Courses
A foundation of compositional and technical skills required to become a professional composer for New Media i.e., Film, TV, and videogames. These skills include (a) use of music software such as MIDI sequencers, digital audio workstations, synth plug-ins, orchestral sample libraries, and music/audio editors like in Pro Tools; and (b) an understanding of how to compose instrumental underscores for scenes from films and shows, utilizing the right emotions and dramatic moods, ambient and thematic beds. In New Media, you always have a customer--a film director, producer, show runner, game developer etc.--and you will learn how to talk to that customer and provide the music they need to enhance their project. As an extension of the New Media Seminar class, in which we screen notable movies and discuss their music scores, students will analyze the work of seminal composers of Western music and learn to compose by mimicking their style. Compositions will be scored and notated for common instruments but realized through software emulation. Software used in class: a digital audio workstation (Logic Pro) and orchestral sample libraries such as East/West Composer Cloud.Music for New Media majors only. Others may take course with permission of instructor.
Prerequisite(s): Music for New Media majors only. Others may take course with permission of instructor.
Further development of compositional skills as they relate to film, TV and video game scoring. Students will analyze historic and contemporary scores, considering the role of music when it is synchronized to picture. Students will be required to make short cues 'inspired by' or as 'clones' of cues from the movies they study. They will examine ways to invoke common cinematic moods using a range of scales/modes, intervals, chord sequences, and instrumental choices. In lab classes they will have time to individually work on simple exercises, making original themes and variations under headphones that they will then share with the rest of the class for critiques. They will have homework time to complete these pieces and be graded on them. Students will delve deeper into sample-based sound libraries, learning how to create simple orchestrations, arranged for common instruments but realized through software emulation. Software used in class: for composition--a digital audio workstation e.g., Logic Pro, Ableton Live, plus the Amadeus orchestral software library etc; for video editing and audio mastering--Avid ProTools.
Prerequisite(s): Music for New Media majors only.;Music for New Media 1, PY.320.101[C], required. Student must have received at least a B- in order to progress.
How can the principles of dramatic scoring be applied to non-linear media such as video games? What are the challenges, limitations, and opportunities in creating music for games? Students will adapt and apply tools and techniques from scoring film and TV to scoring videogames, while expanding their musical vocabulary into other traditions, styles, and palettes commonly found in music for media. Prerequisite: Music for New Media 2; Co-requisite: The Tools of New Media 1. Music for New Media majors only. Others may take course with permission of instructor.
Prerequisite(s): Music for New Media majors only. Others may take course with permission of instructor.;Music for New Media 2Co-requisite: The Tools of New Media 1.
Corequisite(s): Co-requisite: The Tools of New Media 1
Building on the foundations of creating music for games, students will create adaptive and interactive scores using techniques such as vertical layering, horizontal re-sequencing, and overlaid stingers. Students will investigate musical styles, techniques, and approaches and apply their findings to a game project. Prerequisite: Music for New Media 3; Co-requisite: The Tools of New Media 2. Music for New Media majors only. Others may take course with permission of instructor.
Prerequisite(s): Music for New Media 2; Co-requisite: The Tools of New Media 1. Music for New Media majors only. Others may take course with permission of instructor.;Music for New Media 3, PY.320.201[C], required. Student must have received at least a B- in order to progress.
Corequisite(s): Co-requisite: The Tools of New Media 2
How does technology complement and enhance the work of a composer working on film and games? Investigate the key components of modern sample libraries and how best to use them. Use modern synthesizers and samplers to create unique and compelling sonic landscapes to accompany moving images. Through “mock-up” exercises, various aspects of MIDI programming (“virtual orchestration” or “synthestration”) will be explored, culminating in building a moderate sized scoring template. Music for New Media majors only. Others may take course with permission of instructor.
Prerequisite(s): Completion of Introduction to Programming required (PY.350.466[C]).Music for New Media majors only. Others may take course with permission of instructor.;Music for New Media majors only.;Music for New Media 2, PY.320.102[C], required. Student must have received at least a B- in order to enroll.
Beyond writing music, music then needs to be implemented to become a part of the soundscape of a game. The ability to implement their music will open up additional opportunities for game composers. Students will learn how to create and manipulate objects using the C# programming language in the game engine, Unity. We will also explore the middleware audio engine Wwise to create deeper reactivity and variation in our scores. Music for New Media majors only. Others may take with permission from instructor.Completion of Introduction to Programming required (PY.350.466[C]).; Music for New Media 2, PY.320.102[C], required. Student must have received at least a B- in order to enroll.
Prerequisite(s): Completion of Introduction to Programming required (PY.350.466[C]).;Music for New Media 2, PY.320.102[C], required.Music for New Media majors only. Others may take course with permission of instructor.;Music for New Media majors only.;Tools of New Media 2, PY.320.212[C], required. Student must have received at least a B- in order to progress.
There are many specific jobs and duties in the audio industry, and currently, the post-production market is populated mostly by talented people who must understand and perform many of these duties, not just one. This course is designed to treat the composer as an audio mixer who must wear many hats in order to succeed. Students will not be asked to compose anything new, but they will learn how to mix their pieces better and see how those fit into the bigger picture.
This course explores the business side of game audio and the creative and technical process of designing and integrating sound design for video games. It is a required course for students majoring in Music for New Media.
Prerequisite(s): Open to Music for New Media majors only.;Completion of PY.320.212 The Tools of New Media 2 required.
An overview of the core concepts, techniques, and skills used for creating music with a Digital Audio Workstation (DAW). This course is targeted towards media composition, but is applicable to anyone who wants to get started working with a DAW.
Distribution Area: P, Y
To gain experience in a professional setting related to film, game, or audio, students will complete 80-100 hours of an internship at a professional facility.
Prerequisite(s): Music for New Media majors only.
The culmination of all course work and private study in the degree, the Capstone Project is equivalent to a recital given by a performance major by demonstrating core competency in skills learned throughout the program and including a collaborative component. At the start of their final year, students will submit for approval an outline of their intended Capstone Project. Completed projects will be displayed, performed, demonstrated, etc. at the conclusion of their final semester of study.
Prerequisite(s): Music for New Media majors only.
A required course for New Media students. Particular attention will be paid to the role of music in media, as well as current industry trends and developments in the field. Gain a foundational understanding of film scores by watching major motion pictures in the company of an audience, discussing and analyzing the music, and examining the relationship between the filmmaker and the composer. In addition to screenings, various guest lectures will be given through the semester by successful industry professionals. After each event you will be required to submit an assignment, which may be either (a) to write a 300-500 word response to the movie and its score, or (b) to compose a short piece of music 'inspired by' this week's movie score.
A foundation of compositional and technical skills required to become a professional composer for New Media, i.e., Film, TV, and videogames. These skills include (a) the use of music software such as MIDI sequencers, digital audio workstations, synth plug-ins, orchestral sample libraries, and music/audio editors like in Pro Tools; and (b) an understanding of how to compose instrumental underscores for scenes from films and shows, utilizing the right emotions and dramatic moods, ambient and thematic beds. Software used in class: a digital audio workstation (Logic Pro) and orchestral sample libraries such as East/West Composer Cloud.
Prerequisite(s): Open to MM in Film and Game Scoring majors only
Students will investigate the key components of modern sample libraries and learn how best to use them. Modern synthesizers and samplers will be used to create unique and compelling sonic landscapes to accompany moving images. Through "mock-up" exercises, various aspects of MIDI programming ("virtual orchestration" or "synthestration") will be explored, culminating in building a moderate-sized scoring template.
Prerequisite(s): Open to MM in Game and Film Scoring majors only