This is a first course in computer programming for students with no prior experience. Students will learn the core process of programming: given a problem statement, how does one design an algorithm to solve that particular problem and then implement the algorithm in a computer program? The course will also introduce elementary programming concepts like basic control concepts (such as conditional statements and loops) and a few essential data types (e.g., integers and doubles). Exposure to programming will be through a self-contained user-friendly programming environment, widely used by the scientific and engineering communities, such as Matlab. The course will cover problems from all fields of science, engineering, and business.
This course is designed for undergraduate students in Business and Liberal Arts majors. It includes the following basic topics in calculus: the definition of functions, their graphs, limits and continuity; derivatives and differentiation of functions; applications of derivatives; and definite and indefinite integrals. Properties of some elementary functions, such as the power functions, exponential functions, and logarithmic functions, will be discussed as examples. The course also covers methods of solving the first-order linear differential equations and separable equations, and some basic concepts in multi-variable calculus, such as partial derivatives, double integrals, and optimization of functions.
Functions of one variable, limits, continuity, derivatives, chain rule, maxima and minima, exponential functions and logarithms, inverse functions, antiderivatives, elementary differential equations, Riemann sums, the Fundamental Theorem of Calculus, vectors and determinants.
In today's music composition world, artists may accelerate their potential by having a basic understanding of sound recording technology, since this competitive field is becoming more dependent on composer-operated tools to generate the art. This course will give students an understanding of the terms and basic skills needed to make quality recordings of their art on the "Pro Tools" non-linear-based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will meet in small groups for at least four hours a week to execute organized studio "hands-on" lab exercises. Students will experience the producing and recording of a basic multi-track song project at the completion of the course. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
This course is the first of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; general recording studio protocol; MIDI (Musical Instrument Digital Interface); basic recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. Students will demonstrate their expertise in the discipline through a series of practical projects and written exams. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
This course emphasizes the biological underpinnings of behavior and of mental processes. What do we know? How do we come to know? What do we want? Why do we act the way we do? In this course these fundamental questions of psychology are mainly looked at from a biological perspective that emphasizes the study of the brain and nervous systems. Historical, philosophical, and evolutionary perspectives on mental processes are considered, as well. Group B, 100-level course.
An introduction to issues and theories in Life Span Development, Personality Theory, and psychological disorders. Topics include cognitive and social development, attachment, moral thinking, and psychoanalytical theory. Focus is placed on those seminal theories that have had lasting import for psychology as well as other disciplines. These theories include, but are not limited to, those of Piaget, Erikson, and Freud. Group B, 100-level course.
An analysis of the historical development of psychology. Issues such as perception, learning, cognition, and memory are explored within the context of various schools of thought.
This course is designed only for undergraduate students in Business and Liberal Arts majors. It introduces basic concepts and methods in probability. Topics includes the definition of sample spaces, events, and their probabilities; elementary combinatorics and counting techniques; and conditional probability, the total probability, and Bayes' Theorem. The course also deals with concepts of discrete and continuous random variables and probability distributions; multi-random variables and their joint distributions; the mean, variance, and covariance of random variables; and the Central Limit Theorem and t-distributions.
Techniques of integration, infinite series and Taylor series, polar coordinates, double integrals, improper integrals, parametric curves, arc length, functions of several variables, partial derivatives, gradients and directional derivatives.
Mixing consoles in project studios will be explored and more advanced techniques in dynamics, equalization, reverberation, and signal processing. Students will meet in small groups for at least four hours a week to execute organized studio "hands on" lab exercises. Students will experience the producing and recording of a more advanced multi-track song project at the completion of the course. Does not fulfill general humanities requirements; may be taken as a free elective.
Pre-Requisite: HMU 231 Sound Recording I (Formerly HMU 410)
This course is the second of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; advanced studio recording protocol and systems integration; advanced recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. As well, the course will explore cross implementation techniques between the aforementioned software tools. Students will demonstrate their expertise in the discipline through a series of practical projects. Does not fulfill general humanities requirements; may be taken as a free elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
With the presumption of no previous formal study, Music Theory I presents the fundamental materials and procedures of tonal music. The students are introduced to elements of music theory, including scales, key signatures, intervals, triads, seventh chords, Roman numeral and figured bass analysis, 4-part writing, and first species counterpoint. Aural skills are developed with the introduction to "fixed-do" solfege. Sight singing in treble and bass clef, primarily in Major, develops pitch and rhythmic articulation. Prerequisites: basic ability to read treble or bass clef. Does not fulfill general humanities requirements; may be taken as a free elective.
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 and polyphonic music. The course will include lectures and class discussions, assigned readings, written assignments, and periodic examinations. Prerequisite: basic ability to read music. Group B, 100-level course.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
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.
Lecture 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 audio mixing consoles, additional advanced microphone placement techniques, and understanding of transducer experimentation. Synchronization between analog machines and digital audio workstations and MIDI interfaces will be explored. The student will gain the ability to troubleshoot and avoid externally generated noise in an audio system. Students will experience the entire engineering process that goes into integrating tracks from a live recording session with songs, from running the original recording session to producing the final mix. Does not fulfill general humanities requirements; may be taken as a free elective.
Pre-Requisite: HMU 232 Sound Recording II (formerly HMU 411)
Music Theory II continues the presentation of the material and procedures of tonal music with the study of harmonic syntax as it pertains to tonal cadences, intermediary harmonies modulation and tonicization in major and minor, and fundamental concepts of diatonic sequences. Students continue their mastery of 4-part writing with Roman numeral and figured bass analysis and undertake writing assignments in second and third species counterpoint in two voices. Aural skills are developed with alto clef "fixed-do" solfege primarily in minor. Does not fulfill general humanities requirements; may be taken as a free elective.
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 basic ability to read music. Group B, 100-level course.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
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.
As the final semester of Sound Recording Arts, 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. Additionally, we will be studying in depth, advanced audio techniques. Students will be required to bring an audio example every class to be evaluated and attempt to recreate using the studio as lab. By the end of the semester, students will understand advanced principals of digital recording and the practical application thereof. Additionally, students will have in depth experiential knowledge of recording practices and advanced production techniques. Does not fulfill general humanities requirements; may be taken as a free elective
Pre-Requisite: HMU 333 Sound Recording III (formerly 412)
In order for students to acquire the most basic and fundamental piano techniques, students will undertake rudimentary exercises designed to facilitate the most common fingering techniques and hand positions. Students will be required to demonstrate the ability to play major scales, simple arpeggios, and develop muscle memory for basic intervals. By the end of the semester, students should be able to read 2 part treble and bass compositions. Prerequisites: None. Does not fulfill general humanities requirements; may be taken as a free elective.
Sound Design calls upon major technical elements from HMU 410-413 from psychoacoustics to sound wave manipulation within the digital to create soundscapes that enhance the art of story telling. The student will learn to create original sound effects, use and manipulate existing sound effect libraries, and identify the audio needs of a visual image. They will use the Digital Audio Workstation (DAW), as instructed in the Sound Recording course series, to integrate audio and visual elements. They will also be able to create a stand-alone soundscape for radio or audio only internet applications. Via lab assignments, students will complete the course with the foundation for an audio portfolio - demo CD. Does not fulfill general humanities requirements; may be taken as a free elective.
Pre-Requisite: HMU 232 Sound Recording II (formerly HMU 411)
In this course, students explore the tools and techniques of advanced writing and research. Students write four research papers and give several oral presentations. This course is required for single degree B.A. students and strongly recommended for double degree students.
Piano II is the second in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 220 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
This course deals with the basic principals of physics as it relates to sound. Sound wave transmission, musical instrument sound vibration, transducer theory, room acoustic design and isolation design are discussed and explored. Recording Studio design will be explored and the mysteries of the room "appearance" will be explained. The more informed an individual is about the topic of acoustics; the art of music production becomes more efficiently achieved. The student will complete the course with a thorough understanding of acoustical design techniques. This knowledge w
ill not only prepare the student for professional studio design and construction (music, audio/video for post production), it is also applicable in understanding the environments in which they might create productions. Does not fulfill general humanities requirements; may be taken as a free elective
Pre-Requisite: MA 117 Calculus for Business and Liberal Arts
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 receives a grade and credit for a Humanities elective.
HMU 406 explores the integration of audio production for such visual mediums as television, film and interactive games. Through an analysis of various commercial visual media The course introduces 1) the techniques and terminology representing the technical parameters common to both audio and visual producers 2) the psychological impact of sound association 3) the implementation of audio tools in the creation of . ADR (automatic dialog replacement), Music Editing, Sound effects and/or Foley.. 4) An understanding of the commercial marketing impact of sound. Does not fulfill general humanities requirements; may be taken as a free elective.
Pre-Requisite: HMU 231 Sound Recording I (Formerly HMU 410)
This course is an overview of the vast music business world and what a real and successful producer must know to compete in today's commercial music environment. Topics include: discovering an act, training, development, music union memberships, performance, music attorney expectations, management contracts, booking agents, promoters, publishing deals, performance rights organizations, production deals, recording studio management, record deals and labels, interactive media and Web promotion, and distribution. Guest speakers may be invited to class and students may visit "indie" and major label headquarters. All students will be encouraged to participate in the student organized Media Label Club. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
This
course is an overview of the vast music business world and what a real and successful producer must know to compete in today's commercial music environment. Topics include: discovering an act, training, development, music union memberships, performance, music attorney expectations, management contracts, booking agents, promoters, publishing deals, performance rights organizations, production deals, recording studio management, record deals and labels, interactive media and Web promotion, and distribution. Guest speakers may be invited to class and students may visit "indie" and major label headquarters. All students will be encouraged to participate in the student organized Media Label Club. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
This is a first course in computer programming for students with no prior experience. Students will learn the core process of programming: given a problem statement, how does one design an algorithm to solve that particular problem and then implement the algorithm in a computer program? The course will also introduce elementary programming concepts like basic control concepts (such as conditional statements and loops) and a few essential data types (e.g., integers and doubles). Exposure to programming will be through a self-contained user-friendly programming environment, widely used by the scientific and engineering communities, such as Matlab. The course will cover problems from all fields of science, engineering, and business.
This course is designed for undergraduate students in Business and Liberal Arts majors. It includes the following basic topics in calculus: the definition of functions, their graphs, limits and continuity; derivatives and differentiation of functions; applications of derivatives; and definite and indefinite integrals. Properties of some elementary functions, such as the power functions, exponential functions, and logarithmic functions, will be discussed as examples. The course also covers methods of solving the first-order linear differential equations and separable equations, and some basic concepts in multi-variable calculus, such as partial derivatives, double integrals, and optimization of functions.
Functions of one variable, limits, continuity, derivatives, chain rule, maxima and minima, exponential functions and logarithms, inverse functions, antiderivatives, elementary differential equations, Riemann sums, the Fundamental Theorem of Calculus, vectors and determinants.
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 and polyphonic music. The course will include lectures and class discussions, assigned readings, written assignments, and periodic examinations. Prerequisite: basic ability to read music. Group B, 100-level course.
This course is the first of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; general recording studio protocol; MIDI (Musical Instrument Digital Interface); basic recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. Students will demonstrate their expertise in the discipline through a series of practical projects and written exams. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
This course emphasizes the biological underpinnings of behavior and of mental processes. What do we know? How do we come to know? What do we want? Why do we act the way we do? In this course these fundamental questions of psychology are mainly looked at from a biological perspective that emphasizes the study of the brain and nervous systems. Historical, philosophical, and evolutionary perspectives on mental processes are considered, as well. Group B, 100-level course.
An introduction to issues and theories in Life Span Development, Personality Theory, and psychological disorders. Topics include cognitive and social development, attachment, moral thinking, and psychoanalytical theory. Focus is placed on those seminal theories that have had lasting import for psychology as well as other disciplines. These theories include, but are not limited to, those of Piaget, Erikson, and Freud. Group B, 100-level course.
An analysis of the historical development of psychology. Issues such as perception, learning, cognition, and memory are explored within the context of various schools of thought.
This course is designed only for undergraduate students in Business and Liberal Arts majors. It introduces basic concepts and methods in probability. Topics includes the definition of sample spaces, events, and their probabilities; elementary combinatorics and counting techniques; and conditional probability, the total probability, and Bayes' Theorem. The course also deals with concepts of discrete and continuous random variables and probability distributions; multi-random variables and th
eir joint distributions; the mean, variance, and covariance of random variables; and the Central Limit Theorem and t-distributions.
Techniques of integration, infinite series and Taylor series, polar coordinates, double integrals, improper integrals, parametric curves, arc length, functions of several variables, partial derivatives, gradients and directional derivatives.
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 basic ability to read music. Group B, 100-level course.
This course is the second of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; advanced studio recording protocol and systems integration; advanced recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. As well, the course will explore cross implementation techniques between the aforementioned software tools. Students will demonstrate their expertise in the discipline through a series of practical projects. Does not fulfill general humanities requirements; may be taken as a free elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area
's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
With the presumption of no previous formal study, Music Theory I presents the fundamental materials and procedures of tonal music. The students are introduced to elements of music theory, including scales, key signatures, intervals, triads, seventh chords, Roman numeral and figured bass analysis, 4-part writing, and first species counterpoint. Aural skills are developed with the introduction to "fixed-do" solfege. Sight singing in treble and bass clef, primarily in Major, develops pitch and rhythmic articulation. Prerequisites: basic ability to read treble or bass clef. Does not fulfill general humanities requirements; may be taken as a free elective.
In order for students to acquire the most basic and fundamental piano techniques, students will undertake rudimentary exercises designed to facilitate the most common fingering techniques and hand positions. Students will be required to demonstrate the ability to play major scales, simple arpeggios, and develop muscle memory for basic intervals. By the end of the semester, students should be able to read 2 part treble and bass compositions. Prerequisites: None. Does not fulfill general humanities requirements; may be taken as a free elective.
In today's music composition world, artists may accelerate their potential by having a basic understanding of sound recording technology, since this competitive field is becoming more dependent on composer-operated tools to generate the art. This course will give students an understanding of the terms and basic skills needed to make quality recordings of their art on the "Pro Tools" non-linear-based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will meet in small groups for at least four hours a week to execute organized studio "hands-on" lab exercises. Students will experience the producing and recording of a basic multi-track song project at the completion of the course. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
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 pa
rticipate in at least one performance each semester.
Music Theory II continues the presentation of the material and procedures of tonal music with the study of harmonic syntax as it pertains to tonal cadences, intermediary harmonies modulation and tonicization in major and minor, and fundamental concepts of diatonic sequences. Students continue their mastery of 4-part writing with Roman numeral and figured bass analysis and undertake writing assignments in second and third species counterpoint in two voices. Aural skills are developed with alto clef "fixed-do" solfege primarily in minor. Does not fulfill general humanities requirements; may be taken as a free elective.
Piano II is the second in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the
Development of Functional Keyboard skills. Prerequisites: HMU 220 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
Mixing consoles in project studios will be explored and more advanced techniques in dynamics, equalization, reverberation, and signal processing. Students will meet in small groups for at least four hours a week to execute organized studio "hands on" lab exercises. Students will experience the producing and recording of a more advanced multi-track song project at the completion of the course. Does not fulfill general humanities requirements; may be taken as a free elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
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.
This course is an exploration of traditional orchestral instruments. The student will learn fine details related to the characteristics of instruments in the orchestral family with classroom examples of masterpieces in the classical repertoire, as well as by experiencing either live demonstrations or sampled demonstrations by the instructor. The student will learn the basics of expanding a piano score to woodwind, brass, and string quartets. Prerequisite:. Basic ability to read treble or bass clef. Does not fulfill general humanities requirements; may be taken as a free elective.
Music Theory III 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 and chromatic alterations. Does not fulfill general humanities requirements; may be taken as a free elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
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.
Piano III is the third in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 221 or permission of the instructor.
In this course, students explore the tools and techniques of advanced writing and research. Students write four research papers and give several oral presentations. This course or its equivalent is required for single degree B.A. students and strongly recommended for double degree students.
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 condu
cting. In addition to completing the Adler text, students will spend significant time in the MAC Lab 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 orchestrators, Rimsky Korsakov. Does not fulfill general humanities requirements; may be taken as a free elective.
Music Theory IV 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. Does not fulfill general humanities requirements; may be taken as a free elective.
Piano IV is the fourth in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 322 or permission of the instructor.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
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.
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 receives a grade and credit for a Humanities elective.
Music Composition is a one semester course that presents a detailed analysis of the techniques of music composition. The course will focus on Form and Structure, Stylistic Movements, and Compositional Techniques. Students will be expected to demonstrate their understanding of all concepts presented in class via a series of quizzes and two significant works they will compose during the course of the semester. Music Composition will deepen the students understanding and implementation of the various techniques of musical composition. Since all students will have completed HMU202 (formerly 302), HMU420 will allow for a stronger and more coherent understanding of the implementation of those concepts and will greatly enhance the students understanding of the concepts presented in HMU 303 & 304 & 405. Does not fulfill general humanities requirements; may be taken as a free elective.
Contemporary Music Theory is a one semester presentation of the materials and procedures of music emanating from the evolution of Romanticism through Impressionism and arriving at the dismantling of tonality in the 20th century. In this class, melodic, rhythmic and harmonic analysis will transcend the triadic structures of the common period as presented in Music Theory I-IV. Students will be expected to demonstrate their understanding of all concepts presented in class via a series of quizzes and two significant works they will compose during the course of the semester. Does not fulfill general humanities requirements; may be taken as a free elective.
This is a first course in computer programming for students with no prior experience. Students will learn the core process of programming: given a problem statement, how does one design an algorithm to solve that particular problem and then implement the algorithm in a computer program? The course will also introduce elementary programming concepts like basic control concepts (such as conditional statements and loops) and a few essential data types (e.g., integers and doubles). Exposure to programming will be through a self-contained user-friendly programming environment, widely used by the scientific and engineering communities, such as Matlab. The course will cover problems from all fields of science, engineering, and business.
Functions of one variable, limits, continuity, derivatives, chain rule, maxima and minima, exponential functions and logarithms, inverse functions, antiderivatives, elementary differential equations, Riemann sums, the Fundamental Theorem of Calculus, vectors and determinants.
This course is the first of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the stu
dents tenure in the Music program. Topics include; general recording studio protocol; MIDI (Musical Instrument Digital Interface); basic recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. Students will demonstrate their expertise in the discipline through a series of practical projects and written exams. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
This course emphasizes the biological underpinnings of behavior and of mental processes. What do we know? How do we come to know? What do we want? Why do we act the way we do? In this course these fundamental questions of psychology are mainly looked at from a biological perspective that emphasizes the study of the brain and nervous systems. Historical, philosophical, and evolutionary perspectives on mental processes are considered, as well. Group B, 100-level course.
An introduction to issues and theories in Life Span Development, Personality Theory, and psychological disorders. Topics include cognitive and social development, attachment, moral thinking, and psychoanalytical theory. Focus is placed on those seminal theories that have had lasting import for psychology as well as other disciplines. These theories include, but are not limited to, those of Piaget, Erikson, and Freud. Group B, 100-level course.
An analysis of the historical development of psychology. Issues such as perception, learning, cognition, and memory are explored within the context of various schools of thought.
Techniques of integration, infinite series and Taylor series, polar coordinates, double integrals, improper integrals, parametric curves, arc length, functions of several variables, partial derivatives, gradients and directional derivatives.
This course is the second of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; advanced studio recording protocol and systems integration; advanced recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. As well, the course will explore cross implementation techniques between the aforementioned software tools. Students will demonstrate their expertise in the discipline through a series of practical projects. Does not fulfill general humanities requirements; may be taken as a free elective.
This is an introductory programming course using the Java language. The topics include: basic facts about object-oriented programming and Java through inheritance and exceptions; recursion; UML diagrams and how to read class diagrams; ethics in computer science; and some basic understanding about computer systems: the compile/link/interpret/execute cycle and data representation.
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four 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.
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.
In today's music composition world, artists may accelerate their potential by having a basic understanding of sound recording technology, since this competitive field is becoming more dependent on composer-operated tools to generate the art. This course will give students an understanding of the terms and basic skills needed to make quality recordings of their art on the "Pro Tools" non-linear-based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will meet in small groups for at least four hours a week to execute organized studio "hands-on" lab exercises. Students will experience the producing and recording of a basic multi-track song project at the completion of the course. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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 and polyphonic music. The course will include lectures and class discussions, assigned readings, written assignments, and periodic examinations. Prerequisite: basic ability to read music. Group B, 100-level course.
This course provides the background necessary for advanced study of mathematics or computer science. Topics include propositional calculus, predicates and quantifiers, elementary set theory, countability, functions, relations, proof by induction, elementary combinatorics, elements of graph theory, mends, and elements of complexity theory.
This is a course on standard data structures, including sorting and searching and using the Java language. The topics include: stages of software development; testing; UML diagram
s; elementary data structures (lists, stacks, queues, and maps); use of elementary data structures in application frameworks; searching; sorting; and introduction to asymptotic complexity analysis.
Mixing consoles in project studios will be explored and more advanced techniques in dynamics, equalization, reverberation, and signal processing. Students will meet in small groups for at least four hours a week to execute organized studio "hands on" lab exercises. Students will experience the producing and recording of a more advanced multi-track song project at the completion of the course. Does not fulfill general humanities requirements; may be taken as a free elective.
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 basic ability to read music. Group B, 100-level course.
This course provides a general introduction to the essentials of the software development process, that series of activities that facilitate developing better software in less time. The course introduces software development and deployment life cycles, requirements acquisition and analysis, software architecture and design, and resource management and scheduling in the implementation phase. Students gain experience with tools and methodologies for configuration management and project management. Security engineering is considered as an essential part of the software development process, particularly from the standpoint of applied risk management.
This is a course on more complex data structures, and algorithm design and analysis, using the C language. Topics include: advanced and/or balanced search trees; hashing; further asymptotic complexity analysis; standard algorithm design techniques; graph algorithms; complex sort algorithms; and other "classic" algorithms that serve as examples of design techniques.
With the presumption of no previous formal study, Music Theory I presents the fundamental materials and procedures of tonal music. The students are introduced to elements of music theory, including scales, key signatures, intervals, triads, seventh chords, Roman numeral and figured bass analysis, 4-part writing, and first species counterpoint. Aural skills are developed wit
h the introduction to "fixed-do" solfege. Sight singing in treble and bass clef, primarily in Major, develops pitch and rhythmic articulation. Prerequisites: basic ability to read treble or bass clef. Does not fulfill general humanities requirements; may be taken as a free elective.
In order for students to acquire the most basic and fundamental piano techniques, students will undertake rudimentary exercises designed to facilitate the most common fingering techniques and hand positions. Students will be required to demonstrate the ability to play major scales, simple arpeggios, and develop muscle memory for basic intervals. By the end of the semester, students should be able to read 2 part treble and bass compositions. Prerequisites: None. Does not fulfill general humanities requirements; may be taken as a free elective.
In this course, students explore the tools and techniques of advanced writing and research. Students write four research papers and give several oral presentations. This course is required for single degree B.A. students and strongly recommended for double degree students.
Music Theory II continues the presentation of the material and procedures of tonal music with the study of harmonic syntax as it pertains to tonal cadences, intermediary harmonies modulation and tonicization in major and minor, and fundamental concepts of
diatonic sequences. Students continue their mastery of 4-part writing with Roman numeral and figured bass analysis and undertake writing assignments in second and third species counterpoint in two voices. Aural skills are developed with alto clef "fixed-do" solfege primarily in minor. Does not fulfill general humanities requirements; may be taken as a free elective.
Piano II is the second in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 220 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
An introduction to the large and diverse field of artificial intelligence. Topics include: problem solving by search and constraint satisfaction; alpha-beta search for two-player games; and logic and knowledge representation, planning, learning, decision theory, statistical learning, and computer vision.
The main aspects of computers: data (data types and formats, number bases), hardware (stored program computer concept, addressing methods and program sequencing, instruction sets and their implementation, the CPU and microprogrammed control, input/output organization, peripherals and interfacing, and main memory), communication (network protocols), software (operating systems, dispatching algoeithms), and assembly language programming.
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 t
he program and indicating the nature and scope of the project (generally a written paper). Upon completion of the program, the student receives a grade and credit for a Humanities elective.
An introduction to the functional level structure of modern pipelined processors and the empirical and analytic evaluation of their performance. Topics include: empirical and analytic techniques for measuring performance (use of various means, Amdahl's Law, and benchmarks); tradeoff analysis; principles of instruction set design and evaluation (memory addressing, operations, types and sizes of operands, instruction set encoding, CISC vs. RISC, and related compilation issues); pipelining (basics, data hazards, and control hazards); and memor
y systems.
Introduces the essentials of probability theory and elementary statistics. Lectures and assignments greatly stress the manifold applications of probability and statistics to computer science, production management, quality control, and reliability. A statistical computer package is used throughout the course for teaching and for assignments. Contents include: descriptive statistics, pictorial and tabular methods, and measures of location and of variability; sample space and events, probability axioms, and counting techniques; conditional probability and independence, and Bayes' formula; discrete random variables, distribution functions and moments, and binomial and Poisson distributions; continuous random variables, densities and moments, normal, gamma, and exponential and Weibull distributions unions; distribution of the sum and average of random samples; the Central Limit Theorem; confidence intervals for the mean and the variance; hypothesis testing and p-values, and applications for the mean; simple linear regression, and estimation of and inference about the parameters; and correlation and prediction in a regression model.
Introduction to systems programming in C on UNIX. Students will be introduced to tools for compilation, dynamic linking, debugging, editing, automatic rebuilding, and version control. Some aspects of the UNIX system call interface will be studied, drawn from this list: process creation, signals, terminal I/O, file I/O, inter-process communication, threads, network protocol stacks, programming with sockets, and introduction to RPC. Style issues to be covered include: naming, layout, commenting, portability, design for robustness and debugability, and language pitfalls. X programming and GUI design will be covered, if time allows.
The use and internals of modern operating systems. Lectures focus on internals whereas programming assignments focus on use of the operating system interface. Major topics include: the process concept; concurrency and how to program with threads; memory management techniques, including virtual memory and shared libraries; file system data structures; and I/O.
