balance of sound, four-way
rachel@mi.edu to schedule a placement test for access to enroll
BASS-110 BASS TECHNIQUE 110 (2) materials correlate with the Common Course Real World Live independence, comping, Soul-Jazz, Bossa Nova, Afro-Cuban,
Prerequisites: Bachelor placement test. Continued study of Performance Workshop. One lecture hour and one lab hour Funk, Shuffles, 3/4 Jazz time-keeping and group interplay.
into the course. This course covers basic scoring practices and
techniques, with a concentration of versatile approaches to per week for one quarter. Lecture classes will include instrument-specific analyses
concepts, including the difference between score and source
standard rhythms, grooves and feels, including eighth-note of weekly performance pieces. In order to further develop
cues, diegetic versus non-diegetic music, and underscore.
and sixteenth-note grooves, straight and swung. Fretboard BACH-B420 BASS READING 420 (2) musicality, authenticity of style and improvisational ability, the lab
Research covers the functions of media music, the role of the
media music professional and his or her employers, and the harmony will cover chords and scales, including pentatonics, Prerequisites: BACH-B20 BASS READING 320(2) section of this course will consist of weekly group performances
scoring process pipeline. Two lecture hours per week for one blues harmony, minor scale variations, and extended chords. Students will learn various styles of reading with and without across a variety of musical genres. Groups will be comprised of
quarter. Two lecture hours per week for one quarter. rhythm sections. One lecture hour and one lab hour per week students at the same level of performance technique.
for one quarter.
BACH-M335 / CC-M335E SCORING 2 (2) BASS-210 BASS TECHNIQUE 210 (2) BACH-D410 DRUM TECHNIQUE 410 (2)
Prerequisites: BASS-110 Bass Technique 110. A continuation
Prerequisites: BACH-M334 / CC-M334E Scoring 1. Basic BACHELOR OF MUSIC IN Prerequisites: BACH-D310 DRUM TECHNIQUE 310.
The lecture section of this course focuses on the stylistic Prerequisites: Bachelor placement test. Fundamental KEYBD-230 KEYBOARD PERFORMANCE 230 (2)
adaptation of techniques introduced in previous levels of technical approaches to a variety of popular styles are GUIT-450 ADVANCED MUSICIANSHIP CONCEPTS (FOR Prerequisites: KEYBD-130 Keyboard Performance 130. A
performance classes. Subsequent curricular topics include presented and students will perform live on a weekly basis. THE GUITARIST) 2 (2) performance- based class that utilizes practical techniques and
balance of sound, four-way independence, double-time vs. Emphasis is placed on handling variations in typical song Prerequisites: GUIT-350 Advanced Musicianship Concepts advanced concepts, such as dual keyboard playing, multiple
“double-time feel”, one, two & three-voice Jazz comping, “broken form, improving chart-reading skills, taking a leadership role (For The Guitarist) 1. Topics to be covered include: advanced keyboard splits, key transposition and detailed improvisation.
ride-cymbal phrasing”, left-foot hi-hat technique, brushes, Funk, within the group, playing funk guitar technique and playing in improvisational concepts, deeper harmonic understanding, Each topic is applied to a particular groove, style and song
Samba, Afro-Cuban music, odd-meter study, left-foot clave and odd meters, plus introduction to a variety of styles such as and more sophisticated aspects of musicianship. Two lecture form. Further leadership within a group is also discussed. This
group interplay. Lecture classes will include instrument-specific classic R&B and Motown, contemporary R&B and neo-soul, hours per week for one quarter. class coordinates with Keyboard Technique 210 and Keyboard
analyses of weekly performance pieces. In order to further Reading 220 topics. Two lecture/ensemble hours per week for
classic funk, the Bo Diddley Rhythm, surf/rockabilly, prog-
develop musicality, authenticity of style and improvisational GUIT-120 GUITAR READING 120(2) one quarter.
rock, progressive metal, classic and modern country, country-
ability, the lab section of this course will consist of weekly group Prerequisites: Bachelor placement test. Emphasis will be on
performances across a variety of musical genres. Groups will rock and Southern rock. This class coordinates with Guitar
be comprised of students at the same level of performance Technique 110 and Guitar Reading 120 topics. Two lecture/ reading in 2nd and 7th position, reading harmonies, duo KEYBD-110 KEYBOARD TECHNIQUE 110 (2)
ensemble hours per week for one quarter. and trio performances and advanced real-world charts. This Prerequisites: Bachelor placement test. Weekly group study
technique.
class coordinates with Guitar Technique 110 and Guitar centers on the development and subsequent mastery of the
GUIT-230 GUITAR PERFORMANCE 230 (2) Performance 130 topics. Two lecture hours per week for one performance skills necessary for becoming a successful
BACH-D320 DRUM READING 120 (2) quarter.
Prerequisites: GUIT-130 Guitar Performance 130. keyboardist. Students will gain a thorough understanding of both
Prerequisites: Bachelor placement test. This course presents
the essential reading fundamentals needed by professional-level Fundamental technical approaches to a variety of popular the mental and physical components that contribute to proper
drummers: lead sheet interpretation, drum set orchestration, styles are presented and students will perform live on a GUIT-220 GUITAR READING 220 (2) technique. Subsequent curricular topics include pentatonic
sight-reading and ensemble figure set-up fill development. One weekly basis. Emphasis will be on advanced chart reading, Prerequisites: GUIT-120 Guitar Reading 120. Emphasis will & blues scales, the Mixolydian & Dorian modes, chromatic
and two-bar ensemble figures are presented in varying styles stage craft, playing in various meters such as 3/4, 6/8 and be on reading in multiple positions, reading polyphonic music, interval- based extensions, first, second & third inversion seventh
accompanied by orchestration and fill suggestions. This class odd meters, plus introduction to styles such as jam-band, trio and quartet performances and advanced real-world chords, ii7-V7-Ima7, iimi7(b5)-V7-Ima7/i7 progressions, major &
coordinates with Drum Technique 210 and Drum Performance Delta blues, urban Chicago blues, Gypsy jazz, minor blues, charts. This class coordinates with Guitar Technique 210 and dominant cycles, add9 & sus4 chords and seventh chord- based
230 topics. One lecture hour and one lab hour per week for one jazz-blues, American Songbook, Latin/bossa nova, Big Band Guitar Performance 230 topics. Two lecture hours per week arpeggios. Two lecture hours per week for one quarter.
quarter. comping and modern jazz. This class coordinates with Guitar for one quarter.
Technique 210 and Guitar Reading 220 topics. Two lecture/ KEYBD-210 KEYBOARD TECHNIQUE 210 (2)
DRUM-220 DRUM READING 220 (2) ensemble hours per week for one quarter. GUIT-320 GUITAR READING 320 (2) Prerequisites: KEYBD-110 Keyboard Technique 110. Weekly
Prerequisites: DRUM-120 Drum Reading 120. This course Prerequisites: GUIT-220 Guitar Reading 220. Students learn group study centers on the development and subsequent
presents the advanced reading concepts needed by GUIT-110 GUITAR TECHNIQUE 110 (2) to count and read in odd and changing meters, across string mastery of the performance skills necessary for becoming
COURSES
COURSES
professional-level drummers: lead sheet interpretation, drum Prerequisites: Bachelor placement test. Emphasis in this sets, and with expanded emphasis on multi-position melodies. a successful keyboardist. Students will gain a thorough
set orchestration, sight-reading and ensemble figure set-up fill class will be on scales such as Major and Minor Pentatonic, One lecture hour and one lab hour per week for one quarter. understanding of both the mental and physical components that
development. Advanced concepts such as metric modulations Blues, Dorian, Mixolydian and Lydian, plus introduction to contribute to proper technique. Subsequent curricular topics
and cut time will also be presented. This class coordinates with drop voicings, chord progressions, Roman numeral harmony, GUIT-420 GUITAR READING 420 (2) include Locrian & Lydian modes, altered scales, ii7-V7-Ima7 &
Drum Technique 210 and Drum Performance 230 topics. One extended and altered chords, motive development, shuffle Prerequisites: GUIT-220 GUITAR READING 220. Advanced iimi7(b5)-V7- Ima7/i7 progressions utilizing chromatic extensions
lecture hour and one lab hour per week for one quarter. feel and blues tonalities. Two lecture hours per week for one score interpretation and sight-reading techniques are & tri-tone substitutions and lead-sheet interpretation, complete
quarter. developed using iconic musical excerpts. Emphasis on with three & four-note voicings. Two lecture hours per week for
BACH-D320 DRUM READING 320 (2) applying reading techniques to real-world sight-reading one quarter.
Prerequisites: DRUM-220 Drum Reading 220. Interpretation GUIT-210 GUITAR TECHNIQUE 210 (2) challenges. One lecture hour plus one lab hour per week for
of sixteenth-note figures, snare drum reading, and etudes in Prerequisites: GUIT-110 Guitar Technique 110 one quarter. BACH-K310 KEYBOARD TECHNIQUE 310 (2)
changing meters in preparation for studio recording. One lecture This course has emphasis on advanced concepts such Prerequisites: KEYBD-210 Keyboard Technique 210.
hour and one lab hour per week for one quarter. as 16th note strum technique, odd-meters, scales such BACHELOR OF MUSIC IN Application of concepts of chord-scale harmony to voicings and
as Phrygian, Locrian, Harmonic and Melodic minor, modal
BACH-D420 DRUM READING 420 (2) interchange and common approaches for playing over
PERFORMANCE (CONTEMPORARY chord progressions. Students explore the techniques of “tension
STYLES) // KEYBOARD substitution” and use it to create voicings while composing and
Prerequisites: BACH-D320 DRUM READING 320. Advanced dominant chords. One lecture hour plus two lab hours per
performing their own progressions. One lecture hour and two lab
reading skills include orchestral snare drum etudes, reading drum week for one quarter.
KEYBD-PL KEYBOARD-PL PRIVATE LESSON (2) hours per week for one quarter.
set charts with style and meter changes, and multi-tom reading
in preparation for studio recording. One lecture hour and one lab GUIT-310 GUITAR TECHNIQUE 310 (2) A weekly individual instrument lesson that supports core
hour per week for one quarter. Prerequisites: GUIT-210 Guitar Technique 210. The lecture curriculum goals. An instructor guides the student in BACH-K410 KEYBOARD TECHNIQUE 410 (2)
developing technique, musicianship and style. Twelve credit Prerequisites: BACH-K310 KEYBOARD TECHNIQUE 310.
section will introduce new scale patterns, accompaniment
units required (two per quarter). A continuation of chord construction based on chord-scale
BACHELOR OF MUSIC IN patterns, and performance techniques. The lab section will
harmony. Students learn how to create their own voicings and
have the students performing selections chosen in regards to
PERFORMANCE (CONTEMPORARY application of the new techniques taught in this course as well KEYBD-130 KEYBOARD PERFORMANCE 130 (2) make effective musical choices. One lecture hour and two lab
STYLES) // GUITAR as the previous Guitar Technique courses. One lecture hour Prerequisites: Bachelor placement test. A performance hours per week for one quarter.
and two lab hours per week for one quarter. class that utilizes both technical and popular music
GUIT-PL GUITAR-PL PRIVATE LESSON (2) approaches, with an emphasis on atypical song forms, stylistic KEYBD-120 KEYBOARD READING 120 (2)
Twelve credit units required (two per quarter). A weekly GUIT-410 GUITAR TECHNIQUE 410 (2) embellishments, volume swells, use of the modulation wheel, Prerequisites: Placement test. Topics include: interpreting
individual instrument lesson that supports core curriculum Prerequisites: GUIT-310 Guitar Technique 310 The lecture keyboard splits and sonic layering. Each topic is applied rhythmic, harmonic and melodic patterns within a particular
goals, and time permitting, also focuses on student’s personal section will introduce advanced performance techniques to a particular groove, comping pattern and musical form. groove and song form. This class coordinates with Keyboard
musical development goals. An instructor guides the student and stylistic variations. The lab section will have the students Leadership within a group is also discussed. This class Technique 110 and Keyboard Performance 130 topics. Two
in developing technique, musicianship and style. One hour per performing selections chosen in regards to application of the coordinates with Keyboard Technique 110 and Keyboard lecture hours per week for one quarter.
week per quarter. new techniques taught in this course as well as the previous Reading 120 topics. Two lecture/ensemble hours per week for
Guitar Technique courses. One lecture hour and two lab one quarter. KEYBD-220 KEYBOARD READING 220 (2)
GUIT-130 GUITAR PERFORMANCE 130 (2) hours per week for one quarter. Prerequisites: KEYBD-120 Keyboard Reading 120. Topics
include: reading compound time signatures, meter changes, Prerequisites: BACH-V330 VOCAL PERFORMANCE Group study of the compositional and production components
harmonic and melodic patterns within a particular groove, 330. In addition to master class vocal technique coaching BACH-V320 SIGHTSINGING 320 (2) that contribute to authenticity pertaining to key genres and
keyboard patch and song form. This class coordinates with from the instructor, students prepare themselves for their Prerequisite: Vocal-220 Sightsinging 220. In this course, more repertoire serves as the curricular foundation of these classes.
Keyboard Technique 210 and Keyboard Performance 230 topics. final showcase (a professional performance with the complicated sight singing materials will be studied. Topics Two lecture hours per week for one quarter. Additional
Two lecture hours per week for one quarter. assistance of a full rhythm section). Objectives include: will include tension/resolution with stylistic approaches, production fee required.
rehearsal techniques, development of press package, a gig modulations, mixed rhythms, mixed grooves, etc. Two lecture/
BACH-K320 KEYBOARD READING 320 (2) booked with professional quality charts, as well as polishing lab hours per week for one quarter. BACH-S401 SONGWRITING 4: ROCK AND FUSION
Prerequisite: KEYBD-220 Keyboard Reading 220. Focuses performance skills (including pre-production, rhythm section SONGWRITING (2)
on reading difficult charts with lead lines and chord symbols. communication, crowd interaction, stage presence, and BACH-V420 VOCAL CREATIVITY 420 (2) Prerequisite: BACH-S301: Songwriting 3: Folk, Blues, Reggae,
stylistic interpretation). The final performance will be open to Prerequisite: BACH-V320 Vocal Creativity 320. This course
Rhythmic syncopation and fully extended chords are explored. and Early Rock Songwriting. This course enables students to
the public. One ensemble hour with full band per week for one will be focused on the application of sight singing in real
Students play complex charts drawn from contemporary develop the analytical, compositional and performance skills
quarter. world performance situations. Various stylistic examples will
arrangements in a lab/ensemble setting. One lecture hour plus necessary for successfully navigating contemporary music’s ever
one lab hour per week for one quarter. be suggested as hypothetical set programs and students will changing stylistic landscape. Group study of the compositional
VOCAL-011 VOCAL TECHNIQUE 011(2) sing the song selections. The various practical methods will
An introduction to the anatomy and physiology of the voice. and production components that contribute to authenticity
BACH-K420 KEYBOARD READING 320 (2) be suggested. At the same time, various practice strategies pertaining to key genres and repertoire serves as the curricular
Topics include: vocal physiological terminologies, breathing to equip singers will be introduced. Two lecture/lab hours per
Prerequisites: KEYBD-220 Keyboard Reading 220.This and breath management (and how it affects the act of foundation of these classes. Two lecture hours per week for one
course focuses on reading difficult charts with lead lines and singing), effective practice habits, registers and efficient quarter. Additional production fee required.
chord symbols. Rhythmic syncopation and fully extended phonation techniques. Two lecture/lab hours per week for one
chords are explored. Students play complex charts drawn from quarter. BACHELOR OF MUSIC IN BACH-S501 SONGWRITING 5: R&B, HIP HOP, GOSPEL AND
contemporary arrangements in a lab/ensemble setting. One SONGWRITING & PRODUCTION LATIN SONGWRITING (2)
lecture hour and one lab hour per week for one quarter. VOCAL-021 VOCAL TECHNIQUE 021 (2) Prerequisite: BACH-S401: Songwriting 4: Rock and Fusion
Prerequisites: Vocal-011 Vocal Technique 011. This course
MAJOR AREA Songwriting. This course enables students to develop the
BACH-K463 BACH KEYBOARD READING 6 (2) focuses on understanding the nature of human voice analytical, compositional and performance skills necessary for
Prerequisites: BACH-K353 BACH Keyboard Reading 5. production. Topics include: formation of speech sounds, BACH-S.PL SONGWRITING PRIVATE LESSON 1-12 (2) successfully navigating contemporary music’s ever changing
Continuation of advanced reading techniques. One lecture hour improving range, factors that affect vocal health and an Fostering the development of students “compositional voices”
stylistic landscape. Group study of the compositional and
exploration of the physical mechanics of producing sound for serves as the main objective within the Songwriting &
and one lab hour per week for one quarter. production components that contribute to authenticity pertaining
various styles. Learning to recognize different vocal functions Production lesson program. One private lesson hour per week
to key genres and repertoire serves as the curricular foundation
through analysis and review. Two lecture/lab hours per week per quarter.
BACHELOR OF MUSIC IN of these classes. Two lecture hours per week for one quarter.
COURSES
COURSES
for one quarter. Additional production fee required.

PERFORMANCE (CONTEMPORARY BACH-S101 SONGWRITING 1: INTRODUCTION TO POP
STYLES) // VOCAL VOCAL-110 VOCAL TECHNIQUE 110 (2) SONGWRITING (1.5) BACH-S601 SONGWRITING 6: BROADWAY AND JAZZ
Prerequisites: Vocal-021 Vocal Technique 021. This course SONGWRITING (2)
This course enables students to develop the analytical,
VOCAL-PL PRIVATE LESSON (2) is focused on “bridging” the voice into a continuous register
compositional and performance skills necessary for Prerequisite: BACH-S501: Songwriting 5: R&B, Hip Hop,
A weekly individual instrument lesson that supports core without breaks. Vocal exercises to strengthen the voice and
successfully navigating contemporary music’s ever changing Gospel and Latin Songwriting. This course enables students
curriculum goals. An instructor guides the student in developing allow singing at full power are discussed and practiced. Two
stylistic landscape. Group study of the compositional and to develop the analytical, compositional and performance skills
technique, musicianship and style. Twelve credit units required lecture/lab hours per week for one quarter.
production components that contribute to authenticity necessary for successfully navigating contemporary music’s ever
(two per quarter). changing stylistic landscape. Group study of the compositional
VOCAL-210 VOCAL TECHNIQUE 210 (2) pertaining to key genres and repertoire serves as the
curricular foundation of these classes. One lecture hour and and production components that contribute to authenticity
VOCAL-130 VOCAL PERFORMANCE 130 (2) Prerequisites: Vocal-110 Vocal Technique 110. The final
one lab hour per week for one quarter. pertaining to key genres and repertoire serves as the curricular
Prerequisites: Bachelor placement test. Additional live ensemble Vocal Technique course addresses the formation of vowels
and consonants, techniques for connecting with the lyrics foundation of these classes. Two lecture hours per week for one
performing experience featuring progressively more complex
and associated emotions of songs, the application of vocal BACH-S201 SONGWRITING 2: POP AND COUNTRY quarter. Additional production fee required.
material, additional musical genres and the ability for students to
perform their own material at set points within the course. Two technique to assist in learning songs, and the analysis and SONGWRITING (1.5)
ensemble hours per week for one quarter. imitation of contemporary artists; voices as a means to BACH-S125 LYRIC WRITING 1: INTRODUCTION TO LYRIC
Prerequisites: BACH-S101: Songwriting 1: Introduction
develop a deeper awareness and understanding of the vocal to Pop Songwriting and BACH-S125: Lyric Writing 1:
WRITING (2) This course enables students to develop the skills
VOCAL-230 VOCAL PERFORMANCE 230 (2) instrument. Two lecture/lab hours per week for one quarter. necessary to create, analyze, critique, and revise song lyrics
Introduction to Lyric Writing. This course enables students to
Prerequisites: VOCAL-130 Vocal Performance 130. Additional in the contemporary songwriting market. Students will learn
develop the skills necessary to create, analyze, critique, and
live ensemble performing experience featuring progressively VOCAL-120 SIGHTSINGING 120 (2) important concepts relating to lyrics, including finding inspiration,
revise song lyrics in the contemporary songwriting market.
more complex material, additional musical genres, and the ability Prerequisites: Bachelor Placement test. This course expands mastering tools of the craft, and tailoring lyrics to different styles
Students will learn important concepts relating to lyrics,
for students to perform their own material at set points within the sightsinging skills to include the introduction of major and situations. Two lecture hours per week for one quarter.
including finding inspiration, mastering tools of the craft, and
course. One ensemble hours per week for one quarter. and minor diatonic melodies, mixed rhythms and complex Additional production fee required.
tailoring lyrics to different styles and situations. One lecture
harmonies. Topics include: intervals, inversions, major and hour and one lab hour per week for one quarter. Additional
BACH-V330 VOCAL PERFORMANCE 330 (2) minor thirds, major melodies, triads, arpeggios and quarter-
production fee required.
BACH-S225 LYRIC WRITING 2 (2)
Prerequisites: VOCAL-230 Vocal Performance 230. Emphasis note triplets. Two lecture/lab hours per week for one quarter. Prerequisites: BACH-S101: Songwriting 1: Introduction to Pop
is placed on taking a leadership role within the group along Songwriting and BACH-S125: Lyric Writing 1: Introduction to
with all aspects of being a polished professional performer, BACH-S301 SONGWRITING 3: FOLK, BLUES, REGGAE, AND
VOCAL-220 SIGHTSINGING 220 (2) EARLY ROCK SONGWRITING (2)
Lyric Writing. This course enables students to develop the skills
such as phrasing, stylistic interpretation, use of props, stage Prerequisites: VOCAL-120 Sightsinging 120. Continued necessary to create, analyze, critique, and revise song lyrics
presence, image, communication with the band, and creation and Prerequisites: BACH-S201: Songwriting 2: Pop and Country
exploration of major and minor melodies and mixed rhythms. in the contemporary songwriting market. Students will learn
explanation of quality charts. One ensemble hour with full band Songwriting and BACH-S225: Lyric Writing 2. This course
This course includes an introduction to minor scales, seventh important concepts relating to lyrics, including finding inspiration,
per week for one quarter. enables students to develop the analytical, compositional
chords and changing meters. Two lecture/lab hours per week mastering tools of the craft, and tailoring lyrics to different styles
for one quarter. and performance skills necessary for successfully navigating
and situations. This course will introduce advanced story-telling
BACH-V430 VOCAL PERFORMANCE 430 (2) contemporary music’s ever changing stylistic landscape.
techniques. Two lecture hours per week for one quarter. BACH-S211 VOCAL ARRANGING 2 (2) and appoggiatura chords. Two lecture hours per week for one
BACH-S710 SOPHOMORE RECITAL (2) Prerequisite: BACH-S111: Vocal Arranging 1. Corequisite: quarter.
BACH-S306 VOCAL TECHNIQUE FOR SONGWRITERS (1) BACH-C601: Harmony & Theory 601, BACH-P203: BACH-S210: Production 2. Vocal Arranging II, while similar
This course will instruct students on proper vocal technique so that Contemporary Arranging 2. Corequisite: BACH-S.PL in overall design to level I, places primary emphasis on vocal BACH-C501 HARMONY & THEORY 501 (2)
even non-vocal songwriters will be able to sing competent demo Songwriting Private Lesson. The sophomore recital is ensemble arranging for use with original compositions. Two Prerequisite: BACH-C401 Harmony and Theory 401. This
versions of their songs. The course will feature breathing, placement, designed to assess the performance and compositional lecture hours per week for one quarter. Additional production course covers the analysis and application of chromatic altered
tone, and pitch control. Students will learn vocal characteristics abilities of all candidates pursuing a Bachelor of Music degree fee required. Additional production fee required. chords including the +II7 and +VI7, Neapolitan, augmented sixth
across a myriad of different styles. Two lab hours per week for one in Songwriting & Production at Musicians Institute. Original chords and chords with lowered and raised fifths. Two lecture
quarter. music and arrangements will be displayed through solo & BACH-S910 SENIOR PORTFOLIO PROJECT (2) hours per week for one quarter.
ensemble performance across a wide range of contemporary Prerequisite: CC-801: Harmony & Theory 801, BACH-P503:
BACH-S406 GUITAR HARMONY FOR SONGWRITERS(1) styles to serve as the primary method for judging proficiency. Contemporary Arranging 5, BACH-S211: Vocal Arranging BACH-C601 HARMONY THEORY 601 (2)
This course will instruct students on basic guitar technique in order Students are responsible for selecting their own personnel, 2, and BACH-S710: Sophomore Recital. Corequisite: Prerequisites: BACH-C501 Harmony & Theory 501. This
for them to be able to write appropriate guitar parts for their music. scheduling rehearsals and writing arrangements (complete BACH-S.PL Songwriting Private Lesson. The senior portfolio course covers the analysis and application of the incomplete
The course will focus on open chord shapes (and transpositions with score and ensemble parts) for all performance serves as the final project for all candidates pursuing a major ninth chord, seventh chords in non-dominant harmonic
through use of Capos), strum and fingerstyle accompaniment selections. Five bi-weekly mentoring sessions with an advisor Bachelor of Music degree in Songwriting & Production function, neighbor-chord harmony, ninth, eleventh, thirteenth,
patterns, and barre chord shapes. Students will lean stylistic guitar for one quarter, and a final performance at the end of the at Musicians Institute. All portfolios must include: 1. One and appoggiatura chords. Continued focus on four-part writing,
accompaniment across a variety of genres. Two lab hours per week quarter. Additional production fee required. ensemble transcription of a representative contemporary figured bass and harmonization. Two lecture hours per week for
for one quarter. work, complete with score, ensemble charts and new studio one quarter.
BACH-S801 COMPOSITIONAL STYLE & ANALYSIS 1 (2) recording, 2. One ensemble arrangement of a representative
BACH-P103 CONTEMPORARY ARRANGING 1 (2) Corequisite: BACH-S.PL Songwriting Private Lesson. contemporary work, complete with score, ensemble charts BACH-C701 HARMONY THEORY 701 (2) Prerequisites:
Prerequisite: Theory 3 (BACH-C301) and Sibelius Notation This course examines the musical contributions of various and studio recording, 3. Two student compositions complete BACH-C601 Harmony & Theory 601. This course covers the
(BACH-P127). Introduction to instrumentation, arranging techniques, artists in shaping the genres of Blues, Folk, Brazilian, World, with score, ensemble charts and studio recordings (one analysis and application of chromatic altered chords, including
and notation practices for live rhythm section. Emphasis is on score Afro-Cuban, Jazz, Broadway, Rock, Pop and R&B music. recording using live instrumentation, the other utilizing “virtual the +II7 and +VI7, Neapolitan chords, augmented sixth chords
and parts preparation and notation in selected contemporary styles. Analyzing, learning and performing compositions written by instrumentation”). Candidates are responsible for selecting and chords with lowered and raised fifths. Continued focus on
As a final project,each student completes a studio recording of an representative artists serves as the primary focus of these their own personnel and scheduling rehearsals and studio four-part writing, figured bass and
arrangement for piano, guitar, bass and drums. Two lecture hours per classes. Two lecture hours per week for one quarter. time. Five bi-weekly mentoring sessions with an advisor for harmonization. Two lecture hours per week for one quarter.
week for one quarter. Required lab fee:$200.00. one quarter, and a final studio recording project requirement
BACH-S901 COMPOSITIONAL STYLE & ANALYSIS 2 (2) due at the end of the quarter. Additional production fee BACH-C801 HARMONY & THEORY 801 (2) Prerequisites:
COURSES
COURSES
BACH-P303 CONTEMPORARY ARRANGING 3 (2) Prerequisite: BACH-S801: Compositional Style & Analysis required. Additional production fee required. BACH-C-701 Harmony & Theory 701. This course covers the
Prerequisite: BACH-P203 Contemporary Arranging 2. Arranging 1. This course examines the musical contributions of various analysis of late 19th and early 20th century scores. Discussions
techniques for ensembles including woodwind instruments artists in shaping the genres of Blues, Folk, Brazilian, World, include: pandiatonicism, serial writing, polytonality, parallel
MUSICIANSHIP // SONGWRITING & PRODUCTION
(saxophone, flute and clarinet). Discussion includes transposition, Afro-Cuban, Jazz, Broadway, Rock, Pop and R&B music. harmony and, use of symmetrical scales. Two lecture hours per
range and idiomatic usage of these instruments in popular styles. Analyzing, learning and performing compositions written by week for one quarter
The objective is to study the woodwind family with emphasis on representative artists serves as the primary focus of these CC-101 HARMONY & THEORY 101 (1.5)
four-part harmonization. Builds on core rhythm section by adding classes. Two lecture hours per week for one quarter. Prerequisite: CC-021 Harmony and Theory 021. This course CC-102 EAR TRAINING 102 (1.5)
instrumental riffs, accents, counter melody and additional harmony. presents variations on diatonic structures from Harmony Prerequisite: CC-022 Ear Training 022. Concentrates on the
Stylistic analysis and arrangement projects in Pop, Hip Hop, Country, BACH-S904 COMPOSERS ENSEMBLE 2 (2) and Theory 2. Highlights include pentatonic and blues recognition and transcription of diatonic minor-key melodies and
and Electronica. As a final project, each student completes a studio Composers Ensemble 2 places primary emphasis on the scales, inverted, extended and non-standard chord types, chord progressions. One lecture hour and one lab hour per week
recording of an arrangement for trumpet, alto or clarinet, tenor or presentation, performance and refinement of advanced chord symbols and modes, and voice leading and chord for one quarter.
flute, trombone, guitar, bass and drums. Two lecture hours per week student compositions for subsequent inclusion in senior progressions. One lecture hour and one lab hour per week for
for one quarter. Required lab fee:$200.00. portfolio projects. Whenever possible, visiting artists one quarter. CC-202 EAR TRAINING 202 (1.5)
are invited to participate in the group discussion and Prerequisite: CC-102 Ear Training 102. Concentrates on the
BACH-P403 CONTEMPORARY ARRANGING 4 (2) professional critique that serves as the intellectual foundation CC-201 HARMONY & THEORY 201 (1.5) recognition and transcription of diatonic major and minor melody
Prerequisite: BACH-M303 Contemporary Arranging 3. Course of Composers Ensemble 1-2. BACH-S804: Composers Prerequisite: CC-101 Harmony and Theory 101. Non-diatonic and harmony, and rhythmic figures including sixteen notes.
focuses on string section writing as it applies to contemporary Ensemble 1 Two lecture hours per week for one quarter. melody and harmony. Topics include variations in minor- Includes specific examples drawn from contemporary popular
production, with an emphasis on re-harmonization. Basic key harmony and melody, modal interchange, secondary music. One lecture hour and one lab per week for one quarter.
contrapuntal arranging with voice leading and understanding of BACH-S111 VOCAL ARRANGING 1 (2) dominants, diatonic substitution and modulation. One lecture
ranges and color/timbre blending. As a final project, each student Prerequisites: BACH-C801: Harmony & Theory 801, hour and one lab hour per week for one quarter. BACH-C302 EAR TRAINING 302 (2)
completes a studio recording of an arrangement for string quintet and BACH-P503: Contemporary Arranging 5, and BACH-S710: Prerequisites: CC-202 Ear Training 202. Development of
drums. Two lecture hours per week for one quarter. Required lab fee: Sophomore Recital. Corequisite: BACH-C301 HARMONY & THEORY 301 (2) advanced musical reflexes through the use of “movable do
$200.00. BACH-S110: Production 1. This course explores practical Prerequisites: CC-201 Harmony & Theory 201. This course solfege”. Topics include: diatonic major scale harmony in all
techniques and strategies for successful vocal arranging focuses on topics including: musical textures, irregular twelve keys. Techniques include note recognition, intervallic
BACH-P503 CONTEMPORARY ARRANGING 5 (2) and composition development. Independent and group resolutions, use of melodic and harmonic sequences and structures, melodic patterns, identification and
Prerequisite: BACH-P403 Contemporary Arranging 4. Course analysis of traditional part singing (lead, duet, small-group diminished seventh chords. Two lecture hours per week for arpeggiation of harmonic forms in all inversions, dictation,
focuses on combined rhythm section, woodwind, brass and string and background), “vocalese” and vocal effects along with one quarter. transcription, and sightsinging while conducting. Two lecture
writing as it applies to contemporary productions. As a secondary additional techniques employed by many of popular music’s hours per week for one quarter.
objective, students learn to analyze scores of contemporary most prolific songwriters and arrangers will serve as the BACH-C401 HARMONY & THEORY 401 (2)
arrangements that include all instruments. As a final project, each primary focus of this course. Two lecture hours per week for Prerequisites: BACH-C301 Harmony & Theory 301. This BACH-C402 EAR TRAINING 402 (2)
student completes a studio recording of an arrangement for rhythm one quarter. course covers the analysis and application of the incomplete Prerequisite: BACH-C302 Ear Training 302. Continued
section, woodwinds, brass and strings including overdubs. Two major ninth chord, seventh chords in non-dominant harmonic development of advanced musical reflexes through the use
lecture hours per week for one quarter. Required lab fee: $200.00. function, neighbor chord harmony, ninth, eleventh, thirteen
of “movable do solfege”. Topics include: parallel minor scale styles. All songwriting majors serve as ensemble members for BACH-S507 KEYBOARD AND HARMONY FOR performance as well as make a separate presentation to the
harmony in its three basic forms: natural minor, harmonic minor, one another. Two lecture hours per week for one quarter. SONGWRITING 2 (2) class on a related topic of student’s choice. Two lecture hours
and melodic minor in all twelve keys. Techniques include note Prerequisite: BACH-S407: Keyboard and Harmony for per week for one quarter.
recognition, intervallic structures, melodic patterns, identification BACH-S904 COMPOSERS ENSEMBLE 2 (2) Songwriting 1. Keyboard Harmony for Songwriting II, while
and arpeggiation of harmonic forms in all inversions, dictation, Prerequisite: BACH-S804: Composers Ensemble 1. similar in overall design to level I, places primary emphasis BACH-P222 MH IV WESTERN ART: 1820-21ST CENT (2)
transcription, and sightsinging while conducting. Two lecture hours Composers Ensemble 2 places primary emphasis on the on utilizing the keyboard as a tool for the composition and The history of musical styles from Romantic period to the
per week for one quarter. presentation, performance and refinement of advanced arrangement of student works. Two lecture hours per week for present, including cultural contexts and social meaning.
student compositions for subsequent inclusion in senior one quarter. Composers and musical developments in European and
BACH-C502 EAR TRAINING 502 (2) portfolio projects. Whenever possible, visiting artists are American Art Music, orchestral, chord, band, chamber music
Prerequisites: BACH-C402 Ear Training 402. Continued invited to participate in the group discussion and professional BACH-PSL (BACH-B.PSL, BACH-D.PSL, BACH-G.PSL, and solo repertoire are combined with the influences of music
development of advanced musical reflexes through the use of critique that serves as the intellectual foundation of BACH-K.PSL, BACH-V.PSL) SECONDARY APPLIED from other world cultures. Compositional techniques, style
“movable do solfege.”Topics include: modal harmony that is Composers Ensemble 1-2. Two lecture hours per week for LESSON (2) characteristics, and relationships are emphasized. In addition, to
nondiatonic to the major or parallel minor scales in all twelve one quarter. This is course allows students to study privately with an workbook assignments, midterm and final examinations, students
keys. Techniques include note recognition, intervallic structures, instructor on an additional instrument of their choosing. must attend and write a report on a relevant concert performance
melodic patterns, identification and arpeggiation of harmonic forms SUPPORTIVE MUSIC // SONGWRITING & Students may choose from the following: vocals, guitar, as well as make a separate presentation to the class on a related
in all inversions, dictation, transcription, and sightsinging while keyboard, bass or drums. One private lesson hour per week topic of student’s choice. Two lecture hours per week for one
conducting. Two lecture hours per week for one quarter. PRODUCTION per quarter. quarter.
BACH-C602 EAR TRAINING 602 (2) BACH-P127 SIBELIUS NOTATION (1) BACH-M486 THE BUSINESS OF COMPOSING 1 (1)
Using Sibelius notation software to create lead sheets, master
AUDIO-057 PRO TOOLS 101 (2)
Prerequisites: BACH-C502 Ear Training 502. Continued This course focuses on the basic concepts and theory This course explores of the world of music publishing and the
development of advanced musical reflexes through the use of rhythm scores and individual parts formatted in a way similar how-to of owning and exploiting musical copyrights. Topics
involved in using a digital audio workstation. Students will
“movable do solfege.” Topics include: altered and symmetrical to those students will need to create for Arranging 1-5 and include: copyright law and terminology, the online electronic
be able to set-up an Avid Pro Tools® session for recording,
scale harmony in all twelve keys. Techniques include note Sophomore and Senior juries. One lecture hour per week for Copyright Office (eCO) process, publishing rights, how to set
importing audio, editing, recording MIDI, backing-up data, and
recognition, intervallic structures, melodic patterns, identification one quarter. up a music publishing company, US PROs, public performance
more. Completion of the course prepares students to take the
and arpeggiation of harmonic forms in all inversions, dictation, Avid 101 Pro Tools Certified User Exam. Two lecture hours royalties, how to affiliate with a PRO, cue sheets, songwriter
transcription, and sightsinging while conducting. Two lecture hours AUDIO-052 LOGIC 1 (1) per week for one quarter. contracts and co-publishing agreements, administration
per week for one quarter. This course introduces students to the primary features and agreements, sub publishing, joint works, royalty splits,
basic user interface of Logic Pro X. The class explores the mechanical and synchronization licenses, works made for hire,
AUDIO-157 PRO TOOLS 110 (2)
COURSES
COURSES
CC-108 KEYBOARD PROFICIENCY 1 (1) process of creating an actual song, from start to finish. Pre- sampling, industry organizations and resources for further study.
Prerequisite: AUDIO-057 Pro Tools 101. This course
Keyboard Proficiency 1 serves as an introduction to contemporary production using Apple Loops, recording/editing audio and One lecture hour per week for one quarter. Whenever possible,
expands upon the basic principles taught in Pro Tools 101
keyboard technique. Through the study of physical posture, finger midi, arranging of tracks, producing drum beats with a virtual visiting artists are invited to participate in the group discussion
introduces the core concepts and techniques students need
technique, diatonic scales & chord progressions, this course will drummer, as well as basic mixing and automation techniques and professional critique that serves as the intellectual foundation
to competently operate a Pro Tools system running mid-
enable students to develop the necessary motor-skills required are explored. This course addresses the requirements needed of Composers Ensemble I-II. Two lecture hours per week for one
sized sessions. Students learn to build sessions designed
for using the keyboard both as a performing instrument and (Part 1 of 2) to take the “Apple Certified Pro” exam in Logic quarter.
for commercial purposes and improve the results of their
compositional tool. One lecture hour and one lab hour per week Pro X 10.4. Two lab hours per week for one quarter.
recording, editing, and mixing efforts. Completion of the
for one quarter. This course is not available to Keyboard Program course prepares students to take the Avid 101 Pro Tools BACH-M487 THE BUSINESS OF COMPOSING 2 (1)
students. AUDIO-152 LOGIC 2 (1) Certified User Exam. Two lecture hours per week for one Prerequisite: BACH-M486 The Business of Composing 1.
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1. This course examines music licensing and the process of
quarter.
CC-208 KEYBOARD PROFICIENCY 2 (1) This course is a continuation of the Logic Pro X user interface placing music and songs into film, television, video games,
Prerequisite: CC-108 Keyboard Proficiency 1. This course further for songwriters, composers, producers and sound engineers. commercials and other productions. Topics include: music
Upon completion, students will understand how to use Logic
BACH-P121 MH I: ROOTS OF ROCK & ROLL (2)
develops the technical skills required for successful keyboard A survey of Rock’s roots, including Rhythm & Blues, licensing terminology, songwriter co-administration agreements,
performance and musical comprehension. Pop and Classical Pro’s comprehensive array of software instruments, arranging the importance of music and songs in the film and television
Rockabilly, New Orleans, vocal groups, doo-wop, and early
repertoire performance serves as the main focus of this course, in of MIDI sequences, as well as editing with Flex Time and production process, sources of musical content for producers,
60s pop, including an examination of the major artists and
addition to further study of chord progressions and scales. One Pitch, Vari-Speed, Smart Controls, Smart Tempo, Advanced the “Two Sides” music production libraries and one-stop
regional influences. Weekly discussion, analysis and listening
lecture hour and one lab hour per week for one quarter. Audio and MIDI, Recording/Editing Techniques, Logic shopping, the role of the music supervisor, source cues, music
examples related to each topic. Two lecture hours per week
Remote app, trouble-shooting. This course addresses the clearance, spotting sessions and a composer’s timing notes,
for one quarter.
BACH-P313 KEYBOARD PROFICIENCY 3 (1) requirements needed (Part 2 of 2) to take the “Apple Certified temp music, how to negotiate synchronization and master use
Prerequisite: BACH-P313 Keyboard Proficiency 2. Degree- Pro” exam in Logic Pro X 10.4. Two lab hours per week for licenses, composer package deals, music production and sound
one quarter.
BACH-P122 MH II: WORLD MUSIC (2)
specific course for non-keyboard majors. This course will address A study of music in the context of selected cultures and recordings, union contracts, and how to fill out a cue sheet. One
very practical skills that should be a part of every professional regions around the world. The many ways in which music and lecture hour per week for one quarter.
musician’s toolbox including lead sheet interpretation, basic score BACH-S407 KEYBOARD AND HARMONY FOR
lyrics function in reflecting these cultures are explored through
reading and outlining an arrangement. One lecture hour per week SONGWRITING 1 (2) listening, analysis and transcriptions. Two lecture hours per BACH-S110 STUDIO PRODUCTION AND MIXING 1 (2)
for one quarter. Prerequisite: BACH-P313: Keyboard Proficiency 3. This Prerequisite: AUDIO-152: Logic 2, BACH-S710: Sophomore
course explores practical techniques and strategies for Recital. Corequisite: BACH-S111: Vocal Arranging 1. This
BACH-S804 COMPOSERS ENSEMBLE 1 (2) successfully using the keyboard as a tool for songwriting. course prepares students for successfully navigating the
Independent and group analysis of form, phrasing, chordal
BACH-P123 MH III-1: WESTERN MUSIC: 600-1820 (2)
Prerequisite: BACH-S710: Sophomore Recital. This course A survey of Western art music from the Middle Ages through recording studio environment as vocalist, instrumentalist,
serves as a platform for students to present and perform their voicings and voice leading approaches employed by many of arranger, producer and mixer. Production I focuses on recording
the Classical period. The course will include discussion of
own compositions and arrangements. Weekly live performance popular music’s most prolific songwriters and arrangers will theory and pre-production techniques including mic types and
major styles and forms in historical context, supplemented
workshops provide for development of ensemble writing serve as the primary focus of this course. Two lecture hours proper placements, timbral ear training, rehearsal & recording
by representative listening and score analysis. In addition
techniques, improvisational skills and repertoire building in various per week for one quarter. techniques, microphone, preamp and headphone mixes, EQ
to workbook assignments, midterm, and final examinations,
students must attend and write a report on a relevant concert
considerations and general session preparation. Two lecture promotion, the primary focus being to teach students songwriters. Student songwriters perform their songs and share
hours per week for one quarter. how to build and maintain a fully functional and self- the writing process followed by open discussion of alternative
owned professional website, complete with E-commerce
CREATIVE DEVELOPMENT // COMMON COURSE writing techniques and the creative process. This course is not
BACH-S210 STUDIO PRODUCTION AND MIXING 2 (2) capability. One lecture hour per week for one quarter. equivalent to SONG-101 (Songwriting 1). Two workshop hours
Prerequisite: AUDIO-157: ProTools 110 and BACH-S110: Studio CC-014E MUSIC PRODUCTION ANALYSIS (1) per week for one quarter. This course may be repeated for credit.
Production and Mixing 1. Corequisite: BACH-S211: Vocal BACH-S122E WESTERN SONGWRITING TRADITIONS (1) Group-based course in which students and instructor listen to
Arranging 2. Production II, while similar in overall design to level This undergraduate level course presents a survey of and discuss music of different styles and genres. Discussions CC-016E ORIGINAL LYRIC WRITING (2)
I, places primary emphasis on recording, mixing and general Western songwriting traditions from the Medieval center on what production techniques are being employed Prerequisites: CC-018E Fundamentals of Lyric Writing.
post-production techniques. Two lecture hours per week for one era through present day, with emphasis on the social, musically and sonically. Application of lyric writing fundamentals to students’ original
quarter. political and economic conditions affecting them. work, including extensive writing assignments and evaluation
Genres to be discussed include sacred & secular CC-160E ARTIST DEVELOPMENT: THE SONGS (1) of material with a focus on lyrical content. This course is not
BACH-S112 PRODUCTION MUSIC FOR VISUAL MEDIA 1 (2) European traditions, Art songs, American spirituals & Folk Prerequisites: SONG-101 Songwriting 1, or permission from equivalent to SONG-101 (Songwriting 1). Two lecture/workshop
Prerequisite: BACH-M487: Business of Composing 2. music, County & Western, Blues, Bluegrass, Tin Pan the Common Course Program Chair. Permission does not hours per week for one quarter.
Introduction to musical analysis from the perspectives Alley, Broadway, Jazz, Rock & Roll, R&B/Soul and Pop. guarantee placement out of SONG-101 Songwriting 1. Also
One lecture hour per week for one quarter. available to Bachelor students with permission from Common CC-018E FUNDAMENTALS OF LYRIC WRITING (2)
of the composer/songwriter and the music supervisor,
Course Program Chair and Dean of Performance Studies.
including identifying and interpreting aspects of tone, timbre, Lyrics are the language of music, and often have as much or
Independent Artist students are exempt from prerequisite
instrumentation, dynamics and motifs within a custom more to do with the success of a song than the music. This
requirements. During intensive one-on-one sessions,
composition or song placement for film or television. Students COMMON COURSE ELECTIVES instructor and student work on developing original songs from
course focuses on developing a basic knowledge of lyric writing,
are assigned to review a short film from the perspective of a Except where students are required to choose electives including discussion and analysis of the form, structure, and
ideas to finished arrangements. One private lesson-rehearsal
music supervisor, assigning specific aspects of lyric content, from a program-specific list, students may also fulfill content of popular hit songs. This course is not equivalent to
hour per week for one quarter plus final presentation. This
melodic tone, dynamics, etc. to significant markers in the film their elective requirements with the “Common Course course may be repeated for credit. SONG-101 (Songwriting 1). Two lecture hours a week for one
and communicating the desired aspects to the composer. Two Electives” listed here. See program descriptions for quarter.
lecture hours per week for one quarter. specific elective credit requirements and program-specific CC-161E ARTIST DEVELOPMENT: THE SHOW (1)
elective offerings. Prerequisites: CC-160E Artist Development: The Songs, or CC-M334E SCORING 1 (2)
BACH-S212 PRODUCTION MUSIC FOR VISUAL MEDIA 1 (2) permission from the Common Course Program Chair. SONG- Corequisite requirement: Students must be concurrently enrolled
Prerequisite: BACH-S212 Production Music for Visual Media Note: Most electives are not offered every quarter and 101 Songwriting 1. Also available to Bachelor students with in a Composition Private Lesson in order to enroll into Scoring
1. The course is a continued study of the relationship between electives may be added or canceled without prior notice. permission from Common Course Program Chair and Dean 1. This course covers basic scoring practices and concepts,
music and visual media from the perspectives of both the Refer to the current course offering for specific courses including the difference between score and source cues,
COURSES
COURSES
of Performance Studies. Instructor and student develop live

composer and the music supervisor. Professionals in the field available at time of registration. performances of original material written during “The Songs” diegetic versus non-diegetic music, and underscore. Research
explain and demonstrate the role and requirements of production with concentration on stage presence, movement, audience covers the functions of media music, the role of the media music
music libraries by screening film, TV and ad cues and interpreting CC-034E STARTING YOUR MUSIC CAREER (1) rapport, image, song sequence and entertainment value. At professional and his or her employers, and the scoring process
the accompanying sound effects, compositions and soundtrack Learn what it takes to build and sustain a career as a the conclusion, students present their best live material for pipeline. Two lecture hours per week for one quarter.
elements. Topics of discussion include the process of custom working musician, including practical advice and proven evaluation and screening by a jury of guest experts. Selected
composing for short films, feature films, various TV show formats, steps for getting and passing auditions, preparing and students qualify for an additional video- recorded industry CC-M335E SCORING 2 (2)
ads/commercials, corporate events, and religious institutions. promoting yourself and obtaining work from clubs and showcase. This course is not equivalent to SONG-101 Prerequisites: CC-M334E Scoring 1. Analysis and transcription
Students are required to source and select (“place”) existing casuals to sessions and tours. Students experience (Songwriting 1). One private lesson-rehearsal hour per week of well-known media music scores. Understanding musical
song material for use in a commercial, a film trailer and as a TV mock sessions and auditions under the direction of a for ten weeks plus jury. This course may be repeated for credit. concepts: instrumentation choices, stylistic considerations, and
theme song, including researching the availability of material and professional talent coordinator. Two workshop hours per “behind-the-scenes” material from well-known scores. Students
analyzing and explaining the musical attributes of selections. Two week for one quarter. CC-163E CREATIVITY WORKSHOP (1) will also study about scoring with or against picture. This course
lecture hours per week for one quarter. Based on the book The Artist’s Way, this workshop is is transferable as core credit to the Bachelor of Music Degree in
CC-032E LIVE PERFORMANCE WORKSHOPS (1) intended to help students tap into a deeper sense of creativity Composition. Two lecture hours per week for one quarter.
ELECTIVES // SONGWRITING & PRODUCTION LPWs are required for all AA and Certificate in in both music and life. The goal is to create more dialogue
Performance programs. This is an elective version of among students, developing a community of artists who learn CC-M336E SCORING 3 (2)
BACH-P010E INDEPENDENT STUDY (2) the core performance course. Students gain performing to open up and relate to each other while exchanging ideas Prerequisites: CC-M335E: Scoring 2. In-depth melodic and
Prerequisites: Minimum GPA of 3.25 or above in core courses experience in a wide range of contemporary styles. See about the creative process. Two workshop hours per week for harmonic analysis and transcription of film scores as well as
and permission of program Dean. Provides students with an catalog section on Live Performance Workshops for one quarter. This course may be repeated for credit. other modern media scores, including non-traditional form, score
opportunity to explore a specific subject area in depth through general descriptions; refer to current course offering for reading, and orchestration techniques. At the end of the quarter,
independent course work with faculty supervision. One lecture specific LPW is available at time of registration. Minimum CC-164E COLLABORATIVE SONGWRITING (1.5) students will have a recording session with string quartet. This
hour per week for one quarter. May be repeated for credit. of ten performances per quarter. May be repeated for Prerequisite: SONG-101 Songwriting 1 or CC-306 or course is transferable as core credit to the Bachelor of Music
credit. permission from instructor. Collaborative Songwriting Degree in Composition. Two lecture hours per week for one
BACH-S120E MUSIC TECHNOLOGY IN LIVE PERFORMANCE (1) focuses on advanced songwriting tips and techniques, quarter.
This course explores the role of music technology as a tool for CC-068E INDIVIDUAL DJ WORKSHOP (1) including the study of lyrical development, melody, groove,
enhancing live performance. Curricular topics include click track Computer-based weekly one-on-one workshop with an chords and chord progressions; as well as analytical study of CC-M337E SCORING 4 (2)
programming, backing track production, sound replacement instructor who guides the student in developing technique, contemporary songs. Student apply these advanced tips and Prerequisites: CC-M336E: Scoring 3. Applied Scoring
techniques, triggers, samples and equalization along with musicianship, and style in a support of DJ skills. Students techniques in collaborative songwriting projects. One lecture Techniques: Introduction to Scoring for Animation. Survey
additional approaches to timbre modification. One lecture hour learn how to enhance their basic DJ knowledge into hour and one workshop hour per week for one quarter. of historical and contemporary animation styles and scoring
per week for one quarter. dynamic and professional quality performance. Topics approaches. Utilizing the tools and techniques previously taught,
include beat matching, set-building, remixing, turntablism, CC-011E SONGWRITERS LAB (1) students complete take-down of animation scenes, recreating
BACH-S121E WEBSITE DESIGN (1) and more. One private lesson hour per week for one This course is designed to foster open discussion, idea the scores virtually to match picture. Scoring projects are
This course serves as an introduction to web design and self- quarter. May be repeated for credit. sharing, performance, and relationship-building for assigned in cartoon and science fiction styles. This course is
transferable as core credit to the Bachelor of Music Degree target demographic, live show booking, and an overview of This course examines the individual elements that make-up original music for film & television. This course is lab-intensive
in Composition. Two lecture hours per week for one quarter. current marketing tools. One lecture hour and one lab hour per an “Event,” and how venue production requirements and with an emphasis on composition. The students will gain
Additional lab fee required. week for one quarter. client needs can be communicated in both written form (the practical knowledge about scoring for film and television with
contract) and verbally (the verbal advance). Industry success lectures covering topics from the function of score to melodic
CC-C.PL PRIVATE MEDIA SCORING COMPOSITION (2) CC-054E BUSINESS OF WORKING MUSICIANS (1) and survival tools such as forging vendor relationships, and motifs, as well as in class feedback on their weekly composition
Weekly private lesson focused on developing and applying Students learn to manage a career as a working musician. communication and organizational skills are also examined. assignments. Two lecture hours per week for one quarter.
traditional and contemporary compositional techniques and Topics include: managing life on the road, negotiating an This course is equivalent to AUDIO-408 (Event Production
skills. Includes analysis and critique of compositions as well as employment contract, calculating per diems, key-man clauses, Contracts). One lecture hour per week for one quarter. CC-183E SCORING FOR FILM & TELEVISION 2 (2)
preparation for scoring assignments plus Sophomore and Senior equipment endorsements, working with unions (AFM and Prerequisites: CC-083E Scoring for Film & Television 1. This
projects. One private lesson hour per week per quarter. Private AFTRA), band membership agreements, and more. One course is lab-intensive with an emphasis on composition.
lesson should be enrolled with Scoring courses. This course is lecture hour per week for one quarter. ADVANCED MUSICIANSHIP // COMMON COURSE Students will gain practical knowledge about scoring for film and
transferable as core credit to the Bachelor of Music Degree in television with lectures covering topics from thematic continuity
Composition. One lecture hour per week for one quarter. CC-055E NEW MUSIC MARKETS (1) CC-170E ADVANCED ENSEMBLE SKILLS (1) to orchestration, as well as in-class feedback on their weekly
Students explore ways to make money with music. Learn the Prerequisites: Technique 210 (BASS-210, DRUM-210, GUIT-
composition assignments. Two lecture/lab hours per week for
ins & outs of finding larger audiences, finding seed money 210, or KEYBD- 210). An introduction to the skills necessary
MUSIC BUSINESS-ORIENTED COMMON COURSE one quarter.
for music projects, applying for showcases/contests/grants, to function as an advanced, professional-level rhythm section.
ELECTIVES securing endorsements, and reaching an audience that Instructor will act a musical director for a funk, fusion and
AUDIO-057E PRO TOOLS 101 (2)
appreciates their music. One lecture hour per week for one jazz-rock-oriented rehearsal band. Emphasis will be placed on
This course focuses on the basic concepts and theory involved
CC-033E INTRO TO MUSIC PUBLISHING (1) quarter. groove, timing, and feel. Each instrument chair (bass, drums,
in using a digital audio workstation. Students will be able to set-
An overview of music publishing from the artist’s perspective. percussion, keyboard) will be open to a maximum of three
up an Avid Pro Tools® session for recording, importing audio,
Topics include copyright basics, how co-writers divide CC-015E THE WORKING SONGWRITER (1) students. The guitar chair will support four guitar students.
editing, recording MIDI, backing-up data, and more. Completion
percentages in a composition, when the producer gets credit, This course will dive deep into the realm of current industry hit Improvisation, lead sheet, and notation skills will be required.
of the course prepares students to take the Avid 101 Pro Tools
protecting your compositions (PA and SR forms), what publishing songwriting and help students learn what it takes to become Two ensemble hours per week for one quarter.
Certified User Exam. Two lecture hours per week for one quarter.
companies can do for your career (song-plugging, advances, a working songwriter plus practice current forms of industry
administration, marketing funds), and more. One lecture hour per songwriting techniques. One lecture hour per week for one
week for one quarter. quarter. NON-INSTRUMENT SKILLS // COMMON COURSE AUDIO-157E PRO TOOLS 110 (2)
Prerequisite: AUDIO-057E Pro Tools 101. This course expands
CC-047E PLANNING YOUR FIRST TOUR (1) upon the basic principles taught in Pro Tools 101 introduces the
CC-060E MUSIC INTERNSHIP (1) CC-013E FINAL CUT PRO X (1.5)
core concepts and techniques students need to competently
COURSES
COURSES
This course concentrates on planning, promoting, and executing Prerequisites: completion of one quarter of study in residence. A course designed to familiarize beginning to seasoned film
a band’s first regional tour. We explore when to perform operate a Pro Tools system running mid-sized sessions. Students
Students gain practical experience working with a music editors on the variety of features available in Final Cut Pro X.
regionally, how to negotiate, and when to pitch your music to Topics will include: transforming clips, manipulating audio, learn to build sessions designed for commercial purposes and
industry-related company in the Los Angeles area. The
larger local promoters/agents. Other subjects include: identifying color correcting, and multi-camera editing. One lecture hour improve the results of their recording, editing, and mixing efforts.
student will assist in daily operation of a music company
fan demographics to choose touring cities, calculating break- and one lab hour per week for one quarter. May be repeated Completion of the course prepares students to take the Avid 101
working with records labels, publishing companies, booking
even costs, securing paid/pre-assembled anchor dates, and for credit. Pro Tools Certified User Exam. Two lecture hours per week for
agents & venues, marketing and publicity companies, or
writing realistic contracts and tech riders. Final classes cover one quarter.
other music related companies. Music students can take this
how to get press and use social media plus writing detail elective during any quarter. They MUST complete at least CC-043E INTRO TO iMOVIE & CREATING SHOWREELS (1.5)
itineraries that produce successful tours. One lecture hour per
30 internship hours per enrolled quarter. This course may be An introduction to basic/intermediate view showreel editing AUDIO-052E LOGIC 1 (1)
week for one quarter. techniques and grassroots marketing and self-promotion, This course introduces students to the primary features and
repeated for credit.
utilizing Apple’s iLife apps. One lecture hour and one lab hour basic user interface of Logic Pro X. The class explores the
CC-050E MUSIC BUSINESS BASICS (1) per week for one quarter. This course may be repeated for process of creating an actual song, from start to finish. Pre-
This course will introduce aspiring artists to the business side of
CC-064E MUSIC LAW BASICS (1)
credit. production using Apple Loops, recording/editing audio and midi,
music. It covers the key areas and issues artists should be aware This course is designed to expose aspiring musicians,
arranging of tracks, producing drum beats with a virtual drummer,
of when creating and marketing music, developing their careers, vocalists, engineers, producers, and other music industry
CC-053E MUSIC VIDEO BOOT CAMP (1.5) as well as basic mixing and automation techniques are explored.
selecting artist-team members, seeking industry attention, and professionals to those areas of law which permeate and
An introductory course in creating simple, single-camera-style This course addresses the requirements needed (Part 1 of 2) to
entering into contractual relationships. It will present, in a realistic control the music business, including fundamentals of
music videos. Students, sourcing their own bands or artists, take the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab
way, what it takes to stand out, protect vital interests and, Copyright Law, Trademark Law, Contract Law, Publishing,
will create a music video under the guidance of the instructor hours per week for one quarter.
ultimately, be successful in the music business today. One lecture Songwriter and Collaboration Agreements, Licensing
Agreements, Record Deals, Constitutional Law, and in a series of seminar-style workshops. Topics covered will be:
hour per week for one quarter. AUDIO-152E LOGIC 2 (1)
International Law and treaties. One lecture hour per week for the basics of directing performance, camera operation and
video editing. One lecture hour and one lab hour per week for Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1.
CC-051E DOING BUSINESS AS A BAND (1) one quarter.
one quarter. This course is a continuation of the Logic Pro X user interface
An overview of how bands and band members should conduct
for songwriters, composers, producers and sound engineers.
business. Topics include band membership agreements, CC-104E THE BUSINESS OF AUDIO (1)
business entities, band names and trademarks, the business of In this course, students gain a comprehensive overview CC-080E COMPUTER NOTATION (2) Upon completion, students will understand how to use Logic
An important, practical, and contemporary survey of Pro’s comprehensive array of software instruments, arranging
songs, rehearsal tips, promotional tools, booking and performing, of operating a business as an audio engineer or producer.
computer notational techniques using Sibelius notation of MIDI sequences, as well as editing with Flex Time and Pitch,
and a survey of record deals. One lecture hour per week for one Topics include: music budgets, invoicing, finances, and basic
quarter. software. Recommended for all students, this course has Vari-Speed, Smart Controls, Smart Tempo, Advanced Audio and
accounting methods to legally setting up their own business.
wide application for theory, arranging, songwriting, and other MIDI, Recording/Editing Techniques, Logic Remote app, trouble-
Students also discuss the challenges of the new business
CC-053E MUSIC VIDEO BOOT CAMP (1.5) assignments requiring notation. Two hours per week for one shooting. This course addresses the requirements needed (Part
model as well as industry definitions and roles. This course
Essential self-marketing and promotional techniques used quarter. 2 of 2) to take the “Apple Certified Pro” exam in Logic Pro X 10.4.
is equivalent to AUDIO-104 (The Business of Audio). One
by modern artists to spread audio-visual materials across the Two lab hours per week for one quarter.
marketplace. Topics include creating a presence on online music CC-083E SCORING FOR FILM & TELEVISION 1 (2)
portals, DIY marketing strategies and techniques, identifying the An overview of the techniques and aesthetics of scoring NON-MAJOR INSTRUMENT STUDY // COMMON COURSE
CC-408E EVENT PRODUCTION CONTRACTS (1)
music’s ever changing stylistic landscape. Group study class. Two lecture hours per week for one quarter.
See instrument program course offerings for additional entry- of the physical & mental components that contribute to MM-P205 RESEARCH METHODS FOR THE CONTEMPORARY
level instrument electives. proper ensemble technique, sight-reading reading ability, MM-P410 GRADUATE RECITAL (6) MUSICIAN 2 (2)
improvisation and stylistic authenticity pertaining to key Prerequisite: MM-P205: Research Methods for the Prerequisite: MM-P105: Research Methods for the
CC-021E INTRODUCTION TO GUITAR (1) genres and repertoire serves as the curricular foundation for Contemporary Musician 2. The graduate recital serves Contemporary Musician 1. Research Methods II places primary
Non-guitar majors learn simple note reading, fingerings, and these performance-based classes. Two ensemble hours per as the culminating performance event for all candidates emphasis on the development of reading & writing-skills
accompaniment patterns. Great tool for singer-songwriters. Not week for one quarter. pursuing a Master of Music degree in Performance from necessary for successfully completing the graduate thesis
available to Guitar Program students. One hour per week for one Musicians Institute. Students are responsible for selecting requirement, among other future academic endeavors. Two
quarter. MM-P201 ADVANCED STUDIO ENSEMBLE 2 (2) Prerequisite: their own personnel and scheduling rehearsals. A complete lecture hours per week for one quarter.
MM-P101: Advanced Studio Ensemble 1. Continuation of repertoire list must be presented to both private instructor
CC-023E INTRODUCTION TO VOICE (1) Advanced Studio Ensemble I. Group study of the physical and Program Chair for approval by Week 4 of the quarter in MM-P206 RECORDING PROJECT 1 (2) Prerequisite: MM-
Non-vocal majors learn to develop techniques for proper & mental components that contribute to proper ensemble which they expect to graduate. In addition, Program Notes P101: Advanced Studio Ensemble 1 and MM-P102: Graduate
breathing, pitch accuracy, and improving range while protecting technique, sight- reading reading ability, improvisation and giving background information about each composition to be Performance Seminar 1. These courses prepare students for
their vocal instrument with application to popular styles in both stylistic authenticity pertaining to key genres and repertoire performed must be written by the candidate and submitted successfully navigating various recording studio environments
lead and backup vocal roles. Not available to Vocal Program serves as the curricular foundation for these performance to the Program Chair for approval no later than Week 8 of as both artist and auxiliary participant. Recording Project I
students. One lecture hour per week for one quarter. based classes. Two ensemble hours per week for one quarter. the quarter in which they expect to graduate. Ten-weekly focuses on recording history, general acoustic theory, studio
mentoring sessions with a project advisor for one quarter, and terminology, recording equipment setup, signal chain basics, the
CC-025E INTRODUCTION TO BASS (1) MM-P102 GRADUATE PERFORMANCE SEMINAR 1 (1) a final performance at the end of the quarter. fundamentals of session preparation, timbral ear training & live
Non-bass majors learn how to play appropriate basslines using This class allows students to present both research and solo/ tracking techniques using digital recording software. One lecture
correct playing techniques and understanding the role of the group performances relating to compositions and artists SUPPORTIVE MUSIC // PERFORMANCE hour per week for one quarter.
bassist in a band. Covers all essentials of the bass for the non- represented in contemporary music. Whenever possible,
bassist. Not available to Bass Program students. One hour per visiting artists are invited to participate in the group discourse MM-P103 ADVANCED HISTORY: POPULAR MUSIC OF THE MM-P306 RECORDING PROJECT 2 (2)
week for one quarter. and professional critique that serves as the intellectual UNITED STATES (2) Prerequisite: MM-P206: Recording Project 1. This course builds
foundation of Seminar I. In addition, this course functions as This graduate level course presents a survey of popular music upon the preproduction techniques learned in the previous
CC-026E HAND PERCUSSION (1) a primer for graduate thesis and recital presentation. One genres and trends occurring in the United course and focuses on practical application. While similar in
An introduction to percussion techniques, including hand lecture hour per week for one quarter. States from the post-civil war era through present day, with design, it places primary emphasis on the recording, mixing,
coordination and rhythm as they relate to various types of Latin emphasis on the social, political and economic conditions mastering and commercial presentation of student performances.
hand percussion instruments with application to Latin and pop MM-P202 GRADUATE PERFORMANCE SEMINAR 2 (1) One lecture hour per week for one quarter.
COURSES
COURSES
affecting them. Genres to be discussed include Art songs,

music. Not available to Drum Program students. One hour per Prerequisite: MM-P102: Graduate Performance Seminar 1. Spirituals & Folk music, County & Western, Blues, Bluegrass,
week for one quarter. This class is a continuation of the topics covered in Graduate Tin Pan Alley, Broadway, Jazz, Rock & Roll, R&B, Pop MM-P308 GLOBAL ECONOMICS & THE PERFORMING
Performance Seminar I, but with an emphasis on original and Electronica/EDM. Additional study will center around MUSICIAN (2)
CC-027E INTRODUCTION TO DRUMSET (1) student composition. Students will present both research American music’s influence on the music of other countries Prerequisites: MM-P102: Graduate Performance Seminar 1 and
An introduction to the fundamentals of the drum set for non- and solo/group performances relating to their compositions. throughout the world. Two lecture hours per week for one MM-P105: Research Methods for the Contemporary Musician
Drum Program performance students. This course covers drum Whenever possible, visiting artists are invited to participate quarter. 1. This course provides an overview of the music industry and
set components, counting techniques, basic grips, and simple in the group discourse and professional critique that serves its future prospects within the realm of global entertainment.
reading and notation. Additionally, students will perform common as the intellectual foundation of Seminar II. In addition, this MM-P104 CONTEMPORARY PERFORMANCE STYLES & Students will study and critique the varying dynamics at work
grooves such as 8th note-based rock, 16th note-based funk, 8th course functions as a primer for graduate thesis and recital ANALYSIS 1 (2) pertaining to the production of “musical culture” between
note-based jazz and shuffles, and bossa nova. Finally, the basics presentation. One lecture hour per week for one quarter. These performance courses examine the musical trans-national media conglomerates, independent companies,
of brushes and rods will be covered with students performing contributions of various artists in shaping the genres of artists and the public. Additional focus will center on the role
grooves typical to the use of brushes and rods. Not available MM-P210 GRADUATE THESIS MUSICIAN 2 (3) Blues, Jazz, Rock and Funk/R&B. Classes will focus primarily of music in the age of computers and the Internet and how the
to Drum Program students. One lecture hour per week for one Concurrent Enrollment of MM-P202: Graduate Performance on researching, analyzing and interpreting the compositions of aforementioned technologies have altered the course and overall
quarter. Seminar 2 and MM-P205: Research Methods for the representative artists. Specific attention will be paid to forging identity of the industry as a whole. Two lecture hours per week for
Contemporary Musician 2. The graduate thesis presents successful group dynamics and musical interplay between one quarter.
students with the opportunity to synthesize everything they class-members. Weekly performance serves as a primary
MASTER OF MUSIC IN PERFORMANCE have studied leading up to and during graduate study and in component of this course. Two lecture hours per week for one MM-P404 CONTEMPORARY PERFORMANCE STYLES &
(CONTEMPORARY STYLES) turn “give back” to the academic community through individual quarter. May be repeated for credit. ANALYSIS 2 (2)
research. Ten-weekly mentoring sessions with a project Prerequisite: MM-P104: Contemporary Performance Styles &
advisor for one quarter, and a final presentation at the end of MM-P105 RESEARCH METHODS FOR THE Analysis 1. This is the continuation of Contemporary Performance
MAJOR AREA // PERFORMANCE the quarter. Styles & Analysis I. Students will analyze Brazilian, Folk, Afro-
CONTEMPORARY MUSICIAN 1 (2)
Corequisite: MM-P102: Graduate Performance Seminar 1. Cuban & Pop performance genres. Weekly performances and
MM-PL (MM-B.PL, MM-D.PL, MM-G.PL, MM-K.PL, MM-V.PL) MM-P307 21ST CENTURY MUSIC EDUCATION (2) group analysis serve as the primary focus of these courses. Two
APPLIED PRIVATE LESSON (2) Research Methods I introduces students to the analytical
Prerequisites: MM-P202: Graduate Performance Seminar methodologies and bibliographic tools necessary for lecture hours per week for one quarter. May be repeated for
Fostering the development of all students”individual voices” 2 and MM-P205: Research Methods for the Contemporary credit.
serves as the main objective within the graduate applied advanced study, writing and academic research in music.
Musician 2. This course serves as an introduction to Along with analyzing and critiquing written works and
instrumental lesson program. One private lesson hour per week contemporary music performance education, the primary
per quarter. sources, students will gain greater insight into the important ELECTIVES // PERFORMANCE
focus and goal being to equip advanced students with the role scholarly research plays in contributing to both the
tools necessary to become successful private teachers, preservation and subsequent evolution of music as an art MM-P120E MUSIC TECHNOLOGY IN LIVE PERFORMANCE (2)
MM-P101 ADVANCED STUDIO ENSEMBLE 1 (2) small ensemble directors, and clinicians. Students and senior
Comprised of both graduate students and senior faculty, these form. Level I places primary emphasis on the development of This course explores the role of music technology as a tool for
faculty will frequently work together helping to educate one student research-skills. Two lecture hours per week for one enhancing live performance. Curricular topics include click track
courses will enable students to develop the performance skills another through mock-lesson environments established in
necessary for successfully navigating through contemporary quarter. May be repeated for credit. programming, backing track production, sound replacement
techniques, triggers, samples and equalization along with MM-P131E SPECIAL TOPICS IN MUSIC THEORY: MM-PSL (MM-B.PSL, MM-D.PSL, MM-G.PSL, MM-K.PSL,
additional approaches to timbre modification. Two lecture hours ADVANCED COUNTERPOINT (2) MM-V.PSL) SECONDARY APPLIED PRIVATE
per week for one quarter. This comprehensive music theory course explores the LESSON (2)
compositional practice of multiple independent melodic line This is a course for students who wish to study privately with
MM-P121E WEBSITE DESIGN FOR MUSICIANS (2) This course construction through the various eras of western music history an instructor on an additional instrument of their choosing.
serves as an introduction to web design and self-promotion, the (Medieval through 21st Century). Analysis of the contrapuntal Students may choose from the following instruments: vocals,
primary focus being to teach students how to build and maintain techniques employed by many of popular music’s most prolific guitar, keyboard, bass or drums. Two lecture hours per week
a fully functional and self-owned professional website, complete songwriters serves as the primary focus of this course. Two for one quarter. May be repeated for credit.
with E-commerce capability. Two lecture hours per week for one lecture hours per week for one quarter. May be repeated for
quarter. credit with offering of new topic.
MM-P122E SOCIAL MEDIA & ONLINE BRAND MM-P132E SPECIAL TOPICS IN MUSIC BUSINESS:
MANAGEMENT(2) INTELLECTUAL PROPERTY LAW (2)
This course serves as an introduction to the study of both This course explores the area of law that deals with
physical and online media management systems and marketing protecting the rights of those who create original works.
techniques employed by successful solo artists, groups, Analysis of copyright, patents and trademarks, the three main
companies and labels. Partial curricular topics include image/ instruments used for protecting intellectual property, will
brand theory & psychology, online marketing techniques & serve as the primary focus of this course. Additional curricular
research, press release construction, email, mailing list & general topics include recording, publishing, artist management
etiquette considerations, funding & revenue stream generation & merchandising agreements, legal precedent, licensing,
and business plan development. Whenever possible, visiting negotiation, “points” royalties and brand management
artists and industry professionals will be invited to participate in considerations. Whenever possible, visiting artists and
class discussion and presentations. Two lecture hours per week industry professionals will be invited to participate in class
for one quarter. discussion and presentations. Two lecture hours per week for
one quarter. May be repeated for credit with offering of new
MM-P125E LYRIC WRITING 1: INTRODUCTION TO LYRIC topic.
WRITING (2)
This course enables students to develop the skills necessary MM-P133E SPECIAL TOPICS IN MUSIC HISTORY: MUSIC,
COURSES
COURSES
to create, analyze, critique, and revise song lyrics in the CULTURE, IDEAS (2)
contemporary songwriting market. Students will learn important Prerequisites: MM-P102: Graduate Performance Seminar
concepts relating to lyrics, including finding inspiration, mastering 1 and MM-P105: Research Methods for the Contemporary
tools of the craft, and tailoring lyrics to different styles and Musician 1. This advanced survey course examines the
situations. Two lecture hours per week for one quarter. complex relationships between music and religion, politics,
economics, race relations, history & gender and their
MM-P225E LYRIC WRITING 2 (2) subsequent influences in shaping various forms of cultural
Prerequisite: MM-P125E: Lyric Writing 1: Introduction to Lyric identity throughout the world. An examination of musical
Writing. This course enables students to develop the skills performance practices by traditionally underrepresented
necessary to create, analyze, critique, and revise song lyrics populations will serve as the primary focus of this course.
in the contemporary songwriting market. Students will learn Whenever possible, visiting artists will be invited to participate
important concepts relating to lyrics, including finding inspiration, in class discussion and presentations. Two lecture hours per
mastering tools of the craft, and tailoring lyrics to different styles week for one quarter. May be repeated for credit with offering
and situations. This course will introduce advanced story-telling of new topic.
techniques. Two lecture hours per week for one quarter.
MM-P134E SPECIAL TOPICS IN MUSIC IMPROVISATION:
MM-P126E THE PERFORMING MUSIC DIRECTOR (2) 1959 (2)
Prerequisite: MM-P101: Advanced Studio Ensemble 1 & Prerequisite: MM-P101: Advanced Studio Ensemble 1
Approval of Program chair. This course explores the practical & Approval of Program chair. This course examines the
techniques and strategies used by producers, composer/ recorded musical contributions of Jazz artists Miles Davis
performers, arrangers and music directors in successfully (“Kind of Blue”), Charles Mingus (“Mingus Ah Um”), John
assembling performance personnel for recording and Coltrane (“Giant Steps”, Dave Brubeck (“Time Out’) Ornette
live situations. Critical listening and research along with Coleman (“The Shape of Jazz to Come”), whose seminal
compositional analysis of requisite artists and performances albums were each released in 1959. Analysis of various
spanning a wide array of musical genres serves as the compositions and improvisational techniques employed by the
primary focus of this course. In addition, students will develop aforementioned artists along with their subsequent cultural
arrangements and write compositions inspired by the various contributions will serve as the primary focus of this course.
skill-sets possessed by fellow classmates. Specific attention will be paid to forging successful group
Whenever possible, visiting artists and industry professionals will dynamics and interplay between class members. Two lecture
be invited to participate in class discussion and presentations. hours per week for one quarter. May be repeated for credit
Two lecture hours per week for one quarter. with offering of new topic.
ADMISSIONS ADMISSIONS
ELIGIBILITY FOR ADMISSION TO alter the program in a substantive manner); •• 2nd attempt: can be taken 1 calendar day after the •• $100.00 USD application fee.
•• Sufficient dexterity to perform manual skills related to original attempt. •• High school diploma or proof of G.E.D. equivalent from an
MUSICIANS INSTITUTE music performance, instrument and gear manipulation, •• 3rd attempt: can be taken 7 days after the second accredited institution (please provide an official English
In addition to the eligibility requirements listed for each program
offered by the college, Musicians Institute admits only those and related activities; attempt. If fail, applicant may not be accepted for the translation if the original is not in English).
individuals who, in the opinion of the college, have the capacity •• Sufficient physical capacity to lift, hold, carry items of immediate quarter start.
and ability to function and comport themselves appropriately in differing weights and sizes; •• 4th attempt: can be taken 1 quarter after the third attempt.
•• Ability to demonstrate and maintain organizational skills, If fail, applicant may not be accepted for the immediate
TRANSFERRING FROM AN AA DEGREE PROGRAM TO A
a college learning environment, and to benefit from, successfully
meet, and/or perform to all of the requisites and standards time management and professional respect and conduct quarter start. PERFORMANCE CERTIFICATE PROGRAM
required to complete a program as outlined in this catalog. as a human service student, either at practicum site, or in •• 5th attempt: can be taken 2 quarters after the fourth Currently enrolled students seeking to transfer from an Associate
the community; attempt. If fail, applicant may not be accepted for the of Arts Degree Program to a Performance Certificate Program
•• Computer and device literacy sufficient to allow for immediate quarter start. with the same instrument major must complete and submit a
TECHNICAL AND PERFORMANCE REQUIREMENTS interaction with MI curricula, communications, and •• After 5 failed attempts, wait a minimum of 2 years before
As noted above, Musicians Institute may only admit individuals Petition for Transfer to the Registrar’s office.
learning management systems; final attempt.
who, in the estimation of the College, have a reasonable
•• Other capacities and skills as related to specific Students who have withdrawn or been terminated from an
prospect of benefiting from and completing the programs as
they are structured. In relation to this condition of admission,
requirements of the discipline, field, profession CERTIFICATES Associate of Arts Degree Program and are seeking to transfer to
•• Questions about Technical and Performance ENTERTAINMENT INDUSTRY a Performance Certificate Program within the same instrument
and to ensure that all students who are admitted are capable of
Requirements may be submitted to the Office of major must contact the Student Records office for instructions.
meeting the requirements of the programs, the College considers
Admissions.
STUDIES For information on transferring to a different instrument major,
technical and performance capacities as relevant to ethical and •• Audio Engineering
appropriate admissions standards. This standard is not intended WRITTEN SCHOLASTIC LEVEL EXAM (SLE) •• Audio Engineering // Post-Production Audio
contact the Admissions Office.
to be exclusive; rather it is designed to ensure that all students Certain Industry programs require SLE testing which is an online •• Audio Engineering // Live Audio Production Note: See the Notice Concerning Transferability of Credits and Credentials
admitted to the programs are able to advance through and scholastic test through third party provider Wonderlic. The exam •• DJ Performance & Production Earned at Musicians Institute under Additional Information.
receive benefits from the programs as they are designed. will be administered by the Chair of the program. •• Guitar Craft
Industry Program SLE Policy
Programs Requiring SLE:
•• Guitar Craft // Acoustic Guitar Design CERTIFICATE PROGRAMS - SPECIFIC REQUIREMENTS
Technical and Performance Requirements vary by program based •• Independent Artist Development
on the requirements of the discipline/field of study/profession. •• Audio Engineering (includes Certificate and Associate of AUDIO ENGINEERING
•• Music Business
Adaptive equipment and reasonable accommodations are Science programs) Application:
•• Guitar Craft •• Music Business // Entrepreneur
acceptable insofar as these do not substantively alter the In addition to the items listed above under All Programs, you must
•• Music Business (includes Certificate and Associate of PERFORMANCE STUDIES pass a written Scholastic Level Exam (see application form for
GENERAL
GENERAL
program. Technical and Performance Requirements may include
(but are not limited to): Science programs) •• Bass details).
•• A working command of the English language; •• Drum
•• Reading comprehension skills sufficient to read and CONDITIONS FOR WHICH A STUDENT MUST TAKE THE •• Guitar Placement:
comprehend curriculum, literature, communications, etc.; •• Keyboard Technology If you are admitted into an Audio Engineering Certificate
SLE Program, you will be given a placement evaluation as part of the
•• Sufficient verbal and language skills to support 1. All new students enrolling in one of the listed programs must •• Vocal
communication and collaboration with student, faculty, registration process. The evaluation will measure your current
successfully pass the SLE. level of knowledge and experience in several fundamental areas.
staff and others at the College; 2. Students matriculating from a Performance Studies program SONGWRITING Placement evaluations will take place during registration week
•• Communication skills sufficient to perform and engage in into any of the listed Industry Studies programs will need to pass A. Submit two performed pieces that best represent your
and you will not be scheduled for classes until your evaluation is
required tasks and assignments; the SLE to enroll. style and abilities on your instrument or voice. At least 1 piece
complete. In some cases, a student may be recommended for
•• Ability to understand and follow both written and oral should be original. Please submit a chart for all original music advanced placement in classes in which he or she may already
instructions; CONDITIONS FOR WHICH A STUDENT DOES NOT HAVE (Handwritten charts are accepted, charts created using a be proficient.
•• Ability to complete requirements for college level classes; notation software program are preferred). You may sing or play to
•• Ability to sustain cognitive integrity in areas of short and TO TAKE THE SLE backing tracks.
1. Students changing to one of the listed programs will not need Students already enrolled in the Certificate in Audio Engineering
long-term memory, areas of written documentation, and B. Speaking Voice: Record your own speaking voice with a short Program may apply for transfer to the Certificate in Audio
follow through of responsibilities (adaptive equipment and to pass the SLE if the student was previously in a program that narrative explaining why you wish to attend Musicians Institute.
required an SLE for admission. For example, a student changing Engineering (Post-Production Audio) or Certificate in Audio
reasonable accommodations are acceptable insofar as Engineering (Live Audio Production) Emphasis Programs. The
these do not alter the program in a substantive manner);
from Music Business to Guitar Craft will not need to take a ELIGIBILITY REQUIREMENTS applicant’s academic progress in the current program will also be
second SLE. All eligibility, application, registration, placement and orientation
•• Visual acuity sufficient to ensure the safe and appropriate considered as a factor in determining eligibility for transfer.
2. DJ, EMP, IAP, and A/P/E certificates require an audition for requirements for the four-quarter/60 credit-unit Certificate in
performance of all tasks and requirements of the program
admittance, they do not require the SLE. Performance are identical to those described for Associate of
to standards (adaptive equipment and reasonable
accommodations are acceptable insofar as these do not Arts Degree in Performance. GUITAR CRAFT
alter the program in a substantive manner); INDUSTRY PROGRAM SLE PROCEDURE In addition to the items listed above under All Programs, you
•• Aural/auditory acuity sufficient to distinguish various The SLE can be taken 3 times prior to the start of the term for AWARD OF CREDIT FOR PRIOR EXPERIENTIAL LEARNING. must pass a written Scholastic Level Exam and also submit a
sounds and noises to ensure safe and appropriate which the student would like to enroll, for a total of 6 attempts recording that includes a recording of both a musical audition
Musicians Institute does not award program credit for prior
performance of all tasks and requirements of the program before non-acceptance into any industry program which requires and your speaking voice with a short narrative in English telling us
experiential learning.
to standards (adaptive equipment and reasonable the SLE. Once the “Send SLE” status has been added to the why you want to attend Musicians Institute (see application form
Audition review box and sent to the respective Chair, the Chair for details).
accommodations are acceptable insofar as these do not
will then send the student an SLE invitation via email to the SLE APPLICATION PROCESS: CERTIFICATE
alter the program in a substantive manner);
site, typically within 24 business hours or less. Send all of the following items together by mail along with any
•• Vocal capacity sufficient to ensure safe and appropriate
performance of all tasks and requirements of the program additional items required by the program to which you are MUSIC BUSINESS
to standards (adaptive equipment and reasonable THE ATTEMPTS PROCESS IS DEFINED BELOW: applying (see below): In addition to the items listed above under All Programs, you must
accommodations are acceptable insofar as these do not •• 1st attempt- if fail: •• Completed application form. pass a written Scholastic Level Exam (see application form for
details).
submit the deposit along with the application fee).
ELIGIBILITY REQUIREMENTS APPLICATION PROCESS: BACHELOR OF MUSIC
INDEPENDENT ARTIST DEVELOPMENT & The admissions procedure is selective and based on factors The admissions procedure for Bachelor of Music consists of
DJ PERFORMANCE & PRODUCTION including: REGISTRATION three parts:
In addition to the items listed above under All Programs, you must •• Recorded audition or written test (where applicable) •• Students are expected to arrive for registration and 1. Completed application with all required documents
also submit an original recording (see application form for details). •• Written application orientation during the two-week period prior to the 2. Written entrance test
•• Prior experience start of classes. Students who fail to register at their 3. Complete the following for the program to which you are
ASSOCIATE DEGREES •• Evidence of desire for career advancement and assigned registration appointment will be assessed a late applying:
commitment to an intensive educational program registration fee of $100.00 USD. Applicants may register a. Bachelor of Music in Performance Applicants: Video
ASSOCIATE OF ARTS IN PERFORMANCE after the first week of classes only with permission from Performance Test.
•• Bass
Each applicant is individually reviewed, taking into consideration the program director. b. Bachelor of Music in Composition Applicants: Audio
•• Drum
his or her experience, achievements, aptitude, attitude, and •• Students who need housing/roommate assistance should recording (digital format) of two examples of
•• Guitar
•• Keyboard Technology potential for growth. Prospective students still enrolled in arrive at least four weeks prior to the start of classes. Daily music in any style written by the applicant (solo or
•• Vocal high school are encouraged to follow a college preparatory housing meetings and new student tours will take place ensemble, instrumental or vocal) accompanied by
curriculum and to take as many music and music-related during registration week. notation (lead sheet, score or piano reduction).
courses as are practical prior to attending MI. c. Bachelor of Music in Songwriting & Production
ASSOCIATE OF ARTS PERFORMANCE // PLACEMENT EVALUATION Applicants: Audio Recording (digital format) of two
COMBINED EMPHASIS Students applying for admission to an Associate of Arts Degree After you are admitted to the Associate of Arts Degree Program, examples of music in any style with lyrics written by
Combined Emphasis in Primary Instrument Plus One Non- Program (Combined Emphasis) must meet the eligibility you will be given a placement evaluation that will measure your the applicant accompanied by notation (leadsheet,
Performance Emphasis: requirements of both the instrument study portion (see AA current level of knowledge and experience in several fundamental score or piano reduction.)
•• Audio Engineering musical areas. Placement evaluations take place during
Degree requirements) and the additional emphasis portion
•• DJ Performance & Production registration week and you will not be scheduled for classes until After your written application is received, reviewed, and approved,
(see Entertainment Industry Certificates). All other application,
•• Guitar Craft your evaluation is complete. In some cases, a student may be you will receive a written Bachelor of Music entrance test by mail.
registration, placement, and orientation requirements are
•• Independent Artist Development recommended for advanced placement in courses in which he
identical to those described for the Associate of Arts Degree in This must be completed and returned along with an unedited
•• Music Business or she may already be proficient. Does not apply to Associate of
Performance. video recording of yourself performing specific instrumental
Science Degree. playing requirements (details provided with entrance test).
The Associate of Arts Degree in Performance is a terminal/
occupational degree. Credits earned in this type of program may ASSOCIATE OF SCIENCE IN MUSIC BUSINESS - SPECIFIC
Please send all of the following items together by mail or email:
not transfer to all baccalaureate programs. Policies regarding the REQUIREMENTS NEW STUDENT ORIENTATION
GENERAL
GENERAL
•• Completed application form.
transfer of occupational degrees or acceptance of transfer course You must pass a written Scholastic Level Exam (see application Orientation will be held on the Thursday prior to the start of •• High school diploma or equivalent from an accredited
credit vary by institution. MI cannot guarantee the transferability classes. During this time, you will learn about school policy and
form for details). institution. Please provide an official English translation if
of credit except between its own degree programs (See Transfer procedures, Student Affairs, LPW sign-ups and other school- the original is not in English
credits from MI Associate of Arts to Bachelor of Music Program). APPLICATION PROCESS: ASSOCIATE DEGREES related topics. •• $100.00 USD application fee.
Please send all of the following items together by mail or email
•• A 250-word written essay describing why you want to
ASSOCIATE OF SCIENCE MUSIC BUSINESS (additional items are also required; check below under the
BACHELOR OF MUSIC DEGREES attend Musicians Institute.
The 90-credit ASMB degree provides students with in-depth specific program to which you are applying):
BACHELOR OF MUSIC IN •• Domestic students: SAT or ACT Scores (from within
training in a diverse range of subjects encountered in today’s •• Completed application form.
the last 5 years); SAT minimum 1100; ACT minimum
music industry. In addition to courses in entertainment law, music •• $100.00 USD application fee. COMPOSITION 21. (SAT/ ACT scores are not required. Two letters of
publishing and licensing, record labels, distribution, and personal •• High school diploma or proof of GED equivalent from (Scoring For Visual Media Program) recommendation from instructors or professors you
management, our Associate of Science degree also includes music institution with recognized accreditation (please provide
have studied with for at least one year, including one
industry history, international music publishing, accounting and an official English translation if the original is not in
finance, marketing, and visual media. English). BACHELOR OF MUSIC IN recommendation in music and one recommendation in
PERFORMANCE academic areas.
•• An audio recording of yourself playing or singing (see
application for details, does not apply to Associate of Science in Music (Contemporary Styles) •• Transfer credit information from prior college or university
During the course of six quarters, students partake in two Business). (if applicable).
internships as well as music courses covering song structure, Bass, Drum, Guitar, Keyboard, Vocal
recording & production, and critical listening skills. MI Music
Business instructors share real-world experience earned from APPLICATION REVIEW AND NOTIFICATION BACHELOR OF MUSIC IN INTERNATIONAL APPLICATION PROCESS: BACHELOR OF
working with major artists & record label executives; music Class sizes are limited and placement priority is given
to students in the order of acceptance. Fully completed SONGWRITING & PRODUCTION MUSIC
supervisors for film & TV; publishing consultants; and media outlets. •• The $100.00 USD application fee, which must be
Our Associate of Science in Music Business degree prepares applications are reviewed for acceptance on an ongoing basis.
Accepted applicants will be notified by mail and/or telephone.
ELIGIBILITY REQUIREMENTS submitted as an International Money Order, Postal Money
students to work as music industry professionals in various areas, 1. Satisfactory completion of an accredited secondary school Order, Bank Wire Transfer, or Credit Card for U.S. funds.
including (but not limited to) record labels, music publishing, artist Applicants who are not accepted will be notified by mail.
program (high school) or its equivalent. Students are •• If a student’s principal language is not English, he or she
management, touring, and entrepreneurship. advised to follow a college preparatory curriculum with four must present verification of English language proficiency
TUITION DEPOSIT (DOMESTIC STUDENTS ONLY) years of English, three years of Social Sciences and as through a Test of English as a Foreign Language (TOEFL),
The Associate of Science in Music Business Degree is a terminal/ many music courses as are practical. International English Language Testing System (IELTS),
occupational degree. Credits earned in this type of program may Upon acceptance to all degree and certificate programs,
admitted students are required to submit a refundable deposit 2. At least three years of study on the primary instrument or the Pearson Test of English, Academic (PTEA). The
not transfer to all baccalaureate programs. Policies regarding the (Bass, Guitar, Keyboard, Drums, or Vocal). minimum TOEFL acceptance score is 61 (Internet-
transfer of occupational degrees or acceptance of transfer course in the amount of $300.00 USD to secure their placement (see
Letter of Acceptance for details). The deposit is applied toward 3. Music reading ability in both treble and bass clef. based), 500 (paperbased) or 173 (computer-based).
credit vary by institution. MI cannot guarantee the transferability of 4. Knowledge of and interest in contemporary styles. The minimum test score on the IELTS is a score of 6. The
credit to other institutions. the first quarter’s tuition and is completely refundable in the
event of cancellation of enrollment (students are encouraged to 5. Working knowledge of keyboard harmony. minimum acceptance score on the PTEA is 51.
◦◦ TOEFL/IELTS/PTEA test scores are not required
of international applicants if either of the following admission to graduate study at Musicians Institute is a 75 on who successfully pass the audition process (Steps 1 & 2) will The process to enroll after the first day of the scheduled class is
conditions are met: the TOEFL internet-based test (iBT). TOEFL scores expire be invited to Musicians Institute to meet the faculty and tour the as follows:
•• Student has graduated from an MI AA Program after two years. Scores that are older than two years will not school, along with completing required performance and written 1. Student contacts instructor and CAO, Dr. Rachel
•• Student is a Foreign National. be accepted by Musicians Institute. placement tests. Upon email notification of your acceptance, Yoon at rachel@mi.edu for permission to enroll.
•• Resident Foreign National applicants must take either ESL IELTS Scores: As an alternative to the TOEFL, you please contact your advisor to reserve a Placement Testing Day 2. If instructor and CAO, approve, student will be
or SAT/ACT tests for admittance to the college. may submit scores from the Academic Modules of & time-slot. Students must respond to offers of acceptance notified of approval via email.
•• A non-immigrant student F-1 Visa is required for all degree the International English Language Testing System within one week (7 business days) to guarantee placement for the 3. Dr. Yoon will enter permission into student account.
programs (see International Student Information for (IELTS) designed by the University of Cambridge Local upcoming quarter. 4. After receiving permission, student visits Registrar
details). Examinations Syndicate and administered by the British Services. Registrar will review permission and enroll
For more information, see the International Student Information Council worldwide. Their website address is http://www. 4: Placement Testing Days student.
section. ielts.org. The minimum overall band score required for During Placement Testing Days, admitted students will perform 5. Student is now registered for the General Education
NEW STUDENTS admission to graduate study at Musicians Institute is 6.5. together in various ensemble formats, take meetings with faculty, course.
FALL: July 31 IELTS scores expire after two years. Scores that are older tour the campus and complete performance and written placement 6. Student is responsible to contact the instructor to
WINTER: Jan 7 than two years will not be accepted by Musicians Institute. tests (music theory, history, ear-training and keyboard proficiency). obtain notes or information from any missed
SPRING: Apr 8 PTE (Pearson Test of English) Academic: Musicians Institute As outlined in Interview Day email notifications, prospective class session(s).
accepts PTE Academic scores. The university is still in students will be expected to spend the full day on campus.
SUMMER: July 8
the process of determining minimum scores for ISE Exam
exemption, so these test scores will be reviewed on a case-
ATTENDANCE POLICY FOR GENERAL EDUCATION
Fully completed applications will be reviewed with placement
APPLICATION PROCESS: by-case basis. priority given to students in the order of accepted application.
COURSES:
MASTER OF MUSIC IN PERFORMANCE *English-Language Test Waiver: International applicants are Given the high credit weight and length of each meeting for
Accepted applicants will be notified by mail and telephone.
1. Document Review exempt from submitting English-proficiency scores under general education courses, students may be excluded or dropped
Applicants who are not accepted will receive notification by mail
• Resume: Please include a copy of your most recent the following circumstances: by the instructor if they have enrolled for a general education class
only, along with the specific reasons for non-acceptance.
resume. You hold a bachelor’s degree completed in its entirety in the and do not attend or are absent from the first meeting.
Previous academic study (college institutions, dates, United States or another Anglophone (English speaking)
degree(s) awarded), Private study (subjects, instructor(s), country. NEW STUDENTS (Master of Music) If you know you will not be able to attend the first meeting,
dates), Relevant performance experience, awards, and The bachelor’s degree should be earned at a regionally FALL: July 31 please contact your instructor and Chief Academic Officer
participation in festivals and/or Summer programs, if accredited university located in the United States, or at an SPRING: Apr 8 as soon as possible so that you are not excluded or dropped
applicable. officially recognized university in another country where from the general education course. Students are expected
GENERAL
GENERAL
• Personal Statement: The personal statement (two to three English is both the language of instruction and the only GENERAL EDUCATION to attend every class for which they are registered. In rare
type-written pages, in English…docx or pdf format) provides officially recognized language of the country. Please note cases, an absence may be excused. Please also see to the
that the entire program needs to have been completed
GENERAL EDUCATION TRANSFER AGREEMENT Excused Absence Policy, located inside the College Catalog for
applicants with the opportunity to introduce themselves The two main components of the Bachelor of Music Degree are
to both the admissions committee and graduate faculty. In in the qualifying country. Note: Dual-degree holders who information on excused absences.
the music coursework and the general education requirements.
addition to music, what are you passionate about? Hobbies? completed part of their degree in the U.S. do not qualify for
To fulfill the general education degree requirements, students
Other interests? How has your background influenced your this waiver. MUSIC TRANSFER CREDITS
must complete 45-quarter units or 30 semester-units in liberal
musical endeavors? What are your professional plans for the Your native language is English. This applies to native The maximum number of transfer credits that may be applied
arts subjects. Musicians Institute offers general elective courses
future? How does obtaining a graduate degree play in to your English speakers from countries such as the United to satisfy music coursework requirements varies according to
selectively throughout the year. At the same time, Musicians
plans? Kingdom, Australia, New Zealand, and Canada (except the student’s initial placement in the areas of Private Lessons,
Institute has a partnership with Los Angeles City College (LACC).
• Transcripts: Please include a scanned copy of all official Quebec), where English is both the only official language of Ensembles, Harmony, Theory, Ear Training, and Reading. In no
Students can take all required general education courses,
college transcripts (“unofficial” or “student copies” the country and the language of instruction. case may the total number of transfer credits (music and general
including a wide selection of subjects in English, mathematics,
permitted). Grades and the names of both student and 2: Performance Review education combined) exceed the maximum allowed under the
natural science, social science and humanities from nearby
institution must all be legible. If your transcript is not in Please Submit Four Pre-screening Videos (MP4 format) Residency/Transfer of Credit Requirement (see Policies).
LACC campus or other colleges. See Bachelor of Music Degree
English, • Please prepare four contrasting, un-edited selections
requirements in this catalog for a summary of required general
please provide a translated copy. that highlight your performance & improvisational abilities
education credit distribution.
• Letters of Recommendation: Please provide two letters of across a range of styles (i.e.: Rock, Jazz, Fusion, R&B, APPLYING FOR TRANSFER CREDIT
recommendation, one being from your most recent private Funk, Country, Latin, World, etc.). Live performance utilizing Provide official transcripts and course catalogs of all college
Students may also transfer up to the maximum number of required
instructor. Please include recommender’s phone number(s) instrumentation of your choosing is required for all pre- studies that are relevant to the desired transfer credits to:
general education units from other colleges and the credits will be
and email address at the end your resume. screening materials. Play-along tracks are not permitted.
reviewed by MI Registrar department and the Dean. Acceptance
• English Proficiency Requirement: Please provide official Be sure to label selections: Your name & instrument, song Musicians Institute Office of Admissions
of coursework will be based on standards set by the National
scores to either TOEFL (Test of English to Speakers of Other title, composer/arranger, style. Recordings need not be 6752 Hollywood Boulevard
Association of Schools of Music and Musicians Institute.
Languages), IELTS (International English Language Testing professional quality. Hollywood, CA 90028
System) or PTE-Academic (Pearson Test of English) if: • Please include one arrangement OR original composition,
• English is NOT your native language. complete with pdf score & mp3 audio-file (Sibelius score LATE REGISTRATION POLICY FOR GENERAL EDUCATION Transfer students who enter Musicians Institute with missing
• You received an undergraduate degree from a college or preferred, if possible). COURSES: official transcripts or classes in progress must meet with the Dean
university OUTSIDE the United States where English is NOT **Vocal Candidates submitting sonically enhanced videos Students may enroll into MI’s general education courses after the of Baccalaureate Programs during their first quarter to confirm
the primary language. (compression, auto-tune, rhythm alignment, EQ, punch-ins, edits, first day of the scheduled class only after receiving permission the transfer of those credits. The Admissions Office must receive
• Musicians Institute does not offer conditional admission etc.) will not be considered for admission. ** from the instructor and Chief Academic Officer (CAO). Students all transcripts before the end of the student’s first quarter of
for applicants who have not earned a passing TOEFL/IELTS should contact the Chief Academic Officer after the first day of the enrollment at Musicians Institute.
score. 3: Result Notification quarter. Enrollment into the course after the first day the class has
Prospective students will be notified by email of Performance Note: see the Notice Concerning Transferability of Credits and Credentials Earned
• The score report is required before application processing met is not guaranteed and subject to review by instructor and Chief at Musicians Institute under Additional Information.
can be completed. review results within two weeks of their completed document Academic Officer. Consideration for late registration into general
TOEFL: The minimum overall TOEFL score required for (Step 1) & performance review submissions (Step 2). Candidates education courses will conclude at the end of Thursday of Week 2.
a keyboard, mouse and an Apple or Windows based or passage of a high school proficiency exam.
ABILITY TO BENEFIT NOTICE HOW TO APPLY TO SUMMER SHOT operating system.
Musicians Institute does not participate in Ability to Benefit Please send the following items together by mail or email:
•• Stereo Headphones (Student will need to bring to the
STUDENT VISAS
Programs. As such, all students must meet minimum admissions •• Completed application form A non-immigrant F-1 student visa is required for all programs
first day of class)
requirements. •• $50.00 USD application fee except MI Select Programs. Musicians Institute will assist
HOW TO APPLY students in obtaining such visas and will confirm student
REQUIREMENTS FOR MI ASSOCIATE DEGREE STUDENTS Please visit: Pro Tools.mi.edu status with inquiring agencies. An I-20 immigration form will be
SUMMER SHOT SCHEDULING/REGISTRATION/ issued to the student upon meeting all entrance and financial
1. Complete the application form under the “Sign Up” Tab.
APPLYING TO THE BM PROGRAM ORIENTATION: requirements. The student must take the I-20 form to the U.S.
Applicants who complete an Associate of Arts in Performance 2. $100.00 (USD) application fee is required.
Summer Shot students are expected to arrive prior to the start of Embassy or Consulate in his or her country of residence to
in Bass, Guitar, Drums, Keyboard Technology, or Vocals classes for Scheduling, Registration, and Orientation. Students PRO TOOLS SCHEDULING/REGISTRATION/ obtain a student visa in order to enter the United States.
at Musicians Institute with a minimum cumulative GPA of who need housing and/or roommate assistance should arrive at ORIENTATION:
3.30, while meeting all other Bachelor of Music admission MI as early as possible prior to the start of classes. For updated Pro Tools students are expected to arrive prior to the start of
FULL-TIME STATUS
requirements, will be admitted to the Bachelor of Music Program. information, visit summershot.mi.edu. All international students must maintain “full-time” status in
classes for Scheduling, Registration, and Orientation. Students
Each admitted student will be given a placement test in Harmony, order to satisfy student visa requirements.
who need housing and/or roommate assistance should arrive at
Theory and Ear Training and placed at the appropriate level in
those subjects (in some cases, remedial coursework may be
MI SELECT & MI SELECT EXPRESS MI as early as possible prior to the start of classes. For updated ADDITIONAL INFORMATION
information, visit Pro Tools.mi.edu.
required). PROGRAMS NOTICE CONCERNING TRANSFERABILITY OF CREDITS
(Avocational Non-certificate training in music) INTERNATIONAL STUDENT AND CREDENTIALS EARNED AT MUSICIANS INSTITUTE .The
Students who complete an Associate of Arts Degree at MI with a Bass, Drum, Guitar, Keyboard Technology, Vocal transferability of credits you earn at Musicians Institute is at the
GPA lower than 3.30, or students who complete an Associate of INFORMATION complete discretion of an institution to which you may seek to
Arts Degree (Combined Emphasis), will be required to complete Musicians Institute is authorized under Federal law to enroll transfer. Acceptance of the degree or certificate you earn in
additional tests as part of the Bachelor of Music application ELIGIBILITY non-immigrant Foreign National students. Musicians Institute your program is also at the complete discretion of the institution
process. Acceptance for admission will be subject to meeting There are no specific academic entrance requirements for the follows a policy of equal opportunity in all of its educational to which you may seek to transfer. If the credits, degree, or
minimum test requirements. MI Select & MI Select Programs. Each applicant is individually activities, admissions and employment; and does not certificate that you earn at this institution are not accepted
reviewed, taking into consideration his or her experience, past discriminate because of race, color, national origin, religion, sex, at the institution to which you seek to transfer, you may be
achievements, aptitude and potential for growth. sexual orientation, age, physical handicap, or marital status. required to repeat some or all of your coursework at that
TRANSFER CREDITS FROM MI ASSOCIATE TO BM
institution. For this reason, you should make certain that your
PROGRAM MI’s International Student Office assists international
APPLICATION PROCESS: MI SELECT & MI SELECT EXPRESS
GENERAL
GENERAL
attendance at this institution will meet your educational goals.
Applicants who have completed MI’s Associate of Arts Degree students in immigration and personal matters. A few important This may include contacting an institution to which you may
Please send the following items together by mail or email:
in Performance (Bass, Guitar, Keyboard Technology, Drum, regulations applying to all international students include:
•• Completed application form. seek to transfer after attending Musicians Institute to determine
or Vocal), and have been accepted to the Bachelor of Music •• $100.00 USD application fee. APPLICATION FEES if your credits, degree, or certificate will transfer.
Program, may transfer the following credits (for passed courses) Any application fees must be submitted as an International
toward their Bachelor of Music Degree completion requirements: Money Order, Postal Money Order, Bank Wire Transfer, or
•• Instrument Study: 12 credits APPLICATION REVIEW AND NOTIFICATION Credit Card for U.S. funds. Make and setup your payment on DISCLAIMER
Class sizes are limited and placement priority is given to students While Musicians Institute provides no guarantee that
mi.flywire.com.
Additional credits from upper-level Associwate’s classes may in the order of accepted application. Fully completed applications employment will result from attending or completing any
be transferred based on results of Bachelor of Music entrance are reviewed for acceptance on an ongoing basis. Accepted SUFFICIENT FUNDS program offered by the institution, we are dedicated to
evaluation. These credits may include: applicants will be notified by mail or telephone. Applicants who All international students must submit an official letter from assisting students in finding professional opportunities. For
•• Private Lesson: up to 8 credits are not accepted will be notified by mail or telephone. the student’s, parent’s or sponsor’s bank certifying that there more information on the Artist & Industry Services department
•• Ensembles: up to 4 credits are enough funds available for payment of tuition and living in the Artist & Industry Support Center, visit www.mi.edu.
•• Electives: up to 9 credits expenses during the study period. All funds sent to MI must be
SCHEDULING/REGISTRATION/ORIENTATION in U.S. dollars.
MI Select students are expected to arrive prior to the start of APPROVED PROGRAMS NOT OFFERED FOR THIS
Transfer credits for students who are admitted to the Bachelor
of Music Program after completing the Associate of Arts
classes for Scheduling, Registration, and Orientation. Students ENGLISH LANGUAGE FLUENCY CATALOG YEAR
who need housing and/or roommate assistance should arrive at Notice to students for whom English is a second or • Associate of Science in Guitar Electronics,
Performance Degree will be evaluated on a course-by-course
MI as early as possible prior to the start of classes. other language: Musicians Institute does not provide Amplification and Effects
basis.
English Language courses or support. All courses and • Certificate in Music Video, Film and Television
correspondence takes place in English. As such, a general Production
NON-CERTIFICATE PROGRAMS PRO TOOLS CERTIFICATION fluency in English is necessary in order to benefit from your
SUMMER SHOT MUSIC CAMP The Avid Pro Tools® certification courses are non-accredited time at MI. DIVERSITY STATEMENT
One-Week Courses in Performance Studies (Bass, Drums, courses designed for those who wish to acquire their Avid Musicians Institute is committed to fostering an inclusive and
User and/or Operator Certification through weekend classes at
ENGLISH DOCUMENTS diverse environment for the community it serves. Members
Guitar, Keyboard Technology or Vocal) and Entertainment
All documents must be in English or accompanied by a of the MI community include students, faculty, administration,
Industry Studies (Independent Artist, Recording, Guitar Building Musicians Institute in Hollywood, CA.
certified English translation of the document. families, and visiting artists. As an institution that is dedicated
and more).
ENGLISH LANGUAGE PROFICIENCY to preparing students for careers in the diversified music
ELIGIBILITY: English Language Proficiency tests (TOEFL, IELTS, PTEA) and entertainment industry, MI strives to cultivate talented
ELIGIBILITY: The following prerequisites apply to those applying for the Pro are only required for admission to our Bachelor Program and individuals from across all backgrounds with conscious efforts
There are no specific academic entrance requirements for Tools Certification courses: Masters Program; however, all classes are taught in English to enrich the global public.
Summer Shot. Please visit summershot.mi.edu for more •• Minimum Age: 16 (High School diploma/GED is not and students must have a working competence in the English
information. required) language in both spoken and written communication at the level
•• Basic computer knowledge including the ability to use of a Graduate of an American high school as demonstrated by
the possession of a high school diploma or its equivalent, GED,
TUITION & FEES 2018-2019 TUITION & FEES 2018-2019
TUITION FEES OTHER FEES TECHNOLOGY FEE ††
APPLICATION EQUIPMENT MATERIALS PROGRAM
QUARTER PER QUARTER TOTAL CREDITS PER CREDIT TOTAL
(Non-Refundable) COST FEES
PERFORMANCE 4 $8,175.00 60 $545.00 $32,700.00 PERFORMANCE: BASS, DRUM, GUITAR, KEYBOARD, VOCAL) $100.00 $62.00-116.00* $180.00 $342.00-$396.00
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL) SONGWRITING $100.00 $420.00 $710.00* $90.00 $1,320.00
SONGWRITING 2 $8,175.00 30 $545.00 $16,350.00 AUDIO ENGINEERING $100.00 $85.00 $199.00 $856.00* $90.00 $1,330.00
AUDIO ENGINEERING 2 $8,175.00 30 $545.00 $16,350.00 DJ PERFORMANCE & PRODUCTION $100.00 $158.00 $90.00 $348.00
DJ PERFORMANCE & PRODUCTION 2 $8,175.00 30 $545.00 $16,350.00 ELECTRONIC MUSIC PRODUCTION $100.00 $88.00 $90.00 $279.00
ELECTRONIC MUSIC PRODUCTION 2 $8,175.00 30 $545.00 $16,350.00 INDEPENDENT ARTIST DEVELOPMENT $100.00 $65.00-116.00* $90.00 $252.00-$306.00
INDEPENDENT ARTIST 2 $8,175.00 30 $545.00 $16,350.00 ARTIST / PRODUCER / ENTREPRENEUR $100.00 $97.00 $180.00 $377.00
ARTIST / PRODUCER / ENTREPRENEUR 4 $8,175.00 60 $545.00 $32,700.00 MUSIC BUSINESS $100.00 $90.00 $198.00
MUSIC BUSINESS 2 $8,175.00 30 $545.00 $16,350.00 MUSIC BUSINESS // ENTREPRENEUR $100.00 $135.00 $243.00
MUSIC BUSINESS // ENTREPRENEUR 3 $8,175.00 45 $545.00 $24,525.00 GUITAR CRAFT $100.00 $465.00 $629.00 $90.00 $1,284.00
GUITAR CRAFT 2 $8,175.00 30 $545.00 $16,350.00 GUITAR CRAFT // ACOUSTIC DESIGN $100.00 $465.00 $926.00 $135.00 $1,626.00
GUITAR CRAFT // ACOUSTIC DESIGN 3 $8,175.00 45 $545.00 $24,525.00 GUITAR CRAFT // SET-NECK DESIGN $100.00 $465.00 $926.00 $135.00 $1,626.00
GUITAR CRAFT // SET NECK DESIGN 3 $8,175.00 45 $545.00 $24,525.00
CERTIFICATE - PART-TIME
CERTIFICATE - PART-TIME PERFORMANCE $100.00 $62.00-116.00* $360.00 $522.00-$576.00
PERFORMANCE 8 $3,731 - $4,264 60 $545.00 $32,700.00 (BASS, DRUM, GUITAR, KEYBOARD, VOCAL)
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL)
AUDIO ENGINEERING $100.00 $85.00 $199.00 $856.00* $180.00 $1,420.00
AUDIO ENGINEERING 4 $3,731 - $4,264 30 $545.00 $16,350.00 DJ PERFORMANCE & PRODUCTION $100.00 $62.00 $180.00 $342.00
DJ PERFORMANCE & PRODUCTION 4 $3,731 - $4,264 30 $545.00 $16,350.00 INDEPENDENT ARTIST DEVELOPMENT $100.00 $97.00 $180.00 $377.00
INDEPENDENT ARTIST 4 $3,731 - $4,264 30 $545.00 $16,350.00 MUSIC BUSINESS $100.00 $62.00-$116.00 $180.00 $342.00-$396.00
GENERAL
GENERAL
ASSOCIATE DEGREES
PERFORMANCE 6 $8,175.00 90 $545.00 $49,050.00 ASSOCIATE DEGREES
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL)
PERFORMANCE $100.00 $62.00-116.00* $270.00 $432.00-$486.00
// COMBINED EMPHASIS 6 $8,175.00 90 $545.00 $49,050.00 (BASS, DRUM, GUITAR, KEYBOARD, VOCAL)
ASSOCIATE OF SCIENCE IN MUSIC BUSINESS 6 $8,175.00 90 $545.00 $49,050.00 ASSOCIATE OF SCIENCE IN MUSIC BUSINESS $100.00 $203.00^ $270.00 $613.00
AS IN LIVE EVENT MUSIC PRODUCTION 6 $8,175.00 90 $545.00 $49,050.00 ASSOCIATE OF SCIENCE IN STUDIO RECORDING, AE $100.00 $30.00 $464.00 $2,088.00 $270.00 $3,007.00
AS IN STUDIO RECORDING 6 $8,175.00 90 $545.00 $49,050.00 ASSOCIATE OF SCIENCE IN LIVE EVENT MUSIC PRODUCTION, AE $100.00 $30.00 $444.00 $2,265.00 $270.00 $3,164.00
ASSOCIATE DEGREES - PART-TIME ASSOCIATE DEGREES - PART-TIME

PERFORMANCE 12 $3,198 - $4,264 $545.00 $49,050.00 PERFORMANCE $100.00 $62.00-116.00* $540.00 $432.00-$486.00
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL) (BASS, DRUM, GUITAR, KEYBOARD, VOCAL)
BACHELOR OF MUSIC
BACHELOR OF MUSIC
ALL STUDENTS 12 $6,735.00 - $6,876* 135 $599.00 - $612.00* $80,820 - $82,512*
PERFORMANCE MAJOR $100.00 $75.00 $1,224.00** $540.00 $1,939.00
WITH MINOR 14 $7,870 - $8,012** 160 $590.00 - $601.00** $96,560 - $98,252**
W/MINOR IN AUDIO PRODUCTION* $100.00 $85.00 $75.00 $1,856.00** $630.00 $2,661.00
GENERAL EDUCATION CREDITS*** (varies) (varies) 45 $150.00 $6,750
W/MINOR IN MUSIC INDUSTRY STUDIES $100.00 $1,224.00** $630.00 $1,954.00
MASTER OF MUSIC COMPOSITION $100.00 $75.00 $2,708.00** $540.00 $3,423.00
PERFORMANCE 4 (varies) 45 $612.00 $27,540
SONGWRITING & PRODUCTION $100.00 $75.00 $2,708.00** $540.00 $3,423.0.00
NON-CERTIFICATE
MI SELECT PROGRAM**** 1 $8,175.00 N/A N/A $8,175.00.00
MASTER OF MUSIC
PERFORMANCE MAJOR $100.00 $75.00 $180.00 $145.00
MI SELECT EXPRESS PROGRAM**** 1 $4,087.50 N/A N/A $4,087.00
NON-CERTIFICATE
TUITION DEPOSIT: $300.00; All programs are refundable.
MI SELECT / MI SELECT EXPRESS $100.00 $45.00 $145.00
NOTE: Published program lengths are based on optimal course load at 12 credits per quarter for Baccalaureate Programs and 15 credits per quarter for all other programs. Please see Enrollment NOTES:
Status for further information; GE units average 3.75 per quarter. Tuition costs vary by quarter based on number of credits. Tuition and fees for all programs are charged on a quarterly basis and are due at the time of registration for each quarter of instruction. All programs require students to source their own
* Average per program/discipline. Actual quarter amounts may vary. materials, software and equipment. Visit www.mi.edu/student-materials for a complete list of these required items. Students are not allowed to enter MI facilities or attend classes until required
** Based on per-unit cost of Major and minor courses. Actual quarter amounts may vary. tuition and fees are paid in full. See Student Billing department for current information. Costs vary according to manufacturer prices and features. Please contact our Admissions Department for
*** GE tuition is based on MI-offered courses. (Los Angeles City College; tuition rates vary. Contact LACC for current tuition information). details on the fees pertaining to your specific start date.
**** Courses taken during an MI Select or MI Select Express session do not earn course credit. Attendance or completion of any course does not guarantee subsequent advanced placement in a * Audio Engineering/DJ Course Facility Fee. Fees reflect Spring 2019 start date
Certificate or Degree program. MI Select quarter course load equivalent to 15-credit Certificate/AA course load for one quarter. ** Arranging + Audio Engineering Course Facility Fees.
† Arranging/Orchestration Fee (depending on venue availability).
234 THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. †† Multiply technology fee by number of quarters referenced on the previous page. 235
ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT WWW.MI.EDU/CATALOG FOR UPDATES AND ANNOUNCEMENTS ^Includes software license fee and research assignment fee.
TUITION & FEES TUITION & FEES
STATE OF CALIFORNIA STUDENT after a period of noncollection may, at any time, file a written and CPU requirements of a given book/file size. It is likely that per month for the 2018-2019 academic year,as prescribed by
application for recovery from STRF for the debt that would have students with iOS devices pre-iPad 2/iPhone 4 will experience the California Student Aid Commission, based on average costs
TUITION RECOVERY FUND otherwise been eligible for recovery. If it has been more than four diminished functionality of the delivery application. statewide.
(4) years since the action or event that made the student eligible, To arrive at a total cost for your program, multiply the monthly
The State of California established the Student Tuition Recovery the student must have filed a written application for recovery
Fund (STRF) to relieve or mitigate economic loss suffered by a Android Devices: costs by the number of months in that program (for example,
within the original four (4) year period, unless the period has been Phone & tablet devices utilizing the Android OS are compatible AA Degree = 18 months).
student in an educational program at a qualifying institution, who extended by another act of law.
is or was a California resident while enrolled, or was enrolled with the delivery application. Due to the wide variety of
However, no claim can be paid to any student without a social manufacturers and models, a standardized list of actual devices
in a residency program, if the student enrolled in the institution, security number or a taxpayer identification number. Student living at home with parents (per month):
prepaid tuition, and suffered an economic loss. Unless relieved cannot be issued. Android OS 4.4 or above is recommended. Tuition varies by program
of the obligation to do so, you must pay the state-imposed Students who have exhausted all other possible ways to recover Books & Supplies $213
assessment for the STRF, or it must be paid on your behalf, if Desktop Readers (Mac and Windows): Food & Housing $602
lost tuition expense may file STRF claim application. You may
you are a student in an educational program, who is a California These desktop reader applications require Adobe AIR to be Transportation $123
download a STRF claim application by visiting out website
resident, or are enrolled in a residency program, and prepay all or installed and current on the machine. All tech specifications Personal/Miscellaneous $362
part of your tuition. www.bppe.ca.gov/forms_pubs/strf/pdf
are related to same minimum requirements for Adobe AIR Total (not including tuition): $1,300
You are not eligible for protection from the STRF and you are not installation: http://www.adobe.com/products/air/tech-specs.
required to pay the STRF assessment, if you are not a California html.
resident, or are not enrolled in a residency program.” ADMINISTRATIVE FEES Student living off campus (per month):
(b) In addition to the statement required under subdivision (a) Re-Application Fee $50 Tuition varies by program
of this section, a qualifying institution shall include the following Late Registration Fee $100 Windows Books & Supplies $213
statement in its school catalog: Credit by Examination/Test Out Fee $40 per course 2.33GHz or faster x86-compatible processor, or Intel Atom™ Food & Housing $1,531
“It is important that you keep copies of your enrollment agreement, Lost or Renewed Student ID Card Fee $10 1.6GHz or faster processor for netbook class devices Transportation $139
financial aid documents, receipts, or any other information Transcript Request Fee $15 Microsoft® Windows Vista® Home Premium, Business, Personal/Miscellaneous $333
that documents the amount paid to the school. Questions Rushed Transcript Fee $20 Ultimate, or Enterprise (including 64 bit editions) with Service Total (not Including tuition) $2,216
regarding the STRF may be directed to the Bureau for Private Pack 2, Windows 7, or Windows 8 Classic
Postsecondary Education, 2535 Capitol Oaks Drive, Suite 400, COURSE-RELATED FEES: 512MB of RAM (1GB recommended).
Sacramento, CA 95833, (916) 431-6959 or (888) 370-7589.
Some courses require additional fees for supplies and/or
equipment. Course-related fees must be paid at the time Mac OS
To be eligible for STRF, you must be a California resident or are Intel® Core™ Duo 1.83GHz or faster processor
enrolled in a residency program, prepaid tuition, paid or deemed of Registration. Courses with related fees are noted under
Course Descriptions. Fees may change without notice; current Mac OS X v10.7, v10.8, or v10.9
GENERAL
GENERAL
to have paid the STRF assessment, and suffered an economic
information will be provided at the time of registration. 512MB of RAM (1GB recommended)
loss as a result of any of the following:
1. The institution, a location of the institution, or an educational Questions about your device’s specifications and requirements
program offered by the institution was closed or discontinued, and may be directed to Instructional & Information Technology
you did not choose to participate in a teach-out plan approved by BOOKS AND MATERIALS Services at helpdesk@mi.edu.
the Bureau or did not complete a chosen teach-out plan approved For all other inquires, please contact your Program Chair or the
by the Bureau. BOOKS, DEVICES AND SUPPLIES Student Affairs Department at studentaffairs@mi.edu.
2. You were enrolled at an institution or a location of the
institution within the 120 day period before the closure of the We have made every effort to ensure that this material is
institution or location of the institution, or were enrolled in an BYOD POLICY available on a multitude of different devices and operating
educational program within the 120 day period before the Each student at Musicians Institute must have a device that
systems. Please see www.mi.edu/byod for details on your
program was discontinued. allows for access to our Learning Management System (LMS)
and corresponding materials. This is a requirement of enrollment device’s requirements.
3. You were enrolled at an institution or a location of the
institution more than 120 days before the closure of the institution at Musicians Institute. Musicians Institute has made every effort
or location of the institution, in an educational program offered to ensure that this material is available on a multitude of different Much of MI’s course and curricular content is delivered solely
by the institution as to which the Bureau determined there was a devices/operating systems. in an electronic format, so each student must possess a
significant decline in the quality or value of the program more than device that allows for access to our Learning Management
120 days before closure. As such, you will need a device that meets the following System (LMS) and corresponding course materials. This is a
4. The institution has been ordered to pay a refund by the specifications below: requirement of enrollment at Musicians Institute.
Bureau but has failed to do so.
5. The institution has failed to pay or reimburse loan proceeds For a complete list of all books/materials, as well as prices and
under a federal student loan program as required by law, or has GENERAL REQUIREMENTS: purchasing information, please visit http://mi.edu/admissions-
failed to pay or reimburse proceeds received by the institution in •• A smart phone, tablet or laptop computer financial-aid/tution-fees/ and click on the Textbook and
excess of tuition and other costs. •• Internet connection for device/computer (wi-fi or ethernet
Equipment header.
6. You have been awarded restitution, a refund, or other recommended).

monetary award by an arbitrator or court, based on a violation of •• Built-in or external speakers, headphones, or similar for
this chapter by an institution or representative of an institution, but audio playback. BACHELOR DEGREE PROGRAM:
have been unable to collect the award from the institution. The cost of books and supplies averages approximately $325
7. You sought legal counsel that resulted in the cancellation of Apple Devices: per quarter for students enrolled in a full-time course of study.
one or more of your student loans and have an invoice for services iPad (iPad2 or newer recommended*) Actual costs will vary depending on specific courses and credit
rendered and evidence of the cancellation of the student loan or iPad Mini (Retina display suggested*) loads.
loans. iPhone (4s or newer recommended*)
To qualify for STRF reimbursement, the application must be iOS 7 or above is recommended. COST OF LIVING
received within four (4) years from the date of the action or event
The cost of living while attending MI varies with each student’s
that made the student eligible for recovery from STRF. *All device versions are technically compatible with the delivery
A student whose loan is revived by a loan holder or debt collector personal needs. Below are the maximum living expense budgets
application. However, older devices may be limited by memory
FINANCIAL AID FINANCIAL AID
FEDERAL AND STATE FINANCIAL STUDENT LOAN RESPONSIBILITIES FEDERAL PARENT LOAN FOR continue to make payments until the deferment is
processed. Failure to make payments may result
ASSISTANCE PROGRAMS If a student obtains a loan to pay for an educational program, UNDERGRADUATE STUDENTS in default. Always maintain copies of all deferment
the student will have the responsibility to repay the full (PLUS) request forms and document all contacts with the
Student financial assistance is available to qualified U.S. amount of the loan plus interest, less the amount of any
organization that holds the loan(s).
citizens and eligible non-citizens with a valid high school refund. If the student has received federal student financial PLUS loans are designed for qualified parents of dependent •• The organization that holds the loan(s) must be
diploma (or equivalent). Students applying for student aid funds, the student is entitled to a refund of the moneys students who chose to borrow money to help pay for their notified if any of the following occur: graduation,
financial assistance begin the application process by not paid from federal student financial aid program funds. son/daughter’s education. Eligible PLUS borrowers may withdrawal from school, dropping below half-time
completing the Free Application for Federal Student Aid borrow up to the yearly cost of education, minus other status, name or address change, or Social Security
(FAFSA). The FAFSA may be completed online at FAFSA.
ed.gov. Assistance with the FAFSA is provided to applicants
FINANCIAL ASSISTANCE financial aid awarded to the student. PLUS loans are credit- number change, or transfer to another school.
based and require approval by the Department of Education.
by contacting the MI financial aid application coordinator. PROGRAMS OFFERED AT These loans must be repaid. Repayment on the PLUS loan
•• Before receiving a first disbursement, students must
The U.S. Department of Education will send a Student MUSICIANS INSTITUTE begins within 30 to 60 days from the final disbursement. The
attend an entrance interview. Before leaving school,
students must attend an exit interview (see previous).
Aid Report to students within two weeks of submitting the FEDERAL PELL GRANT amount of the monthly payment will vary with the amount
FAFSA. The information collected on the FAFSA is used The Pell Grant program is intended to help provide eligible borrowed, but will never be less than $50.00 USD per
to calculate a family’s Expected Family Contribution (EFC). month.
FEDERAL STUDENT LOAN
students access to the post-secondary institution of
This contribution is utilized by the MI Financial Aid Office to their choice. Pell Grants are gifts from the Department of
REPAYMENT INFORMATION
determine each individual student’s eligibility for federal and Education for undergraduate students that are not repaid. Federal Direct Graduate PLUS Loan The Federal Direct Before leaving school, students must receive the following
state financial aid. The Department of Education uses the information provided Graduate PLUS loan is a low-interest loan that graduate information about their Federal Student Loan(s) in an exit
on the Free Application for Federal Student Aid (FAFSA) to students may borrow on their own behalf. FAFSA completion interview:
The Financial Aid Office receives notification of the Student determine eligibility for this grant. is required to determine eligibility. Repayment begins within •• The average monthly repayment amount based on the
Aid Report in the form of an Institutional Student Information sixty days after the loan is disbursed or may be deferred total amount borrowed.
Summary (ISIR). Applicants selected for a process called until six months after the student graduates or drops below •• The name of the organization that holds the loan(s),
“verification” may be contacted by the Financial Aid Office FEDERAL SUPPLEMENTAL EDUCATIONAL half-time status. A student may apply for a loan amount up to where to send loan payments, and where to write for
to provide additional documents, such as student and/ OPPORTUNITY GRANT (FSEOG) the Cost of Attendance (COA) less any other financial aid. loan questions.
or parent tax transcripts, verification of untaxed income, or We encourage students to borrow only the amount needed •• The fees expected during the repayment period.
benefits or other documents required to determine eligibility. The FSEOG is for undergraduate students with exceptional to cover educationally related expenses. •• A description of deferment and cancellation
Failure to do so will result in loss or non-receipt of aid. need and is not repaid. This program is funded by the provisions.
•• A description of repayment options, such as
GENERAL
GENERAL
Student financial assistance is awarded for an academic Department of Education and administered by the school’s
year (up to three quarters). Students are required to re-apply financial aid office. Please note that these funds are limited BORROWERS RIGHTS AND RESPONSIBILITIES prepayment, refinancing and consolidation loans.
to continue to receive assistance beyond their third quarter and awards are offered on a “first come / first served” basis. Students borrowing a Direct Loan have the right to a grace •• Debt management advice (if requested).
of attendance. Students that begin attending in the Spring period before repayment period begins. The grace period •• Updated contact information (collected from student).
Quarter are required to reapply for financial aid for continued begins after the last date of attendance or after a drop below
eligibility in the Summer and Fall Quarters. FEDERAL DIRECT LOAN half-time status as defined by the school. The exact length
This is a low-interest, need-based loan designed to provide of the grace period will be shown on the promissory note CALIFORNIA CHAFEE GRANT PROGRAM
A student’s eligibility for need-based financial assistance students with additional funds for college. All Federal Loans provided by the Department of Education. The Chafee Grant Program is available to current or former
is determined by subtracting the EFC from the cost of must be repaid. Qualified students may borrow up to $3,500 •• Borrowers must be given a repayment schedule that foster youth. This program is funded annually and is subject
attendance for the course of study. A student’s cost of in a subsidized or unsubsidized loan (depending on the specifies when the first payment is due as well as the to availability of funds each year.
attendance includes tuition and fees, books and supplies, program) in their first academic year, $4,500 in their second number, frequency and amount of all payments
housing, personal, and transportation costs. Charges for academic year, and $5,500 for the third and fourth academic •• Borrowers must be given a list of deferment and Qualified students must:
years (for Bachelor students). Dependent students are also •• Be eligible, or have been eligible, for foster care
tuition and fees can be found in the Tuition & Fees section cancellation conditions.
eligible for an additional unsubsidized loan of up to $2,000. between their 16th and 18th birthday.
of this catalog. Other costs are based on a standard
Independent students, or dependent students whose Parent •• Not have reached their 22nd birthday as of July 1st of
expense budget as determined by the California Student Aid
Commission (current figures are also shown in the Tuition
Loan (PLUS) is denied, may borrow up to a maximum of THE FOLLOWING LIST IS REQUIRED FOR ALL STUDENT the award year.
$6,334 to $9,500 in a subsidized or unsubsidized loan
& Fees section of this catalog; these costs are subject to (depending on the program) for the first academic year, up to LOAN BORROWERS
annual updates). For more information on Chafee Grants, or to download
$10,500 for the second academic year, and up to $12,500 for
By signing a promissory note, students agree to repay their an application, please log on to www.chafee.csac.ca.gov.
the third and fourth academic years (for Bachelor students).
Financial assistance funding is disbursed quarterly At least $4,000 to $7,000 of this amount must be from an loans according to the terms of the note. This note is a You may also contact the Financial Aid Office for more
throughout the duration of the program of attendance. Funds unsubsidized Direct loan. Repayment of a Direct loan begins binding legal document. This commitment to repay includes information. Please be advised, the California State Grants
from the various financial assistance programs (described six months after the last date of attendance with a minimum repaying the loan even when the educational program is not awards are tentative and subject to annual State budget
herein) are not always disbursed in the same way or at the monthly payment of $50.00 USD per loan. completed, the student does not get a job after completing approval.
same time. Federal and State financial aid funds are sent the program, or is dissatisfied with the program.
to the school via electronic funds transfer. Students will be Borrowers are required to repay these loans even if they do
notified of Federal loan disbursements via email or by U.S. not complete their education. For students who demonstrate Failure to repay the loan on time, or according to the terms SCHOLARSHIPS
Postal Service. a need for a subsidized Direct Loan, the government will pay in the promissory note, may result in loan default, which has
the interest on the loan during the time in school and the DEVELOPMENT SCHOLARSHIP
very serious consequences. Musicians Institute offers Development Scholarships in order
Note: All Financial Aid forms, applications and other specified grace period. Students who have a calculated need
(for less than the maximum on the Direct Loan) may borrow to encourage the educational development of musicians and
paperwork must be submitted no later than one week prior to Loan payments must be paid even if the student did not music industry professionals. Development Scholarships
the difference in an Unsubsidized Direct Loan, and will be receive a bill. Billing statements and coupon books are sent
registration. may be applied to any Musicians Institute Certificate or
responsible for the entire interest on that portion of the loan. as a convenience, but are not an obligation. Degree program.
•• Borrowers that have applied for a deferment must
The total scholarship amount will be divided by the total leaves for a full quarter with the intention to return. An
number of quarters in the particular program, and credited
SAP DEFINED NON-U.S. CITIZENS Unapproved Leave of Absence occurs when a student
Students with a cumulative GPA (Grade Point Average) of Students who are planning to attend Musicians Institute
toward each quarter’s tuition in equal amounts for as long takes more than one quarter off. Requests for all Leaves of
less than 2.0 in their active program of study or students with an M-1 or F-1 Student Visa are ineligible to receive
as the student maintains satisfactory academic progress Absence must be submitted in writing to the Student Affairs
that have completed less than 66.66% of their cumulative U.S. financial assistance. We recommend that international
and no less than 12 credits per quarter. Scholarships are Office prior to the leave.
attempted units in their active program of study have not students contact the Department of Student Financial
non-transferable and may not be applied to any person,
met the minimum requirements for Satisfactory Academic Assistance in their home country for information on financial
program, or enrollment date other than that for which they Withdrawals include withdrawing from all classes, academic
Progress (SAP) for that program. aid offered by that country.
were originally awarded. dismissal, and academic disqualification. The date on which
a student officially notifies the Student Affairs Office of their
U.S. financial aid programs are only available to U.S. citizens intent to withdraw will be used as the basis for calculating
MUSICIANSHIP SCHOLARSHIP SAP WARNING STATUS or students who are in one of the following categories:
Students that fail to meet SAP for one quarter are required refunds and returns. In the absence of official notification
Musicianship Scholarships are available to students •• U.S. permanent residents who have an Alien of withdrawal, the withdrawal date will be determined
to attend mandatory academic advising. An academic plan Registration Receipt Card (I-151 or I-551).
enrolled in Associate of Arts Degree in Performance and in accordance with Federal Title IV requirements. Upon
will be created and must be followed by the student. Failure •• Other eligible non-citizens with a Departure Record
Certificate in Performance programs. Up to 20 scholarships notification of withdrawal, MI will determine the amount of
to do so will result in probation status. Students in a SAP (I-94) from the U.S. Immigration and Naturalization
per year (ten per program start, two per instrument major) unearned financial aid in their final quarter of attendance,
warning status are encouraged to meet with a Student Service showing specific designations.
are awarded to applicants demonstrating outstanding then the amount of unearned tuition, as stated in the
Affairs counselor to request free tutoring services offered on
musicianship. Individual awards will be granted to students Enrollment Agreement and in the catalog.
campus.
who successfully complete each quarter of their enrollment.
Musicianship Scholarships are available to both U.S. and VETERANS
Note: Online registration privileges will be revoked. All Veterans of the U.S. Armed Forces applying to this school RETURN OF TITLE IV PROVISIONS
non-U.S. citizens.
changes to schedule and/or academic plan must be made in who are NOT receiving the Post 9/11 GI Bill, must make All institutions participating in the Student Financial Aid
person through the Registrar Services Department. arrangements to pay tuition through means other than (SFA) Programs are required to use a federally recognized
To be considered for a Musicianship Scholarship, you must
take the following steps: veterans (VA) benefits (e.g., cash or financial aid). Students payment period to determine the amount of SFA Program
•• Complete a Musicianship Scholarship application for receiving Post 9/11 benefits (Chapter 33) will have any Funds a student has earned when he or she ceases
SAP PROBATION STATUS eligible tuition payments paid directly to the school. All attendance based on the payment period the student was
the program to which you are applying (applications Students that fail to meet SAP for two consecutive quarters
are available from MI’s Admissions Office). housing allowances (BAH) will be paid directly to the in attendance. A payment period at this institution is the
are required to attend mandatory academic advising. The student.
•• Submit an essay explaining why you should be quarter.
previous quarter’s academic plan will be reviewed and an
considered for the scholarship. updated plan will be established, which must be followed
GENERAL
GENERAL
•• Submit a video recording of you performing on your Students receiving other forms of VA benefits (Chapters 30,
by the student. Students in SAP probation status will be 35, 1606 /1607) will receive their monthly benefit directly RETURN OF TITLE IV PROCEDURES
major instrument. Video requirements vary by program ineligible for financial aid until the SAP probationary status is from the Department of Veteran Affairs. This applies to:
(see application for details). appealed; appeals may be approved or denied. •• Students who were awarded Title IV loans and/or
Students can apply for VA benefits online using the VONAPP grants in the quarter in which they have withdrawn.
THE MUSICIANS FOUNDATION SCHOLARSHIPS Students appealing the SAP probation decision with at www.gibill.va.gov. Paper forms are available for download This includes funds that were or could have been
Several additional scholarships are available to students Financial Aid, must complete a SAP appeal form and meet on this site as well if needed. disbursed under federal regulations, as students may
enrolled in Associate of Arts and Bachelor’s Degree in with an Academic Advisor to complete an academic plan. be entitled to a Post-Withdrawal Disbursement for
Performance, as well as Certificate programs. Please refer to The completed SAP appeal form and academic plan must Students receiving VA benefits must submit transcripts funds they were eligible for, but were not disbursed
scholarships.mi.edu for the most up-to-date information on be returned to the Financial Aid office for review. Approved from any previously attended college(s) for the evaluation of prior to the withdrawal.
these scholarship opportunities, applications and application appeals will result in a reinstatement of the student’s financial credits. Any allowable transfer credits will be recorded, and •• Students who withdraw before the 60% point of the
deadlines. All scholarship applications and application aid eligibility. Students that are not receiving financial aid will the length of the program will be shortened proportionately. quarter. The percentage is calculated by dividing
deadlines are available in PDF format on the mi.edu website. be contacted by the Registrar Services office to complete (a) the number of days from the first day of school
Please refer to this site for additional scholarships that may both an appeal form and academic plan. Musicians Institute will guide veterans through the to and including the withdrawal date by (b) the total
become available. application process, but cannot determine eligibility, and number of days in the quarter from the first day to and
Note: Online registration privileges will be revoked. All accepts no responsibility for payments made directly to including the last day of quarter*.
changes to schedule and/or academic plan must be made in students. Please contact the Veterans Benefits Coordinator
SATISFACTORY ACADEMIC person through the Registrar Services Department. Number of days completed = Percentage completed
PROGRESS (SAP) for any additional questions.
Number of days in period (rounding the third decimal place
up if the fourth decimal place is 5 or more)
Federal regulations require all institutions that participate SAP TERMINATION REFUND & RETURN OF TITLE IV
in Title IV aid programs to define and monitor satisfactory Students that fail to meet SAP for three consecutive FUNDS POLICIES *Scheduled breaks of at least five consecutive days are
academic progress (SAP) for all financial aid recipients. quarters are reviewed to see whether or not the academic
excluded from the total number of calendar days in a
The standards must meet all Federal requirements and plan was met. Students that fail to meet the requirements When a student withdraws from all classes or takes an payment period (numerator) and the number of calendar
be equal to or more stringent than the SAP standards for specified in their academic plan will no longer be eligible Unapproved Leave of Absence, MI is required to complete days completed in that period (denominator). Days in which
non-financial aid recipients. All students, regardless of for student financial assistance and will be terminated from a refund calculation to determine a student’s unearned a student was on an approved leave of absence are also not
whether they receive financial aid or not, are required to their program of study at MI. Students who wish to re-enroll financial aid and unearned tuition for the last quarter included in the calendar days from the payment period or
meet both qualitative and quantitative academic standards after SAP termination must petition for reinstatement and, they attended. MI’s Return of Title IV Funds Policy and period of enrollment.
while attending Musicians Institute. This policy insures that if approved, may be subject to a waiting period and may Institutional Refund Policy are updated regularly in order to
students are progressing through their programs of study also be required to create and adhere to an academic plan remain in compliance with any changes in the applicable
and identifies students who may be at risk of failing. through the office of Student Affairs prior to returning to MI. laws and regulations from federal and state agencies. RETURN OF UNEARNED SFA PROGRAM FUNDS
The school must return the lesser of the amount of SFA
An Approved Leave of Absence occurs when a student program funds that the student does not earn or the amount
MUSICIANS INSTITUTE FINANCIAL AID STAFF CODE OF •• Recognize the need for professional development and
continuing education opportunities.
CONDUCT •• Promote the free expression of ideas and opinions,
Musicians Institute (MI) financial aid staff are expected to
and foster respect for diverse viewpoints within the
always maintain exemplary standards of professional conduct
in all aspects of carrying out his or her responsibilities, profession.
specifically including all dealings with any entities involved •• Commit to the highest level of ethical behavior and
in any manner in student financial aid, regardless of whether refrain from conflict of interest or the perception
such entities are involved in a government sponsored, thereof.
subsidized, or regulated activity. •• Maintain the highest level of professionalism,
reflecting a commitment to the goals of MI.
In doing so, a financial staff person at MI should refrain
from taking any action for his or her personal benefit; refrain
from taking any action he or she believes is contrary to law,
regulation, or the best interests of the students and parents
he or she serves; ensure that the information he or she
provides is accurate, unbiased, and does not reflect any
preference arising from actual or potential personal gain; and
be objective in making decisions and advising students at MI
regarding relationships with any entity involved in any aspect
of student financial aid.
MI staff will refrain from soliciting or accepting anything

of other than nominal value from any governmental entity
(such as the U.S. Department of Education) involved in the
making, holding, consolidating or processing of any student
loans, including anything of value (including reimbursement
of expenses) for serving on an advisory body or as part of
a training activity of or sponsored by any such entity. MI
GENERAL
staff must disclose in such manner as MI may prescribe,
any involvement with or interest in any entity involved in any
aspect of student financial aid.
MUSICIANS INSTITUTE STATEMENT OF ETHICAL

PRINCIPLES
The primary goal of the MI Financial Aid office staff is to help
of institutional cost that the student incurred for the payment INSTITUTIONAL REFUNDS AFTER R2T4 REFUNDS students achieve their educational potential by providing
period, multiplied by the percentage of funds that was not appropriate financial resources. To this end, this Statement
earned. If the institution must return federal funds received
DETERMINED
provides that the MI Financial Aid office staff shall:
After the Return of Title IV Funds Calculation (R2T4) is
by students who withdrew prior to completing the 60% of a
completed and any necessary refunds determined and
given payment period, the student may owe the school for •• Be committed to removing financial barriers for those
processed, MI completes an institutional calculation to
the portion of funds returned that the institution is otherwise who wish to pursue postsecondary learning.
determine if a student’s prorated charges have been paid for
entitled to, based on the school’s approved and applicable •• Make every effort to assist students with financial
(see Withdrawal from a Program section later in this catalog).
refund policy. Return of Title IV Worksheets are available need.
If, per the institutional calculation, the student is due a
upon request from the Financial Aid Office. •• Be aware of the issues affecting students and
refund, the student will be given the choice of receiving a
advocate their interests at the institutional, State, and
refund check or returning the excess funds to their financial
RETURN OF TITLE IV FUNDS CALCULATION (R2T4) Federal levels.
aid fund sources. For students who choose to have the
•• Support efforts to encourage students to aspire to
MANDATED REFUND PRIORITY excess funds returned to their financial aid fund sources, the
and plan for education beyond high school.
Title IV funds will be returned by MI and/or the student as funds will be refunded in the following order:
•• Educate students and families through quality
applicable, according to federal regulations and deadlines. 1. Federal Loans (same order as above)
consumer information.
Federal regulations require that funds be returned to their 2. Federal Grants (same order as above)
•• Respect the dignity and protect the privacy of
original source in the following order: 4. State Financial Assistance
students, and ensure the confidentiality of student
1. Federal Unsubsidized Direct Loan Program 6. Private Lender
records and personal circumstances.
3. Federal Subsidized Direct Loan Program 8. Student/Parent
•• Ensure equity by applying all need analysis formulas
5. Federal PLUS Loan Program 10. Other
consistently across the full population of MI student
7. Federal Pell Grant Program
financial aid applicants.
9. Federal SEOG Grant Program Refunds are made within 45 days of termination or
•• Provide services that do not discriminate on the basis
withdrawal.
of race, gender, ethnicity, sexual orientation, religion,
disability, age, or economic status.
ARTIST & INDUSTRY SUPPORT CENTER ARTIST & INDUSTRY SUPPORT CENTER
ARTIST & INDUSTRY SUPPORT ARTIST & INDUSTRY SERVICES ARTIST & INDUSTRY SUPPORT Road Rally, GrammyU, California Copyright Conference,
CENTER Our Artist & Industry Services advisors provide students and CENTER DEVELOPMENT and more.
The goal of the Artist & Industry Support Center (AISC) alumni with the guidance, support, and resources needed OFFERINGS
is to empower students by enhancing their understanding to develop their academic and professional careers. This is STUDENT SUPPORT CENTER
of course materials, facilitating professional development accomplished through detailed instruction and counseling ONE-ON-ONE ADVISEMENT MEETINGS Our Approach provides you with a built-in support
learning strategies, and fostering confidence and skills on various professional items including (but not limited to): All members of the AISC team are available for individual
system that will help you throughout your academic
needed to excel in the entertainment industry. EPK’s (Electronic Press Kits), Resumes, Entrepreneurship, coaching on any and all matters pertaining to your career,
studies, professional development, and into your career.
Self-Branding, Professional Internships, Auditions (and including: strategic planning, networking, career counseling
Furthermore, MI’s SSC advisors provide each student
Our student’ well-being and general happiness are of Audition Preparation), and all other musical and career based inquires, Internship inquires, job searching, general course
with the tools needed to enhance their campus experience
utmost importance. Thus, the Artist & Industry Support matters. Many of the aforementioned items also correspond advising and more.
and promote success both in and out of the classroom.
Center specializes in all social sciences, alongside various with man of our AA and BACH professional development
professional items including (but not limited to): EPK’s classes. Thus, Professional and Artist Development are
(Electronic Press Kits), Resumes, Cover Letters, Bios,
RESUME, COVER LETTER, EPK, PERSONAL WEBPAGE,
present both in and out of MI. Services include:
AND MOCK INTERVIEW SERVICES STUDENT AFFAIRS
Entrepreneurship, Self-Branding Techniques, Humanities, The Student Affairs Office is here to provide support and
Student Advising, Professional Internships, Auditions and •• Artist & Industry Development AISC advisors are available to help students and alumni
guidance during your transition to MI and throughout the
Audition Preparation, and all other musical and career-based •• MI Connects develop and polish their resumes, EPKs, interview skills,
length of your program. Our mission is to ensure that you
•• Career & Industry Mentoring cover letters, and promotional materials.
matters. have access to the resources you need to be a successful
•• Career Workshops & Seminars student. Our dedicated staff is committed to assisting you
•• General Affiliations and Discounts to Career Related MI CONNECTS (CONNECTS.MI.EDU) with any issues which may arise as you familiarize yourself
WHATS THE PURPOSE OF THE ARTIST & INDUSTRY Events MI Connects, MI’s proprietary online talent and opportunity with your new environment. The Student Affairs Office
SUPPORT CENTER? resource, is an exclusive service for current and former offers a wide range of services, including:
MI’s AISC provides students with a supportive and caring Detailed explanation of these services are located students. The Artist & Industry Support Center receives
environment to facilitate the achievement of personal on the next page. frequent calls from talent scouts, managers, producers, •• Personal counseling
and professional goals. This “hub” will guide students booking agents, A&R representatives, potential music •• Health and wellness offerings
in academic advising, career strategies, and personal INTERNSHIP PLACEMENT & ASSISTANCE students, and studio managers who require the services •• Tutoring requests
counseling while promoting healthy social atmosphere for The Internship Program provides first-hand experience in the of trained musicians and engineers. All members can post •• Academic Appeals and Changes
enhance student well-being. music industry through internship positions in music-related profiles including social media links, photos, videos, and
GENERAL
GENERAL
companies for Audio Engineering and Common Course resumes to the MI Connects online database. Members also
students. Music Business students are request to complete gain access to online job boards, a search engine exclusive INTERNATIONAL STUDENT ADVISING
to MI Connects, and a community forum. Our International Student Affairs office can counsel
HOW WE CAN HELP YOU SUCCEED and internship for their major’s requirement in their second
students in regards to Student Visas, I-20’s, F-1 extensions,
Our advisors can provide each student with the necessary quarter. Internship companies include:
transfers, OPT work permits, and other student visa related
tools to enhance their campus experience that will aid
•• Record labels, Recording Studios, & Post Production
AUDITION WORKSHOPS & MOCK AUDITIONS topics. Culture shock and adjustment counseling is also
in promoting success both in and out of the classroom. Each quarter, audition workshops train students and available for those students having difficulties adjusting to a
Through scheduled appointments, group-tutoring workshops, Houses
alumni in the fundamental techniques necessary to gain a new environment.
facilitated group workshops, and supplemental instructional •• Entertainment Marketing Firms
competitive edge. The Audition Workshops consists of (2)
sessions, AISC advisors help you succeed in the following •• PR Firms, Booking Agencies, & Music Publishers
steps. Step 1 – what to expect at a professional audition.
areas by providing:Artist Services Step 2 is the mock audition – the student / alumni prepares
•• One-on-One Advisement Meetings MI Provides no guarantee regarding the future availability
material for a mock audition and their performance is critiqued
•• Career & Industry Mentoring of internships at specific companies or in specific
by the instructor.
•• Internship Placement & Assistance positions. Placement is subject to availability and student
•• On Campus Industry Fairs qualifications.
•• Audition Workshops / Hiring Hall CAREER & INDUSTRY MENTORING
Private career and industry mentoring sessions are available
•• Alumni Engagement ALUMNI ENGAGEMENT to all MI students and alumni. Students / alumni meet one-on-
The services of the AISC continue to be available after one with top industry professionals who provide personalized
students graduate from their MI program. Alumni can stay advice on career options and how to prepare for life as a
connected to MI and the music industry through clinics, professional.
educational events and networking opportunities. Graduates
also have the opportunity to make appointments with AISC
advisors. Services include: CAREER WORKSHOPS & SEMINARS
Career-related workshops and seminars are held every quarter
•• Social Media Management to bolster a student’s understanding of the entertainment
•• Networking Events industry.
•• Audition Training
•• Access to MI Campus GENERAL AFFILIATIONS AND DISCOUNTS TO CAREER
RELATED EVENTS
Students are encouraged to attend career related events with
MI’s discounted and seasonal rates. Past events and affiliations
include: NAMM Show, ASCAP I Create Music Expo, TAXI
ARTIST & INDUSTRY SUPPORT CENTER ARTIST & INDUSTRY SUPPORT CENTER
MCCADDEN MARK TWAIN

RESIDENCE HALL RESIDENCE HALL
•• Residence Hall rooms are available on a first come, Note: Employment is not guaranteed.
HOUSING MCCADDEN RESIDENCE HALL first serve basis. See the Housing Coordinator for
1527 North McCadden Place, Los Angeles, CA 90028
OFF-CAMPUS HOUSING Featuring:
more details
MI is dedicated to assisting students who are seeking housing DISCOUNTED ENTERTAINMENT TICKETS
•• High-Speed WiFi Discounted tickets to Universal Studios Hollywood, Six
that is safe, comfortable, convenient and affordable. MI’s Double occupancy: $2,700 per quarter
•• Kitchen includes a full size refrigerator, microwave, Flags, Magic Moutain & Six Flags Hurricane Harbor, AMC
housing coordinator maintains regularly updated listings of Single occupancy: $5,400 per quarter
and induction cooking surface Movie Theatres, The Taxi Rally, ASCAP “I Create Music
apartments within walking distance to the main campus as well Refundable security deposit: $500.00
•• Full Bathroom Expo”, NAMM, GrammyU, and more!
as additional listings of apartments within the two-mile radius •• Closet Space
of the MI shuttle service. Outside of the two-mile radius, the Note: MI Residence Halls are considered extensions of
•• Coin-operated Laundry Facilities
number of apartment listings expand into the hundreds. The the MI Campus and, as such, residents are responsible for
•• On-site Resident Advisor abiding by these Policies and Procedures, by the Residence
Housing office offers a wide range of services, including:
Hall Rules and Regulations as well as all MI Facilities
•• Apartment Vacancy Listing Services MARK TWAIN RESIDENCE HALL Regulations and the Student Conduct Code described in the
•• Roommate Referral Service and Housing Meetings 1622 North Wilcox Ave., Los Angeles, CA 90028 Musicians Institute Student Handbook.
•• Student Housing Guide Featuring:
•• Shuttle Service / Transportation •• High-Speed WiFi
•• Shared Kitchen & Commons Area ADDITIONAL SERVICES
Monthly rents range from $400 to $2,100 depending on size, •• Microwave & Mini Fridge supplied in each room. LOCKERS
location, amenities, and whether or not you are sharing the •• Full Bathroom Lockers are available on Campus, and students can sign
cost of expenses. For more questions on housing options, •• Closet Space up in the AISC. All lockers must be shared between two
please contact our housing coordinator at housing@mi.edu or •• Coin-operated Laundry Facilities students, come with the person you’ll be sharing a lock with
323.860.1108. •• On-site Resident Advisor and the lock that you will be using.
MI RESIDENCE HALL ADDITIONAL INFORMATION TRANSPORTATION ASSISTANCE

MI is proud to announce the addition of two off-campus •• Applications are available from the Housing We can help you arrange transportation from LAX Airport to
residence halls, which will provide a safe environment and Coordinator, Rossana Brassea. Hollywood. Metro passes (discount TAP card applications)
encourage learning and personal growth in an inclusive •• You can choose your own roommate or one can be
are available too.
community. The Housing office continually strives to improve chosen for you.
services to meet the needs of our students and to reflect the •• Roommate information questionnaires are available
high standards of Musicians Institute. Each Residence Hall is from the Housing Coordinator STUDENT WORKERS
listed below: •• Students can live in the dorm for the length of their Interested in working on campus? Fill out an application to
program or 1 year, whichever is shorter. get the started in Weeks 1-4 of each quarter.
POLICIES
ACADEMIC POLICIES AND ATTENDANCE POLICY
DEFINITIONS Attendance in most courses is required and is reflected as
a portion of your overall grade. With specific exceptions,
ACADEMIC CALENDAR attendance is recorded in this manner:
All degree and certificate programs operate on a year-round
quarterly academic calendar, with each quarter consisting Present (P): In class 0 – 4:59 minutes late
of 10 weeks of classes and one week of testing, followed by Tardy (T): arriving 5 – 14:59 minutes late
two weeks of break. Absent (A): arriving more than 15 minutes late,
or not in attendance
ACADEMIC HONESTY/INTEGRITY •• Three(3) Tardy(T) records = One (1) Absent(A) grade
All students have an obligation to behave honorably and •• Missing more than 50% of a class is considered
respect the highest ethical standards in carrying out their
Absent(A) regardless of above attendance status.
academic assignments. Academic dishonesty is defined as
any form of cheating, falsification, and/or plagiarism. In cases
NOTE: Some classes have different attendance processes.
where academic dishonesty or falsification of academic
Please refer to course syllabi and/or your instructor for
information is proven to have occurred, students may receive
specific rules for each class.
a failing grade and are subject to additional disciplinary
actions up to and including termination from the program.
EXCUSED ABSENCES
Students are expected to attend every class for which they
ACADEMIC PROBATION are registered. In rare cases, an absence may be excused.
Satisfactory Academic Progress is reviewed quarterly and
All requests for excused absences must be submitted to
students showing a cumulative GPA of less than 2.0 are
the Student Affairs Office for review. Examples of reasons
placed on Probationary Warning status. A cumulative GPA
for excused absences, which must be documented and are
of less than 2.0 for two consecutive quarters results in the
subject to review, include:
student being placed on Official Academic Probation status. •• Jury or military duty
A continued cumulative GPA of less than 2.0 for three •• Emergency circumstances (medical, family or other)
GENERAL
GENERAL
consecutive quarters results in loss of Financial Aid funding
and termination from the program. Excused absence requests must be submitted to the
Registrar Office with accompanying documentation within
five school days after the student’s return to class. Requests
APPEALS/REQUEST FOR ACADEMIC REVIEW submitted after this period and/or after Friday of Week 11
A student has the right to appeal any change in status or will be denied. The maximum number of excused absences
grades that may affect his or her grade point average or per quarter is five days. Requests for repeated absences
ability to graduate. All such requests must be made in writing from the same class may not be approved.
(forms/instructions are available in the Registrar’s Office) and
submitted to the Office of Academic Affairs. Students will be
contacted about the committee decision within one week of AUDITING
submission. Submission of such a review does not exempt Attendance by students in courses in which they are not
students from any school regulations, processes, or common registered is not permitted.
procedure.
CANCELLATION OF ENROLLMENT
ATTENDANCE REQUIREMENTS
Regular attendance is required and recorded in all DEGREE AND CERTIFICATE PROGRAMS
classes and lessons, and is factored into overall course
grades. Students who show poor classroom or private BUYERS RIGHT TO CANCEL: The student has the right to
lesson attendance will be contacted and counseled by cancel the Student Enrollment Agreement and receive a full
an Advisor. Continued absence from a class may result in tuition refund, less any non-refundable fees by submitting a
a failing grade for that class (see the course syllabus for written notice of cancellation to Musicians Institute’s Student
specific information on attendance). Absence from school Records Office prior to the first day of instruction. The
for more than three consecutive weeks without an approved written notice of cancellation becomes effective as of the
Leave of Absence will result in termination from the program. date of the postmark.
Both scan-in records and classroom attendance will be used Written notice of cancellation should be sent to:
to determine school and facility use/attendance, and will be Musicians Institute, Registrar’s Office
factored in to any change of status and withdrawals. 6752 Hollywood Boulevard
Hollywood, CA 90028
POLICIES POLICIES
If a student attends the first day of a course of instruction,
CREDIT-HOUR/CREDIT-UNIT STUDENT ACCESS TO FACILITIES BACHELOR OF MUSIC IN
and withdraws by submitting a written notice of cancellation
A credit-hour/credit-unit measures the quarterly academic •• Students with full- and three-quarter-time status have PERFORMANCE // CONTEMPORARY
to Musicians Institute’s Registrar before the end of the
business day on the first day of instruction, or withdraws
weight given to a particular course (e.g. Inside Studio full access to MI facilities. STYLES WITH A MINOR
Drumming = 1 credit-unit). A quarter credit-hour represents •• Students with half-time and less-than-half-time status Bass, Drum, Guitar, Keyboard, Vocal
seven calendar days after enrollment (whichever is later); he have access to facilities only during those hours when
either of the following: (Minor in Entertainment Industry Studies or Minor in Audio
or she will receive a complete tuition refund within 30 days of their scheduled classes are in session.
•• One hour of classroom or direct faculty instruction Production)
cancellation, less the application fee. •• Students must be at least three-quarter-time to get
and a minimum of two hours of out-of-class student •• Complete 205 required credit-units, including 135
work each week for 10 weeks, or the equivalent access to MI Vocal and Drum Labs. Major Area, Supportive Music, and Elective credits,
NON-CERTIFICATE PROGRAMS / MI SELECT & MI amount of work over a different time; •• Vocal and Drum Labs are not available to students 25 Minor Area disciplines, and 45 General Education
•• At least an equivalent amount of work as required from other programs. credits.
SELECT EXPRESS above for other academic activities as established by •• Audio Engineering and IAP studios are not available to •• Maintain minimum 2.0 GPA.
An applicant may cancel his or her enrollment in writing any Musicians Institute. students from other programs. •• Pay all tuition and fees.
time before the end of business on first day of instruction, or •• Guitar Craft Facilities are not available to students
the seventh day after enrollment (whichever is later). Written from other programs. Guitar Craft Students may
notice of cancellation should be sent to the Registrar’s ELECTIVES only access the facilities during regularly scheduled BACHELOR OF MUSIC IN
Office (see address above). Electives are courses other than core requirements classes, and 8:00 am - 2:00 pm on Saturdays. COMPOSITION //SCORING FOR VISUAL
chosen by the student from an approved course offering. •• DJ Program Practice rooms are not available to MEDIA PROGRAM
All money paid to Musicians Institute will be refunded within In programs with elective requirements, students must students from other programs. •• Complete 180 required credit-units, including 135
30 days of cancellation, less the application fee. Remember, successfully complete the total number of required elective Major Area, Supportive Music, and Elective credits,
an applicant must cancel in writing, not by telephoning or by credits in order to qualify for the degree or certificate. and 45 General Education credits.
not coming to class. RESIDENCY/TRANSFER OF CREDIT REQUIREMENT •• Maintain minimum 2.0 GPA.
Musicians Institute will make appropriate efforts to •• Pay all tuition and fees.
ENROLLMENT STATUS acknowledge work completed at other institutions of higher
CLASS STANDING Completion of an optimal 15 credits per quarter is required learning. Credits from other institutions, should they be
BACHELOR OF MUSIC IN
Class standing is determined by the number of credits to complete all programs within the shortest possible time accepted, may be applied only in pursuit of a Bachelor’s
completed toward graduation. Class standing is calculated frame. Degree at Musicians Institute. Credits may be transferred for SONGWRITING AND PRODUCTION
as follows: •• Full-time 12 or more units courses applicable to the MI Bachelor’s Degree for which a •• Complete 180 required credit-units, including 135
•• Freshman 0-45 credits •• Three-quarter-time 9 - 11.5 student has earned a grade of C or above at an accredited Major Area, Supportive Music, and Elective credits,
GENERAL
GENERAL
•• Sophomore 46-90 credits •• Half-time 6 - 8.5 institution. In order to receive a Bachelor’s Degree from and 45 General Education credits.
•• Junior 91-135 credits •• Less-than-half-time 5.5 or less Musicians Institute, a student must complete the majority (at •• Maintain minimum 2.0 GPA.
•• Senior 136-180 credits least 51%) of all credits applied toward the Bachelor Degree. •• Pay all tuition and fees.
To complete the Bachelor of Music Degree within three

CHANGES IN ENROLLMENT STATUS MASTER OF MUSIC IN
Musicians Institute programs are designed to provide GRADUATION REQUIREMENTS
calendar years or an Associate Degree within 18 months,
students the best possible educational experience in as
PERFORMANCE // CONTEMPORARY
students must successfully complete an average of 15
expedited a time frame as is appropriate. As such, it is BACHELOR OF MUSIC DEGREE STYLES
credit-units per quarter of continuous enrollment (including GENERAL EDUCATION REQUIREMENTS Bass, Guitar, Keyboard Technology, Drum, Vocal
generally not advisable for students to enroll in courses in
General Education credits). excess of the optimal course load of 15 units per quarter. Musicians Institute maintains a General Education Transfer •• General Education credits.
Regardless of the foregoing, in certain cases, it may be Agreement with Los Angeles City College (LACC) that •• Maintain minimum 3.0 GPA.
MAJOR AREA/REQUIRED COURSES necessary for students to enroll in course loads in excess provides for Bachelor of Music students to complete their •• Pay all tuition and fees.
Major Area courses are required for all students attending of this optimal course load. In these rare cases, students General Education requirements at the nearby LACC
a given program. All Major Area courses must be passed in may be required to meet with and request approval from campus. MI also accepts accredited, college-level Liberal
order to meet overall degree or certificate requirements. academic advisors prior to adding extra courses in order to Arts credits from other schools that meet equivalent ASSOCIATE DEGREES
best ensure student success. requirements. Students must submit an official academic Associate of Arts Degrees in Bass, Drum, Guitar, Keyboard
transcript, which will be evaluated on a case-by-case basis Technology, and Vocal; or Associate of Science Degree in
Note: Such requests may be denied in cases in which by the Dean and the Registrar. A total of 45 GE quarter- Music Business
COURSE REPETITION student success, based on course load or courses •• Complete 90 required credit-units.
units or 30 semester-units are required for graduation.
A student receiving an overall course grade below C- (70) in requested, is deemed unlikely. •• Maintain minimum 2.0 GPA.
Courses that are transferred in semester credit-units from
a required course will be required to re-enroll in and pass the •• Pay all tuition and fees.
other institutions will be translated into quarter units by the
course in order to complete their degree requirement. Such Students should be aware that diminished course loads may Registrar’s Office.
re-enrollment may require student to attain approval, adhere result in diminished access to MI campus and facilities.
to guidelines set forth in an academic plan, and/or enroll in •• Bachelor Degree students are expected to maintain BACHELOR OF MUSIC IN ASSOCIATE OF ARTS DEGREE
a remedial course in advance of re-enrolling in the course.
Full tuition will be charged and normal grading standards
full-time status, insofar as is possible, until they have
PERFORMANCE // CONTEMPORARY IN PERFORMANCE // COMBINED
completed 90 credit-units, including transfer credits
will apply. Students may not enroll in the same required STYLES EMPHASIS
and General Education credits. Bachelor students in •• Complete 90 required credit-units, including:
course more than three times. Financial Aid may not apply good academic standing after completing 90 credit- Bass, Guitar, Keyboard Technology, Drums, Vocals ◦◦ 60 Performance emphasis credit-units (Bass,
toward courses repeated more than twice. A student who units may be considered for three-quarter or half-time •• Complete 180 required credit-units, including 135 Guitar, Keyboard Technology, Drum or Vocal).
has passed a course and earned credit may not re-take the status. Major ◦◦ 30 Entertainment Industry emphasis credit-units
same course for additional credit unless the catalog course •• Less-than-half-time status is only available to students •• Area, Supportive Music, and Elective credits, and 45 (Audio Engineering; Guitar Craft; Independent
description states “may be repeated for credit.” requiring less-than six units to complete a program. •• General Education credits. Artist Development; or Music Business).
•• Maintain minimum 2.0 GPA. •• Maintain minimum 2.0 GPA.
•• Pay all tuition and fees. •• Pay all tuition and fees.
POLICIES POLICIES
approval through the Office of Student Affairs. LOA will enter the grace period and/or begin repayment on *Students wishing to enroll in fewer than 12 units per quarter
their loan because the six-month leave exceeds the Federal must request approval through the Office of Student Affairs.
CERTIFICATE IN ENTERTAINMENT •• Drop/Add Period - A drop/add period is the period government’s 180-day maximum for an approved LOA per
INDUSTRY PROGRAMS of time at the beginning of each quarter during which 12-month period. Since *Associate and Certificate students who need fewer than 15
Audio Engineering, DJ Performance & Production, Guitar registered students may drop or add classes without MI Select is not an academic program, MI Select students units to complete their program may register for said units
Craft, Independent Artist Program, Music Business late registration penalties. The drop/add period for are not eligible for an LOA. through the Office of the Registrar.
•• Complete 30-45 required credit-units (varies by each course begins on the first day of the quarter and
program). ends on the Friday of Week 2. Students receiving Federal Financial Aid should also see Students should be aware that diminished course loads may
•• Maintain a minimum 2.0 GPA. Satisfactory Academic Progress. result in diminished access to MI campus and facilities.
•• Payment of all tuition and fees. •• Tuition and Refunds
◦◦ Credits added to the schedule will be charged at MAXIMUM ALLOWABLE UNITS
the applicable tuition rate. 30-UNIT (TWO-QUARTER)
Students who fail to complete a program before reaching
CERTIFICATE IN PERFORMANCE ◦◦ Payment is due immediately upon adding credits. the maximum allowable number of units attempted will CERTIFICATE PROGRAMS
Bass, Drum, Guitar, Keyboard Technology, Vocal ◦◦ Full tuition will be refunded for credits dropped be terminated from the program. Units counted as units The minimum unit completion requirement every quarter for
•• Complete 60 required credit-units. during the drop-add period. 50% of tuition will be attempted per evaluation period include units transferred each enrollment status is as follows:
•• Maintain a minimum 2.0 GPA. refunded for classes dropped during Week 3. into the program, units completed, courses receiving letter •• Full-time (12 or more units per quarter)*: 10 units
•• Payment of all tuition and fees. ◦◦ No tuition will be refunded for classes dropped grades of D or F, and courses designated on the transcript •• Three-quarter time (9-11 units per quarter): 7 units
from the fourth week on. as “I,” “W,” “NC,” and “NR.” The maximum allowable number •• Half-time (6-8 units per quarter): 4 units
COMMENCEMENT of units that may be attempted for each program is: •• Less than half time (less-than 6 units per quarters): 1
College commencement ceremonies take place at the end of •• Withdrawals and cancellations •• Bachelor of Music: 270 units unit
each quarter. Students must petition to graduate through the ◦◦ Withdrawals after the second week but before •• Associate of Arts: 135 units
Office of the Registrar in order to ascertain whether they are the seventh week will appear on the student’s •• Certificate in Performance: 90 units Note: Mixed enrollment - See the Financial Aid office for
eligible for graduation/commencement. transcript as a “W.” •• 30-unit 2qtr Certificate Programs: 45 units your minimum unit requirement.
◦◦ Withdrawals after the seventh week will be
•• 45-unit 3qtr Certificate Programs: 67.5 units
Participation in commencement ceremonies is encouraged assigned a grade based on course requirements *Students wishing to enroll in fewer than 12 units per quarter
but not required. Students wishing to take part in met up to that point. must request approval through the Office of Student Affairs.
commencement ceremonies must have completed all of the ◦◦ Under-enrolled courses are subject to cancellation MINIMUM UNIT COMPLETION
requirements of their degree or certificate in advance of the at any time before Week 2 with full tuition refund to REQUIREMENTS *Associate and Certificate students who need fewer than 15
date of graduation. Students taking part in commencement enrolled students units to complete their program may register for said units
To maintain Satisfactory Academic Progress, all students
ceremonies must pay a fee covering cap and gown through the Office of the Registrar.
GENERAL
GENERAL
Further Information on withdrawing completely from a must complete (i.e. pass with a grade of C- or above) a
rental, ticket prices and administrative costs. Graduating
participants are required to wear a cap and gown of a style/ program can be found under Withdrawal from a Program in minimum number of units within a certain period of time
depending on their program and enrollment status. Minimum Students should be aware that diminished course loads may
color designated by Musicians Institute. Musicians Institute’s this catalog.
unit completion requirements for each program and status result in diminished access to MI campus and facilities.
Office of Student Affairs will facilitate the rental of a cap and
gown for graduating students. Graduating students will be •• Notification of schedule changes are listed below.
awarded a limited amount of tickets at no charge. Students ◦◦ Financial Aid recipients must notify the Financial
may request and purchase extra tickets (if available) through Aid Office of any schedule changes. 45-UNIT (THREE-QUARTER)
the Office of Student Affairs. ◦◦ International students must notify the International
BACHELOR OF MUSIC AND CERTIFICATE PROGRAMS
Student Advisor of any schedule changes. ASSOCIATE DEGREES The minimum unit completion requirement per academic year
The minimum unit completion requirement per academic year (three quarters) for each enrollment status is as follows:
CHANGING PROGRAMS HOLIDAYS, CALENDAR AND SCHOOL CLOSURES (three quarters) for each enrollment status is as follows: •• Full-time (12 or more units per quarter)*: 10 units
Students who wish to change their course of study from one •• Full-time (12 or more units per quarter)*:
Musicians Institute does not reschedule, make up, or •• Three-quarter time (9-11.5 units per quarter): 7 units
program to another before completing their current program 30 units
otherwise replace classes, lessons or other events that fall •• Half-time (6-8.5 units per quarter): 4 units
must: •• Three-quarter time (9-11 units per quarter): 23 units
on holidays, during school closures or on other occasions on •• Less-than-half-time (less-than 6 units per quarter): 1
•• Half-time (6-8 units per quarter): 15 units
which the school is not open. Please refer to the most recent unit
1. Apply to the new program through Registrar Services •• Less-than-half-time (less-than 6 units per quarter):
Academic Calendar for information on such closures. Note: Mixed enrollment - See the Financial Aid office for
and pay a re-application fee. 3 units
2. Audition for the new program (where applicable). your minimum unit requirement.
3. If accepted, register for the new program and pay all Note: Mixed enrollment - See the Financial Aid office for *Students wishing to enroll in fewer than 12 units per quarter
applicable tuition and fees. LEAVES OF ABSENCE (LOA) your minimum unit requirement. must request approval through the Office of Student Affairs.
Students who find they have to take a Leave of Absence
Note: No student may enter a third program without having (LOA) must submit a written request to the Office of Student CERTIFICATE IN PERFORMANCE *Associate and Certificate students who need fewer than 15
graduated from or satisfactorily completed one of the first two. Affairs. The request must be mailed or personally delivered The minimum unit completion requirement per academic year units to complete their program may register for said units
If either of the two incomplete programs is the non-credit MI to the Office of the Registrar, 6752 Hollywood Boulevard, (three quarters) for each enrollment status is as follows: through the Office of the Registrar.
Select Program, then the student must have passed two- Hollywood, CA, 90028. The request should contain the •• Full-time (12 or more units per quarter)*:
thirds of the credits taken while in MI Select Programs with student’s expected date of return. 20 units Students should be aware that diminished course loads may
a Cumulative GPA of 2.0 or better in order to begin a third •• Three-quarter time (9-11 units per quarter): 15 result in diminished access to MI campus and facilities.
program. Transfer of credits from one program to another will be The maximum length of an end-of-quarter LOA is 180 units
determined on a case-by-case basis during registration. calendar days. LOA are only granted to students who •• Half-time (6-8 units per quarter): 10 units
complete the entire quarter including final exams and are •• Less-than-half-time (less-than 6 units per quarter):
maintaining satisfactory academic progress before beginning 2 units
REGISTRATION
DROPPING OR ADDING COURSES the LOA. Students may take only one LOA during the All students are required to register for classes prior to
Students are allowed to drop or add any class without fees length of a program. Students on LOA are not qualified to every quarter of enrollment. All registration procedures are
Note: Mixed enrollment - See the Financial Aid office for
or penalties by submitting a Drop / Add form to the Registrar receive Financial Aid during the Leave. Any student who has coordinated through the Registrar’s Office. The following
your minimum unit requirement.
by Friday of Week 2. Students wishing to drop classes received a Federal Stafford Loan and takes a six-month rules apply to all students, whether new or returning:
below 12 credit-units per quarter must seek counseling/
POLICIES POLICIES
•• All tuition and fees are due and payable at registration suspended until the SAP probationary status is appealed.
(see Tuition and Fees for more information about
GRADE POINT AVERAGE (GPA) INCOMPLETE (I) Students appealing the SAP probation decision must complete
An average of all grade points awarded for all courses A grade of Incomplete will be approved only if the student an SAP Appeal form and meet with an Academic Advisor to
costs and payment options).
attempted, calculated by dividing the number of grade points is making satisfactory progress in the course, but cannot complete an Academic Plan.
•• Students will not be permitted to enter MI facilities
by the number of units attempted. Students enrolled in all complete the final project or examination due to justifiable,
until required tuition and fees have been paid.
programs are required to have earned a cumulative GPA of and documented reasons including but not limited to: a The completed SAP appeal form and academic plan must
at least 2.0 at the end of the third quarter for Bachelor of personal emergency; an illness; or a documented family be returned to the Financial Aid office for review. Accepted
NEW STUDENTS Music and Associate of Arts Degree students; at the end of emergency. All incomplete course work must be made up appeals will result in a reinstatement of the student’s financial
Permission to register for classes is granted to new students the second quarter for Certificate in Performance students; before the end of the first week of the following quarter aid eligibility. Students whose appeals have been accepted
only if they have been fully and completely processed through and at the end of the first quarter for all 30-unit, two-quarter unless an extension is granted due to verifiable injury or will be notified of SAP Appeal status. Students in SAP Appeal
the Admissions Office and have completed placement certificate program students. Students failing to achieve illness. When course work is completed to the satisfaction status that fail to follow their academic plan will lose their
testing where applicable (see Academic Calendar for dates). minimum GPA requirements will be placed on probation and of all established requirements of the course, a grade will be eligibility for student financial assistance and will be dismissed
must correct the problem within a specified period of time to issued to replace the “I” on the student’s transcript. Failure to from attendance.
Instructions and materials for registration will be made
available at the times designated for new student registration. avoid possible termination. complete the course work within the maximum allotted time will
result in a grade of “F” replacing the “Incomplete.” Students on non-SAP Warning or Probation status who
An Incomplete on a prerequisite course must be resolved wish to switch to a new program may be required to submit a
GRADING STANDARDS AND REPORTING request for such to a panel for review. If approved, the student
CONTINUING STUDENTS The Grade Point Average (GPA) will be used to measure a
before the student can enroll in a class requiring that course as
All continuing students are required to register for classes a prerequisite. will begin the new program in non-SAP Warning status and will
student’s Satisfactory Academic Progress. This is calculated be required to adhere to an academic plan.
for their next quarter during the ninth week of their current by dividing the number of grade points by the number of
quarter. Continuing students who register after the end of units attempted. A passing grade of C- (70) or better is
the re-registration period will be assessed a late registration
NO CREDIT (NC)
required to earn credit in all core and elective course work. WITHDRAWAL FROM A COURSE (W)
fee (see Tuition & Fees). Failure to officially confirm See Pass/No Credit.
attendance for the next quarter will result in courses and The letter “W” on the transcript indicates that a student was
lessons (where applicable) being dropped from those permitted to withdraw from a course after the normal drop-add
GRADING POLICIES NO RECORD (NR) period, but within the first six weeks of classes. Withdrawals
students’ schedules. The following grading standards will be applied to all credit The letters “NR” on the transcript indicate that there is no are not factored into the GPA. Students wishing to withdraw
unit requirements: record of an overall course grade on file in the Registrar’s from a course after the normal drop/add period must apply in
Office. This indication is for administrative purposes only and writing to the Registrar. Withdrawal from a course after the
STUDENT RECORDS sixth week of classes is not permitted; students who stop
GENERAL
GENERAL
is changed to the appropriate letter grade once the issue has
Student records are updated and maintained in digital GRADE SCORE GPA been resolved.
attending a class after the sixth week will receive a grade of
format throughout a student’s tenure at Musicians Institute. F for that course, which will be factored into their GPA. The
Musicians Institute retains student transcript information A+ 98-100 4.00 Registrar notifies the Financial Aid Office of late withdrawals.
including degree, certificate, diploma, courses, units, grades, A 93-97 4.00 PASS (P), NO CREDIT (NC)
and dates of enrollment/graduation indefinitely. Other
student record items such as address, phone numbers, email A- 90-92 3.70 Some course credits may be earned by meeting requirements
TESTING
information are retained for a period of five years at minimum. other than those stipulated in course descriptions/on syllabi
B+ 87-89 3.30
Thereafter, they may be stored digitally or at an off-site (such as Challenging out “Pass/Fail” courses). The status ADVANCED PLACEMENT
location. B 83-86 3.00 of these courses is designated on your transcript as either See Testing Out
B- 80-82 2.70 “P” (Pass: course requirements met and credit earned) or
Students may request copies of their academic transcript by “NC” (No Credit: course requirements not met and credit not
submitting a request to: C+ 77-79 2.30 earned). These designations do not affect a student’s GPA, CHALLENGING COURSES
Musicians Institute, Registrar’s Office
6752 Hollywood Boulevard C 73-76 2.00 but any required course receiving “No Credit” must be passed See Testing Out
in order to complete the requirements necessary to achieve a
Hollywood, CA 90028 C- 70-72 1.70 degree or certificate.
C- IS THE LOWEST PASSING GRADE RESCHEDULED TESTING
The request must include the student’s full name (maiden
name if applicable), Social Security Number, program, date D+ 67-69 1.30 Students requesting late testing for missed final exams due
of attendance, and a transcript fee of $45.00 USD per SATISFACTORY ACADEMIC PROGRESS (SAP) to emergencies or other unforeseen/unavoidable events, or
transcript payable to Musicians Institute (check or money D 63-66 1.00 All students are required to meet minimum standards for for grades of “I” (Incomplete), must submit the proper form
order only). See Students’ Right to Know for information Satisfactory Academic Progress as reviewed in the following
regarding privacy of student records.
D- 60-62 0.70 areas (refer to the respective headings in this section of the
to the Student Affairs Department in advance whenever
possible, and pay a fee of $50.00 per exam. Following
F 0-59 0.00 catalog): approval, the student will need to complete his or her
•• Grade point average (GPA). retesting within Week 1 of the following quarter.
GRADING •• Minimum unit completion requirements.
P Pass •• Maximum allowable units. Students who wish to request a retest for an exam missed
GRADE POINT
A number used to measure academic achievement in a I Incomplete No Credit Satisfactory Academic Progress is reviewed at the completion
due to a documentable emergency situation may do so
through the process above and supply documentation to
credit unit course (4.0 = A+, 0.0 = F). Grades are calculated W Withdrawal No Record of each quarter. After course grades have been posted,
Student Affairs for investigation. Approval of such request
based on a combination of factors that may include students with a cumulative GPA (Grade Point Average) of less
attendance, participation, assignments and tests (see each
NC No Credit NC than 2.0 or students that have completed less than 66.66% of
will result in the student receiving their actual grade for the
course syllabus for specific grading standards). All and NR No Record NR cumulative attempted units will be placed on SAP Warning. course (as opposed to the maximum of C-, as above).
Elective requirements must be met with a grade of C-, or
better (1.7). Tuition will be charged for all repeated courses. Students that fail to meet SAP for two consecutive quarters
will be notified of SAP Probation status. Financial Aid will be
POLICIES POLICIES
TESTING OUT VIOLATIONS OF POLICY on MI premises without the explicit permission of
Students may receive credit for certain courses through Violation of any part of these policies may result in instructor(s) or any other individual whose visual 6. Harassment Disturbing, tormenting, bothering,
advanced placement or by challenging the requirements of disciplinary action up to and including expulsion. representation is captured by the recording is annoying of others including, but not limited to
a course for a fee (see Tuition & Fees). Students wishing prohibited. Sharing of any audio/video recordings slurs, jokes, statements, emails, gestures, pictures
to test out of a course must first gain the course’s Program 1. Intimidation, Threats, Disorderly, Lewd or Violent Acts of any class, lesson, performance, or other event on or cartoons based on such factors as race, color,
Chair approval and pass an evaluation of their knowledge include but are not limited to: MI premises (including Internet posting, file sharing, religion, national origin, ancestry, age, physical
of course material with a minimum grade of 90%. Advanced •• Intimidating, threatening, or hostile behavior. network uploading) without the express prior consent disability, medical condition, marital status, sexual
placement tests are allowed only before or during the normal •• Stalking, whether carried out physically, by of Musicians Institute Management is prohibited. orientation, family care leave status, or veteran status,
Add period at the beginning of the program for which the telephone, mail, electronic mail, via online social as well as harassment based on gender, pregnancy,
student has enrolled. In the case of sequential classes, networks, or any other means. 4. Breach of Peace Conduct that is disorderly, disruptive, childbirth or related medical conditions is prohibited.
prerequisite courses may not be skipped over via test-out •• Physical abuse of people or property. lewd, or indecent as defined by laws, MI management
once the original placement has been determined. Students •• Lewd and/or lascivious behavior. or its designees is prohibited, as is aiding or abetting Sexual Harassment includes all these prohibited
are not allowed to test out of courses previously taken and •• Disorderly acts. such behavior by another person anywhere on MI’s actions as well as other unwelcome conduct such
failed. If a student meets the requirements for testing out •• Arson. premises, at functions sponsored by or participated in as stalking, requests for sexual favors, conversation
of a course, a designation of “P” (Pass) is entered on the •• Vandalism. by MI, or elsewhere. containing sexual comments, and unwelcome sexual
transcript and course credit is granted towards graduation •• Sabotage. advances.
requirements. Credits are counted toward units completed •• Carrying weapons of any kind. 5. Computer Violations Theft or other abuse of personal or
but are not factored into the GPA. •• Any other act Musicians Institute deems MI computers is prohibited, including but not limited 7. Health and Safety Violations
inappropriate. to: Conducting oneself in a manner that endangers or
Note: In order to test out of a course, a student must •• Modifying system or network facilities, or attempting threatens the health and safety of oneself or others
demonstrate a level of knowledge/proficiency equivalent to 2. Alcohol and Illegal Substances to crash systems or networks. within the MI community and is prohibited.
the level of courses being offered that quarter in order to be Musicians Institute, in compliance with the Federal •• Using personal software on college computers.
enrolled in such courses. Drug-Free Schools and Communities Act Amendment •• Using network resources which inhibit or interfere 8. Unauthorized Entry/Use of Keys/Identification Badges
of 1989, prohibits the use, possession, sale or with the use of the network by other students. Unauthorized or improper possession or duplication
distribution of alcohol, narcotics, dangerous or illegal
STUDENT CONDUCT drugs, or other controlled substances as defined by
•• Using, duplicating, or transmitting copyrighted of keys to MI premises, and unauthorized or improper
material without first obtaining the owner’s entry to or use of MI facilities is prohibited.
STUDENT CONDUCT CODE California statutes on school property. Students may permission, in any way that may reasonably be
GENERAL
GENERAL
Musicians Institute is dedicated to providing a safe and orderly obtain information pertaining to the health risks and expected to constitute an infringement, or that 9. Possession of Weapons, Explosives and Dangerous
environment in which students may pursue their educational effects associated with alcohol and narcotics or other exceeds the scope of a license, or violate other Items Possession of any type of firearm, BB or
goals. This requires that students, teachers, and staff foster dangerous or illegal drugs from the Student Affairs contracts. pellet gun, facsimile of a gun, knives, explosives,
an atmosphere of respect toward each other and their Office. The Student Affairs Office will also assist •• Tampering with software protections or restrictions ammunition, dangerous chemicals, martial arts
surroundings. in referring students to recovery and/or treatment placed on computer applications or files. weapons, fireworks or any other weapons/items
programs. Specific school policies prohibit: •• Using college information technology resources for banned by law or considered dangerous is prohibited
In order to ensure that these processes and policies apply •• Use, possession, sale, distribution, and/ personal for-profit purposes. on MI premises or at events sponsored by or
fairly to all, the term ‘student’ in the student conduct policy shall or production of alcoholic beverages, acting •• Sending messages that are malicious or that a participated in by MI. (Musicians Institute restrictions
apply to current, former, and prospective students. In addition, as an accessory, liaison, or facilitator for any reasonable person would find to be harassing. on such weapons or items supersede any and all
the discipline and conduct portions of the student conduct of the above except at a time, location and •• Sending personal messages from the college permits obtained from any issuing authority which
policy may be applied to any and all visitors and guests at circumstance expressly permitted by MI and network that are threatening in nature. allows private citizens to possess, carry, or conceal
the Musicians Institute campus and at events sponsored by government regulations. •• Subverting restrictions associated with computer guns or other weapons.)
Musicians Institute. •• Public intoxication anywhere on MI’s premises accounts.
or at functions sponsored by or participated in •• Using information technology resources to obtain 10. Property Damage, Vandalism, and Theft
Students are expected to abide by ordinary rules of by MI. unauthorized access to records, data, and other • The following are all prohibited by MI:
responsible and courteous behavior. Musicians Institute holds •• Illegal substances: Use, possession, sale, forms of information owned, used, possessed by, or •• Destruction, damage, misuse and/or defacing of
all students, teachers and staff responsible for carrying out and distribution, and/ or production of narcotics or pertaining to the college or individuals. personal or public property.
monitoring compliance with this commitment. If you become other controlled substances, including related •• Accessing another person’s computer account •• Attempted or actual removal of property without
aware of any violation of an ethical or legal obligation, or any paraphernalia, or acting as an accessory, liaison, without permission. prior permission.
unfair or improper treatment of a fellow student or teacher or or facilitator for any of the above. •• Intentionally introducing computer viruses, worms,
staff member, you should report the matter immediately to the Trojan Horses, or other rogue programs into Note: Musicians Institute is not responsible for reimbursing
Safety and Security Manager so that it may be investigated and Disciplinary action for a violation of this policy can range from information technology resources that belong to, or requiring others to reimburse a student for destruction,
the appropriate action taken. By making it the responsibility oral and written warnings up to and including suspension, are licensed to, or are leased by the college or damage, misuse, or theft of personal property. It is strongly
of all members of the MI community, including students, to expulsion, and/or termination of employment, depending on others. recommended that students obtain private insurance for their
take an active role in policing compliance with these ethical the circumstances. •• Physically damaging information technology personal possessions.
standards, we can continue to not only maintain our creative resources.
environment, but also our reputation in the community. Note: Responsibility is not diminished for acts in violation of •• Using, or encouraging others to use, information 11. Failure to Comply
The following conduct is prohibited and will not be tolerated by Musicians Institute rules and regulations or other laws that technology resources in any manner that would Failure to comply with lawful directions of MI officials,
Musicians Institute. This list is illustrative only; other types of are committed under the influence of alcohol or any illegal violate this or other college policies or any including but not limited to security guards, teachers,
conduct that threaten security, personal safety, staff or student drugs or controlled substances. applicable State or Federal law. or administrative personnel acting in performance of
welfare, or the school’s operations also may be prohibited. • Telephone Violations Tapping telephone or cable their duties, is not tolerated by MI.
3. Unauthorized Video Recording/Sharing Video recording lines, altering another’s phone message, harassing by
of any class, lesson, performance or other event telephone, unauthorized use of MI telephones, or theft 12. Failure to Provide Identification
of telephone service is prohibited.
POLICIES POLICIES
Failure to identify oneself with appropriate A. Referral of Complaints keep any scheduled appointment, the student will in writing, that the case be forwarded to the
identification when requested to do so or providing Complaints involving alleged misconduct by students be placed on Hold and the student will be notified Student Conduct Committee for a hearing as
false identification is prohibited. will be referred to the Office of Student Affairs. that this action has been taken. The placement of a defined below.
Such complaints should be made within one month Hold may result in suspension of access to school
13. Violation of Law following discovery of the alleged misconduct, unless functions or facilities, prevention of the student E. Disposition by the School Designee - After conducting
Any violation of Federal, State, or local laws on MI an exception is granted by the Office of Student from registering and from obtaining transcripts, any further necessary investigation, the School
property or at events sponsored by or participated in Affairs. The Office of Student Affairs will refer the verifications, certificates, or degrees from Musicians Designee assigned to the case may take one of several
by MI or elsewhere is prohibited. report to a Musicians Institute Designee (School Institute. The Hold will be removed only when the actions listed below. Regardless of the action taken,
Designee) or may provide information about other student either attends a scheduled meeting with the the School Designee will confirm his or her disposition
14. Loitering or Squatting campus or community resources which may be School Designee, or requests in writing that the case of the case in a notice to the student within seven days
Use of any MI facilities as a domicile to sleep and/ of assistance in resolving the matter outside the be referred to the Student Conduct Committee for a of the action. Additionally, the results of any disciplinary
or store personal property or for anything other than Musicians Institute Student Conduct Code. hearing. action or Agreement of Resolution by Musicians
educational purposes is prohibited. 5. That no degree may be conferred on a student until Institute regarding an allegation of sexual harassment,
Complaints regarding sexual harassment or sexual any pending disciplinary charges against a student sexual assault, sexual misconduct, or other sex offenses
15. Violation of Copyright Infringement Policy or the misconduct may be made to any of the individuals are fully resolved. will be disclosed to the alleged victim by the School
Academic Use and Acknowledgment Statement listed below. Handling of all such complaints will be Designee. The scope of information to be provided
Violation of the Musicians Institute Copyright monitored by the Title IX Coordinator for compliance In addition, the School Designee may direct the student to under this provision will be:
Infringement Policy set forth in the Musicians with standards and appropriate measures. act or refrain from acting in a manner specified by the School •• The school’s final determination with respect to
Institute school catalog or the Academic Use and Designee. These directions may include directing the student the alleged sexual harassment, sexual assault,
Acknowledgment Statement. Title IX Coordinator - Michael Hong not to intentionally contact, telephone, or otherwise disturb sexual misconduct, or sex offense; and
(titleix@campushollywood.com) (323) 860-1122 the peace of others specifically named for a specified period •• Any sanction that is imposed against the
17. Other Violations Security Manager – Mike Hinksmon of time. Violation of these directions is separate misconduct alleged offender with respect to the alleged
Violation of any other published Musicians Institute (mikeh@mi.edu) (323) 860-1107 (Failure to Comply). sexual assault, sexual misconduct, or sex
policies, rules, or regulations, including those Public Safety: (323) 860-1127 offense.
implemented during the academic year D. Meeting(s) with the School Designee Assigned to
B. Letter of Admonition the Case - At the initial meeting with the student, the 1. Imposing Sanctions - If the student does admit
A Musicians Institute Designee may provide notice to School Designee assigned to the case will: responsibility, and if the School Designee
REPORTING PROHIBITED CONDUCT a student that his or her alleged behavior may have 1. Ensure that the student has been provided concludes that there is sufficient information to
GENERAL
GENERAL
Students, teachers and other Musicians Institute employees violated Musicians Institute policy or regulations and information on how to access the Musicians sustain a finding of responsibility, the School
are obligated to report any incident of prohibited conduct to that, if repeated, such behavior may be subject to the Institute Student Conduct Code. Designee may impose or defer one or more of the
the Safety and Security Manager. disciplinary process. 2. Discuss confidentiality; inform the student that the sanctions listed herein.
content of this and all subsequent communication 2. Referral to the Student Conduct Committee - If the
Any student who receives a threat of violence by a student, C. Investigation and Notice to Student with the School Designee regarding information student does not admit responsibility, and if the
teacher and/or member of staff, and any student who Upon receiving the complaint of the alleged not relevant to the case will, insofar as allowed School Designee concludes that an Agreement of
becomes aware of a threat, direct or implied, by any student, violation(s), the Musicians Institute Designee (School by law, be treated confidentially, unless such Resolution (see below) is not appropriate, and that
teacher and/or staff member on Musicians Institute campus, Designee), may consider information acquired from confidentiality is waived by the student; and that there is sufficient information to sustain a finding
should report the matter to the Safety and Security Manager. a complainant and may augment that information information relevant to the case may be divulged to that it is more likely than not that the student has
through further investigation in order to determine those who have a legitimate educational interest, violated the Musicians Institute Student Conduct
All threats of violence are considered serious matters
if there is a reasonable suspicion to believe that a including but not limited to the Student Conduct Code, the School Designee will refer the case to
and will be thoroughly investigated. To the greatest extent
violation may have occurred. If the School Designee Committee. the Student Conduct Committee for a hearing.
possible, confidentiality will be maintained. Musicians
Institute may, at its discretion, file criminal charges against a determines that there is a reasonable suspicion 3. Provide the student with an opportunity to inspect 3. At any time until the Student Conduct Committee
violating student or assist another person in filing charges. to believe that a violation may have occurred, the all documents relevant to the case which are in Recorder makes report of the hearing decision, the
School Designee will give notice to the student of the the possession of the school at the time of the student may make an admission of responsibility
Musicians Institute prohibits retaliation, including but not following: meeting, at the student’s request. to the School Designee assigned to the case.
limited to making any threatening communication by verbal, 1. The nature of the conduct in question, including a 4. Describe to the student as completely as possible The School Designee may then impose or defer
written and/or electronic means, against any individual brief statement of the factual basis of the charges; the nature of the conduct in question, and the one or more of the sanctions listed herein. This
who reports and/or provides any information concerning the time, date, and place it is alleged to have MI rules and/or regulation(s) allegedly violated, disposition is binding and terminates all Student
unlawful discrimination, harassment and/or other violations occurred; and Musicians Institute rules and/or hear the student’s defense to such charges, and Conduct Committee proceedings.
of MI policies, rules and standards of conduct. Any student regulations allegedly violated. counsel the student as appropriate. 4. Insufficient Evidence - If the School Designee
or employee found engaging in retaliation will be subject to 2. The nature of the student conduct procedures (to be 5. Provide the student with copies of the documents concludes that there is insufficient information to
disciplinary action up to and including suspension and/or accomplished by providing the student access to the relevant to the case, at the student’s request. find the student responsible, the case will not be
termination of employment. Musicians Institute Student Conduct Code). Should the case be referred to the Student referred to the Student Conduct Committee for a
3. That the student has seven days from the date notice Conduct Committee, the School Designee will hearing.
STUDENT DISCIPLINE PROCEDURES was given to contact the School Designee for the provide the student with copies of all documents at 5. Agreement of Resolution - When the School
The procedures outlined in this section, based on purpose of scheduling an initial meeting. Meetings the time the case is referred. Relevant documents Designee and the student agree that the above
common rules of fairness and due process, represent the are to be scheduled within 10 days of the student received thereafter will be shared with the student. dispositions are not appropriate, an Agreement of
steps employed to reach a resolution in cases of alleged contacting the School Designee. This schedule may 6. Although meeting with the School Designee Resolution may be used to conclude the matter.
misconduct. Questions concerning these procedures may be amended as a result of school breaks, closures, provides the student with an opportunity to resolve This Resolution, while not considered to be a
be addressed to the Office of Student Affairs. and holidays. the case without a hearing before the Student finding of responsibility, is binding. If the student
4. That if the student does not contact the School Conduct Committee, the student may opt to forgo fails to abide by the terms of the Agreement
Designee within the seven-day period, or fails to a meeting with the School Designee by requesting, of Resolution, that failure may be regarded as
POLICIES POLICIES
will be reinstated if: to the student to ensure a fair hearing:
actionable misconduct and may subject the at official Musicians Institute functions, or other »» The student has complied with all •• Written notice, including a brief statement of the
student to disciplinary action by the school. disruptive activity incompatible with the orderly conditions imposed as part of the factual basis of the charges, the Musicians Institute
6. An Agreement of Resolution includes but is not operation of the campus. Suspension; policies or regulations allegedly violated, and the
limited to such terms as: •• Loss of Privileges and Exclusion from Activities »» The student is academically eligible; time and place of the hearing, within a reasonable
•• Agreement by the student to refrain from - Exclusion from participation in designated »» The student meets all requirements time before the hearing;
specific behaviors, and/or to refrain from privileges and extracurricular activities for for reinstatement including, but not •• The opportunity for a prompt and fair hearing
contacting others involved in the case; a specified term or terms. Violation of any limited to, removal of Holds on records, where the school will have the responsibility of
•• Agreement by the student to participate in conditions in the notice of loss of privileges payment of restitution where payment is a proving that it is more likely than not that a violation
specified educational programs, counseling, and exclusion from activities or violation of requirement of reinstatement; and occurred;
and/or reconciliation processes such as Musicians Institute policies or regulations »» The student meets the deadlines for filing •• The opportunity to present documents, defense and
mediation. during the period of the sanction may be cause all necessary applications, including witnesses;
The Agreement of Resolution will be retained in for further disciplinary action. those for readmission, registration, and •• A written report including a summary of the findings
the case file in the Office of Registrar Records for •• Restitution - A requirement for restitution in enrollment. of fact, and, at the request of the student, access to
seven years from the date of the Agreement. During the form of reimbursement may be imposed ◦◦ Suspension may include a prohibition against a copy of a record of the hearing;
that time, should the school have a reasonable for expenses incurred by Musicians Institute or entering specified areas of the campus. •• An appeal process.
basis to believe that the student has engaged in other parties resulting from a violation of the Violation of the conditions of Suspension or of
misconduct related in nature to the conduct which Musicians Institute Student Conduct Code. Musicians Institute policies or regulations during 1. Referral of Cases to the Student Conduct
occasioned the Agreement, both cases may be the Such reimbursement may take the form of the period of Suspension may be cause for Committee - A hearing will be provided for
subject of Musicians Institute disciplinary action. monetary payment or appropriate service to further disciplinary action. all cases referred to the Student Conduct
repair or otherwise compensate for damages. •• Dismissal - Dismissal is the termination of student Committee under the Musicians Institute Student
F. Sanctions Restitution may be imposed on any student who status for an indefinite period and may include Conduct Code.
When a student admits responsibility or is found in alone, or through group or concerted activities, an exclusion from specified areas of the campus. 2. Composition - The Student Conduct Committee
violation of Musicians Institute policies or regulations, participates in causing the damages or costs. Readmission to the Musicians Institute campus, will consist of three individuals possibly including,
the School Designee may impose one or more of the Musicians Institute shall not be responsible for facilities, or properties after Dismissal may be granted but not limited to, a member of faculty, a member
sanctions listed in this Section; any sanction may be collecting restitution assessed to or incurred by only under exceptional circumstances and requires of Musicians Institute management, a member
effective retroactively. any parties other than Musicians Institute. the specific prior approval of Musicians Institute. of Musicians Institute staff, and a member of
•• Warning/Censure - Notice or reprimand to the •• Revocation of Awarding of Degree - Should it Musicians Institute Directorship. One member of
GENERAL
GENERAL
Any sanction imposed will be appropriate to the student that a violation of specified Musicians be found that a degree, certificate, or award was the Committee will act as Hearing Recorder.
violation, taking into consideration the context Institute policies or regulations has occurred obtained by fraud, such degree, certificate, or award 3. Scheduling of Hearing - It is the intention of the
and seriousness of the violation, and may include and that continued or repeated violations is subject to revocation. Such revocation is subject to Musicians Institute Student Conduct Code that
required enrollment in and completion of educational of specified Musicians Institute policies or review on appeal by Musicians Institute. hearing will be set as soon as reasonably possible
programs, classes, activities, or workshops, which regulations may be cause for further disciplinary after referral to the Student Conduct Committee.
in the judgment of the School Designee will be action, normally in the form of Disciplinary G. Posting of Suspension or Dismissal on Academic Events such as holidays, school closures, of
beneficial to the student. Probation, and/or Loss of Privileges and Transcript When, as a result of violations of the Student forces of nature may require an extended timeline.
Exclusion from Activities, Suspension, or Conduct Code, a student is suspended or dismissed, 4. Hearing Procedures and Standards - Hearings
Where it is more likely than not that a violation of Dismissal. the fact that the discipline was imposed must be posted will be held in accordance with generally
Musicians Institute policies or regulations has been •• Disciplinary Probation - A status imposed for on the academic transcript for the duration of the accepted standards of procedural due process.
committed against any person or group because of a specific period of time in which a student Suspension or Dismissal. If a student absents himself or herself from the
the person’s or group’s race, color, religion, ancestry, must demonstrate conduct that conforms to disciplinary process, or has withdrawn from
national origin, disability, gender, or sexual orientation, Musicians Institute standards of conduct. H. Appeal of the Sanction Musicians Institute while subject to pending
or because of the perception by the student charged Conditions restricting the student’s privileges If the School Designee imposes a sanction of disciplinary action, the case may proceed to
with the violation that the person or group has one or or eligibility for activities may be imposed. Suspension or Dismissal, the student may submit disposition without the student’s participation.
more of those characteristics, the recommendation or Misconduct during the probationary period or a written appeal of the imposed Suspension or Attendance at such hearings will be at the
imposition of sanctions will be enhanced, and usually violation of any conditions of the probation may Dismissal to the Director of Student Affairs within discretion of Musicians Institute.
will result in Suspension or Dismissal. result in further disciplinary action. seven days of the date of notice from the School 5. Continuing Resolution between the Student and
•• Hold on Musicians Institute Records - A hold Designee of his or her action. The imposition of a Musicians Institute - Until the Student Conduct
Sanctions include but are not limited to: may be placed on the student’s Musicians sanction of Suspension or Dismissal may be deferred Committee publishes its decision to Musicians
•• Exclusion from Musicians Institute Campus, Institute records for either a stated period during such appeal. Institute Senior Management and the student; the
Facilities or Official Functions or until the student satisfies any conditions student may make an admission of responsibility
•• Exclusion of a student as part of a disciplinary imposed as part of another sanction. The If, as a result of an appeal, it is determined that the to the School Designee assigned to the case. The
action from specified areas of the campus or placement of a Hold on the student’s Musicians student was improperly disciplined, the Office of School Designee may then impose or defer one or
Musicians Institute-owned, -operated or -leased Institute records may, for example, prevent the Registrar will, if requested by the student, have the more of the sanctions listed herein. Any sanction
facilities, or other facilities located on Musicians student from registering and from obtaining record of the hearing sealed and have any reference may be effective retroactively. This disposition of
Institute or affiliated property, or from official transcripts, verifications, or a degree from to the disciplinary process removed from the student’s the matter will bind all parties and terminate all
Musicians Institute functions when there is Musicians Institute. record. In such case, the record of the hearing may be proceedings.
reasonable cause for Musicians Institute to •• Suspension - Suspension is the termination of used only in connection with legal proceedings. 6. Reports of Student Conduct Council Hearing
believe that the student’s presence there will student status for a specified academic term Decision to Musicians Institute Senior
lead to physical abuse, threats of violence, or or terms, to take effect at such time the School I. The Student Conduct Committee Management and Student - Within 15 days after
conduct that threatens the health or safety of Designee or Musicians Institute decides. When a case is referred to the Student Conduct the conclusion of a hearing, the Student Conduct
any person on Musicians Institute property or ◦◦ After the period of Suspension, the student Committee for a hearing, the following will be provided Committee Recorder will submit a notice of the
POLICIES POLICIES
Committee decision to Musicians Institute Senior offender with respect to the alleged sexual prohibited under State and Federal laws.
Management and the student. This notice will assault, sexual misconduct, or sex offense. Upon receipt of a request from professional schools, Any student who believes that he or she has been the victim
include: K. Interim Suspension graduate programs, employers, or others, for the of sexual harassment or other discrimination should contact
a. A summary of the allegations and the Before final determination of an alleged violation, disciplinary records of a student, after the student the Title IX Coordinator:
outcome of the Committee examination Interim Suspension may be imposed by the School provides an appropriate confidentiality waiver, the
of the information concerning the alleged Designee. Office of Registrar will only report and/or release Title IX Coordinator: Michael Hong
misconduct, including the positions of the •• Interim Suspension may include exclusion from the records where violations resulted in Suspension Musicians Institute College of Contemporary Music
parties and a summary of the evidence Musicians Institute campus, facilities, classes, or from and/or Dismissal, both imposed and deferred, or 6752 Hollywood Boulevard
presented; other specified activities. A student will be restricted the revocation of the awarding of a degree. Should Hollywood, CA 90028
b. Whether, in the opinion of a majority of the to the extent necessary when there is reasonable the requesting party seek broader disclosure of a (titleix@campushollywood.com) (323) 860-1122
Committee, the student has violated one or cause to believe that the student’s participation in student’s discipline record, the Office of Registrar will
more of the Musicians Institute policies or Musicians Institute activities or presence at specified not provide additional records or information. Note: Comprehensive information on sexual harassment policy
regulations that the student has been charged areas of the campus will lead to physical abuse, and procedure can be obtained in the Student Affairs Office.
with violating; and threats of violence, or conduct that threatens the M. Amendment and Modification Complaints may be submitted to the Student Affairs Office
c. A decision of sanction based on those health or safety of any person on Musicians Institute Amendment of the Musicians Institute Student or delivered to the Title IX coordinator at the address above.
conferred in similar cases and in any previous property or at official Musicians Institute functions, or Conduct Code may be made by Musicians Institute Students may also make verbal complaints directly to the Title
cases of misconduct by the accused student other disruptive activity incompatible with the orderly at any time. Before adoption, Musicians Institute will IX Coordinator (or other MI personnel). Complaints of illegal
on file with the Office of Registrar Records. operation of the campus. review any and all measures, rules, and policies for sexual harassment must be received within one year of the
Such sanction shall be carried out by all •• Upon imposition of the Interim Suspension, the consistency with common academic policies (where date of the last alleged incident. Complaints to the Office of
relevant parties on the timeline decided by the School Designee will notify the student under the appropriate) as well as with State or Federal policies. Civil Rights at the Office of Academic Affairs must be made
Committee. Interim Suspension of the charges against him or her, within six months of the date of the last alleged incident.
J. Appeal by Student the length and conditions of the Interim Suspension Musicians Institute will not refund tuition to students Students may also make report to the individuals below and/or
1. When a student has appealed in writing a and the opportunity for a hearing. for lost privileges or lost access to MI’s campus and to any MI employee.
decision or sanction by Musicians Institute, •• Appeals concerning the contention that the Interim facilities or classes, tests, performances, lessons,
the final decision regarding the outcome will Suspension is unnecessary or that its conditions appointments, or other activities and events resulting Security Manager: Mike Hinksmon
be made by Senior Management, which will should be modified shall be made in writing to the from a disciplinary action except as required by State (mikeh@mi.edu) (323) 860-1107
review the evidence and findings and may School Designee and decisions thereon shall be or Federal policies. Title IX Coordinator: Michael Hong
engage in further research to ensure that the based on information contained therein and upon (titleix@campushollywood.com) (323) 860-1122
GENERAL
GENERAL
process above has been carried out fairly and in whether there is reasonable cause to believe that the Director of Student Services: Kelly Chong
accordance with due process. Within 20 days of student’s participation in Musicians Institute activities STUDENT RIGHTS (studentaffairs@mi.edu) (323) 860-1177
the submission of appeal, Senior Management or presence at specified areas of the campus Public Safety (323) 860-1127
will notify the student as to the decision on the will lead to physical abuse, threats of violence, or Musicians Institute is licensed to operate in the State of
appeal. The decision of Senior Management will conduct that threatens the health or safety of any California through the Bureau for Private
be final and complete. person on Musicians Institute property or at official Postsecondary Education. If you have any complaints,
2. When reviewing a student’s appeal of a sanction Musicians Institute functions, or other disruptive
LIABILITY DISCLAIMER
questions, or problems, you are encouraged but not required Musicians Institute is not responsible for loss of, or damage
of Suspension or Dismissal, decision may be activity incompatible with the orderly operation of the to try to resolve them directly with the school. At any time,
based upon: to, personal property and/or personal injury that may occur
campus. you may write or call:
a. Any written appeal submitted by the while on the Institute’s premises.
•• Disciplinary proceedings involving students on Interim
student regarding the sanction; and Suspension will follow normal procedures provided in Bureau for Private Postsecondary Education
b. Information from the Office of Registrar the Musicians Institute Student Conduct Code. 2535 Capitol Oaks Drive, Suite 400 STUDENTS’ RIGHT TO KNOW
Records regarding sanctions imposed in Sacramento, CA 95833 MI is committed to providing current and prospective
similar cases and any previous cases of L. Privacy and Records Retention Toll Free: (888)-370-7589 students as well as the campus community with full
misconduct by the student on file. Student discipline records are confidential. The Phone: (916) 431-6959 disclosure of all consumer information as required by
3. The written decision will be delivered to: disclosure of information from such records is Fax: (916) 236-1897 Federal regulations. The laws are intended to allow students
a. The student and his or her representative, subject to the Musicians Institute Policies Applying to Website: www.bppe.ca.gov the opportunity to make fully informed choices about the
if any; Campus Activities, Organizations and Students, the institution they wish to attend. Crime statistics are available
b. The Musicians Institute Office of Registrar; California Information Practices Act (http://www2. on the website and at Campus Security Office. Completion
and ed.gov/policy/gen/reg/ferpa/index.html), and the NON-DISCRIMINATION POLICY Statistics and Transfer Out Rate are shown on the School
c. Other Musicians Institute departments/ Family Educational Rights and Privacy Act (www2. Musicians Institute is committed to creating and maintaining Performance Fact Sheet available in the Registrar’s Office.
employees as necessary to carry out ed.gov/policy/gen/ reg/ferpa/index.html). a community in which all persons who participate in MI
sanctions. programs and activities can work together in an atmosphere
The Office of Registrar retains student discipline free of all forms of harassment, discrimination, exploitation SAFETY ON CAMPUS
The results of any hearing in which sexual harassment, sexual records for seven years from the date of the notice or intimidation on the basis of race, religion, national Campus security information is provided to prospective
assault, sexual misconduct, or sex offenses are alleged will of final disposition. When there have been repeated origin, sexual orientation, disability or sex, including sexual students via mail in their acceptance package. Currently
be disclosed to the alleged victim by the School Designee. violations of the Musicians Institute Student Conduct harassment. It is the intention of MI to take whatever action enrolled students receive email notification in October each
The scope of information to be provided under this provision Code, all student discipline records pertaining to an may be needed to prevent, correct, and, if necessary, year that the updated campus security report is available on
will be: individual student will be retained for seven years from discipline behavior that violates this policy. MI prohibits the MI website. Additional information, including the Crime
I. Musicians Institute’s final determination with the date of the final disposition in the most recent discrimination against members of the MI community by Statistics Report, may be obtained by a visit or written
respect to the alleged sexual harassment, sexual case. In those cases where the final disposition is any student, staff, faculty, or third-party contractors brought request to the Student Affairs Office.
assault, sexual misconduct, or sex offense; and Dismissal, the student’s discipline records will be on campus for the purpose of conducting business with
II. Any sanction that is imposed against the alleged retained indefinitely. MI. Discrimination of any kind is against MI policy and is
POLICIES POLICIES
GRADUATION RATE INFORMATION should write the Registrar, clearly identify the part of date of attendance (either classroom attendance or Students who have been terminated from a program for SAP
Information on graduation and completion rates is sent to the record the student wants changed, and specify why scan-in). The calculation is based on the length of the are not eligible to continue in said program. Students in such
prospective students via mail along with their acceptance it should be changed. If Musicians Institute decides completed portion of the quarter relative to its total situations may reapply as a new student for admission to said
letters, or can be accessed online at http://nces.ed.gov/ not to amend the record as requested, the student length (10 weeks of instruction effective on the official programs after a minimum two-year hiatus.
collegenavigator. Currently enrolled students receive an will be notified in writing of the decision as well as start date of the term). No refunds will be issued after Students who have been inactive for two or more years may be
email notification in July to review the annual completion the student’s right to a hearing regarding the request Week 6. required to complete a placement exam prior to re-enrolling.
rates on the college navigator website. Students may also for amendment. Additional information regarding the A performance evaluation may result in advanced placement
request a hard copy from the Registrar’s Office. hearing procedures will be provided to the student depending on the performance level of the individual student.
when notified of the right to a hearing. SAMPLE OF REFUND CALCULATION: Program requirements are revised periodically in response
3. The right to request, in writing, that Musician’s For example, if a student withdraws after three weeks in the to changes in industry standards and in an effort to provide
DRUG-FREE SCHOOLS AND COMMUNITY ACT Institute not disclose personally identifiable records, Audio Engineering Program, the refund calculation is shown the best education possible. As such, prior to re-enrolling,
Drug and alcohol abuse prevention information is given to all except to the extent that FERPA authorizes disclosure below: returning students must meet with Academic Advising for a
students at the time of registration and is also available from to school officials with legitimate educational degree audit evaluation. The Academic Advising team will
the Student Affairs and/or Admissions Department upon interests. A school official is: a person employed by Tuition cost $7,995.00 assess which courses completed previously are relevant to the
request. Musicians Institute in an administrative, supervisory, STRF fee ($.00 per $1,000 tuition)(Non Refundable) $0.00 current program as well as which requirements remain in order
academic or research, or support staff position Application fee $100.00 for the student to graduate.
(including law enforcement unit personnel and Materials fee $75.00
FINANCIAL AID INFORMATION health staff); a person or company with whom Per quarter technology fee $45.00
Information about financial aid that is not already provided Musicians Institute has contracted as its agent to Course facility fee $378.00
in the current Course Catalog may be obtained from the provide a service instead of using Musicians Institute Total tuition cost $8,597.00
COPYRIGHT INFRINGEMENT
Financial Aid Office. employees or officials (such as an attorney, auditor, Tuition retained by College 3 weeks completed) $2,399.00 POLICY
or collection agent); a person serving on the Board Application fee retained by College $100.00
of Trustees; or a student serving on an official
INTRODUCTION
FAMILY EDUCATIONAL RIGHTS AND PRIVACY ACT Material fee retained by College $75.00 Copyright infringement is the act of exercising, without
committee, such as a Disciplinary or Grievance Technology fee retained by College $45.00
(FERPA) Committee, or assisting another school official in Facility fee retained by College $113.00
permission or legal authority, one or more of the exclusive
This Act entitles students to specific privacy rights with rights granted to the copyright owner under section 106
performing his or her tasks. A school official has a Total amount retained by College $2,728.00
respect to their academic records and student directory of the Copyright Act (Title 17 of the United States Code).
legitimate educational interest if the official needs to Refund issued to student $5,880.00
information. Student directory information is considered to These rights include the right to reproduce or distribute a
review an education record in order to fulfill his or her
GENERAL
GENERAL
be name, address, telephone number, and certain school- copyrighted work. In the file-sharing context, downloading
professional responsibilities for the school. Musicians Institute discloses education records without a
related information. At Musicians Institute, student records and or uploading substantial parts of a copyrighted work without
4. The right to file a complaint with the U.S. Department student’s prior written consent under the FERPA exception
information may only be provided to the student or specific authority constitutes an infringement.
of Education concerning alleged failures by Musicians for disclosure to school officials.
parties authorized in writing by the student, a Musicians Institute to comply with the requirements of FERPA.
Institute employee, representatives of Federal or State The Higher Education Opportunity Act of 2008 (HEOA)
The name and address of the office that administers
agencies, accrediting organizations, auditors, or other officials includes provisions that are designed to reduce the illegal
FERPA is: TERMINATION FROM A PROGRAM
authorized under the Act. FERPA information is provided to uploading and downloading of copyrighted material through
A student may be terminated from a program for reasons
students during the enrollment process. Currently enrolled peer-to-peer sharing.
Family Policy Compliance Office including but not limited to the following:
students may obtain FERPA information upon request from the •• Institutions make an annual disclosure that informs
U.S. Department of Education •• Violation of student conduct policies.
Registrar’s Office. For additional information please refer to students that the illegal distribution of copyrighted
400 Maryland Avenue, SW, •• Failure to pay tuition or fees.
the MI Student Handbook maintained on the Student Affairs materials may subject them to criminal and civil
Washington, D.C. 20202-5901 •• Continuous absence from a program for three
section of the student portal. penalties, and describes the steps that institutions
consecutive weeks.
will take to detect and punish illegal distribution of
•• Three consecutive quarters of non-satisfactory
WITHDRAWAL, TERMINATION & academic progress (see Satisfactory Academic
copyrighted materials.
NOTIFICATION OF STUDENT RIGHTS UNDER FERPA REINSTATEMENT •• Institutions publicize alternatives to illegal file sharing.
Progress).
FOR MUSICIANS INSTITUTE
The Family Educational Rights and Privacy Act (FERPA) WITHDRAWAL FROM A PROGRAM This document outlines Musicians Institute’s plan to comply
A student who has completed less than 60% of his/her For information on returning to Musicians Institute after
affords students certain rights with respect to their with these requirements.
quarterly enrollment has the right to withdraw from a program termination, please see Reinstatement to Musicians Institute.
education records. These rights include:
1. The right to inspect and review the student’s education and receive a pro-rated refund (based on a weekly
attendance calculation & less any registration fees, non- PLANS TO “EFFECTIVELY COMBAT” THE
records within 45 days of the day that Musicians
refundable fees and/or charges for unreturned equipment,
REINSTATEMENT TO MUSICIANS INSTITUTE UNAUTHORIZED DISTRIBUTION OF COPYRIGHTED
Institute receives a request for access. A student Terminated students wishing to return to MI must apply for
should submit to the Registrar, or Director of the materials, or textbooks) by providing written notice to MATERIAL
reinstatement. Requests for reinstatement will be reviewed
Registrar and Scheduling, a written request that Student Affairs by close of business on Friday of Week Musicians Institute currently employs bandwidth-shaping
by a panel consisting of members of Musicians Institute
identifies the record(s) that the student wishes to 6. NOTE: Attendance in any class meeting/session (and/ technology to prioritize network traffic, and blocks students’
management. Decisions will be made based on the reason for
inspect. The designated official will make arrangements or swipe-in attendance) within a week (Monday-Sunday) is ability to access certain sites from the student computer
termination, the needs of the college and students as well as
for access and notify the student of the time and place considered as attendance for that week. networks. Musicians Institute responds promptly to legitimate
the student’s overall performance. Reinstatement to the college
where the records may be inspected. •• Any monies owed to Musicians Institute are due and notices or letters of illegal copyright infringement based on
may be contingent upon adherence to conditions and/or plans
2. The right to request the amendment of the student’s payable on the date of the withdrawal. the requirements of the Digital Millennium Copyright Act, and
as stipulated by Musicians Institute—such as academic or
education records that the student believes are •• A withdrawal is effective on the date it is received directs both our Information Technology and Compliance
payment plans, safe conduct provisions, etc. Failure to adhere
inaccurate, misleading, or otherwise in violation of the by Student Affairs, whether personally delivered departments to investigate and respond.
to these conditions/plans may result in termination from the
student’s privacy rights under FERPA. A student who or postmarked (if mailed). No withdrawals will be
program.
wishes to ask Musicians Institute to amend a record accepted by telephone.
•• Refunds are calculated based on the last recorded
POLICIES ADMINISTRATION
SANCTIONS OWNERSHIP & ADMINISTRATION OFFICE OF ACADEMIC AFFAIRS
Musicians Institute will cooperate fully with any investigation Owner – Hisatake Shibuya CAO - Chief Academic Officer, Master of Music, Bachelor of
by public authorities related to illegally downloaded Chief Executive Officer/President – Todd Berhorst Music – Dr. Rachel Yoon
copyrighted information. Students found guilty will be subject Chief Financial Officer – Kengo Kido Institutional Director (GCA Nashville) – Michael Phifer
to the full extent of fines and penalties imposed, as well as Chief Academic Officer – Dr. Rachel Yoon Dean of the School of Industry Studies, Program Chair:
facing automatic loss of Musicians Institute network access, Audio Engineering – Jonathan Newkirk
and possible suspension. GOVERNING BOARD Associate Dean, Performance – Ronald Dziubla
Penalties for copyright infringement include civil and criminal Board Chairmen – Evan Skoop Program Chair: Bass – Maurice Verloop
penalties. In general, anyone found liable for civil copyright Board Member – Bruce Kulick Program Chair: Guitar – Dr. Stig Mathisen
infringement may be ordered to pay either actual damages Board Member – Toshihiko Fujimori Program Chair: Drums – Stewart Jean
or “statutory” damages affixed at not less than $750.00 Board Member – Masanori Yamada Program Chair: Vocals – Debra Byrd
and not more than $30,000 per work infringed. For “willful” Program Chair: Independent Artist Development, and DJ
infringement, a court may award up to $150,000 per work Performance & Production – Lacey Harris
infringed. A court can, in its discretion, also assess costs and ADMISSIONS Program Chair: Music Business – Stacy Turner
attorney fees. For details, see Title 17, United States Code, Senior Director of Admissions – Jose Hernandez Program Chair: Guitar Craft – Paul Roberts
Sections 504, 505. Assistant Director of Admissions – Vin Chhabra Lead Scheduler – Lola Quintana
Assistant Director of Admissions – Paul Weinstein TA Scheduling Supervisor – Justin Apergis
Willful copyright infringement can also result in criminal Director, Library Services – Julie Bill
Director of Outreach – Steve Lunn
penalties, including imprisonment of up to five years and fines Learning Management System Administrator - Marc Prado
Manager of Alternative Programs – Reginald Gregorio
of up to $250,000 per offense. Director, Compliance - Danielle Martin-Sassman
Sr. Admissions Advisor - Lorena Alvarez
For more information, please see the website of the U.S. Sr. Admissions Advisor – Brenda Budhram
Copyright Office at www.copyright.gov, especially their FAQs Sr. Admissions Advisor – Michael Coleman OFFICE OF BUSINESS & FINANCE
Director of Accounting – Kengo Kido
at www.copyright.gov/help/faq5. Sr. Admissions Advisor – Jay Goodger Senior Accountant – Vuong Tran
Sr. Admissions Advisor – Rose Mikayelyan Accountant – David Ruiz
Sr. Admissions Advisor – Valerie Smith
Sr. Admissions Advisor – Gary Younger
GENERAL
GENERAL
Admissions Advisor – Jackie Segura STUDENT BILLING SERVICES
Admissions Coordinator – Bertha Chavez Student Billing Supervisor - Andrew Zaragoza
Student Billing Coordinator- Chris Ferman
Admissions Coordinator – Ariadna Urban
Student Billing Coordinator- Robin Takizawa
FINANCIAL AID INSTRUCTIONAL + INFORMATION

Director of Student Financial Services – Michael Hong TECHNOLOGY SERVICES
Assistant Director of Financial Aid/VA Coordinator – Melissa IITS Supervisor – Tim Metz
Cuesta-Booker Network Administrator – Ramil Gravia
Financial Aid Officer – Erick Gonzalez Programmer/Analyst – Pavel Grygoryants
Financial Aid Officer – Guillermo Noboa
Financial Aid Officer – Marites Arias
Financial Aid Officer – Alejandra Quijada CAMPUS SECURITY
Default Prevention – Ana Singh Security Manager – Mike Hinksmon
ARTIST SUPPORT CENTER TITLE IX

Director of Student Services - Kelly Chong Title IX Coordinator- Michael Hong
Alumni Coordinator – Megan Doheny
Artist Services – Lena Tufenkjian IITS STUDIO AND CLASSROOM TECHNOLOGY OFFICE
Internship Coordinator – Carolann Mota
Housing Coordinator – Rossana Brassea
(SACTO)
Studio & Classroom Technology Manager – Krystal Schafer
Director of International Student Affairs – Dan Diaz
Studio Technician – Kevin Estrada
Director, Artist and Career Services - Mike Ramsey
Studio Technician – Matt Nollora
Studio Technician – Shaun Youth
REGISTRAR/ACADEMIC Studio Technician – Cris Cordero
ADVISING Studio Support Specialist – Arturo Castro Lopez
Manager of Student Records – Jim McMains Studio Support Specialist – Biswarup Chattopadhyay
Manager of Registrar Services – Shaun Vieten Studio Support Specialist – Travis Drum
Academic Advisor – Phillip Williams Studio Support Specialist – Max Hurrell
Academic Advisor - Marcia Reader Studio Support Specialist – Joakim Nilsson
Academic Advisor - Melinda Parker Studio Support Specialist – Rudy Rodriguez
FACULTY BIOS FACULTY BIOS
BACHELOR / MASTERS College of Music Department, Okavango: Orchestrator, Manners of Dying: Orchestrator, The Lunch
Rush: Score Supervisor
HONORS & EDUCATION: Bachelor of Music in Music composition - Berklee College
of Music
BURGOS, FRANCISCO “PANCHO” HONORS & EDUCATION: Bachelor of Music in Composition - The University of
YOON, RACHEL COURSES: Scoring, Composers Ensemble, Private lesson Northwestern, Bachelor of Music Education (BME) - The University of Northwestern HUME, PETER
CHIEF ACADEMIC OFFICER; ADMINISTRATOR SPECIALTIES: Composer, Performer, Arranger, Producer and Conductor COURSES: Arranging, Conducting, Single String Improvisation, Reading, Jury Prep,
SPECIALTIES: Educator, Composer, Orchestrator, Arranger, Performer, Music CREDITS: 2009-2017 FEATURE FILMS: The Christmas Gift (2017, Comedy), Killing CZACH, EDWARD Private Lessons
Director COURSES: Keyboard technique, Keyboard Reading, Private lesson
Diaz (2017, Comedy), Tournament (2017, Comedy), Love’s Last Resort (2017, Comedy), SPECIALTIES: Musical Director, Arranger, Conductor, Guitarist, Producer, Educator
CREDITS: Executive Music Director of national project Stellar Whisper in Seoul, SPECIALTIES: Performer, Composer, Arranger
Shred America (2017, Documentary), The Engagement Clause (2016, Comedy), People Credits: Melissa Manchester. Performed on film scores for Disney, Universal, PBS, and
Korea. Worked with Yellowjackets and Shapes. Performances at Walt Disney Concert CREDITS: Luther Hughes & the Cannonball-Coltrane Project
You Know (2016, Drama), Anonymous Killers (2016, Thriller), Pass The Light (2015, more
Hall and Hollywood Bowl. HONORS & EDUCATION: Bachelor of Music and Master of Music - Eastman School
Drama), Construction (2015, Comedy), Who Is Billy Bones (2015, Documentary), Stand HONORS & EDUCATION: Professional Music Diploma, Berklee College of Music
HONORS & EDUCATION: Ph.D. in Music Composition (U.C.L.A.), Master of Music & Alone Crazy (2015, Documentary) Death: A Love Story (2014, Horror), The Broken of Music
Bachelor of Music - Music Composition (Seoul National University) Legacy (2014, Drama), Wheels (2013, Drama), The A-Lister (2011, Documentary), Not KELLY, DEVIN
Quite College (2010, Feature. Comedy)” FLIGSTEN, ADAM COURSES: Masters program curriculum, applied lessons, music history, bachelor
BAGG, JOSEPH HONORS & EDUCATION: Bachelor of Music in Music composition - Berklee COURSES: Scoring, Private Lessons ensemble, performance classes, music education, music theory, music business.
COURSES: Ear Training, Keyboard Voicings, Groove, Keyboard Reading, Keyboard SPECIALTIES: Composer for TV, Commercials, Films and Games
College of Music SPECIALTIES: Jazz, Afro-Cuban, Brazilian, Film & Video Games, Pop, R&B.
Performance CREDITS: Written music for NBC, CBS, ABC, The Discovery Channel, SYFY, Comedy CREDITS: Danny Elfman, League of Legends, Cinesamples, Amper Music,Barry
SPECIALTIES: Jazz Musician, Educator, Recording Artist BUZEA, CHRIS Central, HBO Films, Radio Shack & more Manilow, Peter Bernstein, Larry Koonse, Joe Bagg, Gary Foster,
CREDITS: Option 3, Bobby Hutcherson, Larry Coryell, Alphonse Mouzon, Jack COURSES: Ear Training, Theory, Computer Music Applications-Sibelius, Private HONORS & EDUCATION: UCLA Film Scoring Program, The New School, Pitzer/ Bill Cunliffe, Bob Sheppard, Julie Kelly, Judy Wexler, Janis Mann, New York Voices.
Sheldon, Anthony Wilson, Madeleine Peyroux, Lea Delaria, Arthur Blythe, Marvin Lessons Scripps College EDUCATION: M.M. in Drumset & Contemporary Media from the Eastman School of
“Smitty” Smith
SPECIALTIES: Guitarist, Educator Music
HONORS & EDUCATION: Masters Degree (Mason Gross School of the Arts, GONSALVES, OLUFEMI “DAWN” ALVORADA
HONORS & EDUCATION: Bachelor of Music in Performance, Contemporary Styles
Rutgers). Appeared in Downbeat Magazine’s Critics & Readers Polls (Guitar) - Musicians Institute, Master of Music in Film Scoring - Shepherd University COURSES: Bachelor Ear Training & Theory, Gospel Performance, World Beat LEVIN, DANIEL
Performance, Vocal Performance, Creativity Workshop, Blues COURSES: Theory, Composition Private Lessons, Scoring, Composers Ensemble
BARREIRO, ANA Vocals, Gospel Choir, Songwriters Lab, Hip-Hop LPW, Contemporary R&B LPW, Latin SPECIALTIES: Composer, Orchestrator, Pianist
COURSES: Drum Technique, Private lesson CHO, MICHELLE LPW, Brazilian LPW, Private Lessons” CREDITS: Orchestrations for Winnipeg Symphony, Santa Fe Symphony, Sarah
SPECIALTIES: Brazilian Drumming SPECIALTIES: Lead and Background Vocals, Arranging, Songwriting, Keyboards
COURSES: Ear Training, Keyboard Proficiency, Bach Keyboard Reading, McLachlan, Hayley Westenra, and Andrea Corr
CREDITS: Performing concerts and workshops with renowned Brazilian artist Filó
GENERAL
GENERAL
Counterpoint, BACH Keyboard Private Lesson, Independent Study CREDITS: Black Eyed Peas, Justin Timberlake, John Legend, Ledisi, Erykah Badu, HONORS & EDUCATION: Master and Bachelor of Music, Indiana University Jacobs
Machado, Jazz Festival, Jazz at LACMA, Latin Sounds at LACMA, All Saints Jazz Vespers
SPECIALTIES: Keyboardist, Educator, Arranger India Arie, Brian McKnight, The Hollywood Film Chorale, Sergio Mendes, Bill Cunliffe, School of Music; Awards from DownBeat magazine, Turner Classic Movies Young Film
Series,KSDS Jazz Live San Diego, Skirball Summer Concert Series, Jazz at the MERC,
CREDITS: Los Angeles Chamber Choir, California Children’s Choir, Bethel Choir at Dale Bozzio, Foreigner” Composers Competition, San Francisco Song Festival
California Jazz Foundation’s “The A List”Series. Recordings and live performances
YNC of Los Angeles, Shepherd University HONORS & EDUCATION: Bachelor of Music Degree in Commercial Arranging,
with Brazilian Singer-songwriter Thalma de Freitas; Catina Deluna and Lado B Brazilian
HONORS & EDUCATION: Master of Music University of Southern California, Contemporary Writing and Production with Outstanding Musicianship Award, Berklee MEDEIROS, LYMAN
Project; pianist virtuoso Otmaro Ruiz; bassists Isaias Elpes, Gilberto deSyllos; singer
Professional Diploma in Music at Berklee College of Music, Bachelor of Music (Seoul College of Music” COURSES: Funk Performance, Prince Performance, Upright Bass Workshop, R&B LPW,
Carol Bach-y-rita; guitarists Larry Koonse, Bruce Forman, Lupa Santiago, Kat Dyson;
National University) American Songbook LPW, Private Lessons
organist Carey Frank, saxophonists Kirsten Edkins, Bob Sheppard, Katisse, trombonist GORDON, AMY
SPECIALTIES: Freelance Bassist, Arranger, Producer, Educator
virtuoso Isaac Smith.”
COLELLA, JEFFREY COURSES: Theory, Arranging, Private Lessons (Composition) CREDITS: Michael Buble, Steve Tyrell, Diane Schuur, Lou, Soloff Gabriel Johnso
HONORS & EDUCATION: Bachelor of Music in Drum-Set Performance – Berklee COURSES: Bachelor Ensemble, Jazz Performance Class, Groove 5 & 6, Private SPECIALTIES: Composer, Singer-Songwriter, Educator HONORS & EDUCATION: Bachelor of Music, Ball State University. Masters of Music,
College of Music, Master of Music in Jazz Studies - University of Southern California Lessons and Independent Study CREDITS: Self-Published Singer-Songwriter, CSULB Laptop Ensemble, LMU Gamelan Western Michigan University. Endorsed by Dean Guitars & Lemur Music.
SPECIALTIES: Piano Teacher, Jazz Improviser, Recording Artist, Arranger, Composer Kembang Atangi, Music Rhapsody, The Hills Academy of Music & Art
BILTON, CHRIS CREDITS: Putter Smith, Judy Wexler, Julie Kelly, David T. Walker Quartet, American HONORS & EDUCATION: Master of Music, California State University, Long Beach; PARK, EVET
COURSES: Private Lessons, Digital Music, Logic, Synthesis and Sampling, Open Jazz Institute, Capri Records, JazzMedia Records, New York Philharmonic, Denver Bachelor of Arts, Loyola Marymount University, Finalist in Song Door International COURSES: Pat Metheny Ensemble, Keyboard Technique, Keyboard Reading, Keyboard
Counselling, Project Advising, Composition Lab, Project Recording, Producer Project Symphony, Kennedy Center Orchestra Songwriting Competition Performance, Keyboard Proficiency, Billboard LPW, Modern Rock LPW, Private Lessons
SPECIALTIES: Piano, Instructor, Film Scoring, Songwriting, Production, Touring, HONORS & EDUCATION: Master of Music - Jazz Studies (USC Thornton School of SPECIALTIES: Musician, Educator
Music Business HAIM MAZAR
Music), Bachelor of Music in Piano Performance & Pedagogy (University of Colorado CREDITS: Evet has performed as a keyboardist at renowned venues such as the Mint
CREDITS: Marc Jordan, Alison Krauss, Ron Sexsmith, Dan Hill, Timothy B. Schmit, College of Music) COURSES: Orchestration, Scoring and Private lesson and the Baked Potato in LA and has played in various live performances with prominent
Johnny Reid, Dala, Adaline, Jane Siberry, Zoe Sky Jordan, Jim Brickman, Olivia SPECIALTIES: Film Composer and Music Producer Korean singers at Ebell Theatre and Shrine Auditorium. She has also performed at the
Newton-John, Adam Crossley, Degrassi: The Next Generation (MTV), Lost Girl
COX, JORDAN CREDITS: Scored legendary director Chuck Russell’s (“The Mask,” “Eraser,” Edison Jazz Festivals, Denton Jazz Festivals, Pat Metheny Jazz Ensemble in Texas and
(Showcase), Grey’s Anatomy (ABC), The Adventures Of Napkin Man (CBC), The Listener
COURSES: Composers Collaborative, Scoring, Private lesson “Nightmare on Elm Street 3”) action thriller “I Am Wrath,” starring John Travolta, at several musicals, including Bye Bye Birdie, Sweeney Todd and more. She is currently
(CTV), The Vampire Diaries (CW), Little Mosque On The Prairie (CBC), Dance Moms
SPECIALTIES: Composer, Arranger, Orchestrator, Score Supervisor, Performer Christopher Meloni, and Rebecca De Mornay; as well as the Bryan Singer-produced directing the church choir and the church band, as well as composing, arranging, and
(Lifetime), Cracked (CBC)
CREDITS: Food Truckers - Series: Composer, Ande and Pirki - Series: Composer, critically acclaimed horror hit “The Taking of Deborah Logan” for director Adam producing albums.
HONORS & EDUCATION: Honors & Education: Berklee College of Music (Film The Dark Tower: Orchestrator, Despicable Me 3: Orchestrator, The Handmaids Tale: Robitel. Haim also arranged, produced and orchestrated multiple shows for Walt HONORS & EDUCATION: Masters of Music in Jazz Piano Performance, University of
Scoring) Music Department, Middle Earth: Shadow of War: Orchestrator, Animal Crackers: Disney Imagineering, including a one of a kind fireworks show which projected on North Texas. 2015. Outstanding Musician award from Musicians Institute.
Orchestrator, A Series of Unfortunate Events: Orchestrator, ABC Mouse – Learning all six Disney park castles around the world during a live ABC broadcast. Haim also
BLUMENTHAL, ARIEL Company: Composer, Planet Z - Series: Composer, Fanny Foozle: Composer, The composed the main title theme and score for the hit reality show “Chrisley Knows RAITT , DONOVAN
COURSES: Scoring, Private lesson. Unknown Soldier: Orchestrator, What Happened to Monday: Orchestrator, Girls Best,” and MTV’s “Teen Mom,” and a regular collaborator with composer/singer- COURSES: Acoustic Guitar performance, Private lesson
SPECIALTIES: Leading the creation and design of a proprietary online application, Trip: Orchestrator, Music Department, The Death of Stalin: Music Department, songwriter Gabriel Mann (“Modern Family,” “Rectify”), with whom he scored two SPECIALTIES: Fingerstyle Guitarist
working with multiple sub-contractors. HaB143d end-users at FIC’s 17 production Outlander: Orchestrator, Agents of S.H.I.E.L.D.: Orchestrator, TURN - Washington’s animated films for Mattel – “Barbie: Spy Squad” and “Team Hot Wheels,” both released HONORS & EDUCATION: Bachelor of Music In Studio/Jazz Guitar Performance -
locations worldwide. Spies: Orchestrator, Mickey Mouse Shorts: Music Department, Lion Guard: Music by Universal Studios Home Entertainment. .Master of Music in Performance (Jazz Studies) - California State University Long Beach
HONORS & EDUCATION: Bachelor of Music in Music composition - Berklee
Reba McIntyre. Endorsed by Ashdown Engineering (amps) and Moollon Basses. MEDEIROS, LYMAN WITT, TOM
ROSSER, KEN HONORS & EDUCATION: Honors grad from MI, Instructor of the Year (twice) and COURSES: Funk Performance, Prince Performance, Upright Bass Workshop, LPWs, COURSES: LPWs, Keyboard Bass, Slap Bass, Private Lessons
COURSES: World Music History, Rock & Roll History, Performance class, Acoustic Outstanding Student Awards. Private Lessons SPECIALTIES: Bassist- Electric
Guitar performance, Private Lessons, Guitar Reading, Bachelor Ensemble SPECIALTIES: Bassist-Upright and Electric CREDITS: Javier, Missing Persons, American Idol Live!, Enrique Iglesias, Andrae
SPECIALTIES: Guitarist, Ethnomusic performer, Acoustic Guitarist APERGIS, JUSTIN CREDITS: Michael Buble, Steve Tyrell, Diane Schuur, Lou Soloff, Gabrielle Johnson Crouch, Fantasia, Jennifer Hudson, Impromp2, Pepe Aguilar.
CREDITS: Smokey Robinson, John Cage, Sussan Deyhim, Andrea Morricone, The COURSES: Bass Reading, Upright Bass Workshop, Odd Meter Bass HONORS & EDUCATION: Masters of Music, Western Michigan University. HONORS & EDUCATION: Berklee College of Music
Grand Mothers Of Invention, Glenn Branca, Bobby Bradford, SPECIALTIES: Bassist-Upright and Electric
PETER ERSKINE, NELS CLINE, DAVID TORN, PRINCE DIABATE, MIKE EINZIGER CREDITS: Joe Sample, Bass Player Live, NAMM’s Museum of Making Music
Bachelor of Music, Ball State University
DRUM
(INCUBUS), TODD RUNDGREN” HONORS & EDUCATION: University of North Texas, Berklee College of Music SIMPER, JAY
HONORS & EDUCATION: Bachelor of Arts in Music - California State University, Los COURSES: Bass & Vocals, LPWs, Private Lessons JEAN, STEWART
Angeles, Master of Music in Classical Guitar Performance - California State University FRANK, DEREK SPECIALTIES: Bassist- Electric DRUM PROGRAM CHAIR
COURSES: LPWs, Technique, Reading, Performance CREDITS: Author of “The Beginning Bass Guitar Instructional Book,” “First Bass” & SPECIALTIES: Drummer, Keyboardist, Curricular Development
ROBBINS, IAN SPECIALTIES: Bassist- Electric “Second Bass.” Freelance bassist with various artists CREDITS: Raul Midon, Bruce Kulick, Bo Diddley, Preston Smith, Jimmy Buffett.
COURSES: Bachelor Ensemble, Rhythm Guitar, Blues Based Rock Performance, CREDITS: Palaye Royale, Victoria Justice, Mindi Abair, Troy Harley, Brian Auger’s HONORS & EDUCATION: Honors from Musicians Institute Endorsed by Vic Firth drumsticks, Remo drumheads, Beato cases, Kickport and Paiste
Fusion Performance, Riff Based Speed Punk Performance, K POP LPW, Private Lessons Oblivion Express, Aly & AJ cymbals. Can be heard on “Contact” soundtrack.
SPECIALTIES: Musician, Educator HONORS & EDUCATION: Bachelor of Music from University of Miami, Interlochen SKLJAREVSKI, ALEXIS HONORS & EDUCATION: Bachelor of Music, University of Miami
CREDITS: Barry Manilow, Bonnie Raitt, Bruce Eskovitz Jazz Orchestra, Wynton Arts Academy in Michigan COURSES: Bass Technique, Blues Bass, Electives (Tower of Power, Beatles, Led
Marsalis, Toni Tennille, Louis Belson, Peter Erskine, Scott Henderson, Ernie Watts, Bill Zeppelin) Project Recording, Private Lessons. AKUTSU, KEITA
Watrous, Kurt Elling, Eric Marienthal, Brian Bromberg. Founder of the punk rock band HALL, ROBERT SPECIALTIES: Bassist- Electric COURSES: Jazz, Digital Drumming, Keyboard, Harmony Theory, Ear Training,
Get Out. COURSES: Harmony Theory 101 and 201, Ear Training 102 and 202, Bass Reading, CREDITS: Crosby, Stills & Nash, Manhattan Transfer, Jackson Browne, Dweezil & Rhythm Reading Workout, Private Lessons, Open Counseling
HONORS & EDUCATION: Bachelor of Music in Studio/Jazz Guitar Performance, Earth Wind & Fire LPW, Private Lessons Ahmet Zappa, Albert Lee, Carole King, Rita Coolidge, Johnny Rivers, Martha Reeves SPECIALTIES: Instructor, Digital Drumming Curricular Development
University of Southern California. 1997 NARAS Grammy All Star Jazz Combo, 1996-97 SPECIALTIES: Bassist-Upright and Electric, Finale Skills, Curriculum Development and Chuck Berry. Performed on The Tonight Show with Jay Leno, The Late Show CREDITS: CJS Quintet
SCSBOA Jazz All Star Band. Outstanding Musician award from Berklee College of CREDITS: US Navy Band New Orleans, ELAN Artists, Bobby Rodriuez Latin Jazz, with David Letterman. Author of instructional video “The Slap Bass Program” and co- HONORS & EDUCATION: Bachelor and Masters of Arts, California Institute of the
Music. NOVA produced “Fingerstyle Funk” by Tower of Power bassist Francis Rocco Prestia. Writer Arts
HONORS & EDUCATION: Bachelor of Music, Musicians Institute for Bass Player magazine, author of “Bass Playing Techniques: The Complete Guide.”
ROSENN, JAMIE HONORS & EDUCATION: Musicians Institute “Outstanding Achievement” ARONOFF, KENNY
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GENERAL
COURSES: Single String, Harmony, Jazz Icons Performance, Private Lessons HALL, ZACHARY Graduate COURSES: Open Counseling
SPECIALTIES: Jazz Musician, Educator COURSES: LPWs, Private Lessons SPECIALTIES: Instructor, Studio, Touring, Career Development
CREDITS: JoE-LeSs shOe, Option 3, Sigmund Fudge, Los Angeles Jazz Collective, SPECIALTIES: Bassist-Upright and Electric SMITH, PUTTER CREDITS: John Cougar Mellencamp, Sir Paul McCartney, Ringo Starr, The Rolling
U.S. Jazz Ambassadors CREDITS: Freelance bassist specializing in country, bluegrass, and rock. COURSES: Upright Bass Workshop, 20th Century Jazz Bass, Walking Bass Stones, Lady Ga Ga, Bruno Mars, Sting, Bob Dylan, Bruce Springsteen, Bob Seger,
HONORS & EDUCATION: Master and Bachelor of Music. New England HONORS & EDUCATION: Bachelor of Music from the University of Virginia, SPECIALTIES: Bassist-Upright Dave Grohl, Elton John, Johnny Cash, Willie Nelson, Jon Bon Jovi, Steven Tyler, The
Conservatory of Music, M.A. CalArts, Featured in the book “The Great Jazz Guitarists.” Musicians Institute CREDITS: Thelonious Monk, Art Blakey, Phil Spector, The Beach Boys, John Mayall, Smashing Pumpkins, Meatloaf, B.B. King, Rod Stewart and John Fogerty. Endorsed by
Marlene Dietrich, Burt Bacharach, Alan Broadbent, Mose Allison, Karin Alyson, Tama, Zildjian, Evans, Pro Mark.
VILLANO, THOMAS HONG, STEVE Natalie Cole, Sam Most, Walter Norris, Larry Koonse. HONORS & EDUCATION: Masters of Arts, University of Indiana
COURSES: Mechanics of Score Production ll COURSES: Reading, Fretboard, Upright Workshop, Private Lessons, Harmony Theory
SPECIALTIES: Music Editor, Music Supervisor 101 and 201, Ear Training 102 and 202 VERBATEN, MENNO BOLOGNESE, STEPHEN
CREDITS: David Newman, Basil Poledouris, Tyler Bates, Craig Richey, Michael SPECIALTIES: Bassist-Upright and Electric COURSES: Metal Bass, LPWs, Performance, Priv Lessons COURSES: LPW, Private Lessons, Open Counseling
Kamen, Joel McNeely, Dave Porter CREDITS: Riverside Symphony Orchestra SPECIALTIES: Bassist- Electric SPECIALTIES: Drummer, Instructor
HONORS & EDUCATION: Bachelor of Arts CSUDH, Emmy Awards for “Lonesome HONORS & EDUCATION: Bachelor of Music. California State University, CREDITS: Marty Friedman (Megadeth), Steven Adler (Guns N’ Roses), and Mike CREDITS: Into Eternity, Incurable Tragedy, various recordings for Roadrunner, Metal
Dove” & “Young Indiana Jones,” MPSE Awards for “Anastasia” & “The Temptations” Northridge. Masters Degree in Music, UCLA. Hartman (David Lee Roth) Blade, and Century Media Records.
HONORS & EDUCATION: Musicians Institute Graduate HONORS & EDUCATION: Endorsed by Pearl Drums.
KENNETH ZAMBELLO KEIF, DAVID
COURSES: History of Rock & Roll, Performance, Vocal Performance, COURSES: Fretboard, Advance RSW, LPWs, Project Recording, Private Lessons WEISS, GREG BONACCI, ALBE
SPECIALTIES: Arranger, Performer, Music Director SPECIALTIES: Bassist- Electric COURSES: LPWs, Harmony & Theory , Ear Training, Priv Lessons COURSES: Drum Tuning, Jazz, LPW, Private Lessons and Open Counseling
CREDITS: Arranger and Conductor for the concerts of Steven Tyler, Gloria Estefan, CREDITS: Mark Lindsay, Rita Coolidge, Etta James, Darlene Love and the Platters. TV SPECIALTIES: Bassist- Electric SPECIALTIES: Drummer, Instructor
Chaka Kahn, Phil Collins, Annie Lennox, Phillip Bailey ( Earth, Wind & Fire), Ben E. King, shows and movies including “Smallville,” “The Horse Whisperer” and “Trekkies.” Author CREDITS: Performed clinics at MI with Kirk Hammett (Metallica), Ray Luzier (Korn, CREDITS: Larry Hart, Desmond Child, Diane Warren, and Jack Segal. Writer for
Paula Cole, Lalah Hathaway, Susan Tedeschi, Livingston Taylor, Valerie Simpson ( of “Arpeggios for Bass,” “Grooves for Electric Bass,” “Classic Rock Bass” and “Latin Bass” David Lee Roth), and Tony Royster, Jr. (Jay-Z) Modern Drummer. Clinician at PASIC, Sam Ash and Musicians Friend.
Ashford & Simpson), Angelique Kidjo, David Foster for Hal Leonard Publishing HONORS & EDUCATION: Miami Dade C.C. South, Musicians Institute Honors HONORS & EDUCATION: Graduate of Musicians Institute and Drummers
HONORS & EDUCATION: Bachelor of Music in Professional Music - Berklee Graduate Collective.
College of Music LOPEZ, GEORGE
COURSES: Performance, Latin Bass, LPWs, Private Lessons WICKS, GARY BOWDERS, JEFF
BASS SPECIALTIES: Bassist-Upright and Electric COURSES: Upright Bass Workshop, LPWs, Private Lessons COURSES: Fill Fest, Private Lessons, Open Counseling
CREDITS: Tito Puente, Celia Cruz, Azteca, El Chicano, Dave Valentine, Poncho SPECIALTIES: Bassist-Upright and Electric SPECIALTIES: Drummer, Instructor
VERLOOP, MAURICE Sanchez, Norman Brown. CREDITS: The Manhattan Transfer, freelance bassist CREDITS: Paul Gilbert, Justin Derrico, Puddle of Mudd, The Voice. Author of
BASS PROGRAM CHAIR HONORS & EDUCATION: Musicians Institute HONORS & EDUCATION: Masters in Music from USC, Bachelor in Music from the “Double Bass Drumming-The MirroredGroove System,” “Essential Drumset Fills-The
SPECIALTIES: Bassist- Electric, Curriculum Development New England Conservatory Component Rhythm System,” “Essential Rock Drumming Concepts-An Encyclopedia
CREDITS: Zakk Wylde, Alessandro Cortini, Ray Luzier, Shannon Larkin, Carl Anderson, of Progressive Rhythmic Techniques” and “Jeff Bowders-Double Bass Drumming
Workshop” DVD. CREDITS: Lauryn Hill, Bobby McFerrin, Darmon Meader, Stefon Harris, Eldar, Shawn David Sanborn, Roberta Flack, George Duke, Bob James, Vital Information. Featured
HONORS & EDUCATION: Graduate of Musicians Institute “Thunder” Wallace, Charles Laster, Liz Mikel, Mozella TERRY, ROBERT in Guitar Player, Guitar World & Hal Leonard instructional videos, Released four solo
HONORS & EDUCATION: Graduate of Western Michigan University COURSES: Electronic Drum, Open Counseling albums
BROWN, RYAN SPECIALTIES: Drummer, Instructor, Digital Drumming Curricular Development HONORS & EDUCATION: Bachelor of Music in Composition, Berklee College.
COURSES: Reading, Performance, Private Lessons, LPW and Open Counseling KELLY, DEVIN Credits: Wang Chung, Artist and product consultant for YAMAHA/DTX Played on 4 Grammy-winning albums.
Specialties: Drummer, Instructor COURSES: Masters program curriculum, applied lessons, music history, bachelor
CREDITS: Zappa Plays Zappa, Black Belt Karate, Foreigner, Circus Diablo, Hannah ensemble, performance classes, music education, music theory, WATSON, SAMMY BUCKINGHAM, BRUCE
Montana, Clay Aiken, Cassie Davis, Nick Lachey, Jesse McCartney, Heather Graham, music business. COURSES: LPW, Bridging the Gaps, Private Lessons and Open Counseling COURSES: Core Classes, Chord Melody, Afro-Cuban Guitar, Brazilian Guitar, Latin
Suzie McNeil (Rock Star INXS), Alex Lifeson, Earl Slick. Soundtracks for “Kung Fu Panda,” SPECIALTIES: Jazz, Afro-Cuban, Brazilian, Film & Video Games, Pop, R&B. SPECIALTIES: Drummer, Instructor LPW, Traditional Jazz Ensemble LPW, Private Lessons, Open Counseling
“The Dark Knight” (Hans Zimmer). Remo and DW endorser. CREDITS: Danny Elfman, League of Legends, Cinesamples, Amper Music,Barry CREDITS: Drummer for Mt. Helium. Endorsed by Sabain, Gretsch and Vater. SPECIALTIES: Jazz and Latin Styles
HONORS & EDUCATION: Bachelor of Music, Indiana University Manilow, Peter Bernstein, Larry Koonse, Joe Bagg, Gary Foster, HONORS & EDUCATION: Graduate of Musicians Institute CREDITS: Helen Reddy, John Pattitucci, and Michael Jackson’s live production
Bill Cunliffe, Bob Sheppard, Julie Kelly, Judy Wexler, Janis Mann, New York Voices. of “Sisterella.” Released three books for MI Press, and one video for Hal Leonard
BUCKLEY, BRENDAN EDUCATION: M.M. in Drumset & Contemporary Media from the Eastman School of Publishing
COURSES: LPW, Private Lessons and Open Counseling Music WITTENBERG, SCOTT HONORS & EDUCATION: Musicians Institute Alumni
SPECIALTIES: Drummer, Instructor, Production COURSES: Performance, LPW, Private Lessons and Open Counseling
CREDITS: Shakira, Shelby Lynne, Miley Cyrus, Emmanuel, JJ Lin, Melissa Ethridge, MCINTYRE, TIM SPECIALTIES: Drummer, Instructor CARLSON, ERIK
The Bodeans. Endorsed by DW, Sabian, Remo. COURSES: Reading, Jazz, Private Lessons and Open Counseling CREDITS: Zen Robbi COURSES: Harmony Theory and Ear Training, 1-4; Intro to Guitar
HONORS & EDUCATION: Bachelor of Music, University of Miami SPECIALTIES: Drummer, Instructor HONORS & EDUCATION: Graduate of Musicians Institute SPECIALTIES: Harmony Theory and Ear Training, Guitar Performance
CREDITS: Endorsed by Canopus drums. Performs with the Dave Hill Group. CREDITS: Toured with Jeff Hershey and the Heartbeats. Montreal Jazz Festival
CAMPBELL, GORDEN HONORS & EDUCATION: Bachelor of Music Degree, University of Calgary-Alberta GUITAR appearance with For the Record: Tarantino in Concert
COURSES: Gospel/R&B Drumming, Private Lessons, Artist Development: Skills for HONORS & EDUCATION: Bachelor of Music from Musicians Institute
the Creative Environment PALMIERI, GIANLUCA MATHISEN, STIG
SPECIALTIES: Touring Musician (Drummer), Producer COURSES: Performance, Latin, LPW, Private Lessons, Open Counseling GUITAR PROGRAM CHAIR DESAI, PATHIK
CREDITS: Earth, Wind & Fire, George Duke, American Idol “Live” Tours, Neyo, Jessica SPECIALTIES: Drummer, Instructor SPECIALTIES: Guitarist, Composer, Educator, Curricular Development COURSES: Core Classes, Funk Guitar, Advanced Groove Concepts, Slide Guitar
Simpson, Daughtry, Chris Brown, Award Shows (Billboard, MTV Video, BET, NAACP), CREDITS: Greg Howe, Marigold, MTV Total Request Live and SuperSix TV. CREDITS: Alcatrazz, Peter Erskine, Lamont Dozier, Brandon Fields, Stu Hamm, (SUB), Studio Skills, Private Lessons, Reading 1&2
Jimmy Kimmel, The Ellen Show Endorsements with Yamaha, Vic Firth, Paiste, Evans Robben Ford, Jorn Lande, Patrice Rushen. Lecturer/Teaching Professor at University SPECIALTIES: Pop, Funk and Studio Guitar
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GENERAL
HONORS & EDUCATION: Bachelor of Music, Howard University HONORS & EDUCATION: Graduate of Musicians Institute of Tromso and Kongsbakken College CREDITS: Kelly Clarkson, Westlife, David Archuleta, Nick Lachey, Anastasia, American
HONORS & EDUCATION: Doctor of Musical Arts and Master of Music, USC Idol, Tonight Show with Jay Leno, Today Show, Good Morning America, Live with
DINKINS, FRED SALINAS, DAVID (University of Southern California), 6 years of classical training from University Regis, Jimmy Kimmel
COURSES: Timekeeping, LPW, Private Lessons, Open Counseling COURSES: Funk, LPW, Private Lessons and Open Counseling of Tromso (Major: Classical Guitar). Awards: Fulbright Scholarship, The Norway- HONORS & EDUCATION: Graduated from Berklee College of Music. Played on
SPECIALTIES: Drummer, Instructor SPECIALTIES: Drummer, Instructor America Associations Graduate Study & Research Scholarship (received twice), USC Kelly Clarkson’s #1 hit “A Moment Like This.”
CREDITS: Sinbad, The Emotions, Deniece Williams, Hugh Masekela. Clinician at CREDITS: Paulina Rubio, Snapdragon, Jim Brickman, Jason Reeves and In The Red Studio Guitar Departmental Award (received three times), Outstanding Academic
PASIC. Endorsed by PDP, Vater, REMO, Sabian and Kickport. Ministries. Endorsed by Paiste and Regal. Achievement Award by OIS/USC, Pi Kappa Lambda Award, plus Outstanding Talent FINN, ED
HONORS & EDUCATION: Graduate of Musicians Institute HONORS & EDUCATION: Graduate of Musicians Institute Award by the Norwegian Jazz Association. COURSES: Reading, Harmony & Theory , Ear Training, Private Lessons
SPECIALTIES: Instructor
ETOROMA, EFA STINTA, BLAIR AKIMOTO, TAKESHI CREDITS: Roger Williams, Nell Carter, Buena Vista Video, RSO, PBS, HBO
COURSES: E-Drumming, Drum Performance, Project Recording, Private Lessons COURSES: Project Recording, LPW, Private Lessons and Open Counseling COURSES: Private Lessons & Open Counseling HONORS & EDUCATION: GIT, Florida Atlantic University, Jefferson State College,
SPECIALTIES: Touring Musician (Drummer), Producer SPECIALTIES: Drummer, Instructor, Production SPECIALTIES: Rock, Blues, Funk, R&B, Reggae Black Hawk College
CREDITS: Tuque, Ellen Doty, Bo Aganaba CREDITS: Alanis Morissette, Annie Lennox, Idina Menzel, Chris Cornell, Stevie Nicks, CREDITS: Ziggy Marley, “Jimmy Kimmel Live “ House Band, George Duke, Raya
HONORS & EDUCATION: Masters Degree, CalArts Glen Ballard, Damien Rice, Dave Stewart, Melissa Etheridge, Better Than Ezra, Josh Yarbrough, Bear McCreary GILBERT, DANIEL
Groban, Five For Fighting. HONORS & EDUCATION: MI graduate with Vocational Honor COURSES: Core Classes, Jazz Workshop, Guitar Workout, Eclectic Electric Guitar,
HARNELL, JASON HONORS & EDUCATION: Bachelor of Music, University of North Texas Applied Technique, Fusion LPW, Private Lessons, Open Counseling
COURSES: Jazz, Private Lessons, Open Counseling BONHOMME, AL SPECIALTIES: Jazz, Fusion, General Guitar Technique and Knowledge
SPECIALTIES: Drummer, Instructor STEVENS, KEVIN COURSES: Core Classes, Country Guitar, Surf/Spy Guitar, Acoustic Guitar, Country CREDITS: Mr. Invisible (YT Records), performed with Cone of Silence and Terri and
CREDITS: Maynard Ferguson, Larry Goldings, Larry Koonse, Joe Bagg, Kei Akagi, and COURSES: Performance, New Orleans, LPW, Private Lessons and Open Counseling LPW, Private Lessons, Open Counseling the T-Bones. Co-author of “Guitar Soloing” (Hal Leonard)
Darek Oles. Endorsed by Yamaha Drums, Istanbul Cymbals, Remo Drumheads and Vic Specialties: Drummer, Instructor SPECIALTIES: Country, Fingerpicking and Acoustic Styles, Roots Music and HONORS & EDUCATION: Musicians Institute Alumni. Queensborough Community
Firth Drumsticks. CREDITS: Bobby McFerrin, Minnie Driver, Natasha Bedingfield and Duane Eddy. Americana College and Brooklyn Conservatory of Music. Private studies with Pat Martino, Howard
HONORS & EDUCATION: University of South Florida Endorsed by Sabian, Remo and Vic Firth CREDITS: Dwight Yoakum, Pete Anderson, the Bull Durham Band, Mark Collie, Tracy Morgan, and Ronnie Lee
HONORS & EDUCATION: Bachelor of Music, University of Miami Lawrence and Disney Entertainment. Performed at the Grand Old Opry and on TNN’s
HESS, GARY “Crook & Chase.” GOLD, JUDAH “JUDE”
COURSES: Reading, Developing Your Groove, Music Minus One, Private Lessons, SUTTER, JASON HONORS & EDUCATION: Musicians Institute Alumni. Voted Guitarist of the Year COURSES: Slap Pop and Beyond, Private Lessons, Open Counseling
LPW and Open Counseling COURSES: Private Lessons and Open Counseling by the California Country Music Association in 1988. SPECIALTIES: Former MI Guitar Program Chair, Guitarist, Instructor
SPECIALTIES: Drummer, Instructor SPECIALTIES: Drummer, Instructor CREDITS: Toured/recorded with DJ Spooky, Greg Howe, Kristin Chenoweth, 2
CREDITS: Author of “Encyclopedia of Reading Rhythms” (MI Press/Hal Leonard) CREDITS: Smashmouth, Marylin Manson, Chris Cornell, Dee Snider, New York Dolls. BROWN, DEAN Live Crew, Jefferson Starship, Billy Sheehan, Stuart Hamm, the Oakland Symphony,
HONORS & EDUCATION: Graduate of Musicians Institute Endorsed by Regal, Ludwig, Paiste and Remo. COURSES: Advanced Electric Guitar Styles, Advanced Ensemble, Open Counseling Eddie Money, Angelo Moore (Fishbone), Jeff Berlin, and DJ Miguel Migs. Editor at
HONORS & EDUCATION: Bachelor of Music, University of North Texas. Masters Specialties: Guitarist, Composer, Arranger, Producer, Bandleader, Educator Guitar Player magazine, interviewed Pat Metheny, Brad Paisley, Zakk Wylde, Slash, and
HUNTER, JEVIN from University of Miami. Credits: Performed/recorded with Marcus Miller, Billy Cobham, Brecker Brothers,
COURSES: LPW, Private Lessons and Open Counseling
272 SPECIALTIES: Drummer,THIS
Instructor
CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019. 273
John Scofield. Toured Europe, U.S., and Asia. Performed on Jimmy Kimmel Live, The HONORS & EDUCATION: Masters of Music, University of Southern California positive community relationships COURSES: Metal Guitar, Applied Metal Guitar, Metal LPW, Private Lessons & Open
Tonight Show, and the American Country Awards. (USC), University of Muenster (Germany) CREDITS: Jackie DeShannon, Helen Reddy, John5, Brownie McGee, Barbara Counseling
HONORS & EDUCATION: Bachelor of Music, University of California at Berkeley Morrison. Clinician, Author, Panelist, Interviewer SPECIALTIES: Private Guitar Instruction, Modes, Shred, Metal
HOLDER, MITCHELL HONORS & EDUCATION: Master of Music, USC. Bachelor of Music, UC Santa Cruz. CREDITS: Released solo instrumental album “Project Steiger - Defiance” featuring
HARRISON, GREGORY COURSES: Private Lessons & Open Counseling MI Guitar Program (GIT) - Vocational Honors Derek Sherinian, Tony Franklin, Virgil Donati and Gary Hoey. Teacher for the National
COURSES: Core Classes, Shred Guitar, Improvisation, Private Lessons, OC SPECIALTIES: Jazz Styles and Studio Work Guitar Workshop (NGW), and author of instructional videos. Endorsed by D’Addario
SPECIALTIES: Progressive Metal, Djent, Shred, Rock, Gypsy Jazz CREDITS: Barbra Streisand, Neil Young, Frank Sinatra, Joe Cocker, Diana Ross, MARSHALL, JEFFERY and ESP Guitars.
CREDITS: PDP, Hot Club of North Hollywood, Hal Leonard, Guitar World, Premier Brian Wilson, John Williams, Lalo Schifrin, Michel Legrand, Hans Zimmer, and Herbie COURSES: Core Classes, Guitar Studio Skills, Private Lessons HONORS & EDUCATION: Associate of Arts Degree in Music, Musicians Institute
Guitar, Randall Amplifiers, Lance Alonzo guitars, Daddario strings, Planet Waves Hancock; film soundtracks for Catch Me If You Can, Saturday Night Fever, E.T., Indiana SPECIALTIES: Blues, Classic Rock, Country, Fusion, Recording/Production/
HONORS & EDUCATION: Associate of Arts Degree, Musicians Institute, Jones & The Temple of Doom, and Terms of Endearment; and TV work for the The Songwriting TAGLIARINO, BARRETT
Outstanding Player Award Tonight Show with Johnny Carson, The Simpsons, King of the Hill, Family Guy, The CREDITS: Rick Monroe, Lisa Hayes and the Violets, Ashley Jay, Bleeding Harp, The COURSES: Private Lessons & Open Counseling
Academy Awards, Grammy Awards, Country Music Awards, American Music Awards, Jeff Kollman Band, Tizer. Released 2007 solo album. Writer for Studio 51 and Xray Dog SPECIALTIES: Improvisation, theory, blues, classic rock, jazz
and the Emmy Awards. music libraries & Guitar World Magazine. CREDITS: Performing with John Zipperer, Severin Browne, Dave Morrison. Released
HAWLEY, ADAM HONORS & EDUCATION: Adjunct Professor, Music Department at Cal Lutheran HONORS & EDUCATION: MI Graduate three solo albums, author of instruction books and DVDs. Editor/author for over 100
COURSES: Private Lessons & Open Counseling University Hal Leonard projects
SPECIALTIES: Jazz, Fusion, Pop, R’n’B, Gospel, Studio Work NEWLON, TRAVIS HONORS & EDUCATION: MI Graduate
CREDITS: Jennifer Lopez, Backstreet Boys, Natalie Cole, Sheila E, Lalah Hathaway, HOMEYER, ERNST COURSES: Harmony Theory and Ear Training 012-202; Hot 100 LPW, Private Lessons
Ruben Studdard, Larry Graham, Jordin Sparks, Fantasia, Eric Benet, Marc Anthony, Flo COURSES: Private Lessons, Guitar Heroes Of The 80s, Recording Guitar, Studio (Guitar) TURNER, DALE
Rida, Lil’ Wayne, Pitbull, Michael McDonald, Regina Carter, Chick Corea, Pat Metheny. Skills, Guitar Tracking Tactics, Modern Rock LPW, I Love the 80’s LPW SPECIALTIES: Harmony Theory and Ear Training, Guitar COURSES: Jimi Hendrix Rhythm Guitar, Guitar/Vocal Accompaniment, Theory/Ear
HONORS & EDUCATION: Doctor of Musical Arts, Master’s of Music and Bachelor SPECIALTIES: Rock, Metal, Shred, Neoclassical, Fusion CREDITS: Performed and/or recorded with: Latin Grammy Winner Gaby Moreno, Training, Guitar Reading, Open Counseling, Private Lessons
Degree, University of Southern California (USC) CREDITS: EGH, King Crazy, Jacob Armen, X-Loop. Companies: MXL, Audio Technica, Allison Self, The Hot Club of North Hollywood SPECIALTIES: Rock singer-songwriter & acoustic/electric multi-stylist, author/
Warwick, Framus, Joe Meek HONORS & EDUCATION: Bachelor of Music from Musicians Institute transcriber, producing engineer, Guitar World columnist
HENDERSON, SCOTT HONORS & EDUCATION: Bachelor of Arts in Commercial Music, MI’s Guitar & CREDITS: Performed with David Pritchard, Billy Cobham, Larry Klein, members of
COURSES: Open Counseling Recording Programs, Logic 9 Master Pro, Pro Tools 11 OZAKI, JINSHI Cypress Hill. Released solo albums & Acoustic Rock DVDs. Author of 50+ transcription/
SPECIALTIES: Jazz Fusion and Blues COURSES: Acid Jazz, Funk LPW, Private Lessons & Open Counseling instructional books. Endorsed by D’Addario Acoustic
CREDITS: Released numerous critically acclaimed solo albums, instructional videos JACOBS, SID SPECIALTIES: Jazz improvisation, composing & arranging, acoustic solo guitar HONORS & EDUCATION: Bachelor’s Degree (Studio/Jazz Guitar Performance)
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and books, Tribal Tech, Joe Zawinul, Vital Tech Tones, Chick Corea, Jean Luc Ponty, COURSES: Reading, Jazz Guitar Improvisation, Modern Jazz Concepts, The Art of CREDITS: Toured around the world with Kirk Whalum, Jody Watley, Keiko Matsui, from University of Southern California
etc. Two-Line Improv, Jazz Guitar Reading Ensemble, Jazz Listening, American Songbook Jimbo Akira, and Scott Kinsey. Veteran session guitarist for TV shows and studio work.
HONORS & EDUCATION: MI Alumni, numerous awards in international magazines LPW, Private Lessons, Open Counseling HONORS & EDUCATION: Bachelor’s Degree, Berklee College of Music. Private VERHEYEN, CARL
SPECIALTIES: Jazz and Classical studies with Ted Greene. COURSES: Open Counseling
HILL, DAVID CREDITS: Steve Lawrence and Eydie Gorme, Diahann Carroll, Ike and Tina Turner, SPECIALTIES: Pop, Rock, Blues, Jazz and Studio Work
COURSES: Core Classes, Fusion Masters, Private Lessons, Open Counseling Luciano Pavarotti, and Frank Sinatra Jr. Author of “The Complete Book of Jazz Guitar PARKER, SCOTT CREDITS: Member of Supertramp and leader of his own band. Recorded on
SPECIALTIES: All Styles, Emphasis on Jazz and Fusion Lines and Phrases” and “Jazz Guitar I and II” COURSES: Core Classes, Music Theory, Ear Training, Private Lessons, Open hundreds of albums, movie soundtracks, and TV shows. Winner of Guitar Player
CREDITS: Toured U.S., Canada and Europe, including Montreux Jazz Festival. Played KIME, JAMES Counseling, R&B Live Performance Workshop, Reggae Live Performance Workshop magazine reader’s poll for Best Studio Guitarist. Writer for guitar magazines and
with Dave Hill Group, Cone of Silence, Frank Gambale, Jimmy Earl, Three Dog Night, COURSES: Private Lessons & Open Counseling Specialties: Guitar Instructor, Common Course Instructor producer of instructional videos and software
The Coasters, and Al Wilson. Staff transcriber for REH Instructional Videos. SPECIALTIES: Jazz, Rock, Fusion Improv CREDITS: Jose Luis Rodriguez, El Puma, Chayanne, Deniece Williams, Annie Lennox
HONORS & EDUCATION: Musicians Institute Alumni CREDITS: Zappa Plays Zappa, Banned From Utopia, Mike Keneally, Gryphon Labs, of Eurythmics, numerous multimedia projects and TV shows. WENGER, PETER YUSSI
Baked Potato house band. HONORS & EDUCATION: Associate of Arts Degree, Miami Dade South. Attended COURSES: Rumba Workout, Private Lessons & Open Counseling
HINDS, ALLEN HONORS & EDUCATION: Musicians Institute Graduate, Grammy Award (2009) for Florida State University and the University of Miami. SPECIALTIES: Latin, Rock, Jazz
COURSES: Private Lessons & Open Counseling Best Rock Instrumental Performance (ZPZ) CREDITS: Played on 150 albums, film scores, TV show soundtracks, and
SPECIALTIES: Variety of guitar styles, soloing over chord changes, comping, RABUCHIN, BRADLEY commercials. Artists including Ricky Martin, Rick Springfield, Paul Anka, Darius Rucker,
mentoring in general KOLB, THOMAS COURSES: Private Lessons & Open Counseling Paulina Rubio. TV Credits: include The Bachelor, The Bachelorette, TMZ, Extra, The
CREDITS: Gino Vannelli, Randy Crawford, Crusaders, Roberta Flack, Natalie Cole, COURSES: Core Classes, Melodic Soloing, Classic Rock LPW Leader, Open SPECIALTIES: Jazz and Blues Tyra Banks Show, National Geographic and PBS.
BeBe Winans, Hiroshima, Patti Austin. TV show appearances with Rickey Minor Counseling, Private Lessons CREDITS: Ray Charles, Bonnie Raitt, Al Kooper, Steve Wonder, Buddy Miles, David HONORS & EDUCATION: MI Graduate
backing Stevie Wonder, Lionel Richie, Maya, Mary J. Blige and Sheena Easton. Released SPECIALTIES: Guitar Instructor specializing in Rock, Blues, Funk, Country, Jazz, Folk, “Fathead” Newman, Willie Nelson, and Tom Jones
4 solo albums. Featured articles in Guitar Player Magazine, the Guitarist, Guitar R&B, and Soul. HONORS & EDUCATION: Pierce Junior College, private studies with Derol Coraco, WIDEGREN, LENNART
Techniques, Premier Guitar. Author of “Liquid Legato” instructional book. Endorsed CREDITS: Edgar Winter, Mark Lindsay, Tom Jones, Eric Johnson, Jan and Dean, Ted Greene, and Joe Pass COURSES: Core Classes, Rock Lead guitar, Rock Rhythm Guitar, Alternative Guitar
by Xotic, bV pedals at gtrwrks, Bogner,Vertex, Jackson Amp Works, Bob Burt pedals, Mitch Ryder, and Pete Seeger. Author of nine guitar method books & featured in over Heroes, Hard Rock LPW, private lessons
Anthology straps and accessories, Curt Mangan strings and Ernie Ball strings. 40 instructional videos. Writer for Guitar One, Guitar World, Guitar Edge, and Premier RICHMAN, JEFFREY SPECIALTIES: Rock, Hard Rock, Punk, Alternative, Slide Guitar
HONORS & EDUCATION: Winner of Guitar Player magazine’s Larry Carlton Guitar. COURSES: Fusion Ensemble, Private Lessons & Open Counseling CREDITS: Recorded five albums, toured U.S. and Europe, featured in film “Get Him To
Scholarship. MI Graduate. Berklee College of Music HONORS & EDUCATION: Graduated Musicians Institute with Vocational Honors SPECIALTIES: Jazz and Fusion The Greek.”
and Student of the Year Award. Studied Music at CA State University Hayward. CREDITS: Blood, Sweat & Tears, John Klemmer, Ronnie Laws, Doc Severinson, Don HONORS & EDUCATION: Bachelors of Music, Musicians Institute. Winner of Best
HOFFMEYER, FRANK Grusin, Henry Mancini, and Alphonse Mouzon. Recorded six solo albums and the John Rock Band, All Access Magazine Awards.
COURSES: Reading, Classical Guitar, Playing Techniques for Guitar, Private Lessons & MARLIS, BETH Coltrane tribute “A Guitar Supreme,” featuring Mike Stern and Eric Johnson.
Open Counseling COURSES: Open Counseling. Vice President, Industry/Community Relations. HONORS & EDUCATION: Master’s Degree, Berklee College of Music ZIFF, STUART
SPECIALTIES: All Styles, Classical Guitar Executive Director, The Musicians Foundation. COURSES: Blues Guitar, Slide Guitar, Blues LPW, Private Lessons and Open
SPECIALTIES: Jazz, R&B. Leader in fundraising for MI scholarships and fostering STEIGER, KEN Counseling
SPECIALTIES: Rock & Roll, R&B, Funk, Blues KIM, HYUN Cuban styles Year. Songs used in South Korean schools and talent competitions (“Superstar”)
CREDITS: Wilson Pickett, Charles Brown, War. Co-wrote the #1 single “Thinkin’ COURSES: Groove 1, Reading 1, Reading 2, Contemporary Praise & Worship CREDITS: Santana (Supernatural), Angelique Kidjo, Ozomatli, Mana, Los Lobos,
Problem” with country artist David Ball. Performance Bebe Winans, Poncho Sanchez, Alex Acuña, Israel Cachao Lopez, Raul Malo, COHEN, BARBARA
SPECIALTIES: Player, Music Director, Arranger, Composer, Private Lesson Rick Trevino, Los Super Seven, Andrae Crouch, the Luckman Jazz Orchestra, the COURSES: Studio Recording, Scoring for Film & TV, Artist Development-The Songs,
ZILBERSHTEIN, VADIM CREDITS: Abraham Laboriel, Korean Singers Jin Sub Byun, Kyung Min Hong and Mi Nashville Chamber Orchestra, Christina Aguilera Private Lessons
COURSES: Private Lessons & Open Counseling Kyung Park, Ali. Teacher at Seoul Contemporary Music High School, World Mission HONORS & EDUCATION: Grammy-Winning producer SPECIALTIES: Educator, Film & Television Composer, Recording Artist/Singer-
SPECIALTIES: Jazz, Funk, R’n’B, Studio Work University Songwriter, Session Singer, Producer, Recording Engineer, Curriculum Developer
CREDITS: Earth, Wind & Fire, Marcus Miller, Chaka Khan, Chick Corea, Lenny Kravitz, HONORS & EDUCATION: Bachelor’s Degree in Music Composition, Dan Kook CREDITS: BMI Conducting Workshop; Sundance Film Composer Lab; Minnesota Music
James Brown and Mary J. Blige. Appeared on Grammy and Emmy Award shows. University in South Korea. Outstanding Student Award at Musicians Institute VOCAL Award - Artist and Vocalist of the Year. Co-founder of Brother Sun Sister Moon (Virgin
Honors & Education: Bachelor Degree, Berklee College of Music Records). Collaborator with Orbital & Air. Released albums as a solo artist and with Farm
KOVAL, MARK BYRD, DEBRA Accident. Songs and vocals featured on shows “Red Riding Hood,” “Broke Down Palace,”
COURSES: Video Scoring 1 & 2, Project Advising, Writing for Film & TV, Private VOCAL PROGRAM CHAIR “Lipstick Jungle,” “Third Watch” & more
Lessons SPECIALTIES: Educator, Recording Artist, Producer, Arranger, Singer, Vocal HONORS & EDUCATION: University of North Carolina School for the Performing
KEYBOARD TECHNOLOGY SPECIALTIES: Composer & Orchestrator for Film/TV. Specialist in Orchestral Music, Coach, Actor Arts and the University of Minnesota. Minnesota State Arts Board Grant for Artistry and
Mixing and Production. CREDITS: Vocal Coach for The Voice, American Idol, The Grammys, The Oscars, Composition
YOON, RACHEL CREDITS: Composed music for TV shows including Batman: the Animated Series, Canadian Idol. Worked on ABC, NBC, CBS, Fox, MTV, Disney, CW, Hub, ITV, CTV
CHIEF ACADEMIC OFFICER; ADMINISTRATOR The Real Adventures of Jonny Quest and Bobby’s World, plus films such as The and the Pentagon Channel. Worked on movies for Paramount, Sony Pictures, CROSSEN, JUDE
SPECIALTIES: Administrator, Educator, Composer, Orchestrator, Arranger, Chinese Zodiac, Last Flight and Brotherhood of Blades. Wrote music & lyrics for Warner Bros., Disney, NBC Universal Studios and Miramax COURSES: Vocal Performance, Coffee House LPW, Private Lessons
Performer, Music Director civil rights oratorio We the People and created orchestral works for the Minnesota HONORS & EDUCATION: Berklee College of Music, Artist-In-Residence, Kent SPECIALTIES: Vocalist, Performer
CREDITS: Executive Music Director of national project Stellar Whisper in Seoul, Korea. Orchestra, Harvard University, the American Composers Forum, the Sundance Film State University CREDITS: Film and TV Credits:: “America’s Got Talent” (NBC), “My is Earl” (NBC) and
Performed with Yellowjackets and Shapes. Performances at Walt Disney Concert Hall Institute and more. “Joan of Arcadia” (CBS); Grammy-nominated DVD/CD “The Hang,” former member of
and Hollywood Bowl HONORS & EDUCATION: Two Emmy Award Nominations. BA in music ARTADI, GENEVIEVE Atlas Shrugged
HONORS & EDUCATION: Ph.D. In Music Composition (U.C.L.A.), Master and composition and Piano, Binghamton University. COURSES: Bachelor Vocal Performance, Great American Songbook LPW, Private HONORS & EDUCATION: Berklee College of Music graduate and former faculty
Bachelor of Music in Music Composition (Seoul National University) Lessons member
KRISHNAN, APPU SPECIALTIES: Vocalist, Songwriter, Arranger, Instructor in Pop, Electropop, Jazz
BREWER, HENRY COURSES: Digital Music, Virtual Instruments, Synthesis and Sampling, Private and Contemporary Ensemble Singing, Recording Artist GALLO, JOHN
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COURSES: Blues Keyboards, Hip Hop Keyboards, Hip Hop LPW, Private Lessons Lessons CREDITS: Co-Leader of bands KNOWER, Pollyn, perfomed with Sal Principato COURSES: Apple Logic, Studio Recording and Vocal Mix
Specialties: Keyboardist, Music Director, Producer SPECIALTIES: Production, Sound Design, Song-writing, Mixing (Liquid Liquid), Snarky Puppy, Tim Lefebvre, David Binney, Sammy Stephens, John SPECIALTIES: Recording, Pro-Tools, Ableton and Nuendo, Mixing and Mastering, ADR,
CREDITS: B.B. King, Lou Rawls, Gladys Knight, The O’Jays, The Emotions, members HONORS & EDUCATION: Bachelor’ Degree in Mechanical Engineering. Certificate Escreet and Kneebody, Played Bonnaroo Festival and Pukkelpop Festival, Released Foley, Post Sound and DJing
of Earth, Wind & Fire, guitarist Paul Jackson, Jr. Soundtracks for the films Nemesis, in Audio Engineering and AA in Keyboard Technology from Musicians Institute her solo CD, genevieve lalala in March 2015 CREDITS: DJ/VJ with Spotlight LA. Worked on films The Banshee Chapter, The Flock,
Police Academy II, and Bob Roberts. HONORS & EDUCATION: Bachelor of Music in Jazz Studies, Cal State Print, Uncharted, Nightlights, Silent No More, Expecting Mary, Anything is Possible
HONORS & EDUCATION: Webster College Music Conservatory LEE, EUN JUNG University Northridge HONORS & EDUCATION: Associates of Recording Arts, Academic Achievement
COURSES: Private Lesson, 80’s LPW, Assistant for Fusion Performance, Latin Award, Full Sail University
BYRON, CARL Worshop, Bachelor Ensemble, Vocal Performance. BASICK, SHAWNA
COURSES: Voicings 1-4, Groove 5, Jam Band LPW SPECIALTIES: Keyboard Instructor at MI, Music Director/Keyboardist at Church. COURSES: Vocal Performance, Harmony & Theory , Sightsinging, Modern Rock HERTZNER, LISA
SPECIALTIES: Instructor, Sideman, Recording Musician, Composer, Music Director, CREDITS: Arranging/Recording soundtracks for MBC broadcasting in Korea LPW, Pro Performance LPW, Private Lessons and Open Counseling COURSES: Studio Recording, Project Recording, Intro to Voice, Harmony Theory 011
Independent A&R Consultant, Music Critic, Author HONORS & EDUCATION: Masters of Music SPECIALTIES: Lead and background vocalist, Specializes in voice technique and and 021, Ear Training 012 and 022, Country LPW, Vocal Private Lessons
CREDITS: Michelle Shocked, Jim Lauderdale, Young Dubliners, Mike Stoller, Bo placement SPECIALTIES: Jazz, Country, Pop, Songwiter, Recording Artist
Diddley, Spencer Davis Group, Warren Zevon. Interscope Records, Messenger PARK, EVET CREDITS: Performer in musical theatre and sports events CREDITS: Mary J. Blige Holiday Concert with David Foster, Clearwater Jazz Holiday,
Records, Taxi Music COURSES: Pat Metheny Ensemble, Keyboard Technique, Keyboard Reading, HONORS & EDUCATION: Musicians Institute graduate Recorded with Nate Najar, Harry Allen, Kenny Drew, Jr. and John Lamb
HONORS & EDUCATION: Bachelor of Music Composition, Cal State University, Keyboard Performance, Keyboard Proficiency, Billboard LPW, Modern Rock LPW, HONORS & EDUCATION: Master’s Degree in Education, Bachelors Degree in Music
Northridge Private Lessons CASTANEDA, JUAN Education from The Crane School of Music at SUNY Potsdam in Upstate New York
SPECIALTIES: Musician, Educator COURSES: Vocal Technique, Accent Reduction, Diction for Vocalists, Vocal
GENNET, ROBERT CREDITS: Evet has performed as a keyboardist at renowned venues such as the Teacher Training, Intro To Voice, Vocal Performance, Private Lessons HUTCHISON, TITA
COURSES: Classic Rock LPW Mint and the Baked Potato in LA and has played in various live performances with SPECIALTIES: Contemporary and Classical styles, Coach and Conductor COURSES: Vocal Performance, Sightsinging, Image Development, Classic Rock LPW,
SPECIALTIES: Multi-Instrumentalist Musician, Singer, Songwriter, Educator prominent Korean singers at Ebell Theatre and Shrine Auditorium. She has also CREDITS: Ben Folds, Airbourne Toxic Event, Anna and the Bulls, The Bravery, Billboard Hot 100 LPW, Private Lessons
CREDITS: Nick Lachey, Everclear, Wayne Kramer, (MC5), Robby Krieiger (The Doors), performed at the Edison Jazz Festivals, Denton Jazz Festivals, Pat Metheny Jazz Mercy Beat, Taylor Rae SPECIALTIES: Recording Artist and Session Singer
Phil Chen (Jeff Beck, Rod Stewart), Paul Barrere and Kenny Gradney (Little Feat), Alan Ensemble in Texas and at several musicals, including Bye Bye Birdie, Sweeney Todd HONORS & EDUCATION: Bachelor of Music, Bob Cole Conservatory of Music CREDITS: Shooter Jenning, P.J. Olsson, Rick Rubin, Herbie Hancock. Worked on
Parsons, Harvey Mason (Fourplay, Headhunters) and more. She is currently directing the church choir and the church band, as well as at Cal State University Long Beach. Pritchard Opera Scholarship commercials, TV, radio and film productions for Calvin Klein, Fox and ABC Family,
composing, arranging, and producing albums. Capitol, Columbia. Co-author of “Advanced Vocal Technique: Middle Voice, Placement
HAMMACK, KAREN HONORS & EDUCATION: Masters of Music in Jazz Piano Performance, University CHUNG, ANN and Styles” (Hal Leonard)
COURSES: Groove, Accompaniment, Private Lessons of North Texas. 2015. Outstanding Musician award from Musicians Institute. COURSES: K-Pop LPW, Private Lessons HONORS & EDUCATION: Musicians Institute graduate
SPECIALTIES: Keyboardist SPECIALTIES: Singer, Songwriter, Producer
CREDITS: Maurice Hines, Niki Haris, Perla Batalla, Tierney Sutton, Kate McGarry, SALAS, ALBERTO CREDITS: Released two albums in South Korea as Ann One. Producer HURTADO, VICTOR
Johnny “Guitar” Watson, Melissa Manchester COURSES: Keyboard Technique, Latin Workshop, Brazilian Keyboards, Afro-Cuban and collaborator with Drunken Tiger JK, Tasha, The Pharcyde, Kurtis Blow, COURSES: Project Recording, Vocal Private Lessons, LPWs, Music Industry History 1
Keyboards, Latin LPW, Brazilian LPW, Private Lessons Dumbfoundead and Breezy Lovejoy and 2, Song Structure and Content
SPECIALTIES: Producer, Arranger, Keyboardist, Percussionist specializing in Afro- HONORS & EDUCATION: Won 2008 Korean Grammy for R&B Song of the SPECIALTIES: Vocal Performance, Artist Development, Artistic Direction, Producing,
Music Business HONORS & EDUCATION: Bachelor of Music in Performance from Musicians COURSES: Harmony Theory 011, 021, 101, and 201; Ear Training 012, 022, 102, and HONORS & EDUCATION: Bachelor of Fine Arts in Art Education and Painting with a
CREDITS: Kenny Loggins, 4TROOPS, American Military Spouses Choir, Army Institute, Hiwassee College, Instructor of the Year Award, Outstanding Choir Member 202; Sax Centric LPW Minor in Art History, Kresge Art Center, Michigan State University. Compumatics Computer
Entertainment, Sony Music, Award, National Orchestra Award SPECIALTIES: Harmony Theory and Ear Training, Live Performance Workshops, Training Certificate.
Universal Music, BBC Worldwide, NBC Universal, ABC, David Foster, Frank Fillipetti, Common Course Electives
Toby Keith SHARPE-TAYLOR, DEBORAH CREDITS: Duane Eddy, Joe Bonamassa, Ricky Martin, Los Straitjackets, Robert Cray, KAMP, TED
HONORS & EDUCATION: NARAS, ASCAP, Studied Directing at Harvard University, COURSES: Jazz Vocals, R&B Vocals, Image Development, Vocal Performance, John Hiatt, Royal Crown Revue COURSES: Artist Development: The Songs; Artist Development: The Show; Fundamentals
Adjunct Performance Professor Rutgers University, Artistic Director of Army Private Lessons HONORS & EDUCATION: Bachelor of Music, University of Miami, FL. Master of of Lyric Writing
Entertainment SPECIALTIES: Vocalist, Voice Instructor, Choral Director, Actor, Recording Artist Arts in Education, California State University, Los Angeles. Voting member, National SPECIALTIES: Songwriter, Producer, Bass Player.
CREDITS: Michael Jackson, Soul II Soul, The Supremes, Barry White, Andre Crouch, Academy of Recording Arts and Sciences. CREDITS: Solo Artist with records charting in the U.S. & Europe. Sideman to artists Shooter
KLIKOVITS, CHRISTIAN Harry Belafonte. Broadway shows The Wiz, Violet, Little Shop of Horrors. Vocal Jennings and Wilson Phillips
COURSES: Keyboards for Vocalists, Digital Notation & Arranging, Keyboard Director for It Ain’t Nothin’ But The Blues. Appeared on “American Idol” ANDERSON, MICHAEL HONORS & EDUCATION: Bachelor of Arts, State University of New York in Binghamton
Improvisation, Ear Training, Hip Hop LPW, Vocal Performance, Jazz Vocals HONORS & EDUCATION: Bachelor of Science in Telecommunications, Oral COURSES: Songwriting 1, Artist Development: The Songs, IAP Project Advising
SPECIALTIES: Keyboard instructor, Chart Writing, Sibelius, Accompanist Roberts University. Master of Business Administration, University of Phoenix SPECIALTIES: Songwriting, Production, Live Performance, Video KIM, JEAN
CREDITS: Ellen Greene, Chaka Khan, Gloria Gaynor, Thelma Houston, Donna De CREDITS: Publishing catalogs with Universal, EMI, MCA, etc. Released solo records COURSES: Music Video Bootcamp, Final Cut Pro X
Lory Honors & Education: Bachelor Degree in Jazz Piano, The STANBURY, ASHLEY on A&M Records and EMI SPECIALTIES: Cinematography, Camera Operation, Editing
Conservatory of the City of Vienna COURSES: Vocal Performance, Bachelor Private Lessons HONORS & EDUCATION: Wrote the #1 country and Grammy winning song CREDITS: Cinematography on the feature film “Showing Up” (directors Riad Galayini and
SPECIALTIES: Acting, Performing, Piano “Maybe It Was Memphis,” recorded by country artist Pam Tillis and performed on James Morrison) and the short film “Amigas with Benefits” (director Adelina Anthony).
PARIS, ANIKA CREDITS: “An Irish Christmas” Tour, Hollywood Fringe Festival, Long Beach Opera, American Idol and the Voice. Dove award winner for “Hard Rock Song of the Year. EDUCATION: Master of Fine Arts in Film and Television Production, University of
COURSES: Image Development, Vocal Performance, Artist Development-The Songs, Los Cancioneros Master Chorale, the Palos Verdes Classical Music Concert Series Southern California. Film Independent Fellow.
Keyboard, Project Advising HONORS & EDUCATION: Bachelor of Music in Vocal Performance from Bob Cole CALLY, MARK
SPECIALTIES: Singer, Songwriter & Composer for TV, film and stage, Author, Poet Conservatory at Cal State University, Long Beach COURSES: Intro to Guitar, Artist Development: The Songs, MARGO, KIRK
CREDITS: Shared stage with Stevie Wonder, John Legend and John Mayer. Recorded SPECIALTIES: Harmony Theory and Ear Training, Jazz guitar COURSES: Harmony Theory & Ear Training, Musicianship, Reggae LPW
for Edel/Sony, Warner Bros. Published Songwriter with Universal Polygram, Warner STERN, JESSE CREDITS: Royal Crown Revue; Music Copyist for TV (Battlestar Galactica), Movies SPECIALTIES: Harmony Theory and Ear Training, LPW
Chappell, BMG. Songs in films with Miramax, Lionsgate, 20th Century Fox & HBO as COURSES: Studio Recording (DeathRace), and Video games (Batman) CREDITS: Guitarist with Mexican pop-rock singer-songwriter, Gloria Trevi, for five years.
well as shows like “General Hospital” & “Latin Explosion” SPECIALTIES: Producer, Multi-Instrumentalist, Vocalist, Recording & Mixing HONORS & EDUCATION: Guitar study with Jim Hall and Bucky Pizzarelli. Wrote HONORS & EDUCATION: Studied composition and music theory at Cal State
HONORS & EDUCATION: Bachelor of Arts in Theatre and Media Arts/Film, Engineer, Songwriter the song “Mr. Zoot Suit” (Blast From The Past) Northridge. Studied guitar with Ted Greene, Jimmy Wyble
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University of Kansas. ASCAP Pop Plus Awards. Platinium Songwriting Award, CRIA CREDITS: Jordin Sparks, Sly Stone, George Clinton, Hanson, Chad Smith (Red Hot
Canada Chili Peppers), Weezer, Guy Sebastian (Australian Idol winner) RANDALL, ROBIN
HONORS & EDUCATION: Bachelor of Arts in Ethnomusicology, University of CASALE, NICK COURSES: Artist Development: The Songs, IAP Project Advising; Private Keyboard
REID, COLIN Washington Seattle COURSES: Visual Media 1 & 2, Promotional Media Lessons
COURSES: Rock Repertoire, Jam Band and Country LPWs SPECIALTIES: Graphic Design, Album Art, Promotional Materials, Web Graphics, SPECIALTIES: Songwriting, Keyboard Performance, Harmony & Theory and Ear Training
CREDITS: Played with ex-Megadeth Drummer Nick Menza in the band Deltanaut, WILLIAMS, BRIAN Logo Creation & Branding, Photo Editing CREDITS: Wrote hits for Starship, Agnetha Faltskog of ABBA, Roxus. Songs written for TV
toured with Blacklist Union, released a full-length album as a solo artist, and was the COURSES: Art of Success, Extreme Vocals, BACH Vocal Performance, Hard Rock CREDITS: Shirt.Woot, Black Arts Toneworks, Mojo Hand Effects, Hal Leonard show Baywatch
former Music Director at Rock Nation school in Agoura Hills, CA LPW, Punk LPW, Private Lessons Publishing HONORS & EDUCATION: Certificates in Composition and Keyboard, Dick Grove
HONORS & EDUCATION: Bachelor of Music in Performance, an Associate of Arts SPECIALTIES: Rock Vocals, Extreme Vocals, Mimicking Styles, Songwriting, Career HONORS & EDUCATION: Bachelor of Fine Arts in Graphic Design, Oswego State School of Music. Emmy Judge for the Academy of Television Arts & Sciences. Finalist in
in Vocals and an Audio Engineering Certificate from Musicians Institute. Awarded the Guidance, Performance, Goal Setting and Achievement University, NY. the American Idol Songwriting Competition.
Musicianship Scholarship and Outstanding Student award for the Vocal Program at MI. CREDITS: Vocalist with Racer X, Otto, Damn Hippie Freaks, Commercial Free,
Bachelor of Arts from the University of British Columbia Deltanaut (ex-Megadeth drummer Nick Menza). TV performances on “2014 Superbowl CHILCOAT, THOMAS RICH, ALLAN
Halftime,” Golden Globes, Burn Notice, The Mentalist, Smash, The Life and Times of COURSES: Music Video Bootcamp, iMovie and Final Cut Editing COURSES: Career Development Counselor
SAPUTO, GINA Tim, Sons of Anarchy SPECIALTIES: Music Video Directing, Editing, Screenwriting SPECIALTIES: Advice on songwriting and the business of songwriting
COURSES: Ear Training, BACH Sightsinging, Vocal Performance, BACH Private HONORS & EDUCATION: Bachelor of Arts, UCLA. Musicians Institute Vocal CREDITS: Former Director of Development at Pellington Films (award winning music CREDITS: Barbara Streisand, Tina Turner, Rod Stewart, Luther Vandross, Dolly Parton,
Lessons Program video director) Patti LaBelle.
SPECIALTIES: Jazz Vocalist, Clinician, Bandleader, Performer, Choral Conducting, EDUCATION: Bachelor of Arts, University of Maryland. HONORS & EDUCATION: Two time Academy Award, Grammy, and Golden Globe
Background Vocals WILSON, CHRISTINA nominated songwriter. Written songs for Natalie Cole, Whitney Houston
CREDITS: Gina Saputo Quintet, Herbie Hancock, Wayne Shorter, Terence Blanchard, COURSES: BACH Vocal Performance, BACH Private Lessons DESANTIS, MARKO
Benny Green, Nnenna Freelon, Barry Manilow, Barbara Streisand and Bonnie Raitt SPECIALTIES: Composes and Arranges Choral, Classical, Big Band,Traditional & COURSES: Artist Development: The Songs, Artist Development: The Show SCHIFF, RONNY
Honors & Education: Bachelor of Music in Jazz Studies, University of Southern Contemporary Folk and Americana, Jazz SPECIALTIES: Instructor, Artist Development COURSES: Career Development Counselor
California. Thelonious Monk Institute Vocalist, Orange County Music Awards CREDITS: Honey Whiskey Trio, Monterey Jazz Festival, James Moody, Dena DeRose. CREDITS: Sugarcult (V2/Fearless Records). Bad Astronaut (Fat Wreck Chords). SPECIALTIES: Produces & licenses music books; music programming for airlines
Opened for Peabo Bryson and Aaron Neville Composer for Nickelodeon, MTV Networks CREDITS: Produced books and/or interviewed with Quincy Jones, Herbie Hancock, Pat
SEZAKI, KATSUYA HONORS & EDUCATION: Bachelors Degree in Jazz Studies, Bob Cole HONORS & EDUCATION: Bachelor of Arts, University of California at Santa Barbara Metheny, Stevie Ray Vaughan.
COURSES: Digital Notation & Arranging, Sight Singing, Harmony & Theory, Ear Conservatory of Music at Cal State University Long Beach HONORS & EDUCATION: Avion Awards: Best Airline Music 2001; President, California
Training, Apple Logic, Computer Notation, Artist Development, Private Lessons FORBES, KATERI Copyright Conference
SPECIALTIES: Educator, Arranging, Copyist, Music Transcription, Producing Music COURSES: Visual Media 1 and Visual Media 2
Theory, Sight Singing, Vocal Coaching COMMON COURSE SPECIALTIES: Graphic Design and Web Site Design SIMONS, BRETT
CREDITS: Transcribing for Award winning musical “American Heartbeat” written & CREDITS: The Smashing Pumpkins, Billy Corgan, Don Bolles, The Strawberry Alarm COURSES: LPWs, Private Lessons
composed by Martha Velez, “Temple of the Souls” composed by award nominees DZIUBLA, RON Clock, Steven Antin, Jesse Dylan, Phillip Atwell, Diane Keaton, Mod/Op Films, Bonch, SPECIALTIES: Bassist-Upright and Electric
Dean Landon and Anika Paris. Faye Wong (China) ASSOCIATE DEAN, COMMON COURSE DEPARTMENT Form, Tate USA, Geronimo Films, Maverick Records, Staretone Records, Milan Records CREDITS: The Beach Boys/Brian Wilson, Melissa Etheridge, Fiona Apple, Liz Phair,
Anastacia Year (Walter Trout), 2016 Blues Rock Album of the Year/Song of the Year (The Blues Music American Airlines among others. FREDERICKS, TERENCE
HONORS & EDUCATION: Bachelor of Music, University of Miami, FL Awards - Walter Trout), Six top 5 Billboard Blues albums COURSES: Ind. DJ Workshop, Turntablism, DJ-Driven and Hip Hop LPWs, Set
SHOTTS, DAVID “BLAIR” Building, other DJ courses
SQUIRE, BARRY DAYE-ALBERSON, ALEXX COURSES: Project Advising SPECIALTIES: As DJ Jedi, has appeared in Russell Simmons’ Def Poetry Jam, Digable
COURSES: Starting Your Music Career, Hiring Hall, and Audition Workshops COURSES: Vocal Private Lessons, Project Advising, LPW SPECIALTIES: Drum Set Session Player, Percussionist in all styles Planets, daKAH Hip Hop Orchestra
SPECIALTIES: A&R specialist, advising young musicians on getting gigs SPECIALTIES: Vocals, Songwriting, Live/Studio Sessions (Gospel/Blues/Soul/Funk/ CREDITS: Rihanna/Drake Grammy performance, Macy Gray, Adam Lambert, CREDITS: Emmy Award-winning DJ. Nominated for the L.A. Weekly Theatre awards
CREDITS: Client list includes John Mayer, Weezer, Guns N’ Roses, Kelly Clarkson, RnB/Pop/Rock) Jesse McCartney, DJ Logic, Fishbone and the NAACP awards for the musical BASH’D.
Smashing Pumpkins, Justin Timberlake. CREDITS: Patti Labelle, Red Hot Chili Peppers, Christina Aguilera, Ne-Yo, Engelbert HONORS & EDUCATION: MI Certificate in Drum Performance, Grammy
HONORS & EDUCATION: Teaches Music Business at UCLA Extension. Worked as Humperdinck Nomination HARRIS, LACEY
an A&R exec for Warner Bros., Geffen, and Columbia Records. DJ PERFORMANCE & PRODUCTION PROGRAM CHAIR
HARKNESS, ROBERT TOUCET, MORALES ERVIN COURSES: Beat Matching, Traktor, Serato, History of Recorded Popular Music,
TORRES, JR., RICARDO COURSES: Music Analysis, Recording Project, Plugin Processing, Live Drum COURSES: Guitar Private Lessons, IAP Project Advising, DJ-Driven LPW, Hip-Hop Project Advising, DJ Tech 1, DJ Tech 2, Serato DJ, Traktor, Individual DJ Workshop
COURSES: Artist Development: The Songs; Artist Development: The Show; Rock Programming, Music Productin Workshop, Logic LPW SPECIALTIES: Production, Songwriting, Arrangement, Music for SPECIALTIES: DJing, Production
Repertoire LPW, Coffee House LPW SPECIALTIES: Producer, Arranger, Engineer, Mixer Film/TV, Live/Studio Sessions (Rock/Latin/Metal/Country Rock) CREDITS: DJ Colette, Concurrent Recordings
SPECIALTIES: Songwriting, Musical Direction, Guitar, Composition CREDITS: Kobalt Music, Sony/ATV Music Publishing CREDITS: Soundtracks for Resident Evil: Afterlife, And Soon The Darkness. TV HONORS & EDUCATION: UCLA, Musicians Institute
CREDITS: The Smart Set, Supreme Beings of Leisure. Guitarist for the English Beat. HONORS & EDUCATION: Bachelor of Music, Music Production & Engineering, shows on Telemundo, Univision
Written music for J.C. Penney, MTV Berklee College of Music, Magna Cum Laude HONORS & EDUCATION: MI Guitar Program Graduate with Honors
HONORS & EDUCATION: Voting member of the National Academy of Recording MARKMAN, BRIAN
Arts and Sciences. PARDINI, LAUREN VATCKY, GISA COURSES: Ableton Live, Beat Matching, Music Production Workshop, Project
COURSES: Project Advising, Artist Development, Vocal Private Lessons, Bachelor’s COURSES: Vocal Instructor, Project Advising Advising, Logic Pro X
YOUNG, JEFFREY Vocal Performance SPECIALTIES: Vocals, Background Vocals SPECIALTIES: Ableton Live, Production, Engineering, Electronic Live Performance
COURSES: Artist Development The Songs, Artist Development The Show, Original SPECIALTIES: Vocal Producer, Vocal Instructor, Songwriter, Singer, Keyboardist, (Hip- CREDITS: Zedd, David Foster, Enrique Iglesias, Santana, Andrea Bocelli, Luis CREDITS: Presha Crew, WreckIgnition
Lyric Writing, Fundamentals of Lyric Writing Hop, Electronica, Pop) Miguel, Juan Gabriel, Sheila E., Sang on the Spanish Version of “Happy Feet” HONORS & EDUCATION: Bachelor of Science in Business, University of Phoenix;
SPECIALTIES: Keyboardist, Vocalist, Songwriter CREDITS: Columbia, Sony/Epic, Island Def Jam, Atlantic, E, MTV, Oxygen, Lifetime, HONORS & EDUCATION: Bachelor of Music, Metropolitan University of Associate of Science in Recording Arts, Full Sail Music & Media Production Center
CREDITS: Sting, Steely Dan, Jackson Browne, Bonnie Raitt Sony Playstation, HBO Educational Sciences & ProJazz Music Academy (Santiago, Chile)
HONORS & EDUCATION: Bachelor of Fine Arts, Ithaca College, Ithaca, NY HONORS & EDUCATION: NYU, USC POCHON, ARTHUR
GENERAL
GENERAL
COURSES: IAP Project Advising
POCHON, ARTHUR WALTER, KATHLEEN
INDEPENDENT ARTIST COURSES: Project Advising COURSES: Vocal Private Lessons, Artist Development the Songs, IAP Project
SPECIALTIES: Composition, Production, Arranging, Mixing, Performance (Piano and
Saxophone), DJ
DEVELOPMENT SPECIALTIES: Composition, Production, Arranging, Mixing, Performance (Piano and
Saxophone), DJ
Advising, LPWs
SPECIALTIES: Vocals and Songwriting
CREDITS: Art Bleek, Ursula Rucker, Fitz & The Tantrums, Zoowax
HONORS & EDUCATION: Diploma, Conservatoire National de Région, Paris,
CREDITS: Art Bleek, Ursula Rucker, Fitz & The Tantrums, Zoowax CREDITS: Rob Hoffman, Griffin Boice, Dave Aude, Eddie Galan, Chase Foster
France
HONORS & EDUCATION: Conservatoire National de Région, Paris, France HONORS & EDUCATION: Honors & Education: Bachelor of Music, Belmont
BATES, JONATHAN
COURSES: Project Advising, Music Production Workshop, Vocal Production
University, ASCAP Lester Sill Songwriter WEATHERSPOON, JOSH
SPECIALTIES: Production, Mixing, Touring, Online Marketing
HANNAH “KAT” MCDOWELL COURSES: Ableton Live Instructor, Project Advising
CREDITS: Big Black Delta, Tour guitarist for M83. Remixes: Daft Punk, Britney Spears,
COURSES: Social Media Branding WEATHERSPOON, JOSH SPECIALTIES: Music Production, Recording, Mixing, Editing, Arranging, Remixing,
SPECIALTIES: Social Media and Branding, Music Video Creation, Songwriting, Live COURSES: Ableton Live Instructor, Project Advising Live Performance
Moby
Performance SPECIALTIES: Music Production, Recording, Mixing, Editing, Arranging, CREDITS: Transworld Snowboarding’s The Nation, Giorgio Moroder, ZZ Ward, Barry
HONORS & EDUCATION: Hemlock Grove, Halt And Catch Fire, Six Feet Under,
CREDITS: SONY Japan/Avex, finalist in the Guitar Center Singer-Songwriter Remixing, Live Performance Rothbart
ALDO, Nissan, Project Runway, Bravo, FIFA
competition, winner in Youtube’s Next Up Class of 2016. Has shared the stage with CREDITS: Transworld Snowboarding’s The Nation, Giorgio Moroder, ZZ Ward, HONORS & EDUCATION: Bachelor of Arts, University of North Texas; Ableton
Switchfoot and Colbie Caillat. Barry Rothbart
BROWN, JONATHAN Certified Trainer
HONORS & EDUCATION: Bachelors of Performing Arts, Jazz Music, Auckland HONORS & EDUCATION: Bachelor of Arts, University of North Texas; Ableton
COURSES: Project Advising and Music Production Workshop
SPECIALTIES: Music Producer, Engineer, Mixer, Songwriter, and Musician
University, Auckland, New Zealand

Certified Trainer AUDIO ENGINEERING
CREDITS: P!nk, Eminem, The Black Eyed Peas, DJ Khalil, Universal Music Publishing,
SALEM, ANTOINE
Archwood Music
COURSES: Project Advising, Guitar Private Lessons
DJ PERFORMANCE & NEWKIRK, JONATHAN
DEAN OF ENTERTAINMENT INDUSTRY STUDIES, PROGRAM CHAIR OF
HONORS & EDUCATION: 2 Grammy Nominations, Berklee College of Music
SPECIALTIES: Guitar, Songwriting, Arranging, Production PRODUCTION AUDIO ENGINEERING
CREDITS: George Clinton, Fugees, Amerie, Lionel Loueke, TV Shows including ABC’s
CORNE, ERIC SPECIALTIES: Responsible for instructor performance and providing ongoing
COURSES: Recording Project 1 and 2
“Brothers and Sisters” BELL, MARK curricular development.
HONORS & EDUCATION: Berklee College of Music Graduate COURSES: Beat Matching, Music Production Workshop, Set Building, Project CREDITS: Dishwalla, Slash, Roger Daltry, Epitaph Records, Carmine Appice
SPECIALTIES: Sound Engineering, Music Production, Songwriting, Arrangement, Pro
Tools, Music Business Advising, Music Industry History, Song Structure and Content HONORS & EDUCATION: Executive MBA (EMBA) from USC.
CREDITS: John Mayall, Joe Bonamassa, Joe Walsh, Lucinda Williams, DeVotchKa,
SENTINA ,ANNA SPECIALTIES: Production, Arranging, Composition, Mixing, DJing, Logic
COURSES: Social Media Branding CREDITS: Chaka Khan, New Order, A Tribe Called Quest, Jamiroquai, M-People, BARBER, JAMES
Kim Deal (The Pixies), True Blood, Underworld 2, Crazy Stupid Love
SPECIALTIES: Social Media and Branding, Music Video Creation, Bass Moloko, Manuel Tur, King Britt, DJ Sneak, Doc Martin COURSES: Mixing and Mastering, Recording Techniques, Console Operation, The
HONORS & EDUCATION: Bachelor of Arts in Political Science, Chief Engineer
CREDITS: Kevin Martin (Candlebox), Stephen Perkins (Infectious Grooves, Jane’s HONORS & EDUCATION: Mercury Award winner Business of Audio
Mad Dog Studios (2004-2008), NPR Album of the Year Nominee (KaiL Baxley), Rolling
Addiction), David Ellefson (Megadeth), and many others. Endorsed by Roland, GruvGear, SPECIALTIES: Engineer, Writer, Composer for Television/Movies, Singer, Video
Stone Country Album of the Year 2017 (Jaime Wyatt), 2012 iTunes Blues Song of the
DR Strings, Hesu, Kiesel. Corporate clients include NBC Universal, Capitol Records, Broadcast
CREDITS: Earth Wind and Fire, Phil Collins, Busta Rhymes, Mary J. Blige, KRS-One, CREDITS: Jamie Foxx HONORS & EDUCATION: Bachelor of Science in Computer Engineering, BS Electrical
Proud Family (Disney), Girlfriends (Fox), King of Queens (CBS) HASSINE, MEHDI HONORS & EDUCATION: Experienced audio engineer and producer whose Engineering, BA Guitar Performance
HONORS & EDUCATION: Aassociate of Arts Degrees, Avid Certified, Gold and COURSES: Pro Tools 2, Mixng for film, Mixing and Mastering credits include local and international bands
Platinum Records, Grammy Nominated. SPECIALTIES: Music Production and Sound Supervision for Film & TV WAY, JASON
CREDITS: Sigur Rós, Dave Weckl, Disney International, PBS REID, MIKAL COURSES: Console Operation I: Neve, Recording Techniques
BINIKOS, MICHAEL HONORS & EDUCATION: Master of Science Electro-Optical Engineering, Member COURSES: Mixing and Mastering, Console Operations, Practical Recording SPECIALTIES: Engineer, Guitarist
COURSES: Console Operation I and II, Pro Tools of NARAS and AES, Three-time MI Instructor of the Year winner SPECIALTIES: Engineer, Producer, Songwriter CREDITS: Gravity Guild
SPECIALTIES: Record Producer, Engineer, Writer and Arranger CREDITS: Mick Jagger, Ben Harper, Brother Cane, Bo Bice, Kenny Wayne HONORS & EDUCATION: 15 years in the industry
CREDITS: LeAnn Rimes, Snoop Dogg, Brie Larson, Kane West, The Grammys, Jon HELMERICH, TODD Sheppherd, Dynamite Walls
Secada, Tanya Tucker COURSES: Console Operations, Signal Processing, Mixing Essentials HONORS & EDUCATION: Wrote & produced for Dr Phil show, producer/ YOUTH, SHAUN
HONORS & EDUCATION: Represented by the CAA agency SPECIALTIES: Engineer, Producer, Shrapnel Recording Artist, Guitarist, Vocalist engineer for Flock of Seagulls COURSES: Pro Tools, Console Operation III: Icon and Euphonix, Logic
CREDITS: Stanley Clark, Ronnie Wood, Victor Wooten, Zappa Plays Zappa, Virgil SPECIALTIES: Engineer, Producer
BUCKLEY, FRANCIS Donati RUDOLPH, BARRY CREDITS: Anthony Kilhoffer (Kanye West, Eminem), Jamie Foxx, Max Weinberg, Assemble
COURSES: Mixing and Mastering, Console Operation, Signal Processing HONORS & EDUCATION: Grammy Nominee COURSES: Project Studio Design the Skyline
SPECIALTIES: Mixing Engineer, Producer, Educator SPECIALTIES: Engineer, Producer, Journalist HONORS & EDUCATION: Pro Tools 11 Certified Instructor, Apple Logic Certified Pro,
CREDITS: Quincy Jones, Alanis Morissette, Aerosmith, Celine Dion, Black Flag HUMPHREY, CARTER WILLIAM CREDITS: Lynyrd Skynyrd, Hall and Oates, Pat Benatar, Rod Stewart, The Corrs, Waves Gold certified
HONORS & EDUCATION: Aassociate of Arts Degree Music, Multiple Gold and COURSES: Mac Basics, Pro Tools 100/200, Mixing Essentials, Sound Reinforcement Keith Moon
Platinum records, Grammy Award for Best Engineering Quincy Jones “Q’s Jook Joint”. Essentials HONORS & EDUCATION: Associate of Arts and Bachelor of Science degrees, ZAWINUL, IVAN
SPECIALTIES: Engineer, Mixer, Producer Avid Certified Instructor, Gold and Platinum records, Grammy Awards. COURSES: Intro to Live Sound , Business of Audio, Console Operations, Monitor
CREDITS: Brian Wilson of the Beach Boys, Rod Stewart, Julie Andrews, Queen Operations , Recording Theory / Techniques
CLISSEN, WALTER Latifah SCHTONOV, ZAHARI SPECIALTIES: Live Sound Engineer (F.O.H , Monitors), Producer, Studio Engineer,
COURSES: ADR, Foley, Event production Contracts, Intro to Live Sound, State & Tour HONORS & EDUCATION: Bachelor of Science: Music Recording from USC. COURSES:Background & Sound FX Editing, intro to Post, Mac Basics and Gear Production Manager, Sound Consultant
Management Grammy Nominated and awarded for Rod Stewart’s Great American Songbook series, Set-Up CREDITS: The Zawinul Syndicate, Weather Report, Salif Keita, Stan Getz, Carlos Santana,
SPECIALTIES: Live Sound Engineer, Recording Studio Engineer, ADR, Foley, Re- Volumes 1-5 SPECIALTIES: Sound & Picture Editor, Re-Recording Mixer, Mixer Miles Davis, Joe Zawinul, Kenny Burrell
recording, FOH Mixer, Certified Pro Tools Instructor CREDITS: Paramount, Walk Disney, E! Entertainment, MTV, Bravo, HBO, HONORS & EDUCATION: Recognized N.A.R.A.S Engineer, Avid Certified, Produced and
CREDITS: Jose Feliciano, Mixing Arno Raunig performs Mozart castrati arias, ISAAC, DAVID Jeff Goldblum, Bad Girls Club, Keeping up With the Kardashians.Honors & Engineered 4 Grammy-nominated albums, Engineered Live shows in over 90 countries
GENERAL
GENERAL
Graceland Season 2 Eps, FOH Mixer – Sounds of the Supremes-Gracie Theatre. COURSES: Music Production EDUCATION: Associates of Recording Arts, AVID Certified Expert ICON Mixer
HONORS & EDUCATION: National Higher Institute for Theatre and Performing, SPECIALTIES: Music Producer, Mix Engineer, Musician, Composer (310i), Certified pro Tools Operator (210p, 210M), CompTIA A+ Certified Computer
Arts in Brussels-Belgium, Audio-Video-Editing, BFA-MFA, Pro Tools HD 12.8 ACI CREDITS: Marcus Miller, Prince, Michael Jackson, Eric Clapton, Whitney Houston Technician, Microsoft Certified Professional Technician MUSIC BUSINESS
Certification. Honors & Education: 3 Grammy awards, multiple Gold & Platinum records
SCHWALBE, SOLANGE TURNER, STACY
DE TOGNI, MAURIZIO KAGAN, ADAM COURSES: Dialogue Editing, Foley Editing, Background Editing, Sound FX Editing MUSIC BUSINESS PROGRAM CHAIR
COURSES: Avid Pro Tools 101/110, Apple Logic 1 & 2 COURSES: Practical Recording, Console Op 2 SPECIALTIES: Motion Picture Sound Editor in Feature Films SPECIALTIES: A&R/Independent Consultant, Management/Representation, Talent
SPECIALTIES: Composer for TV, Mentor to Grammy-winning producers, Pro Tools/ SPECIALTIES: Engineer, Mixer, Producer, 5.1 Mixing for Film, Studio Designer CREDITS: 161 Feature Credits: since 1984 Development, Production Coordination
Logic Pro Guru, Author CREDITS: Gladys Knight, Kanye West, Usher, Elton John, Jeff Beck, Disney’s High HONORS & EDUCATION: Emmy Best Sound Editing for HBO’s “John Adams,” CREDITS: A&R Director, Quincy Jones/Qwest Records; Tamia, Tevin Campbell, Patti
CREDITS: Paramount Studios, J.Valentine & J.Carmichael (Maroon 5), UCLA, School Musical, EA Sports MPSE Golden Reel Award, 2 Emmy Nominations Austin, Andraé Crouch; Rex Rideout, Ledisi
Stanford, John Lennon ETB, MacWorld HONORS & EDUCATION: Engineered or produced 15+ Grammy Nominated and HONORS & EDUCATION: Associate Member of the Recording Academy, 4 Grammy
HONORS & EDUCATION: Logic Pro X Certified Pro/Trainer, Certified Pro Tools Gold and Platinum albums. B.A. University of Miami TESTAI, JOSEPH Certificates (nominated albums/artists), USC, California State Univ. at Long Beach and
HD11 Expert/Instructor (46 certifications). COURSES: Musicianship, Pro Tools, Console Operation Northridge.
MORALES, JOSHUA SPECIALTIES: Engineer, Guitar Player, Producer
DOLD, MARC COURSES: Sound Reinforcement Essentials, Live Sound Applications CREDITS: Dweezil Zappa, Dennis Chambers, Virgil Donati, Jeff Bowders, Sigur AMICONE, MICHAEL
COURSES: Beat Making and Maschine Logic I, Music Composition SPECIALTIES: Live Sound Engineer Ros COURSES: Media Relations, News & Industry Trends
SPECIALTIES: Producer, Writer, Performer, Programmer CREDITS: Jaden Smith, John Fullbright, Susan Enan, The Green Note, Prospect HONORS & EDUCATION: 30+ years in the industry SPECIALTIES: Editor, Journalist, Media Personality, Reissue Producer, Teacher.
CREDITS: Swiss American Federation, Paul Van Dyke, Erasure, Enya, Nelly Furtado, Theater, Advantage Productions, exp3d CREDITS: Billboard Bulletin, UMG’s farmclub.com, Music Connection, Elton John liner
Céline Dion, Alice Cooper HONORS & EDUCATION: Master of Arts in Sonic Art, Middlesex University, TOWNER, EDWARD notes, Nilsson track list
HONORS & EDUCATION: Electronics Degree, B.A. from the Conservatory of Bachelor of Music: Music Composition, Oral Roberts University COURSES: Console Operation I, Reason I & II, Critical Listening HONORS & EDUCATION: Littleford Award (Billboard Bulletin) and NARM Award
Zürich. Masters in Music, Berklee College of Music SPECIALTIES: Mixing Engineer, Producer, Songwriter (Billboard Bulletin)
NONISA, MARK CREDITS: HBO Documentary “Bastards Of The Party,” Darius McCrary, Tank,
HAINER, GREGORY COURSES: Practical Recording, Musicianship, Console Operations Glasses Malone BAUR, LES BERNARD
COURSES: Audio For Video Games, Post Essentials, ADR Voice Over & Dialogue SPECIALTIES: Engineer, Producer HONORS & EDUCATION: Musician Institute Audio Engineering Instructor Of COURSES: Music Distribution, Broadcast Strategies, Sponsorships & Endorsements,
Forensics, Pro Tools, Intro to Post CREDITS: Babyface, film soundtrack “Have Plenty,” Basix The Year Showcase Promotions, Start & Run Your Own Record Label, Music Business Basics, Music
SPECIALTIES: Post Sound Editorial, Sound Design, 5.1 Mixing, Voice Over, Music HONORS & EDUCATION: Graduated with Honors from Musicians Institute, 3 Industry 2, Music Industry 3A
Production, Music Synthesis decades in the industry WANG, JONATHAN SPECIALTIES: Consultant, Editor, Writer, Author, Artist Relations, Marketing & Media,
CREDITS: Warner Bros., Walt Disney, Universal Studios, Soundelux Todd-AO, COURSES: Pro Tools 201 & 210, Electronics Educator
Microsoft, Activision, EA, SCEA RASHID, ORLANDO SPECIALTIES: Mixer, Engineer, Programmer, Guitarist CREDITS: Music Connection, Bill Graham, Warner Bros., Guns N’ Roses, SOAD, No Doubt,
HONORS & EDUCATION: Berklee College Of Music, MP&E Academic Scholar, 5 COURSES: Field Recording, Signal Processing, Console Op SSL, Intro to Post CREDITS: Daryl Black (aka Dez Phoenix), Nikki Forova, Barrett Wilson (Fear and Matchbox Twenty, Janis Joplin
Golden Reel Awards, TEC Nomination, BMA SPECIALTIES: Field Recordist, engineer, songwriter the Comedy) HONORS & EDUCATION: Bachelor of Arts, San Francisco State University; J.D., Lincoln
Law School; Journalism Awards (NARIP & LAMA) Estefan, Joe Cocker, Duran Duran HONORS & EDUCATION: Bachelor of Science, Columbia College. UCLA Setup 1 & 2, Electronics 1 & 2, Instrument Repair, Acoustic Guitar Design, Acoustic Guitar
HONORS & EDUCATION: Golden Apple Award (The Beatles), Recording Academy Research Fellowship. Fabrication, Acoustic Guitar Fixtures, Acoustic Guitar Finishing
BORG, BOBBY member, co-author of “It All Begins With The Music” SPECIALTIES: Luthier, Guitar Technician
COURSES: Independent Artist Marketing, Applied Entertainment Business 1 and 2, SHAW, AL CREDITS: Matchless Amplifiers
Computers in Music Business, Computer Tech Music Business Applications 1, The JONES, JR., THORNELL COURSES: Tour Management, Adv. Tour Management, Concert Promotions, HONORS & EDUCATION: Certificate of Guitar Craft Musicians Institute, Machining
Business of Working Musicians, Intro To Music Publishing Specialties: Helping Music COURSES: Digital Marketing, Independent Artist Marketing, Music Business Marketing & Marketing & Social Media 2, Media Relations, Music Distribution, Business Writing Program L.A. Trade Tech
Business Professionals Turn Their Art Into a More Successful Business. Social Media 1 - 5 SPECIALTIES: Communications/PR/Music Mgmt Consulting, Artist Mgmt and
CREDITS: Member (Warrant / Beggars & Thieves), Author (Musician’s Handbook, SPECIALTIES: Product Development and Marketing, Branding and Artist Development Development, Booking and Tour Mgmt JANG, ISAAC
Marketing For DIY Musicians), VP of AMA. CREDITS: Jill Scott, Diana Ross, Mint Condition, Sounds of Blackness, RML TV Series CREDITS: GusGus, Högni Egilsson, Juan Atkins, Greg Gow, Doug Rasheed, COURSES: Acoustic Guitar Design, Acoustic Guitar Fabrication, Acoustic Guitar Fixtures,
HONORS & EDUCATION: Berklee (Performance), UCLA (Marketing / Project HONORS & EDUCATION: Voting Member of The Recording Academy, 13 Grammy Whitey, Dust Traxx Distribution, Gigolo Records Booking, Friendselectric Artist Acoustic Guitar Finishing
Management / Instructor Development), and CBEST Certified. Certificates, B.A. Economics Wesleyan University Mgmt SPECIALTIES: Luthier, Guitar Technician
HONORS & EDUCATION: Bachelor of Arts, Public Relations - Marketing CREDITS: Tommy Emmanuel, David Crosby, The Doobie Brothers
COLLIN, BARBARA Communications, Columbia College Chicago HONORS & EDUCATION: Kathy Wingert Guitars, Bryan Galloup School of Lutherie
COURSES: Agents & Bookings KOÇ, SUZAN
SPECIALTIES: Talent Agent representing national and international recording and COURSES: Music Publishing, Music Publishing & Licensing 2 TEEGARDEN, ROBERT
touring artists. SPECIALTIES: Music Publishing, International Music Publishing, Songwriting Coach, Song COURSES: Entrepreneurial Strategies, Music Publishing & Licensing 1, Computer
CREDITS: ICM, Agency for the Performing Arts, John Levy Enterprises, President of Plugger Tech Music Business Applications 2, Accounting & Finance 2
Collin Artists CREDITS: Worked at Warner Chappell France, Hit & Run NY&LA, BMG, Taxi Music, worked SPECIALTIES: Entrepreneur, Royalty Accounting, Copyright Licensing
HONORS & EDUCATION: Bachelor of Arts in Interdisciplinary Creative Arts, with songwriters Shelly Peiken (Grammy Nominee), Wally Gagel, Xandy Barry, Jean Baptiste, CREDITS: Universal Music Group, Sovereign Music
Teaching Credential busbee, David Gamson (Grammy Nominee) HONORS & EDUCATION: Masters in Industry Administration from California
HONORS & EDUCATION: Bachelor in Law, Université de Genève State University, Northridge
EDWARDS, TIMOTHY
COURSES: Music Licensing & Supervision, Music Publishing & Licensing 4, LOUIS, KARL GUITAR CRAFT
Production Music For Visual Media 1 & 2 COURSES: Personal Management/Personal Management & The Artist’s Team, Music
SPECIALTIES: Composition and music supervision for visual media, production Distribution, Social Media & Fan Management ROBERTS, PAUL
music libraries SPECIALTIES: Personal Management, A&R, Artist Development, Marketing, Distribution, GUITAR CRAFT PROGRAM CHAIR
GENERAL
GENERAL
CREDITS: Warner Bros., Paramount, Universal, Lionsgate; over 100 film trailers. TV: Promotions, TV/Film Synch SPECIALTIES: Program Chair of Guitar Craft Program, Luthier, Guitar Technician
Keeping Up…Kardashians, The Bachelor, Ellen, TMZ, Extra (theme); Vampire Diaries, CREDITS: Warren Entner Mgmt (Rage Against The Machine, Deftones, Faith No More), Flip CREDITS: Joe Bonamassa, Ry Cooder, Fleetwood Mac, Ben Harper, Billy
Smallville (songwriting); Creative Director - Move Music LLC Records (Limp Bizkit, Staind) Gibbons, Andy Summers, Jackson Browne
HONORS & EDUCATION: Bachelor of Music, Berklee College of Music (Cum HONORS & EDUCATION: Worked with master luthier John Carruthers & guitar
Laude), Chair, Composer Advisory Committee - Production Music Association MEZA, AARON builder James Tyler
COURSES: Music Publishing, Music Licensing and Supervision, The Business of Composing
ESRA, RITCH 1 and 2, Music Publishing & Licensing 1, 3 and 4 ALONZO, LANCE
COURSES: Record Labels, Your Music Business Career, News & Industry Trends SPECIALTIES: Owner of Amazon Ear Productions, Meza Music Publishing (ASCAP), Voice COURSES: Instrument Design 1 & 2, Instrument Fabrication 1 & 2, Fretwork and
Specialties: Publisher, Music Business Registry (contact information for the music Talent and Narrator Setup 1 & 2, Electronics 1 & 2, FinishWork
industry); Educator CREDITS: Former Director American Guild of Authors & Composers, author of “You’ve SPECIALTIES: Luthier, Guitar Technician
CREDITS: Major & indie companies for Music Registry; Clive Davis/Arista Records, Written A Song, So Now What?” HONORS & EDUCATION: Certificate in Guitar Craft, Musicians Institute
A&R; A&M Records, Promotions   HONORS & EDUCATION: Bachelor of Arts, UCLA; Certificates, USC Law Center & UCLA
Extension. Cindy, Aurora & Telly Awards. Clifton Webb Endowment BARAJAS, RAFAEL
FLETCHER, CHRIS COURSES: Instrument Design 1 & 2, Instrument Fabrication 1 & 2, Fretwork and
COURSES: Personal Management/Personal Management & The Artist’s Team, MORGAN, BURGUNDY Setup 1 & 2, Electronics 1 & 2, Finish Work, Instrument Repair
Getting Gigs, The Touring Musician, Making Money in New Music Markets, Planning COURSES: Music Law 1, Owning and Operating A Music Business SPECIALTIES: Guitar Painter, Luthier
Your First Tour SPECIALTIES: Music Law, Music Contracts, Music Business, Litigation. Former Professional CREDITS: Carruthers Guitars, James Tyler Guitars, Schecter USA Custom Shop,
SPECIALTIES: Management/Artist Development, Touring, Booking (colleges & Musician. Yamaha
festivals), Endorsements/Sponsorships CREDITS: Grammy-winning artists, songwriters & producers. Performs with Riddle the HONORS & EDUCATION: Certificate of Guitar Craft Musicians Institute, PPG
CREDITS: Harold Payne, Faith Rivera (Emmy Winner), BB Chung King, Wonderboy, Sphinx. solvent and water bourne paint certified
The Ravyns, Affinity Records HONORS & EDUCATION: J.D., Pepperdine University. Member of State Bar of CA & U.S.
HONORS & EDUCATION: Bachelor of Arts in Business Administration, Temple District Court. B.A., William Paterson University. MADDUX, DAVID
University. Certificates, CA Arts Council & Western Arts Alliance. NACA member. COURSES: Instrument Design 1 & 2, Instrument Fabrication 1 & 2, Fretwork and
NATHAN, ROBERT Setup 1 & 2, Finishwork
COURSES: Music Law/Music Law and Contracts, 1, 2 and 3, Owning & Operating a Music SPECIALTIES: Fender American Design Specialist
GRIERSON, DON Business, Preparing Your Professional Business Plan, Music Law Basics, Accounting and CREDITS: Worked on “The Fender Bass, An Illustrated History”
COURSES: Record Labels, Your Music Business Career, Start & Run Your Own Record Finance 1 HONORS & EDUCATION: Fender Custom Shop Supervisor, Fender Senior
Label, Music Industry 1 SPECIALTIES: Legal aspects of the music industry focusing on trademarks, copyrights, Quality Insurance Inspector
SPECIALTIES: Music Industry Consultant, Music Supervisor for independent films, publicity rights, & contract law
Advisory Board for MusicBizPro CREDITS: Motley Crue, Cheap Trick, Temptations, Stray Cats, Kool & The Gang, Asia, SBK SANDOVAL, JAIME
CREDITS: Capitol/EMI, Epic/Sony, Celine Dion, Tina Turner, Cyndi Lauper, Gloria Records, Bud Grant Productions COURSES: Instrument Design 1 & 2, Instrument Fabrication 1 & 2, Fretwork and
GENERAL
286 THIS CATALOG APPLIES TO ACADEMIC YEAR 2018/2019: OCTOBER 1, 2018 - SEPTEMBER 30, 2019.

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1

APPROVAL AND ACCREDITATION QUESTIONS AND COMPLAINTS

Quarter Begins October 8 October 7 Quarter Begins April 9 April 8 April 6

Graduation December 22 December 21 Graduation June 23 June 22 June 20

CERTIFICATE ENTERTAINMENT INDUSTRY STUDIES

[PART-TIME] AUDIO ENGINEERING, DJ, MUSIC BUSINESS, INDEPENDENT ARTIST DEVELOPMENT

AUDIO ENGINEERING (POST PRODUCTION, LIVE SOUND), MUSIC BUSINESS ENTREPRENEUR

ASSOCIATE OF SCIENCE IN MUSIC BUSINESS

BACHELOR OF MUSIC DEGREES BM, MUSIC COMPOSITION

BM, MUSIC IN PERFORMANCE

BM, SONGWRITING & PRODUCTION

MASTER OF MUSIC DEGREES

School of Industry Studies

School of Industry Studies

BACHELOR OF MUSIC DEGREES 180 CREDITS*

Bachelor of Music in Songwriting & Production 180 CREDITS*

MASTER OF MUSIC DEGREES

COMBINED BACHELOR AND

PRO TOOLS CERTIFICATION

Pro Tools 200 Level (Operator) Certificate WEEKENDS ONLY

MI SELECT and MI SELECT EXPRESS

PRO TOOLS CERTIFICATION

ELECTIVES = 2 CREDITS Various 2

Certificate in Audio Engineering Program Learning Outcomes:

*Based on optimal course load of 15 credits per quarter

History and Analysis of Recorded 2

DJ PERFORMANCE & PRODUCTION

The part-time DJ Performance and Production Program

30 CREDITS / 2 QUARTERS GCRFT-201

**The Guitar Craft*Based

Recording Project 1 & 2 4

Applied Entertainment Business 1 & 2 3

CODE COURSE CREDIT CODE COURSE CREDIT Q3 Q4

INDEPENDENT ARTIST DEVELOPMENT W/ LOGIC

Artist/Producer/Entrepreneur Certificate Program Learning Outcomes:

Q1 Q2 Certificate in Music Business (Music Entrepreneur) Program Learning Outcomes:

Private Lesson 1-4 8

ELECTIVES = 4 CREDITS Various 4

TOTAL 7.5 TOTAL 7.5

36 THIS CATALOG APPLIES TO ACADEMIC YEARchoice

Rhythm Reading Workout 1-2 2

Certificate in Performance (Keyboard Technology) Program Learning Outcomes:

42 THIS CATALOG APPLIES TO ACADEMIC YEARchoice

TOTAL 7.5 TOTAL 7.5

TOTAL 7.5 TOTAL 7.5

** Student’s choice of various DAWs

Private Lesson 1-4 8

Various Various 1 Various Various

Private Lesson 1-4 8

Songwriting Private Lesson 1-2 4

Q7 Certificate in Songwriting Program Learning Outcomes:

50 THIS CATALOG APPLIES TO ACADEMIC YEARchoice

ASSOCIATE OF ARTS // COMBINED EMPHASIS

ASSOCIATE OF SCIENCE OVERVIEW

Associate of Science in Music Business

Associate of Science in Live Music Event Production

Associate of Science in Studio Recording

Various Various 1 Various Various 1

ELECTIVES = 7 CREDITS Various 7 TOTAL 15 TOTAL 15

TOTAL 7.5/8.5 TOTAL 7.5