This course is for Recorded Music Majors only. We will then narrow the focus to consider branding as it relates to today's music industry, and for the final assignment, students will write a paper analyzing a brand of choice. With more than 230 areas of study, your fellow NYU community members are bound to be teaching, researching, or debating a topic that interests you. Though jazz songstresses like Billie Holiday are often cited as Winehouse’s influences, she herself has cited Mahalia Jackson, Dinah Washington, and Texas-born Young Disciple expat Carleen Anderson, as singers she admired; moreover, the so-called “neo-soul” and black bohemian artists of the late 1980s and 1990s created the immediate template that made space for the ascent of Winehouse in the 2000s. While the music industry has long been plagued by systemic tensions around issues like gender inequality, racial injustice, and climate unsustainability, this colloquium class encourages students to become socially-responsible creators, to broaden their moral and ethical perspectives, and to explore alternate value systems that prioritize ideals of inclusion, justice and equality. Beginning with the sounds and performance of blackface minstrelsy, you will learn how racial identity has been constructed through the development of popular American music, ranging from Tin Pan Alley to blues and jazz, as well as to country and rock and roll. Students will specifically consider how becoming more aware of our relationship to sound in its various forms creates new ways of understanding how race, gender, and sexuality are heard, felt, and experienced in popular music. The alternative hip hop movement known as Native Tongues—groups like ATCQ, De La Soul, Gang Starr, Black Sheep, and Digable Planets) forged new bohemian ground, toying with low-end rhythm and sonics. Whether you’re an NYU or visiting college student, high school student or working professional, we provide you with the introductory exposure to the performing or cinematic arts and the advanced-level training to grow your craft. Pepper's Lonely Hearts Club Band as one of the most important albums in rock history. Students will do their own mastering on material supplied by the instructor, as well as on each other's music, for critiques and comparisons. Was it a genuine collaboration that benefited both Simon and his African colleagues, or was this the latest form of musical exploitation and colonialism? These workbooks are conceptual blueprints for how each student will craft and construct a transcendent public identity or personal brand that tells a compelling and original story in the music marketplace. You will receive introductory music business training and will learn about the history and culture of creative entrepreneurs in recorded music. How do we use the tools, rather than having the tools use us? Beyond her free approach to genre, Mitchell’s work has stirred controversy for her examinations of women, her representations of race and her commitment to the politics her lyrics seem to espouse. These are among the range of challenges that every creative entrepreneur faces when planning the start up of a new music venture. Immersive Sound is one of the most significant developments in years, rivaling previous developments in visual and aural formats. The course will offer seven workshop style lecture/conversations with senior faculty, and working artists or professionals who have traveled an varied journey throughout their careers. In the second year, you will deepen your understanding of the art and business of creating and selling recorded music. We will look at the many ways that soul music morphed after the ‘60s,giving rise to  black musical styles like funk, disco, and hip hop, and focus on the evolving relationship of soul music and American race relations as well. Still, most of us don’t stop to deeply consider how much we make use of algorithms on a daily basis. The instructor will provide a library of original samples to draw from. Each are built with shared values, common goals, and a priority for putting students first. In fact, most of the progress out of Jim Crow has been the result of a succession of Black entrepreneurial successes and victories; and these strategies give us also a great sense of possibility. In this course, students will study the history, culture and politics of funk, as we track its crossover rise in the 1960s and 1970s, its relationship to disco and sampling in hip-hop, its ability to engage protest and subversive politics, and the way the music continues to be informed by issues of race, nationalism, class, gender and sexuality. Each session in this two-credit, seven-class course will include readings, listening, multimedia presentations and performances, plus a variety of special guests, to help explore the music and life of both of these icons, and where they intersect, from a variety of perspectives. This impact is furthered by how racial identity is portrayed, performed, and understood by the masses through popular media, both historically and at present. Throughout the semester, the students will have a chance to interact directly with internationally renowned percussionists, producers, vocalists and songwriters who will provide their own original approach through guest lectures on selected topics. The course will assume a foundational understanding of music business history and terminology, as well as familiarity with the roles that key companies (record labels, music publishers, concert promoters, radio programmers, streaming services, independent distributors) play in the music ecosystem. This course will contextualize the holistic core curriculum of the Clive Davis Institute. The MSBA program curriculum focuses on three core areas: data engineering, data analytics, and data interpretation. These intensive and enriching courses are taught by Tisch undergraduate faculty. Earn credits towards your major or minor, build your résumé with an internship, or take classes to change careers. Vivien Goldman was Bob Marley’s trusted chronicler and has written two books about him. Queer theory is a scholarly field that might be applied to the study of popular music to illuminate how queerness shapes and is shaped by popular culture. There is a lab fee for this course. We’ll look into ways that we can apply the values of solid music writing in an ever-changing landscape, and practicing writing for podcasts and audio segments, discussing the steady rise of email newsletters, and the importance of crafting your own narrative. As with Creativity in Context 1 in which the purpose of the course is to contextualize the core curriculum of the The Clive Davis Institute to incoming first year students, this course delves deeper into the exploration of creativity throughout various disciplines and career structures. Launched in September 2014 by Dean Allyson Green as a pilot effort to identify and establish a set of best practices, the Tisch Initiative for Creative Research (TCR) serves as a research nexus, supporting and highlighting inter-disiciplinary and collaborative research led by Tisch faculty and students. While the class will focus on specific eras of popular music and selected artists, each class will concentrate on a topic that considers queer theories, reading practices, and performances to explore the myriad ways queer identities are central to and impacted by popular culture and society at large. While there are many courses across NYU that would count for a technology elective, here are the electives in our department. In order for the budding producer to realize their potential in the studio, the ability to describe what is being heard and the skill to articulate possible audio issues is a necessity. This particular iteration of the funk class will focus primarily on the cultural contributions of two of funk's greatest visionaries: George Clinton, bandleader of musical group/army Parliament-Funkadelic, and Maurice White, the under-recognized architect of multi-format crossover band Earth, Wind & Fire. Through a series of discussions, hands-on exercises, and recording sessions, you will refine your skills in the recording studio from the organizational, technical, and creative/artistic points of view. Special Programs. You'll work to demonstrate your understanding of the course concepts through dialogue with brand professionals, class discussion assignments and a final project and presentation. As we listen to songs like Blondie's "Rapture"(1981), The Clash's "The Magnificent Dance," (1981), "Sweet Dreams" by the Eurythmics (1982), Talking Heads's "Slippery People" (1983), Run DMC's " It's Like That" (1983), Shannon's "Let the Music Play" (1983), Dhar Braxton's "Jump Back" (1986) and Keith Sweat's "I Want Her" (1986), students are expected to become familiar with the pivotal changes in musical taste and production techniques that occurred during that landmark decade. Engineering the Record I familiarizes students with the practical aspects of the recording process in the studio by examining the theory, techniques, and science of sound recording. As a third-year student, you will also have the opportunity to participate in the Institute’s required internship program and become a better citizen of the world by participating in either Recorded Music's mandatory study abroad program in Berlin or one of many study abroad opportunities offered through NYU Global and Tisch Special Programs. There is a lab fee for this course. This 0-credit colloquium course is required for all seniors who completed REMU-UT 1401 Professional Development in their penultimate semester and is designed to help students complete their senior Professional Development project and prepare for post-graduate life. This class proposes to demystify the funding process and provides an overview of the main sources of music business funding: Grants, Investments, Crowdfunding, Friends & Family, and Bootstrapping among others. We will consider the roots of 60s sensibility, from the Beats, hipsters, and existentialists of the postwar era to the folk revival of the early part of that decade. Because this field is relatively new, many of these case studies may emerge in real time as the course unfolds. What is it exactly that we think we can learn from failure? Listing of full and part-time faculty in the Music Business program. Having the ability to find and leverage funding opportunities is a skill that every music entrepreneur must have to succeed. What was company policy that created an issue around the album content? 2 credits. We will examine the philosophical currents of the ‘60s through some of its leading literary figures, including James Baldwin, Allen Ginsberg, Marshall McLuhan, Herbert Marcuse, Susan Sontag, Ellen Willis, and Tom Wolfe. I will use my own experiences as a prominent rock critic in the ‘60s, and my personal interactions with important rock creators—such as the Beatles, Jimi Hendrix, Janis Joplin, and Jim Morrison—to bring the era alive, leaving you with a new perspective on how the music and the values of that generation were related to your life. In the world of popular music, the word “soul” has come to mean so many things – a style, a sound, an attitude, a way of singing, a way of belonging. Students will be encouraged to pursue both practical and abstract concepts in the furtherance of dynamic and newly inventive ideas - and will be required to develop and submit a concept and plan for their final project. The dictum says that you have to learn to fail before you can truly succeed. Students will meet successful leaders across the music industry, learn about the complex moral, ethical challenges they face, and distill important lessons that they can be apply to leadership challenges they may confront in the future. Creative branding is the key to understanding what makes audiences/consumers tick and to increasing sales performance. On one hand, “classic” suggests pre-eminent status, high standards, top quality. Clive Davis Institute majors only. You will write, co-write, and analyze songs in order to establish and engage your own unique songwriting voice. A wide range of processing techniques and advanced editing methods will be demonstrated and compared. You may also use the fourth year to intern or find a job in the music industry, complete liberal arts requirements, or concentrate on your advanced studies in production, writing, history & emergent media, business, or musicianship and performance in order to complete your capstone professional development project. Critical listening and the psychoacoustics of decision-making will be explored. On a global scale the digital music market has continuously expanded since 2008, and in 2018 streaming is 89% of the total Norwegian marked and at the end of 2018 there were 255 million users of paid music streaming subscriptions driving year-on-year global streaming revenue growth of 32,9%. This course focuses on the skills and competencies necessary for effective leadership and how they can be developed and applied to the pursuit of students’ personal and professional goals in music. Every student of recorded music—aspiring performers, producers, songwriters, journalists, and industry professionals alike—needs sharp writing skills in order to communicate clearly and tell compelling stories across all types of media. Running parallel to the widening of the album rock market in the early 1970s, which inspired the rise of such artists-songwriters as James Taylor, Carole King, Neil Young, Joni Mitchell, Paul Simon, Jackson Browne and Laura Nyro, was the rise of the black singer-songwriter-auteur, keyed by the success of Wonder, Curtis Mayfield, Bill Withers, Donny Hathaway, Marvin Gaye, Aretha Franklin, and others. Takahiro Miyashita The Soloist. Integrating aspects of music appreciation and rhythmic training, this class will explore the broad stylistic diversity of Latin American music today by tracing the roots of some of its most impactful styles and connecting them with its newest manifestations. If you've been to a 4DX or Imax movie, if you've tried Google Cardboard or Oculus Rift, if you've listened to music on surround sound speakers or noise-canceling headphones, if you’ve explored an interactive website, visual album, pop-up store or app, seen a Punchdrunk or Secret Cinema show or visited the Burning Man Festival, you are, by default, a consumer of immersive experiences. Who was Marvin Gaye? We will explore major movements associated with the ‘60s, including the counterculture, the sexual revolution, the New Left, Black Power, Second-Wave Feminism, and Pop Art. But no one can grasp the power of ‘60s music without understanding its political and aesthetic context. Historically the music business has generally relinquished the most significant inventions and innovations to third parties. A major aim of the class — which will focus on changes in R&B and rap music due to dance clubs and remix culture— is for students to develop a greater understanding of the impact of socioeconomic factors on '80s pop music trends. We are currently in the midst of a generational shift in the fundamental instrumentation of the live performance of many styles of music. We’ll look at the challenges and changes in today’s media landscape that are having an outsized impact on music writing, particularly the rise of streaming services and the evolving platform economy, and think about the challenges and opportunities. The fourth year culminates with the capstone project in which you will professionally develop a full creative plan to launch yourself as an entrepreneur. Experience the world in a whole new way. How are “isms” and “phobias,” such as racism, sexism, classism, homophobia, Islamophobia, etc., addressed in popular music, and what are the aesthetic, lyrical, and performative characteristics that contribute to the creation and reception of that music? High school students participate in college-level artistic training in New York City and online. But it’s more progressive to consider jazz and hip-hop as two interrelated personas of black music, connected by a shared interest in black aesthetics—including improvisation, flow, groove, vibe, antiphony/call and response, emotionalism/feeling and percussive attack. On demand music streaming has caused a major paradigm shift in the music industry and its monetization. If you’re interested in the convergence of visual art, music, technology, and business, you’ll have fun in this class. Grand Theft Auto’s 75 billion minutes of in-game music listening. And more to the point, what does our amplified 21st century interest and obsession with failure say about us? Nearly each week, students will hear from music industry speakers who have excelled at world-making in their impressive contributions to social good, progressive public policy, or applied activism. BS in Business/BFA in Film and Television. -- Is artificial intelligence bringing a seismic shift to the worlds of songwriting and production? In a musical production, producers, performers, and engineers have a symbiotic relationship and rely upon each other’s individual talents and artistic contributions. The course provides a comprehensive and practical overview of the music contracts that you -- and every artist, musician, songwriter, record producer and other music business professionals -- need to launch and grow an entrepreneurial music venture. Pre-requisites for this course are REMU-UT 1020 Fundamentals of Audio Workstations and REMU-UT 1106 Musicianship: Music Theory & Construction, both with a grade of C or better. This will lead to a better understanding of how music video outlets, major label promotion strategies, and multiple recording formats (vinyl, cassette, CD,) popularized new artists. Pre-requisite: REMU-UT 1004 Producing the Record: Side B. Clive Davis Institute majors only. This practicum course is for students to continue the development of projects as well as for live-testing marketing and launch plans and caters equally to aspiring executives, tech and social entrepreneurs, performers, producers, songwriters, and journalists. This course will be reading-, writing- and play-intensive, with required and suggested games and soundtracks for students to play, watch or listen to every week. We’ll extract the great lessons from the pieces we study and utilize our production skills to create videos, on-stage visuals, and songs of our own. Music Industry Essentials is a non credit online program for anyone who wants to get a holistic education on the music industry. Clive Davis Institute majors only. While completing focused readings, and undertaking listening and viewing assignments, students investigate the social, cultural, musical and business aspects of the relationships between hip-hop and jazz. Motown literally changed the concept of the record label and redefined the very idea of entrepreneurship in recorded music, serving as core inspiration to artists from the Beatles to Beyonce. This course builds upon the techniques of the recording studio and the techniques of producing recorded music begun in Recording the Record I, II and Producing the Record Side A and B, and will explore advanced techniques used in large ensemble recording, surround sound recording and mixing, and remote recording. Fascinating contradictions abound: Mitchell has expanded the roles, and perception, of women in music while disavowing feminism. We stop to consider how failure is not a static concept but gets articulated diversely in different cultures, nations and time periods; and we think about the rise of racialized concepts of failure like “ratchet” in popular culture and television shows like Empire. By the end of the course, students have the necessary skills to communicate with and produce excellence from musical performers in the recording studio. Whether you’re an NYU or visiting college student, high school student or working professional, we provide you with the introductory exposure to the performing or cinematic arts and the advanced-level training to grow your craft. Prerequisite: REMU-UT 1003 Producing the Record: Side A, with a grade of C or better. Emphasis will be on listening and objective comparison in guiding the mastering approach and in judging its success. By the end, students gain the skills and confidence to effectively communicate, present, and defend their ideas, and a solid methodology to put their ideas into action. This class introduces the essential skills required for a performing artist to take stage and be effective in a professional setting. Creative branding is becoming the key to understanding what makes audiences tick and to increasing sales performance. During this course, students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations using the industry standard Pro Tools software through a weekly, lab-based workshop. The objectives of the class are for students to: improve their own writing via detailed professorial line editing and thematic guidance; to learn how to incorporate negative critique and line edits to produce more robust writing samples; and to professionalize their writing by developing a portfolio of competitive writing samples (or a longer, sustained work) that can be pitched and submitted for publication. Though reductively known for hippie-era, folk-pop touchstones like the starry-eyed anthem “Woodstock,” the ecology-theme’d “Big Yellow Taxi” and the broadly philosophical “Both Sides Now,” Mitchell’s work far transcended any quaint ‘60s ideologies or styles. Interested non-majors must submit one to two paragraphs to the instructors explaining why they want to take the course, including a list of any prior relevant coursework or professional experience. This course is geared to all students interested in live music event production and the technical and business aspects involved in planning, developing, and producing a live music event. Maurice Kanbar Institute of Film & Television, Rita & Burton Goldberg Department of Dramatic Writing, Recorded Music: Equity, Inclusion & Belonging, REMU-UT 1020 Fundamentals of Audio Workstations I (FALL ONLY), REMU-UT 1040 Engineering the Record I (FALL ONLY), REMU-UT 1106 Musicianship: Theory & Construction (FALL ONLY), REMU-UT 1201 Creative Music Entrepreneurs in Historical Context (FALL OR SPRING), REMU-UT 1215 The Business of Music: Industry Essentials (FALL ONLY), REMU-UT 1021 Fundamentals of Audio Workstations II (SPRING ONLY), REMU-UT 1041 Engineering the Record II (SPRING ONLY), REMU-UT 1102 Critical Listening for the Recording Studio (SPRING ONLY), REMU-UT 1216 The Business of Music: Creativity, Innovation, & Entrepreneurship (SPRING ONLY), REMU-UT 1003 Producing the Record: Side A (FALL ONLY), REMU-UT 1022 Producing Music with Software & Midi (FALL ONLY), REMU-UT 1105 Writing the Hit Song (FALL ONLY), REMU-UT 1203 Artists & Audiences in Historical Context (FALL OR SPRING), REMU-UT 1217 The Business of Music: Creative Marketing Strategies (Fall Only), REMU-UT 1004 Producing the Record: Side B (SPRING ONLY), REMU-UT 1218 The Business of Music: Incubation & Launch (Spring Only), REMU-UT 1196 MASTERING THE EMERGENT MEDIA LANDSCAPE: PROFESSIONALIZING YOUR WRITING AND STORYTELLING SKILLS (FALL OR SPRING), Clive Davis Institute x Berlin: Future Pop Music Studies (Fall or Spring), REMU-UT 1219 THE BUSINESS OF MUSIC: WORLDMAKING, VALUES & ETHICS, REMU-UT 1401 Professional Development (FALL OR SPRING), REMU-UT 1402 Professional Development: Mentorship (FALL OR SPRING), REMU-UT 1170 Women as Entrepreneurs in Popular Music, REMU-UT 1189 THE SOUND OF FASHION: MUSIC’S INFLUENCE ON ICONIC FASHION BRANDS FROM SONG, TO RUNWAY, TO THE STREET, REMU-UT 1207 Independent Project Management, Product Launching, & Breaking the Artist, REMU-UT 1210 Interpreting Industry Trends: Tunes, Tech, and Legal Tender, REMU-UT 1223 Music Contracts & Dealmaking, REMU-UT 1225 Leadership in the Music Industry, REMU-UT 1235 The Business of Music Publishing, REMU-UT 1250 Branding: Sponsorships, Endorsements, Cross-Promotion, & Beyond, REMU-UT 1251 THE BASICS OF BRANDING: Sponsorships, Endorsements, Cross-Promotion, & Beyond, REMU-UT 1262 The Basics of Artist Management, REMU-UT 1269 The BASICS OF SOCIAL ENTREPRENEURSHIP IN THE MUSIC INDUSTRY, many courses across NYU that would count for a technology elective, REMU-UT 1229 ARE FRIENDS ELECTRIC? Students who are performers or desiring more one-on-one instruction on stage presence and performance skills must also enroll in REMU-UT 1312 Creating a Compelling Live Concert Experience. Students are asked to purchase a number of "classic" albums in the genre in which they intend to pursue their work, and they deconstruct those albums for aural clues to imagine how they might have been put together in the studio. We also take lessons from product development and packaging in corporate branding, and apply them, where and when they fit, to artist development. We recount the stories and make arguments about famous executives, managers, producers, performers DJs, and journalists/publishers from the dawn of the music business until the present day. Stern School of Business NYU’s Breakthrough Leadership Scholars Program for Stern Undergraduates. After an introduction to the history of copyright laws developed in the 19th century, each week will be devoted to deconstructing the songs in question and their production, the specifics of the legal case/trial, and both the impact and meaning of the verdict within the history of copyright law in the U.S.  Cases that we will cover include disputes around songs such as “Ta Ra Ra Boom De Ay” from turn-of-the-twentieth century, to “Hound Dog” (Big Momma Thornton vs. Elvis Presley) and “Come Together” (Chuck Berry vs. Rã©Sumã© with an internship, or take classes to change careers class considers failure as entrepreneur! Generation by the paradigm shift created by digital technologies as second only Dylan! Manufacturing, broadcast, or distribution will endeavor to illustrate the powers of mastering as well as to recognize to. Alongside music with clear, compelling writing about sound and fractious political climate questions of recording! 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