Course Descriptions
(Section 01 for Degree Majors only)
Some courses are currently in the proposal process and will be limited to majors.

The following list of courses are either active or proposed for the new, individualized major. 
A student with the guidance of his or her advisor may put a cluster of courses together
to create an individualized major in this field.
No audition is required at this time:
however, the student is expected to major in voice or on an instrument for all 4 years.

 

HMU 100 GENERAL DIVISION MEETING  (0.5-1-0)

A weekly meeting of ALL students in ALL levels of the program is required.  General announcements will be made regarding upcoming performances, visiting artists, studio tours, free-lance music producer job opportunities and general student socializing and more important, networking.  Students with special skills on specific instruments are encouraged at these meetings to offer the abilities for other student recording projects. Benefits are to be enjoyed by all!  In addition, a 30 minute "Ear Training Drill" for engineers in the "Golden Ears" Tonemeister tradition will be conducted for all to appreciate.
•Pre Requisites: Music Majors Only

 

HMU 301 MUSIC THEORY I (3-0-3)

This is part one of a four semester sequence. In general, in the first two years, students are introduced to the basic technical materials of their art. They learn to read in the various clefs; they acquire the ability to identify by ear the specific rhythmic, melodic, and harmonic events occurring in music of relative simplicity; they master the fundamental concepts of harmony and counterpoint; and they become acquainted with principles of musical form.
•Pre Requisites: None, Music Majors Only

 

HMU 302 MUSIC THEORY II (3-0-3)

This is part two of a four semester sequence. In general, in the first two years, students are introduced to the basic technical materials of their art. They learn to read in the various clefs; they acquire the ability to identify by ear the specific rhythmic, melodic, and harmonic events occurring in music of relative simplicity; they master the fundamental concepts of harmony and counterpoint; and they become acquainted with principles of musical form.
Prerequisites: HMU 301, Music Majors Only

 

HMU 303 MUSIC THEORY III (3-0-3)

Music Theory III for Majors continues the presentation of the material and procedures of tonal music with the study of elements of melodic and rhythmic figuration, dissonance and chromaticism, modal mixture and an advanced examination of applied chords and diatonic modulation.  Students undertake writing assignments in 4th and 5th species counterpoint in two voices.  Species counterpoint is incorporated into 4 part-writing exercises. Aural skills are developed with “fixed-do” solfege primarily in mixed modes and chromatic alterations.  
Prerequisites: HMU 302, Music Majors Only

 

HMU 304 MUSIC THEORY IV (3-0-3)

Music Theory IV for Majors continues the presentation of the material and procedures of tonal music with a continued study of dissonance and chromaticism including 7th, 9th, 11th and 13th chords, Neapolitan II, Augmented Sixth chords, and chromatic voice leading techniques. Students undertake writing assignments in species counterpoint in three voices.   Aural skills are developed with more complex “fixed-do” solfege primarily in mixed modes with chromatic alterations.
Prerequisites: HMU 303, Music Majors Only

 

HMU 305 MUSIC HISTORY I (3-0-3)

During this course, we will review western Medieval and Renaissance art music from the 2nd century B.C. to 1600 A.D., from several perspectives: as individual masterworks, as representatives of various composers, as examples of particular styles and forms, as analytic “problems”, and as artworks derived from changing social circumstances.  We will emphasize the development of skills in talking and writing “about” monophonic, liturgical & polyphonic music The course will include lectures and class discussions, assigned readings, written assignments, and periodic examinations .
Pre Requisites: HMU 302, Music Majors Only

 

HMU 306 MUSIC HISTORY II (3-0-3)

In this course, we will review western Baroque to Classic music from 1600 to 1780, from several perspectives: as individual expressions of various composers, as examples of particular styles and forms, as analytic “problems”, and as artworks derived from changing social circumstances.  We'll emphasize the development of skills in talking and writing “about” piano, pipe organ, orchestral and early opera music.  Some composers include Bach, Vivaldi, Purcell Pachebel & Handel. The course will in discussions, assigned readings, oral presentations, and periodic examinations.
Pre Requisites: HMU 305, Music Majors Only

 

HMU 307 MUSIC HISTORY III (3-0-3)

This course spans the years "1780-1900."  We will review western perspectives: as individual masterworks, as representatives of various composers, as examples of particular styles and forms, as analytic “problems”, and as artworks derived from changing social circumstances.  We will emphasize the development of skills in talking and writing “about” music. Some composers include Hayden, Mozart, Beethoven, Schubert, Schumann, Berlioz, Chopin, Liszt, Mendelssohn, Wagner, Verdi, Brahms, Mussorgsky & Tchaikovsky.  The course will include lectures and class discussion.
Pre Requisites: HMU 306, Music Majors Only

 

HMU 308 MUSIC HISTORY IV (3-0-3)

The catalogue tells you that this course spans the 20th century; in actuality, we will start in the late 19th century.  We will review western art music from several perspectives: as individual masterworks, as representatives of various composers, as examples of particular styles and forms, as analytic “problems”, and as artworks derived from changing social circumstances.  We will emphasize the development of skills in talking and writing “about” music. Some composers include Mahler, Debussy, Ravel, Schoenberg, Webern, Stravinsky, Bartók, Ives, Copland, Varese, Babbitt, Boulez, Reich, Stockhausen and more. The course will include lectures and discussions, assigned readings, oral presentations, written papers, and periodic examinations.
Pre Requisites: HMU 307, Music Majors Only

 

HMU 309 CONDUCTING (3-0-3)

This is an introductory course that covers many aspects of conducting small to large vocal and instrumental ensembles.  The student will have opportunities to be a guest conductor of the University Chorus and the Jazz Ensemble as well as other ensembles on campus.
Pre Requisites: HMU 302

 

HMU 310 POPULAR MUSIC HISTORY (3-0-3)

Music from 1960 to date has gone through radical changes, often representing of the state of the changing world. This course will explore details of the "genres" and help the student to have a better understanding of current "pop music" history.
Pre Requisites: None

 

HMU 311 COMPOSITION SEMINAR I (3-0-3)

Composition encourages the inner drive of the student to explore.  Since the student already understands the fundamentals of theory by prerequisite, this seminar encourages the student to go beyond the "staff"! A successful composer needs to show a unique approach to a need on unfulfilled expression.  Often we as individuals, feel reserved to "break the musical rules".  Well, as long as we understand the rules and know how to get back on music track, what often evolves is a musical masterpiece.  This course will begin to open the musical mind to the world of sonic expression.  Students will analyze classical and contemporary works, and will write reviews on a weekly basis.  The student will demonstrate original compositions for class reviews on a regular basis. In addition the student will compose a piano work, which may eventually be arranged and orchestrated either the student, or another student in the Orchestration course.
Pre Requisites:HMU 302

 

HMU 312 COMPOSITION SEMINAR II (3-0-3)

A more in depth extension of the Composition Seminar I, where students will analyze classical and contemporary works, and will write reviews on a weekly basis.  The student will demonstrate original compositions for class reviews on a regular basis.  In addition, the student will compose a piano work, which may be arranged and orchestrated either by the student, or another student in the Orchestration course.
Prerequisites: HMU 311

 

HMU 315 SONG WRITING (3-0-3)

This is an overview of the top  songs of the past 100 years with an emphasis of music for today.  Lyrical, melodic as well as arranging styles will be explored and the student will be encouraged to search the soul and create songs in the style of Pop, Jazz and Show Tunes.  In addition, student works will be encouraged to be recorded by the student or other students in the program, and will also have the opportunity to be distributed on the student operated media label.
Prerequisites: HMU 302, HMU 311

 

HMU 351 ACOUSTICS FOR MUSICIANS (2.5-02.5)

The more informed an individual is about the topic of acoustics, the art of music production becomes more efficiently achieved.  This course deals the basic principals of physics as it relates to sound.  Sound wave transmission, Musical instrument sound vibration, transducer theory and room acoustic design are discussed.
Prerequisites: HMU 401

 

HMU 350 MUSIC OF THE EASTERN MEDITERRANEAN (3-0-3)

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

 

HMU 387 African-American Popular Music (3-0-3)

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

 

HMU 394  JAZZ HISTORY (3-0-3)

Techniques in how to listen and what to listen for. History of the idiom. Analysis of outstanding performances and styles.
Pre Requisites: None

 

HMU 397 ORCHESTRATION I (3-0-3)

This is an introduction to the basic concepts of the art of orchestration. The student will explore instrument ranges, orchestra formation and the rules which govern the art.
Prerequisite: Ability to read Treble and Bass Cleff (piano/organ notation), HMU 301 or 395, 305 or 392

 

HMU 398 ORCHESTRATION II (3-0-3)

This is part two of a two semester sequence   Whereas Orchestration I explored the mechanical aspects of the orchestra and presented the physical and technical boundaries of each instrument contained therein, Orchestration II explores the aesthetic principals engaged when writing for this most unique subject and the student will be introduced to the art of Conducting.  In addition to completing the Adler text, students will spend time in the MAC Lab learning the basics for realizing their orchestrations of the standard literature from Mozart to Penderecki.  To this extent, we will use the new interactive edition of the classic Principles of Orchestration by one of history’s greatest orchestrator’s Rimsky-Korsakov, for a full symphony orchestra to perform.
Prerequisite: HMU 397

 

HMU 401 MUSIC THROUGH MULTIMEDIA TECHNOLOGY (2-2-4)

Today's composers and performers have a wide array of mixed technologies that are available to be incorporated in their art.  This course will present an introduction to many of these technologies including class examples in a state-of-the-art facility located near the campus, in the Newport area of the Jersey City waterfront.  The course will encourage weekly research in the changing technologies for artistic minds.  Music sequencers, sound design applications, graphic & digital photography applications, video art and web applications as well as interactive alternative controllers will be demonstrated and explored with the intention to stimulate new methods to create sonic art.
Prerequisite: None

 

HMU 402 MIDI and ELECTRONIC MUSIC (2-2-3)

The Musical Instrument Digital Interface (MIDI) revolutionized the production world of Electronic Music. This course will explore the fine details of the code as well as the everyday studio and stage use of the protocol.  The student will explore all types of synthesis techniques via keyboards, tone modules and software plug ins. There will also be an overview of traditional electronic music from last century to present.  In the weekly lab, the student will explore the software and hardware interconnection process, and will create an artistic experiment in electronic music as a final project.
Prerequisite: HMU 401, or permision by instructor

 

HMU 403 SYNTHESTRATION  (3-3-3)

In the late 60's, the electronic music synthesizer revolutionized the world of orchestration and currently, the complexity of the tools of the trade, enable one person to perform a non-linear symphony.  The art of "Synthestration" is commonly utilized in the motion picture and popular music industries.  Synthestration is the art of utilizing sound synthesizers to emulate the sound of an orchestral instrument.  In today's competitive hi-tech musical instrument world, any musician can now play virtually any sound from their performance device via the integration of keyboard, string or pitch and velocity to digital converters.  It has become quite mainstream for one musician to be expected realize an orchestral score with synthesizes to give the composer or the producer/director/client a sample of what the final orchestra performance may be like.  Often, the "synthestration" becomes the final version in the contemporary market. This course will present and analyze both aesthetic and artistic issues in the field. The student will have the opportunity to create a digital performance of their Orchestration class experiments in a weekly lab session as well as on their laptop computer.   
Prerequisite: HMU 397

 

HMU 404 TECHNO MUSIC PRODUCTION  (2-2-3)

The exciting art of techno music has dynamically transformed over the years, incorporating elements of classical electronic music and cutting edge high tech innovations. This course will explore the techniques and enable the student to have a greater understanding of the tools of the trade.  Each class will preview examples of the most well known works over the years, and demonstrate the technique since sounds often recycle years later: sample loops in current compositions, for example.  The students will participate in weekly lab exercises by creating music in the Media Arts Center with state-of-the-art software and will apply advanced music theory skills. The final project shall be a 3-song student composition professional “demo”.  Guest producers will be invited to join us in class. Basic keyboard or iGuitar skills are required.
Prerequisites: HMU 401, 402, 395 or 301, or permission of instructor

 

HMU 405 SOUND DESIGN (2-2-3)

Sound Design is a common term used in the visual art world to describe the type of music based artist who is commonly utilized to create unique sound scapes to enhance a visual sequence.  The art of sound design incorporates musical theories with creative manipulation of sound effects and synthesizer technology while synchronizing the sound to picture or live stage performances.  The exotic, indescribable sound textures that often underscore motion pictures in surround sound reproduction is a common example of this art form.  The student will explore digital sampling and synthesizer programming technologies in the "Music Tech Laboratory" in the Lab portion as they create a final sound design project.
Prerequisites: HMU 351, 401, 412

 

HMU 406 ALTERNATIVE MUSIC PERFORMANCE CONTROLLERS (2-2-3)

This course is an exploration in the relatively new and exciting filed of alternative performance control devices from the "Theramin" to experimental 3 dimensional pitch and velocity infrared sensor converters.  The student will learn "Max/MSP", the graphic interface programming language which is very popular among the experimental music composition scene.  A variety of transducer devices that convert sound waves to digital information will be explored as well as data processing for the multimedia world.  MIDI violins, guitars, wind instruments, drum pads and other instruments will be utilized in the lab section to encourage the student to create live performance works that also integrate synchronized light and visual projection.  The final exam consists of a live performance on campus.
Prerequisites: HMU 401, 402

 

HMU 407 AUDIO FOR MEDIA POST PRODUCTION (2-2-3)

Film, television, interactive media and games as well as web sites often require additional sound treatment after the initial recording of the program.  A basic understanding of the technical side of how Film and TV works from the audio engineer point of view shall be achieved. A variety of techniques will be analyzed and demonstrated in the classroom lecture.  Students will utilize the Music Tech Lab to re-create the entire sound track of a TV commercial or a short dramatic work.  They will commission a student composer for the music and the students in class will replace the dialog (Automatic Dialog Replacement "ADR") create  Voice Oversee  and either create the sound effects in a "Foley" studio or utilize SFX libraries which are commonly utilized by Television and Film production engineers.
Prerequisites: HMU 350, 413

 

HMU 408 MEDIA SCORING (2-2-3)

The art of scoring music for film, television, interactive media and games as well as web sites, will be analyzed and demonstration of a variety of techniques will be presented in the classroom lecture.  Students will utilize the Music Tech Lab to compose music for picture and they will have an opportunity to observe a studio ensemble of acoustic musicians be conducted as they record in sync to picture.  Each student will create a score for a TV commercial or a cue for a short dramatic work.
Prerequisites: HMU 302, 311

 

HMU 409  MASTERING (2-2-3)

The final and most important process for a sound recording to experience is the concept of  "Mastering".   This process helps to ensure that the sonic quality will match the industry expectations,  and requires the highest level of skill in the art of recording engineering. "Golden Ears" are needed to make the final artist decision on variables such as equalization and apparent loudness and balance.  The student will explore a variety of multi-band sonic processors, both analog and digital and will also learn the data entry process for proper encoding of Vinyl, Analog Tape, CD and/or VD Audio masters in all current formats from moon to 5.1 Dolby Surround and more.  Students will begin to "master" all releases from the student operated media label, under supervision of the instructor in the lab section.  Students will tour a Professional Mastering Facility.
Prerequisites: HMU 414

 

HMU 411 AUDIO ENGINEERING SCIENCE I (2-2-3)

This is an introduction to Recording Engineering and Audio Science. The primary focus of this course will be the study of transducers and transducer theory as it relates to audio engineering.  To understand the basics of microphone technology and the different applications in the audio world as well as capturing sound to analog tape machines and digital converters.  At the completion of the course, students should be able to understand wave theory, transducer theory, basic acoustic properties of sound and hearing, basic console signal flow and practical applications of the above.  Ultimately the student will have the fundamentals to develop their sound engineering skills as an art form. The course will conclude with an introduction to non-linear digital audio recording featuring the ProTools HD system.  Students will conduct recording experiments in the department facilities.
Prerequisites: HMU 351, 401 (This previous course title was HMU 410.)

 

HMU 412 AUDIO ENGINEERING SCIENCE II (2-2-3)

"AES" 2 continues with a more in depth look at the practical applications of basic recording techniques from analog to digital.  Topics that will be covered include; studio design and acoustical application principles, large frame console signal flow, outboard components and the hybrid use of analog and digital recording devices. Final production techniques for different mediums (film, TV, CD, radio, and internet).  The complex environment in the recording studio is explored through a basic understanding of the roles of composer, musician, engineer, producer, artist, and their interdependency.  All elements of curriculum will be reinforced with hands on application in professional, working recording studio.       
Prerequisites: HMU 410 or 411 (This previous course title was HMU 411.)
Open only to Music & Technology Majors

 

HMU 413 AUDIO ENGINEERING SCIENCE III (2-2-3)

Lectures will be based around advanced implementation of recording techniques and procedures in the professional studio environment.  Students will end the semester with; a thorough understanding of large frame in-line consoles, microphone placement techniques and understanding of microphone experimentation, Synchronization between analog machines and digital audio workstations, MIDI interfaces, and the ability to troubleshoot and avoid externally generated noise in an audio system.  The classes will integrate a recording session of a live band with three songs through the entire engineering procedure with the students running the sessions
Prerequisites: HMU 412, Open only to Music & Technology Majors

 

HMU 414 AUDIO ENGINEERING SCIENCE IV (2-2-3)

As the final semester of Audio Engineering Sciences, students are expected to fully understand the basic principles of audio engineering and the studio environment as a workplace.  This class is designed to specifically address digital audio production.  Although many of the topics have been mentioned in previous classes, course work will require in depth analysis of the many elements of this production format.
Prerequisites: 413, Open only to Music & Technology Majors

 

HMU 431 Live Sound I: Concert Recording (1-3-3)

The Stevens and New York City area campus offer an infinite array of live performance recording opportunities for the student to explore.  All campus performances will be available for the students to record.  Several microphone techniques will be explored from Mono to MS, XY, Bi Natural and Surround.  Both live mixing and multi-track opportunities will be utilized.  Interaction with television producers and directors will also be discussed and possibly experimented at live productions.
Prerequisites: HMU 412

 

HMU 432 Live Sound II; Sound Reinforcement (1-3-3)

The field of live sound entertainment is a stable economic direction in the industry which demands extensive knowledge of acoustics, electrical routing and audio mixing.  This course will expand on the basics acquired in Audio Engineering Science I & II and will expand into the arena of concert touring sound system design and standard engineering techniques.
Prerequisites: HMU 431

 

HMU 433 Live Sound III: Sound Reinforcement (1-3-3) 

This is a continuation of HMU 432 and the students will utilize the professional full range portable system and will engineer many concerts on campus and will be available professionally for hire for metro NYC shows via the department mobile van.
Prerequisites: HMU 432

 

HMU 441 Digital Signal Processing I (DSP I) (3-0-3) 

The Music Technology world is based on Digital Signal Processing.  The student will learn the basic of digital circuit and coding theory that is required to understand the basics of "plug-in" technology.  All forms of "TDM" and other protocols will be explored.
Prerequisites: HMU 401, 402, 404, 412

 

HMU 442 Digital Signal Processing II (DSP I) (3-0-3)

This is an in-depth study/continuation in the topic.  Students will write "code" and make presentations that are expected at the technical sessions at the Audio Engineering Society and at the International Computer Music Society.  Papers will be published on the course site and students will be encouraged to seek traditional trade journal publishing opportunities as well as public presentations at the conventions related to the organizations stated above.
Prerequisites: HMU 441

 

HMU 423 Live Sound Recording I (1-3-3)

The Stevens and New York City area campus offer an infinite array of live performance recording opportunities for the student to explore.  All campus performances will be available for the students to record.  Several microphone techniques will be explored from Mono to MS, XY, Bi Natural and surround.  Both live mixing and multi-track opportunities will be utilized.  Interaction with television producers and directors will also be discussed and possibly experimented at live productions.
Prerequisites: HMU 441

 

HMU 450 MUSIC BUSINESS  (3-0-3)

This is an overview of the vast world of the Music Business. Topics include most aspects of what a real "producer" need to know to be successful in today's commercial music environment from: discovering an act, to training, development, music union memberships, performance,  music attorney expectations,  management contracts, booking agents, promoters, publishing deals, performance rights organizations, production deals, recording studio economics and management, record deals and label structures, interactive media and web promotion and distribution.  There may be guest speakers and/or visits to "indie" and major label headquarters.  All students will be encouraged to participate in the student organized media label club.
Prerequisites: None

 

HMU 451 MUSIC BUSSINESS PROMOTION (3-0-3). 

Today, the successful Music Technology individual needs to understand the value of career promotion and the difference between self-promotion and industry success. The music student will learn how to prepare a professional demo including the basics of graphic assistance programs, press kits, web services, public speaking skills where lingo for the Music Business will be the focus.  The student will participate in concert, club, symphonic and record label "pitches", emphasizing the psychology of the industry.
Prerequisites: HMU 450

 

HMU 461 PRODUCER SEMINAR (3-0-3)

What is a producer?  This is a term that is widely used today, often without justification, and often with mixed success.  This course will trace and analyze the careers of a variety of successful media producers and offer the student insight to the mystical art.  Guest producers will be available for student questions and students of this class will be assigned to projects that are "in-the-works" at the student operated media label.
Prerequisites: HMU 412, 450

 

HMU 462 INDUSTRY SYMPOSIUM  (3-0-3)

Current topics will be researched and discussed by the student who will gather the information from the text books of today: trade journals and web sites. Weekly papers will summarize their discoveries and students will make presentations in class to fellow students to encourage group discussions.  Visiting industry producers and executives will contribute their viewpoints on contemporary issues.  A final research will explore in detail a current topic on the "cutting edge" of the industry.
Prerequisites: HMU 412, 450

 

HMU 488 SENIOR THESIS PREPARATION (0-0-3)

The student will be guided through the creation of an extensive artistic work,  which will employ a variety of skills they acquired through the entire program.  The final product is usually inspired in the third year and is created in the fourth year may be an album of compositions (30 to 40 min in length), a score for a short dramatic work-film, TV, stage, video game or a concert of original music, a virtual instrument performance with student generated support visuals, etc. The student will meet with department advisor on a regular basis and a recording of the final project may be available on the student operated media arts label, Stevens Multimedia, LLC.
Prerequisites: HMU 414 or permision of advisor.

 

HMU 489 Internship (may be repeated) (0-3-3)

The student shall be engaged in a 140 on-site educational/work venture in a professional environment related to their focus.  A daily log and a five page summary paper are required.  A faculty member will conduct an entrance and exit interview of the facility.  The internship is required for Production & Design track majors.
Prerequisites: HMU 401, 411, 302 and HMU 450 is recommended, plus permission by your advisor.

 

HMU 490 Music Performance: Concert Band (1/2 credit) The study and performance of popular Concert Band repositories.
Prerequisites: Ability to read music.

 

HMU 491 Music Performance: Jazz Ensemble (1/2 credit)  The study and performance of modern music.
Prerequisites: Ability to read music.

 

HMU 492 Music Performance: Glee Club (1/2 credit) The study and performance of choral masterworks.
Prerequisites: Ability to read music.

 

HMU 494a ALTERNATIVE CONTROL ENSEMBLE: ALL (0-0-1)

This is the large ensemble incorporation all forms of Alternate Control Devices.  Master works and experimental works will be explored.
Prerequisites: Ability to read music.  HMU 395 or 301, HMU 401, HMU 402

 

HMU 494g ALTERNATIVE CONTROL ENSEMBLE: GUITAR (0-0-1)

This is the all guitar/bass ensemble.  Students will utilize the "iGuitar/Roland Synth" systems and will participate in a variety of public performances.
Prerequisites: Ability to read music.  HMU 395 or 301, HMU 401, HMU 402 & HMU 496 Advanced Guitar Private Lessons,

 

HMU 494k ALTERNATIVE CONTROL ENSEMBLE: KEYBOARD (0-0-1) 

This is a keyboard ensemble similar to "Broadway" pit orchestra usage.  Students will learn the art of live emulation for small budget show needs.
Prerequisites: Ability to read music, HMU 496 Keyboard

 

HMU 496a-h MUSIC INSTRUMENT PRIVATE STUDY (1-4-0.5)

The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on their primary instrument.  The student may continue with private lessons on their primary instrument or they may take lessons on their secondary instruments.  A faculty member or a professional in the tri-state, New York City professional musicians area, may conduct regular lessons as per the students level and artistic desires.  The lessons may be on campus, or the student may commute to the musicians training studio.  There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least 4 additional hours.  The lessons shall lead to a performance on campus during the same semester.  The performance may be solo or part of an ensemble. Repeated EVERY SEMESTER.
Prerequisites: Ability to read music, Music & Technology Majors only.

 

HMU 497z FINAL MUSIC PERFORMANCE RECITAL (0-0.5-0.5)

This is the "main performance" event for the student.  It shall be organized and promoted, performed and recorded as the music industry expectations demand.  The student is responsible for the composition, must be one of the performers and must also produce all elements to make the performance a success.  A recording shall be released on the  student operated media label.

 

HMU 497 MUSIC PERFORMANCE ELECTIVE (0-0.5-0.5)

Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus as well as in other metropolitan New York City stages.  Many of the performances will be recorded and marketed by the student run media label.  The student will need to attend weekly rehearsals and participate in at least one performance each semester.

 

HMU 498 SENIOR THESIS  (0-0-4)

The student will complete the creation of an extensive artistic work,  which will employ a variety of skills they acquired through the entire program.  The final product is usually inspired in the third year and is created in the fourth year may be an album of compositions ( 40-50 minutes in length), a score for a short dramatic work-film, TV, stage, video game or a concert of original music, a virtual instrument performance with student generated support visuals, etc. The student will meet with department advisor on a regular basis and a recording of the final project will be available on the student operated media arts label. The thesis is either a 60 page work or a project with a 30 page support document.
Prerequisites: Completion of all required courses and permission of your advisor.

HMU 499 Tutorial (TBA) (3-0-3)
An individual program of study arranged between student and instructor. A tutorial plan must be prepared (and presented to the Tutorial Committee of the Department of the Humanities) outlining the program and indicating the nature and scope of the project (generally a written paper). Upon completion of the program the student will receive a grade and credit for a humanities selective.
Prerequisites: HMU 401, 402, 412 & permission of your advisor.