Music and Technology Minor

This course provides a fundamental study of the technology and practice used in recording, editing, mixing, production, and distribution of sound. Topics include microphone types, selection and application the mixing console, mixing techniques and introduction to Signal Processing equipment and associated techniques, an introduction to the concepts relating to digital audio technology such as sampling, the Nyquist theorem, alias frequencies, quantization, dynamic range, compression and their applications will be covered. Topics include basics of digital audio, session creation, importing media, recording techniques, editing, mixing, and mastering. In addition, the course teaches how-to-listen sonic difference to appropriately apply the technical knowledge and to achieve highest sound quality. (Prerequisites: MATH-101 or MATH-111 or MATH-171 or MATH-181 or MATH-181A equivalent course.) Lecture 3 (Fall, Spring).

This course is designed for the student who has basic musical literacy (ability to read music notation). In addition to the writing of melody, two-part counterpoint and four-part harmony, some attention will be given to the analysis of form and style. Because it is important that theoretical understanding be coordinated with musical application, time will be devoted to the development of musicianship. Consideration will be given to individual skills and abilities, hopefully allowing for the maximum development of each student. (Elementary music reading ability) Lecture 3 (Fall, Spring).

Composing for Media will guide the student through the process of creating original music to accompany a visual medium. The course begins by focusing on the aesthetics, terminology, procedures, and technical aspects of film scoring. As the course progresses, the skills acquired will progress towards a class project of scoring a short film or animation. By using a broad range of techniques including click tracks, spotting, scoring under dialogue, free timing, and the creative use of overlap cues, students will learn how to develop a dramatic concept for a score and how to synchronize it seamlessly to visual events. This course is applicable to musicians interested in scoring music to visual media as well as students with skills in the areas of audio engineering, film and animation and video gaming. No previous film scoring experience is required. Fundamental knowledge and a background in music will be introduced in the class topics. In addition to a good ear for music, a functional ability with MIDI sequencing, via DAW—a proficiency in the use of sample libraries and audio plug-ins and basic audio mixing—is expected. Entrance to the class requires instructor permission. Lecture 3 (Fall).

Sound, voice, music, and effects play a critical role in telephone communication and entertainment systems. Development of integrated multi-channel acoustic information is a complex process. This course provides an intermediate level study of the technology used in recording, editing, mixing, and mastering audio. Students are introduced to core concepts and skills necessary to operate a system running large sessions with up to 48 tracks. Students will develop an appreciation of and the requisite skills to create, organize, mix, filter, process, enhance, and coordinate sound information in digital format. Topics include MIDI, virtual instruments, filtering, processing for sound enhancement, editing and adjusting time bases, mixing and mastering, and audio production. Students will develop critical listening skills as well as technical skills. (Prerequisites: EEET-261 or equivalent course.) Lecture 3 (Spring).

This course explores the creation, performance, and reception of music within the context of Western cultural, religious, political and artistic ideals, and related non-Western traditions, from Greek antiquity to ca. 1750. Topics of exploration include the development of musical notation, musical instrument technology, the interrelationships of music theorists, composers, performers, patrons, and audiences, music as a communicative and expressive art, aesthetics, and musical analysis and criticism. Lecture 3 (Fall).

This course explores the creation, performance, and reception of music within the context of Western cultural, religious, political and artistic ideals, and related non-Western and popular traditions, from ca. 1750 to ca. 1920. Topics of exploration include musical instrument technology, the interrelationships of music theorists, composers, performers, patrons, and audiences, nationalism, the influence of folk and non-Western music traditions on Western art music, popular music traditions, music as a communicative and expressive art, philosophy and aesthetics of the Enlightenment and 19th century, and musical analysis and criticism. (Prerequisites: PRFL-160 or PRFL-250 or PRFL-265 or equivalent course.) Lecture 3 (Spring).

This course examines the history and elements of popular and rock music in the United States from the end of the 19th century to current times. Emphasis will be placed on the music that was written and performed after WWII. Students will be introduced to various styles of this genre as well as an introduction to those musical elements necessary to define a rudimentary analysis of the music. Among the composers and performers to be studied are early Minstrel performers, Louis Armstrong, Scott Joplin, George Gershwin, Blues musicians, Benny Goodman, Frank Sinatra, R and B musicians, country and western, Elvis Presley, Motown, Ray Charles, folk, Jimi Hendrix, disco, punk, metal, grunge, and pop. Lecture 3 (Fall, Spring).

A historical and cultural survey of collaboration between the arts of music and theatre, focusing on a selection of significant creative products that combine music and drama. Possible works studied include those by Shakespeare, Monteverdi, Mozart-Daponte, John Gay, Beethoven-Goethe, Wagner, Puccini, Brecht-Weill, and Bernstein, spanning the genres of Renaissance tragedy and comedy, opera seria, opera buffa, ballad opera, incidental music, romantic drama, Italian opera, music-drama, epic theatre, cabaret, vaudeville, and musical comedy. Lecture 3 (Fall, Spring).

This course explores the composition, arrangement, mixing, and mastering of modern electronic music. Topics include aesthetics of formal song structure and melodic and harmonic construction techniques, synthesis and sound design, using a digital audio workstation (DAW) to program musical elements using audio or MIDI, sound processing using effects such as equalization and compression, and introductory mastering techniques. Lecture 3 (Spring).

The RIT Singers is an experiential-learning course in which students learn music theory and historical context by learning pieces from the 16th century to the present and performing them at three major concerts a year. Participation in learning and performing such music gives students an experiential appreciation and understanding of the role of music in modern society. In addition, students from the RIT Singers have opportunities to sing in a variety of small vocal ensembles. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Singers can enroll without further permission.) Studio 2 (Fall, Spring).

The RIT Orchestra performs three major concerts a year of standard orchestral repertoire from the 16th century to the present. In addition, students from the RIT Orchestra have the opportunity to play in a variety of chamber music ensembles. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Orchestra can enroll without further permission.) Studio (Fall, Spring).

The RIT Concert Band is an experiential-learning course in which students learn music theory and historical context by learning several works from the Concert Band literature including standard wind band literature, contemporary compositions, marches, and orchestral transcriptions. The ensemble prepares to perform three major concerts a year and participates in departmental performances. Participation in learning and performing such music gives students an experiential appreciation and understanding of the role of music in modern society. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Concert Band can enroll without further permission.) Studio 1 (Fall, Spring).

The RIT West African Percussion Ensemble is a hands-on course, in which students explore the dynamic percussive traditions of Guinea. The ensemble combines the djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The multi-part relationships established by this trio of drums provide a rhythmic foundation for the ensemble, enabling djembe players to develop technique in executing both accompaniment and solo parts. Enrollment is open to all interested students, faculty, and staff, regardless of musical proficiency. Developing cooperation and teamwork is a necessary outcome of participation in this ensemble. Studio 1 (Fall, Spring).

Preparing for and performing concerts of jazz repertoire offers students the opportunity to broaden their knowledge of and appreciation for music, and its role in society, through the careful analysis of musical forms and ideas, and the comparison of exemplary works from a variety of times, places and social/cultural necessities. The RIT Jazz Ensemble performs three major concerts a year of standard repertoire from the early 20th century to the present. Students from the RIT Jazz Ensemble also have the opportunity to play in a variety of informal performances both on and off campus. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Jazz Ensemble can enroll without further permission.) Studio 1 (Fall, Spring).

Preparing for and performing concerts of orchestral repertoire offers students the opportunity to broaden their knowledge of and appreciation for music, and its role in society, through the careful analysis of musical forms and ideas, and the comparison of exemplary works from a variety of times, places and social/cultural necessities. The RIT Chamber Orchestra is a select group of advanced players It performs concerts and engages in other activities, in particular the exploration of performing practices and stylistic considerations apropos to 17th, 18th, and 20th century music. In particular, the RIT Chamber Orchestra revives works from the 18th and early 19th centuries that have not been performed in modern times. Participation is by invitation of the music director, or by audition. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Chamber Orchestra can enroll without further permission.) Studio 3 (Fall, Spring).

This course is a survey of the development of the American Musical Theater, highlighting representative works, composers, librettists and performers of both the cultivated and vernacular traditions. It is further designed as an appreciation course, fostering the development of a greater appreciation for all types of stage music and the ability to better evaluate the quality of a work, the performance, and the performers. Lecture 3 (Spring).

Russia’s history contains a complex blend of indigenous artistic expression and artistic influences from beyond its borders. Given its large land mass and geographical position spanning Europe and Asia, Russian monarchs struggled with understanding who the Russian people were, but also how to best navigate the cultural and economic commonalities and differences among their neighbors, with whom they desired relationships. This course explores the many ways music in Russia reflected the cultural influences apropos to its complex history and national identity in the world. The focus will be on the political, social, and artistic aspects of Russian music nationalism emerging in the 19th century and continuing into the 20th-century Soviet Era, but will include a review of the cultural and historical background from the 9th through the 18th centuries which led to Russia’s own, unique musical and artistic language. This is a writing-intensive seminar-format course, encouraging students to develop their research and writing skills, and their abilities to analyze, argue and persuade within historic, cultural, artistic, and aesthetic fields. Seminar 3 (Fall, Spring).

Survey of the cultivated traditions of music in the 20th and 21st centuries, particularly in the U.S., taking into account its political, social, and historical frameworks. (Prerequisites: PRFL-265 or equivalent course.) Lecture 3 (Spring).

This course will survey the development of American jazz music, highlighting representative composers and performers and significant works. Particular attention will be drawn to the multi-racial influences on the creation of jazz music and its relationship to American culture as a whole. Lecture 3 (Fall).

An audio professional working in the gaming industry is required to possess not only musical and audio talent, but also knowledge and experience with typical audio workflow. Composing for Video Games and Interactive Media prepares the student for a career in the industry by covering the many facets of sound production and engineering that are particular to game music and other forms of interactive media. Lecture 3 (Annual).

This course is designed for the student who has a knowledge of basic music theory and an understanding of four-part diatonic composition. In addition to the continuing study of melodic construction and development, thematic development in two-part counterpoint, four-part harmony, chromatic materials and modulation, and analysis of form and style, emphases will be placed on the development of individual music skills. (Prerequisites: PRFL-265 or equivalent course.) Lecture 3 (Spring).

Technologies and techniques for producing and manipulating digital audio are explored. Topics include digital representations of sound, digital audio recording and production, MIDI, synthesis techniques, real-time performance issues, and the application of digital audio to multimedia and Web production. (Prerequisites: IGME-202 or equivalent course and student standing in GAMEDES-BS or NWMEDID-BS.) Lec/Lab 3 (Fall).

This course provides students with exposure to the design, creation and production of audio in interactive applications and computer games. Students will become familiar with the use of sound libraries, recording sounds in the studio and in the field, generating sound with synthesizers, and effects processing. Students will create sound designs for interactive media, integrating music, dialog, ambient sound, sound effects and interface sounds within interactive programs. (Students must be in GAMEDES-MS or GAMEDES-BS and have taken IGME-202. Undergraduate students may not take and receive credit for this course if they have already taken IGME-571.not if IGME-571) Lec/Lab 3 (Spring).