COURSE CATALOG

BEGINS ON PAGE 9

COURSE CATALOG

BEGINS ON PAGE 258

Last Revised On:

07/09/2024

II
 MISSION STATEMENT

Musicians Institute is dedicated to inspiring artistic and academic excellence while

preparing students for careers in the music and entertainment industry. Our
cutting- edge educational offerings provide the information, skills and expertise
necessary for musicians and creative professionals to achieve their goals. We
strive to develop a diverse array of talented individuals who can enrich the global
community with their artistic contributions.

INSTITUTIONAL OBJECTIVES:
Musicians Institute strives to:
• Offer curricula focused on developing essential knowledge and practical skills.
• Provide a diverse faculty with active professional expertise and experience.
• Train students in facilities designed and equipped according to professional music and
entertainment industry standards.
• Emphasize current applications in the context of historical and current trends and influences.
• Emphasize the exploration of global and experimental musical influences.
• Provide students with regular access to successful visiting artists and professionals.
• Provide resources, facilities, and support for professional and creative collaboration, the
development of their craft and networking opportunities.
• Provide resources, facilities, and support to prepare students for careers in the music and
entertainment industry.
• Create an institutional-wide culture that celebrates diversity, is positive, and inspirational to the
community at large.

DIVERSITY STATEMENT
Musicians Institute is committed to fostering an inclusive and diverse environment for the community it
serves. Members of the MI community include students, faculty, administration, families, and visiting artists.
As an institution that is dedicated to preparing students for careers in the diversified music and entertainment
industry, MI strives to cultivate talented individuals from across all backgrounds with conscious efforts to
enrich the global public.

III
NOTICE
As a prospective student, you are encouraged to review this
NO GUARANTEE OF EMPLOYMENT
While Musicians Institute provides no guarantee that
catalog prior to signing an enrollment agreement. You are
employment will result from attending or completing any
also encouraged to review the School Performance Fact
program offered by the institution, we are dedicated to
Sheet, which must be provided to you prior to signing an
assisting students in finding professional opportunities.
enrollment agreement.
For more information on our Office of Artist and Career
Services (ACS), visit [Link]. For more information
FACULTY QUALIFICATIONS about our graduation rates, the median debt of students
In keeping with Musicians Institute’s mission, MI recognizes who completed the program, and other important
the importance of real-world music industry experience information, please visit our website at: [Link]/state-
and academic credentials in our teaching positions. In and-federal-student-consumer-disclosures
order to provide students with the most current and
competitive skill set and career preparation, MI weighs both
professional experience and academic accomplishments
QUESTIONS AND COMPLAINTS
Students are encouraged but not required to refer any
when evaluating the assets of potential faculty members.
questions or complaints regarding this catalog to Musicians
Institute. Any questions a student may have regarding
APPROVAL AND ACCREDITATION this catalog that have not been satisfactorily answered by
Musicians Institute is a private institution that is approved the institution may be directed to the Bureau for Private
to operate in the State of California by the Bureau for Postsecondary Education:
Private Postsecondary Education. Such approval to operate
requires compliance with state standards as set forth in the The Bureau for Private Postsecondary Education
California Private Postsecondary Education Act of 2009 and 1747 N. Market Blvd. Ste 225, Sacramento, CA 95834
Title 5, Division 7.5 of the California Code of Regulations. P.O. Box 980818, West Sacramento, CA 95798-0818
MI has been an accredited institutional member of the Web: [Link]
National Association of Schools of Music since 1980. The Phone: (888) 370-7589 or (916) 574-8900
National Association of Schools of Music is recognized by Fax: (916) 263-1897
the United States Department of Education (USDE).
A student or any member of the public may file a
complaint about this institution with the Bureau for Private
ACCURACY OF INFORMATION Postsecondary Education by calling (888) 370-7589 (toll-
Information in this catalog is accurate as of the date of free) or by completing a complaint form, which can be
printing/publication, July 1, 2024 through June 30, 2025. obtained on the bureau’s website: [Link].
Catalogs are updated and published on an annual basis. MI
reserves the right to revise or cancel the programs, courses, National Association of Schools of Music
activities, or services described herein without prior notice. 11250 Roger Bacon Drive, Suite 21
Applicants are advised to confirm their availability prior to Reston, Virginia 20190-5248
enrollment. At all times, the information contained in the Telephone: 703.437.0700
digital/online version of the catalog takes precedence over
Email: info@[Link]
this printed version. Please refer to the index of addenda to
this catalog at the end of the online version for information
and updates. CAMPUS LOCATIONS
Musicians Institute campus consists of the following
This catalog is available to students, members of the public, locations:
and interested parties via the MI website: [Link]/musicians-
institute-course-catalog/, by request to MI Admissions MAIN BUILDING
(admissions@[Link]), or by calling MI at (800) 255-7529. Performance and Industry Classes
In addition to the above, students are provided digital 1655 McCadden Place, Hollywood, CA 90028
access to the course catalog during their initial enrollment/
registration process, and on an annual basis during PASSAGE
subsequent registration periods. Performance Classes & Administration
6752 Hollywood Boulevard, Hollywood, CA 90028
Musicians Institute does not have a pending petition in
bankruptcy, is not operating as a debtor in possession,
has not filed a petition within the preceding five years, or
CONTACT MUSICIANS INSTITUTE
6752 Hollywood Blvd. Hollywood, CA 90028
has not had a petition in bankruptcy filed against it
Toll free: (800) 255-7529
within the preceding five years that resulted in
Local: (323) 462-1384
reorganization under Chapter 11 of the United States
Web: [Link]
Bankruptcy Code (11 U.S.C. Sec 1101 et seq.)

IV
V
TABLE OF CONTENTS

ACADEMIC CALENDAR �����������������������������������������7 KEYBOARD TECHNOLOGY // PERFORMANCE TRACK ������� 76

CERTIFICATE & DEGREE BREAKDOWN �����������9 SAXOPHONE����������������������������������������������������������������������������������� 81
CERTIFICATE�����������������������������������������������������������12 TROMBONE�������������������������������������������������������������������������������������86
AUDIO ENGINEERING ����������������������������������������������������������������� 12 TRUMPET����������������������������������������������������������������������������������������� 91
ELECTRONIC MUSIC PRODUCTION����������������������������������������� 14 VOCAL�����������������������������������������������������������������������������������������������96
INDEPENDENT ARTIST DEVELOPMENT������������������������������������17 ASSOCIATE OF SCIENCE ���������������������������������� 103
MUSIC BUSINESS ���������������������������������������������������������������������������20 STUDIO RECORDING�����������������������������������������������������������������103
SONGWRITING �����������������������������������������������������������������������������22 MUSIC BUSINESS�������������������������������������������������������������������������107
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM�����������������25 BACHELOR OF MUSIC OVERVIEW �����������������112
LIVE MUSIC EVENT PRODUCTION�������������������������������������������28 BACHELOR OF MUSIC IN COMPOSITION���113
STUDIO RECORDING������������������������������������������������������������������� 31 (SCORING FOR VISUAL MEDIA)�������������������������������������������������113
BASS �������������������������������������������������������������������������������������������������34 BACHELOR OF MUSIC IN PERFORMANCE �114
DRUM ����������������������������������������������������������������������������������������������� 37 (CONTEMPORARY STYLES)������������������������������������������������������� 114
GUITAR���������������������������������������������������������������������������������������������40 (CONTEMPORARY STYLES) BASS���������������������������������������� 115
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK���������43 (CONTEMPORARY STYLES) DRUMS������������������������������������116
SAXOPHONE�����������������������������������������������������������������������������������46 (CONTEMPORARY STYLES) GUITAR ���������������������������������� 117
TROMBONE�������������������������������������������������������������������������������������49 (CONTEMPORARY STYLES) KEYBOARD ����������������������������118
TRUMPET�����������������������������������������������������������������������������������������52 (CONTEMPORARY STYLES) SAXOPHONE��������������������������119
VOCAL����������������������������������������������������������������������������������������������� 55 (CONTEMPORARY STYLES) TROMBONE��������������������������� 120
ASSOCIATE OF ARTS OVERVIEW �������������������� 59 (CONTEMPORARY STYLES) TRUMPET�������������������������������� 121
BASS ������������������������������������������������������������������������������������������������� 61 (CONTEMPORARY STYLES) VOCAL������������������������������������122
DRUM �����������������������������������������������������������������������������������������������66 BACHELOR OF MUSIC���������������������������������������� 123
GUITAR����������������������������������������������������������������������������������������������71 SONGWRITING & PRODUCTION��������������������������������������������� 123

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 TABLE OF CONTENTS
MINOR��������������������������������������������������������������������������������������������� 125 HORNS������������������������������������������������������������������������������������������ 204
MASTER OF MUSIC OVERVIEW �������������������� 127 BACHELOR GENERAL EDUCATION�����������������������������������������210
CONTEMPORARY STYLES: BASS, DRUM, GUITAR, BACHELOR OF MUSIC IN COMPOSITION (SCORING FOR
KEYBOARD, VOCAL���������������������������������������������������������������������128 VISUAL MEDIA) ����������������������������������������������������������������������������� 212
NON-CERTIFICATE ���������������������������������������������131 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY
MI SELECT����������������������������������������������������������������������������������������131 STYLES)�������������������������������������������������������������������������������������������218
PRO TOOLS CERTIFICATIONS ������������������������������������������������� 132 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY
SUMMER SHOT����������������������������������������������������������������������������� 132 STYLES) // BASS�����������������������������������������������������������������������������222
CAMPUS������������������������������������������������������������������ 133 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY
MAIN COMPLEX��������������������������������������������������������������������������� 137 STYLES) // DRUMS �����������������������������������������������������������������������223
AUDIO ENGINEERING STUDIOS ��������������������������������������������� 137 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY
INDEPENDENT ARTIST STUDIOS���������������������������������������������138 STYLES) // GUITAR�����������������������������������������������������������������������224
DJ PERFORMANCE AND BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY
PRODUCTION PROGRAM LABS AND PRACTICE ROOMS139 STYLES) // KEYBOARD�����������������������������������������������������������������225
PRODUCTION LABS �������������������������������������������������������������������139 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY
PRODUCTION STUDIOS �����������������������������������������������������������139 STYLES) // VOCAL�������������������������������������������������������������������������226
INSTRUMENT-SPECIFIC BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY
STUDIOS�����������������������������������������������������������������������������������������139 STYLES) // HORNS �����������������������������������������������������������������������227
COUNSELING AND PRACTICE FACILITIES�����������������������������140 BACHELOR OF MUSIC IN SONGWRITING & PRODUCTION
MUSIC LIBRARY�����������������������������������������������������������������������������140 ����������������������������������������������������������������������������������������������������������228
SPECIAL FACILITIES AND COMMON COURSE ELECTIVES�����������������������������������������������234
SERVICES FOR HANDICAPPED STUDENTS���������������������������140 MASTER OF MUSIC IN PERFORMANCE (CONTEMPORARY
GUITAR CRAFT �����������������������������������������������������������������������������142 STYLES) �������������������������������������������������������������������������������������������239
ADMISSIONS ��������������������������������������������������������243
CONCERT HALL���������������������������������������������������������������������������144
TUITION & FEES �������������������������������������������������� 253
STUDIOS & LABS���������������������������������������������������������������������������146
CERTIFICATE & DEGREE BREAKDOWN
MI HOLLYWOOD COURSE DESCRIPTIONS 148 (DISTANCE LEARNING) ������������������������������������ 258
AUDIO ENGINEERING�����������������������������������������������������������������148 CERTIFICATE (DISTANCE LEARNING) �������� 261
LIVE MUSIC EVENT PRODUCTION����������������������������������������� 153 ELECTRONIC MUSIC PRODUCTION���������������������������������������261
ELECTRONIC MUSIC PRODUCTION���������������������������������������156 INDEPENDENT ARTIST DEVELOPMENT�������������������������������� 264
INDEPENDENT ARTIST DEVELOPMENT���������������������������������158 MUSIC BUSINESS �������������������������������������������������������������������������267
ARTIST/PRODUCER/ENTREPRENEUR �����������������������������������163 SONGWRITING �������������������������������������������������������������������������� 269
MUSIC BUSINESS�������������������������������������������������������������������������166 STUDIO RECORDING TECHNOLOGY�������������������������������������272
SONGWRITING����������������������������������������������������������������������������� 175 ARTIST/PRODUCER/ENTREPRENEUR PROGRAM���������������275
BASS������������������������������������������������������������������������������������������������� 177 BASS �����������������������������������������������������������������������������������������������278
DRUM ���������������������������������������������������������������������������������������������182 DRUM ���������������������������������������������������������������������������������������������281
GUITAR�������������������������������������������������������������������������������������������188 GUITAR������������������������������������������������������������������������������������������ 284
KEYBOARD TECHNOLOGY�������������������������������������������������������194 KEYBOARD TECHNOLOGY // PERFORMANCE TRACK�������287
VOCAL���������������������������������������������������������������������������������������������199
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TABLE OF CONTENTS
VOCAL�������������������������������������������������������������������������������������������� 290 COMMON COURSE ELECTIVES���������������������������������������������� 386
ASSOCIATE OF ARTS OVERVIEW (DISTANCE ADMISSIONS (MI ONLINE) ������������������������������389
LEARNING) ������������������������������������������������������������294 TUITION & FEES (MI ONLINE) ������������������������398
BASS ���������������������������������������������������������������������������������������������� 296 FINANCIAL AID���������������������������������������������������� 401
DRUM ���������������������������������������������������������������������������������������������301 ARTIST & CAREER SERVICES �������������������������� 410
GUITAR������������������������������������������������������������������������������������������ 306 DEIMI ���������������������������������������������������������������������� 412
STUDENT SERVICES ������������������������������������������ 413
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK ������311
POLICIES���������������������������������������������������������������� 414
VOCAL���������������������������������������������������������������������������������������������316
ADMINISTRATION����������������������������������������������436
LIVE PERFORMANCE WORKSHOPS
ADMINISTRATION���������������������������������������������� 437
(DISTANCE LEARNING) ������������������������������������320
FACULTY BIOS������������������������������������������������������438
ASSOCIATE OF SCIENCE (DISTANCE
LEARNING) ������������������������������������������������������������ 322
MUSIC BUSINESS�������������������������������������������������������������������������322
STUDIO RECORDING TECHNOLOGY�������������������������������������326
BACHELOR OF MUSIC OVERVIEW (DISTANCE
LEARNING) ������������������������������������������������������������ 331
(CONTEMPORARY STYLES) BASS���������������������������������������������332
(CONTEMPORARY STYLES) DRUMS����������������������������������� 333
(CONTEMPORARY STYLES) GUITAR ��������������������������������� 334
(CONTEMPORARY STYLES) KEYBOARD ��������������������������� 335
(CONTEMPORARY STYLES) VOCAL����������������������������������� 336
SONGWRITING & PRODUCTION���������������������������������������������337
NON-CERTIFICATE (DISTANCE LEARNING)
����������������������������������������������������������������������������������� 338
MI SELECT FOR MI ONLINE�������������������������������������������������������338
ARTIST/PRODUCER/ENTREPRENEUR �����������������������������������339
MI ONLINE COURSE DESCRIPTIONS ���������� 339
MUSIC BUSINESS�������������������������������������������������������������������������342
BASS������������������������������������������������������������������������������������������������� 351
DRUM ���������������������������������������������������������������������������������������������355
GUITAR�������������������������������������������������������������������������������������������358
KEYBOARD TECHNOLOGY�������������������������������������������������������362
VOCAL���������������������������������������������������������������������������������������������365
SONGWRITING���������������������������������������������������������������������������� 368
INDEPENDENT ARTIST DEVELOPMENT���������������������������������370
ELECTRONIC MUSIC PRODUCTION���������������������������������������372
STUDIO RECORDING TECHNOLOGY�������������������������������������375
BACHELOR OF MUSIC IN SONGWRITING & PRODUCTION
��������������������������������������������������������������������������������������������������������� 380
VIII
ACADEMIC CALENDAR
FALL QUARTER 2024 2025

Re-Registration August 12 – September 20 August 10 – September 20

Financial Aid Application Deadline 2 weeks prior to registration 2 weeks prior to registration

New Student Registration September 23 – October 4 September 22 – October 3

New Student Orientation October 3 October 2

Quarter Begins October 7 October 6

*Thanksgiving Break November 28 – 29 November 27 – 28

Final Day of Classes December 13 December 12

Final Exams December 16 – 20 December 15 – 19

Quarter Ends December 20 December 19

Graduation December 21 December 20

Quarter Break December 22 – January 5 December 21 – January 4

*Christmas Break December 24 – 25 December 24 – 25

WINTER QUARTER 2024 2025

Re-Registration November 12 – December 23 November 10 – December 21

Financial Aid Application Deadline 2 weeks prior to registration 2 weeks prior to registration

New Student Registration December 27 – January 5 December 23 – January 3

New Student Orientation January 4 January 2

*New Year’s Day January 1 – 2 December 31 – January 1

Quarter Begins January 8 January 6

*Martin Luther King Day January 15 January 20

Final Day of Classes March 15 March 14

Final Exams March 18 – 22 March 17 – 21

Quarter Ends March 22 March 21

Graduation March 23 March 22

Quarter Break March 24 – April 7 March 23 – April 6

*School Closed

7
 ACADEMIC CALENDAR
SPRING QUARTER 2024 2025

Re-Registration February 11 – March 23 February 9 – March 22

Financial Aid Application Deadline 2 weeks prior to registration 2 weeks prior to registration

New Student Registration March 25 – April 5 March 24 – April 4

New Student Orientation April 4 April 3

Quarter Begins April 8 April 7

*Memorial Day May 27 May 26

Final Day of Classes June 14 June 13

Final Exams June 17 – 21 June 16 – 20

Quarter Ends June 21 June 20

Graduation June 22 June 21

Quarter Break June 23 – July 7 June 22 – July 6

SUMMER QUARTER 2024 2025

Re-Registration May 12 – June 22 May 11 – June 21

Financial Aid Application Deadline 2 weeks prior to registration 2 weeks prior to registration

New Student Registration June 24 – July 5 June 23 – July 3

*Independence Day July 4 July 4

New Student Orientation July 5 July 2

Quarter Begins July 8 July 7

*Labor Day September 2 September 1

Final Day of Classes September 13 September 12

Final Exams September 16 – 20 September 15 – 19

Quarter Ends September 20 September 19

Graduation September 21 September 20

Quarter Break September 22 – October 6 September 21 – October 5

*School Closed

8
CERTIFICATE & DEGREE BREAKDOWN
FULL–TIME
CERTIFICATE
Songwriting 2 QUARTERS / 30 CREDITS*
School of Industry Studies 2 QUARTERS / 30 CREDITS*
Audio Engineering, Independent Artist Development,
Electronic Music Production, or Music Business
Artist/Producer/Entrepreneur
Studio Recording 4 QUARTERS / 60 CREDITS**
Live Music Event Production
Performance Studies 4 QUARTERS / 60 CREDITS*
Bass, Drum, Guitar, Keyboard, Vocal,
Saxophone, Trombone, or Trumpet

ASSOCIATE DEGREES
Associate of Arts in Performance Studies 6 QUARTERS / 90 CREDITS*
Bass, Drum, Guitar, Keyboard, Vocal, Saxophone,
Trombone, or Trumpet
Combined Emphasis 6 QUARTERS / 90 CREDITS*
Major: Bass, Drum, Guitar, Keyboard, Vocal, (4 QUARTERS PERFORMANCE + 2 QUARTERS EMPHASIS)
Saxophone, Trombone, or Trumpet
Emphasis: Audio Engineering, Independent Artist Development,,
Electronic Music Production, Songwriting, or Music Business
Associate of Science in Music Business
6 QUARTERS / 90 CREDITS*
Associate of Science in Studio Recording

BACHELOR OF MUSIC DEGREES

Bachelor of Music in Performance (Contemporary Styles) 12 QUARTERS / 180 CREDITS*
Bass, Drum, Guitar, Keyboard, Vocal, Saxophone,
Trombone, or Trumpet
Bachelor of Music in Composition (Scoring for Visual Media) 12 QUARTERS / 180 CREDITS*
Bachelor of Music in Songwriting & Production 12 QUARTERS / 180 CREDITS*
Minor (All Bachelor of Music Programs) 14 QUARTERS* / 199–205 CREDITS*
Audio Production** (12 QUARTERS MAIN STUDY + 2 QUARTERS MINOR)
Entertainment Industry Studies**
DOUBLE MAJOR 17 QUARTERS / 248 CREDITS
Bachelor of Music in Performance (Contemporary Styles)
Bachelor of Music in Composition (Scoring for Visual Media)

MASTER OF MUSIC DEGREES

Master of Music in Performance (Contemporary Styles) 4 QUARTERS / 45 CREDITS
Bass, Drum, Guitar, Keyboard, or Vocal

COMBINED BACHELOR &

16 QUARTERS / 225 CREDITS
MASTER OF MUSIC DEGREES

*Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs; 15 units per
9 quarter for Certificate and Associate Programs and 7-8 units per quarter for Part-time programs.
**30 credits to complete a Minor in the B.M. These courses/credits can be taken and completed at any time.
 CERTIFICATE & DEGREE BREAKDOWN
PART–TIME
CERTIFICATE
Songwriting 4 QUARTERS / 30 CREDITS*
School of Industry Studies 4 QUARTERS / 30 CREDITS*
Audio Engineering, Independent Artist Development,
Electronic Music Production, or Music Business
Artist/Producer/Entrepreneur
Studio Recording 8 QUARTERS / 60 CREDITS**
Live Music Event Production
Performance Studies 8 QUARTERS / 60 CREDITS**
Bass, Drum, Guitar, Keyboard, Vocal,
Saxophone, Trombone, or Trumpet

ASSOCIATE DEGREES
Associate of Arts in Performance Studies 12 QUARTERS / 90 CREDITS*
Bass, Drum, Guitar, Keyboard, Vocal, Saxophone,
Trombone, Trumpet
Combined Emphasis 12 QUARTERS / 90 CREDITS*
Major: Bass, Drum, Guitar, Keyboard, Vocal, (8 QUARTERS PERFORMANCE + 4 QUARTERS EMPHASIS)
Saxophone, Trombone, or Trumpet
Emphasis: Audio Engineering, Independent Artist Development,
Electronic Music Production, Songwriting, or Music Business
Associate of Science in Music Business 12 QUARTERS / 90 CREDITS*
Associate of Science in Studio Recording

NON-CERTIFICATE
MI SELECT 10 WEEKS
Performance Studies
Bass, Drum, Guitar, Keyboard, Vocal, Saxophone, Trombone, Trumpet

PRO TOOLS CERTIFICATION 2 WEEKS

Pro Tools 100 Level Specialist Certification OR
Pro Tools 200 Level Professional Certification
More Info: [Link]

SUMMERSHOT 1–2 WEEKS

Performance
Bass, Drum, Guitar, Keyboard, Vocal, Saxophone, Trombone, Trumpet
Industry Studies
Music Production & Recording, Guitar Building (Nashville, TN)
More Info: [Link]

*Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs; 15 units per
quarter for Certificate and Associate Programs and 7-8 units per quarter for Part-time programs. 10
**30 credits to complete a Minor in the B.M. These courses/credits can be taken and completed at any time.
11
 CERTIFICATE
AUDIO ENGINEERING
Through hands-on instruction, students learn the fundamentals of audio and how to record, edit,
and mix music using industry standard digital audio workstations and audio equipment.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT

Audio Foundations: Theory & Technique 3

Console Operation 1: Neve with Practical Recording 2
Pro Tools 101 & 110 4
The Business of Audio 1
Critical Listening 2
Electronics 2
Music Production 1
MAJOR AREA = 28 CREDITS Musicianship for Industry Professionals 1

CERTIFICATE
Evolution of Audio 1
Recording Techniques 2 1
Mixing Essentials 1 3
Intro to Live Sound 1
Intro to Post Production 1
Analog and Digital Signal Processing 2
Console Operation 2: API with Practical Recording 2
Vocal Production 1

ELECTIVES = 2 CREDITS Various 2

Certificate in Audio Engineering Program Learning Outcomes:

1. Demonstrate the ability to operate modern analog and digital audio systems using industry-standard production
techniques and equipment.
2. Demonstrate basic knowledge of audio engineering concepts in theory and in practice, including the principles of
computer basics, signal flow, and signal processing.
3. Demonstrate proficiency in frequency recognition and other critical listening skills.
4. Demonstrate basic musicianship skills and practical knowledge of Western music theory, methods and fundamentals
associated with the creation and production of contemporary, popular music.
5. Articulate a fundamental understanding of common audio post-production and live sound technologies and practices.
6. Articulate a fundamental understanding of basic audio electronics and theory, including soldering techniques related to
professional audio equipment.
7. Articulate a basic understanding of common business practices related to music and professional efforts in the
entertainment industry.

*Based on optimal course load of 15 credits per quarter

12
 CERTIFICATE
AUDIO ENGINEERING

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112 Audio Foundations: Theory & Technique 3 AUDIO-201 Recording Techniques 2 1
AUDIO-102 Console Operation 1: Neve with Practical Recording 2 AUDIO-209 Console Operation 2: API with Practical Recording 2
AUDIO-057 Pro Tools 101 2 AUDIO-157 ProTools 110 2
AUDIO-104 The Business of Audio 1 AUDIO-204 Mixing Essentials I 3
AUDIO-105 Critical Listening 2 AUDIO-206 Intro to Live Sound 1
AUDIO-151 Electronics 2 AUDIO-207 Intro to Post Production 1
AUDIO-106 Musicianship for Industry Professionals 1 AUDIO-215 Vocal Production 1
AUDIO-051 The Modern Music Producer 1 AUDIO-208 Analog and Digital Signal Processing 2
AUDIO-111 Evolution of Audio 1 ELECTIVES
Various Various 2
TOTAL 15
TOTAL 15

The part-time Audio Engineering Program is designed for individuals wishing to pursue a Certificate in
Audio Engineering who, due to employment, time constraints, family responsibilities, or health reasons,
may not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
CERTIFICATE

enrollment in the part-time Audio Engineering program.

AUDIO ENGINEERING
30 CREDITS / 4 QUARTERS*/ PART-TIME
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-102 Console Operation 1: Neve with Practical Recording 2 AUDIO-112 Audio Foundations: Theory & Technique 3
AUDIO-057 Pro Tools 101 2 AUDIO-105 Critical Listening 2
AUDIO-106 Musicianship for Industry Professionals 1 AUDIO-111 Evolution of Audio 1
AUDIO-104 The Business of Audio 1 AUDIO-151 Electronics 2
AUDIO-051 The Modern Music Producer 1
TOTAL 8
TOTAL 7

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-209 Console Operation 2: API with Practical Recording 2 AUDIO-204 Mixing Essentials 1 3
AUDIO-157 ProTools 110 2 AUDIO-208 Analog and Digital Signal Processing 2
AUDIO-206 Intro to Live Sound 1 AUDIO-215 Vocal Production 1
AUDIO-207 Intro to Post Production 1 ELECTIVES
AUDIO-201 Recording Techniques 2 1 Various Various 1
ELECTIVES
Various Various 1
TOTAL 7

TOTAL 8

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

13 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
ELECTRONIC MUSIC PRODUCTION

The Electronic Music Production Certificate Program at Musicians Institute is a two-quarter, 30-unit postsecondary
educational/vocational program created to provide students with education and practical training sufficient to create a
foundation for a career as an electronic music producer in the contemporary music and entertainment industry.
Students in this program will gain the technical knowledge and professional skills to grow as independent electronic
music producers, beat makers, and remix artists in a variety of musical settings in the industry.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT
Private Instruction 1-2 2
Musicianship 1-2 3
MAJOR AREA = 21 CREDITS Keyboard Essentials 1-2 2
Vocal Production 1
Production Advising 1-2 2
CERTIFICATE

Track Building 1-2 4

Remixing 1
Beat Making and Maschine 1
Sound Design w/Ableton Live 1-2 3
Final Project for EMP 2

Plugin Processing 1
STUDIES IN MUSIC = 6 CREDITS Music Mastering 1
DAW 1-2: Ableton Live© for DJs & Electronic
Music Producers 1-2 2
Business of Electronic Music Production 2
& Performance

ELECTIVES = 3 CREDITS Various 3

Certificate in Electronic Music Production Program Learning Outcomes:

1. Develop and demonstrate professional production abilities in contemporary electronic music styles through studies
in production, digital audio workstations, audio engineering, and sound design, using contemporary technology and
techniques.
2. Build and demonstrate fundamental aptitude, adaptability, and inventiveness through the study of traditional and
contemporary Western music theory, keyboard proficiency, ear training, song arrangement, and stylistic appropriateness as
pertaining to modern electronic music.
3. Develop a baseline fluency in entertainment business practices and demonstrate the ability to navigate and self-manage
their career, through studies in copyright law, marketing and promotions, and business contracts.

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

14 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
ELECTRONIC MUSIC PRODUCTION

CERTIFICATE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
EMP-PL Private Instruction 1 1 EMP-PL Private Instruction 2 1
DJ-106 Musicianship 1 1.5 DJ-206 Musicianship 2 1.5
ARTST-380 Keyboard Essentials 1 1 ARTST-480 Keyboard Essentials 2 1
AUDIO-215 Vocal Production 1 EMP-202 Production Advising 2 1
EMP-102 Production Advising 1 1 EMP-207 Track Building 2 2
EMP-107 Track Building 1 2 EMP-209 Remixing 1
EMP-016 Beat Making and Maschine 1 EMP-211 Sound Design w/Ableton Live 2 1.5
EMP-111 Sound Design w/Ableton Live 1 1.5 EMP-203 Final Project for EMP 1
STUDIES IN MUSIC STUDIES IN MUSIC
EMP-214 Plugin Processing 1 EMP-216 Music Mastering 1
DJ-058 DAW 1: Ableton Live© for DJs & 1 DJ-158 DAW 2: Ableton Live© for DJs & 1
Electronic Music Producers 1 Electronic Music Producers 2
EMP-108 The Business of Electronic Music 1 EMP-208 The Business of Electronic Music 1
Production & Performance1 Production & Performance 2
ELECTIVES ELECTIVES
Various Various 2 Various Various 1

TOTAL 15 TOTAL 15

15
 CERTIFICATE
ELECTRONIC MUSIC PRODUCTION
30 CREDITS / 4 QUARTERS*/ PART-TIME
The part-time Electronic Music Production Program is designed for individuals wishing to pursue
a certificate in Electronic Music Production who, due to employment, time constraints, family
responsibilities, or health reasons, may not be able to undertake a traditional full-time program.
Specific requirements and regulations apply to enrollment in the part-time Electronic Music
Production program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
EMP-PL Private Instruction 1 1 EMP-PL Private Instruction 2 1
DJ-106 Musicianship 1 1.5 DJ-206 Musicianship 2 1.5
ARTST-380 Keyboard Essentials 1 1 EMP-102 Production Advising 1 1
EMP-016 Beat Making and Maschine 1 EMP-107 Track Building 1 2
STUDIES IN MUSIC EMP-111 Sound Design w/Ableton Live 1 1.5
DJ-058 DAW 1: Ableton Live© for DJs & STUDIES IN MUSIC
Electronic Music Producers 1 1 N/A N/A NA
EMP-108 The Business of Electronic Music ELECTIVES
Production & Performance1 1 Various Various 1
ELECTIVES
Various Various 1

CERTIFICATE
TOTAL 7.5 TOTAL 8

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-480 Keyboard Essentials 2 1 EMP-202 Production Advising 2 1
AUDIO-215 Vocal Production 1 EMP-209 Remixing 1
EMP-207 Track Building 2 2 EMP-211 Sound Design w/Ableton Live 2 1.5
STUDIES IN MUSIC EMP-203 Final Project for EMP 2
EMP-214 Plugin Processing 1 STUDIES IN MUSIC
DJ-158 DAW 2: Ableton Live© for DJs & EMP-216 Music Mastering 1
Electronic Music Producers 2 1 ELECTIVES
EMP-208 The Business of Electronic Music Various Various 1
Production & Performance 2 1
ELECTIVES
N/A N/A N/A

TOTAL 7 TOTAL 7.5

16
 CERTIFICATE
INDEPENDENT ARTIST DEVELOPMENT

Instrumentalists, singers, songwriters, rappers, DJs and producers learn the entire process of creating their own project—
from writing and recording to marketing, publicity, website design and final release. This program is designed to equip
musicians with the various skills needed to independently write, record and market their original material.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Recording Techniques for Songwriters &
Producers 1–2 4
Project Advising 1–2 4
MAJOR AREA = 11 OR 13 CREDITS DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
DEPENDING ON SELECTED DAW STUDY
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Artist Identity 1
Final Project 2
CERTIFICATE

Business Practices for Musicians 1–2 3

PROF. DEVELOPMENT = 9 CREDITS Independent Artist Marketing 2
Graphic Design for Artists 1–2 4

Musicianship 1–2 3
MUSICIANSHIP = 6 CREDITS
Songwriting for Artists 1–2 3

ELECTIVES = 2 OR 4 CREDITS
Various 2 or 4
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Certificate in Independent Artist Development students, in fulfilling their required Digital Audio Workstation (DAW) courses,
have a choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

Certificate in Independent Artist Development Program Learning Outcomes:

1. Develop and implement professional performance abilities in contemporary commercial music styles as engineers and
producers through studies in audio engineering, music production, and digital audio workstations.
2. Establish and demonstrate professional depth, versatility and creativity through the study of artist identity and branding,
public relations, visual media and web design as pertaining to a contemporary professional songwriter and producer.
3. Build and exhibit fundamental proficiencies in traditional and contemporary Western music theory, ear training,
rhythmic studies, and songwriting.
4. Develop a baseline fluency in entertainment business practices and demonstrate the ability to navigate and self-manage
their career, through studies in copyright law, marketing and promotions, and business contracts.
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

17 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
INDEPENDENT ARTIST DEVELOPMENT

CERTIFICATE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DAW Choose one of the following three ARTST-103 Artist Identity 1
DAW platforms: DAW The second course in selected
AUDIO-057 Pro Tools 101 2 DAW study
AUDIO-052 Logic 1 1 AUDIO-157 Pro Tools 110 2
AUDIO-058 Ableton Live 1 1 AUDIO-152 Logic 2 1
AUDIO-158 Ableton Live 2 1
ARTST-101 Recording Techniques for Songwriters
& Producers 1 2 ARTST-201 Recording Techniques for Songwrit-
ARTST-111 Project Advising 1 2 ers & Producers 2 2
PROF. DEV. ARTST-211 Project Advising 2 2
MUBUS-0360 Business Practices for Musicians 1 1.5 ARTST-203 Final Project 2
MUBUS-0307 Independent Artist Marketing 2 PROF. DEV.
CC-307 Graphic Design for Artists 1 2 MUBUS-0460 Business Practices for Musicians 2 1.5
MUSICIANSHIP CC-407 Graphic Design for Artists 2 2
ARTST-106 Musicianship 1 1.5 MUSICIANSHIP
ARTST-107 Songwriting for Artists 1 1.5 ARTST-206 Musicianship 2 1.5
ELECTIVES ARTST-207 Songwriting for Artists 2 1.5
Various Various (Pro Tools selected for DAW study) 0 ELECTIVES
Various Various (Logic Pro or Ableton Live selected Various Various (Pro Tools selected for DAW study) 0
for DAW study) 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
TOTAL 14.5
TOTAL 15.5

The part-time Independent Artist Program is designed for individuals wishing to pursue a certificate in
Independent Artist Development who, due to employment, time constraints, family responsibilities, or
health reasons, may not be able to undertake a traditional full-time program. Specific requirements and
regulations apply to enrollment in the part-time Independent Artist Program.
18
 CERTIFICATE
INDEPENDENT ARTIST DEVELOPMENT
30 CREDITS / 4 QUARTERS*/ PART-TIME
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-101 Recording Techniques for Songwrit- ARTST-111 Project Advising 1 2
ers & Producers 1 2 DAW The second course in selected
DAW Choose one of the following three DAW study
DAW platforms: AUDIO-157 Pro Tools 110 2
AUDIO-057 Pro Tools 101 2 AUDIO-152 Logic 2 1
AUDIO-052 Logic 1 1 AUDIO-158 Ableton Live 2 1
AUDIO-058 Ableton Live 1 1 PROF. DEV.
ARTST-103 Artist Identity 1 MUBUS-0360 Business Practices for Musicians 1 1.5
MUSICIANSHIP MUSICIANSHIP
ARTST-106 Musicianship 1 1.5 ARTST-206 Musicianship 2 1.5
ELECTIVES ARTST-107 Songwriting for Artists 1 1.5
Various Various (Pro Tools selected for DAW study) 0 TOTAL (Pro Tools selected for DAW study) 8.5
Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
CERTIFICATE

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-201 Recording Techniques for Songwrit- ARTST-211 Project Advising 2 2
ers & Producers 2 2 ARTST-203 Final Project 2
PROF. DEV. PROF. DEV.
MUBUS-0460 Business Practices for Musicians 2 1.5 CC-407 Graphic Design for Artists 2 2
CC-307 Graphic Design for Artists 1 2 MUBUS-0307 Independent Artist Marketing 2
MUSICIANSHIP
ARTST-207 Songwriting for Artists 2 1.5 TOTAL 8

TOTAL 7

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

19 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
MUSIC BUSINESS
For those seeking non-performance careers in the music industry, this program provides the knowledge and practical
skills needed for entry-level positions at record labels, marketing and personal artist management firms, or music industry
companies specializing in music publishing and licensing, A&R, entertainment law, live concert touring and more.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Your Music Business Career 2
Law & Contracts 1-2 2
Music Publishing & Licensing 1 2
Industry 1: Labels & Talent 2
Computer Tech Applications 1 1.5
Personal Management 1
Marketing & Social Media 1-2 4
MAJOR AREA = 28 CREDITS Management & Business Skills 1-2 1.5
Industry 3B: Agents & Bookings 1
Music Licensing & Supervision 2
CERTIFICATE

Industry 2: Distribution & Label Services 2

Accounting & Finance 1 1.5
Industry 3C: Tour Management 1
Industry 4B: Concert Promoters 1

ELECTIVES = 2 CREDITS Various 2

Certificate in Music Business Program Learning Outcomes:

1. Define and articulate the current music industry landscape, including how the more specific business areas function
and are interconnected to drive the industry as a whole.
2. Describe and apply the essential skills of primary music business career paths and roles across main industry areas
such as personal management/artist management, music publishing and licensing, record label operations including
A&R (Artists & Repertoire), music marketing, music distribution, and booking and touring.
3. Employ industry-specific practical knowledge gained from application-oriented projects, and integrate direct business
experience through music business internships.
4. Recall and implement prevailing business practices and strategies applicable to major established music companies as
well as the independent sectors of the industry.
5. Relate and integrate additional valuable business insight gained from networking with successful music industry
professionals.
6. Apply and demonstrate general, transferable business skills, such as those in effective communication, with an
emphasis on applications within the music industry, as well as identify resources to carry out music business research.
7. Determine particular professional music industry career paths, suited to acquired skills, knowledge and personal
strengths, to then identify and secure appropriate business opportunities as well as job opportunities at entry level or for
initial professional advancement.
8. Appropriately analyze and adapt the acquired knowledge and skills to individual and specific industry situations that will
be encountered in a professional career.
9. Analyze and adapt to new developments and trends in the contemporary music industry utilizing foundational historical
perspective and context.
10. Apply the above-referenced knowledge and skills as a self-managed independent/performing artist.

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

20 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
MUSIC BUSINESS

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-104 Your Music Business Career 2 MUBUS-220 Law & Contracts 2 2
MUBUS-120 Law & Contracts 1 2 MUBUS-280 Marketing & Social Media 2 2
MUBUS-130 Music Publishing & Licensing 1 2 MUBUS-290 Management & Business Skills 2 1.5
MUBUS-140 Industry 1: Labels & Talent 2 MUBUS-207 Music Licensing & Supervision 2
MUBUS-150 Computer Tech Applications 1 1.5 MUBUS-240 Industry 2: Distribution & Label 2
MUBUS-170 Personal Management 1 Services
MUBUS-180 Marketing & Social Media 1 2 MUBUS-250 Accounting & Finance 1 1.5
MUBUS-190 Management & Business Skills 1 1.5 MUBUS-342 Industry 3C: Tour Management 1
MUBUS-341 Industry 3B: Agents & Bookings 1 MUBUS-441 Industry 4B: Concert Promoters 1
ELECTIVES
TOTAL 15 Various Various 2

TOTAL 15

MUSIC BUSINESS
30 CREDITS / 4 QUARTERS*/ PART-TIME
The part-time Music Business Program is designed for individuals wishing to pursue a certificate in
Music Business who, due to employment, time constraints, family responsibilities, or health reasons,

CERTIFICATE
may not be able to undertake a traditional full-time program. Specific requirements and regulations
apply to enrollment in the part-time Music Business program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-120 Law & Contracts 1 2 MUBUS-220 Law and Contracts 2 2
MUBUS-130 Music Publishing & Licensing 1 2 MUBUS-240 Industry 2: Distribution & Label
MUBUS-140 Industry 1: Labels and Talent 2 Services 2
MUBUS-341 Industry 3B: Agents & Bookings 1 MUBUS-207 Music Licensing and Supervision 2
MUBUS-342 Industry 3C: Tour Management 1
TOTAL 7 MUBUS-441 Industry 4B: Concert Promoters 1

TOTAL 8

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-104 Your Music Business Career 2 MUBUS-280 Marketing and Social Media 2 2
MUBUS-150 Computer Tech Applications 1 1.5 MUBUS-290 Management & Business Skills 2 1.5
MUBUS-108 Personal Management 1 MUBUS-250 Accounting and Finance 1 1.5
MUBUS-190 Management & Business Skills 1 1.5 ELECTIVES
MUBUS-180 Marketing & Social Media 1 2 Various Various 2

TOTAL 8 TOTAL 7

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance. 21
 CERTIFICATE
SONGWRITING
Students can earn a Certificate in Songwriting. with this intensive program, students will learn practical training
sufficient to create a foundation for a career as a professional songwriter in the contemporary music and
entertainment industry. With an innovative approach to music education, MI’s Certificate in Songwriting
program is centered on Harmony and Theory, Lyric Writing, Songwriting, Keyboard essential and Recording
and Production. This Certificate program provides students with a broad foundation of knowledge and practical
experience for careers as songwriters.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT

Songwriting Private Lesson 1-2 4

Songwriting 1-2 3
Harmony & Theory 011-021 3
MAJOR AREA = 18 CREDITS Keyboard Essentials 1-2 2
Lyric Writing 1-2 4
CERTIFICATE

Songwriting Final Project 2

Demo Recording and Production 1-2 2

The Working Songwriter 1
SUPPORTIVE MUSIC = 6 CREDITS Songwriters Lab 1
The Business of Composing 1-2 2

DAW (choose from one platform below)

DAW = 2 CREDITS Logic Pro 1–2 2
Ableton Live 1–2 2

ELECTIVES = 4 CREDITS Various 4

Choice of DAW study explained:

Certificate in Songwriting students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a choice of two
different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit) OR
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement.
Certificate in Songwriting Program Learning Outcomes:
1. The student will compose songs within various genres of contemporary music including: Pop, Singer-Songwriter and
Country, while exhibiting foundational stylistic understanding, lyric-writing ability and originality.
2. The student will demonstrate rudimentary knowledge within areas including: music theory, keyboard essentials and
music business.
3. The student will demonstrate technological proficiency within the areas of music recording (digital audio workstations)
and music business.
4. The student will exhibit personal and artistic growth and leadership potential as a contemporary songwriter.
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

22 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
SONGWRITING

CERTIFICATE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
SONG-PL Private Lesson 1 2 SONG-PL Private Lesson 2 2
SONG-101 Songwriting 1 1.5 SONG-201 Songwriting 2 1.5
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
ARTST-380 Keyboard Essentials 1 1 ARTST-480 Keyboard Essentials 2 1
SONG-125 Lyric Writing 1 2 SONG-225 Lyric Writing 2 2
SUPPORTIVE SONG-210 Songwriting Final Project 2
MUSIC SUPPORTIVE
SONG-102 Demo Recording and Production 1 1 MUSIC
SONG - 015 The Working Songwriter 1 SONG-202 Demo Recording and Production 2 1
SONG-011 Songwriters Lab 1 SONG-487 The Business of Composing 2 1
SONG-486 The Business of Composing 1 1 DAW The second course in selected
DAW Choose one of the following two DAW study
DAW platforms: AUDIO-152 Logic 2 1
AUDIO-052 Logic 1 1 AUDIO-158 Ableton Live 2 1
AUDIO-058 Ableton Live 1 1
ELECTIVES 2
ELECTIVES Various Various
Various Various 2
TOTAL 15
TOTAL 15

23
 CERTIFICATE
SONGWRITING
SONGWRITING
30 CREDITS / 4 QUARTERS*/ PART-TIME
The part-time Songwriting Program is designed for individuals wishing to pursue a certificate in
Songwriting who, due to employment, time constraints, family responsibilities, or health reasons, may
not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Songwriting program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
SONG-PL Private Lesson 1 2 SONG-101 Songwriting 1 2
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
SONG-125 Lyric Writing 1 2 ARTST-380 Keyboard Essentials 1 1
DAW Choose one of the following two SUPPORTIVE
DAW platforms: MUSIC
Logic 1 1 SONG-102 Demo Recording and Production 1 1
AUDIO-052
AUDIO-058 Ableton Live 1 1 DAW The second course in selected
DAW study
ELECTIVES Various 1
CERTIFICATE

AUDIO-152 Logic 2 1
Various
AUDIO-158 Ableton Live 2 1
ELECTIVES
TOTAL 7.5 Various Various 2

TOTAL 8

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
SONG-201 Songwriting 2 1.5 SONG-PL Private Lesson 2 2
SONG-225 Lyric Writing 2 2 ARTST-480 Keyboard Essentials 2 1
SUPPORTIVE SONG-210 Final Project 2
MUSIC SUPPORTIVE
SONG-015 The Working Songwriter 1 MUSIC
SONG-011 Songwriters Lab 1 SONG-202 Demo Recording and Production 2 1
SONG-486 The Business of Composing 1 1 SONG-487 The Business of Composing 2 1
ELECTIVES
Various Various 1
TOTAL 8

TOTAL 7.5

**Part-Time study may not be available for all programs

Student financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.
** Student’s choice of various DAWs

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

24 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM
Instrumentalists, singers, songwriters, rappers, DJs and producers learn the entire process of creating their own
project—from writing and recording to marketing, publicity, website design and final release. This program is designed
to equip musicians with the various skills needed to independently write, record and market their original material.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Recording Techniques for Songwriters &
Producers 1-4 8
Project Advising 1-4 8
DAW 1 & 2 (choose two of the three platforms
MAJOR AREA = 23-25 CREDITS DEPENDING below) 4 or 6
ON SELECTED DAW STUDY - Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Artist Identity 1
Final Project for A/P/E 2
Business Practices for Musicians 1-2 3
CERTIFICATE

Independent Artist Marketing 2

Graphic Design for Artists 1-2 4
Media Relations 2
Music Video Bootcamp 1.5
PROF. DEVELOPMENT = 17 CREDITS Vocal Production 1
Social Media Branding for the
Independent Artist 1-2 2
CHOOSE FROM ONE PLATFORM BELOW:
Option 1: Music Video Editing w/ Adobe
Premiere 1.5
Option 2: Final Cut Pro X 1.5

Musicianship 1-4 6
Songwriting for Artists 1-2 3
MUSICIANSHIP = 14 CREDITS Songwriting for Artists 3-2 3
Keyboard Essentials 1-2 2
ELECTIVES = 4-6 CREDITS DEPENDING Various 4 or 6
ON SELECTED DAW STUDY
Choice of DAW study explained:
Certificate in Artist, Producer, and Entrepreneur students, in fulfilling their required Digital Audio Workstation (DAW)
courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
Two specific two-course sequences in chosen DAW platforms must be completed to fulfill the DAW requirement. Should
the Pro Tools platform course sequence be one of the chosen options, two fewer elective credits will be required for
overall program completion.
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

25 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM
60 CREDITS / 4 QUARTERS
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DAW 1 LEVEL 1 Choose one of the following three DAW 1 LEVEL 2 The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
ARTST-101 Recording Techniques for Songwrit- ARTST-201 Recording Techniques for Songwrit-
ers & Producers 1 2 ers & Producers 2 2
ARTST-103 Artist Identity 1 ARTST-211 Project Advising 2 2
ARTST-111 Project Advising 1 2 PROF. DEV.
PROF. DEV. MUBUS-0460 Business Practices for Musicians 2 1.5
MUBUS-0360 Business Practices for Musicians 1 1.5 MUBUS-0307 Independent Artist Marketing 2
CC-307 Graphic Design for Artists 1 2 CC-407 Graphic Design for Artists 2 2
MUSICIANSHIP MUSICIANSHIP
ARTST-106 Musicianship 1 1.5 ARTST-206 Musicianship 2 1.5
ARTST-107 Songwriting for Artists 1 1.5 ARTST-207 Songwriting for Artists 2 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL 14.5 TOTAL 15.5

CERTIFICATE
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-301 Recording Techniques for Songwrit- ARTST-401 Recording Techniques for Songwriters &
ers & Producers 3 2 Producers 4 2
ARTST-311 Project Advising 3 2 ARTST-411 Project Advising 4 2
DAW 2 LEVEL 1 Choose one of the following two DAW 2 LEVEL 2 The second course in selected
DAW platforms: DAW 2 study
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
PROF. DEV. 2 ARTST-403 Final Project for A/P/E 2
MUBUS-0202 Media Relations 1.5 PROF. DEV.
ARTST-353 Music Video Bootcamp 1 AUDIO-215 Vocal Production 1
ARTST-319 Social Media Branding for the ARTST-419 Social Media Branding for the
Independent Artist 1 Independent Artist 2 1
MUSICIANSHIP 1.5 CHOOSE ONE OF THE FOLLOWING:
ARTST-306 Musicianship 3 1.5 ARTST-454 Option 1: Music Video Editing w/ Adobe
ARTST-307 Songwriting for Artists 3 1 Premiere 1.5
ARTST-380 Keyboard Essentials 1 ARTST-413 Option 2: Final Cut Pro X 1.5
ELECTIVES 2 MUSICIANSHIP
Various Various (credits depend on track) ARTST-406 Musicianship 4 1.5
ARTST-407 Songwriting for Artists 4 1.5
TOTAL 14.5 ARTST-480 Keyboard Essentials 2 1
ELECTIVES
Various Various (credits depend on track) 2

TOTAL 15.5

Artist/Producer/Entrepreneur Certificate Program Learning Outcomes:

1. Develop and demonstrate advanced professional abilities in contemporary commercial music styles as engineers and
producers, through studies in audio engineering, production, and multiple digital audio workstations.
2. Develop and exhibit advanced professional depth, versatility and creativity through the study and application of public
relations, artist identity and branding, visual media, and web design as pertaining to a contemporary professional artist,
songwriter and producer.
3. Build and exhibit fundamental to advanced aptitude in traditional and contemporary Western music theory, keyboard
proficiency, ear training, rhythmic studies, and songwriting.
4. Develop a baseline fluency in entertainment business practices and demonstrate the ability to navigate and self-manage
their career, through studies in copyright law, marketing and promotions, and business contracts.
26
 CERTIFICATE
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM
60 CREDITS / 8 QUARTERS / PART-TIME
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DAW 1 LEVEL 1 Choose one of the following three
ARTST-111 Project Advising 1 2
DAW platforms: DAW 1 LEVEL 2 The second course in selected
AUDIO-057 Pro Tools 101 2 DAW study
AUDIO-052 Logic 1 1 AUDIO-157 Pro Tools 110 2
AUDIO-058 Ableton Live 1 1 AUDIO-152 Logic 2 1
AUDIO-158 Ableton Live 2 1
ARTST-101 Recording Techniques for Songwrit-
ers & Producers 1 2 PROF. DEV.
MUSICIANSHIP MUBUS-0360 Business Practices for Musicians 1 1
ARTST-106 Musicianship 1 1.5 MUSICIANSHIP
ARTST-380 Keyboard Essentials 1 1 ARTST-206 Musicianship 2 1.5
ELECTIVES ARTST-107 Songwriting for Artists 1 1.5
Various Various (Pro Tools selected for DAW study) 1 ELECTIVES
Various Various (Logic Pro or Ableton Live selected Various Various (Pro Tools selected for DAW study) 1
for DAW study) 2 Various Various (Logic Pro or Ableton Live selected
for DAW study) 2
TOTAL 7.5
TOTAL 7.5
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-201 Recording Techniques for Songwrit- ARTST-211 Project Advising 2 2
ers & Producers 2 2 PROF. DEV.
PROF. DEV. CC-407 Graphic Design for Artists 2 2
CERTIFICATE

MUBUS-0460 Business Practices for Musicians 2 1.5 MUBUS-0307 Independent Artist Marketing 2
CC-307 Graphic Design for Artists 1 2 MUSICIANSHIP
MUSICIANSHIP ARTST-480 Keyboard Essentials 2 1
ARTST-207 Songwriting for Artists 2 1.5 ELECTIVES
ELECTIVES Various Various (credits depend on track) 1
Various Various (credits depend on track) 1
TOTAL 7
TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-301 Recording Techniques for Songwrit- DAW 2 LEVEL 2 The second course in selected
ers & Producers 3 2 DAW study
ARTST-103 Artist Identity 1
AUDIO-152 Logic 2 1
DAW 2 LEVEL 1 Choose one of the following two AUDIO-158 Ableton Live 2 1
DAW platforms:
ARTST-311 Project Advising 3 2
AUDIO-052 Logic 1 1
PROF. DEV.
AUDIO-058 Ableton Live 1 1
ARTST-419 Social Media Branding for the 1
PROF. DEV. Independent Artist 2
ARTST-319 Social Media Branding for the MUSICIANSHIP
Independent Artist 1 1 ARTST-406 Musicianship 4 1.5
MUSICIANSHIP ARTST-307 Songwriting for Artists 3 1.5
ARTST-306 Musicianship 3 1.5 ELECTIVES
ELECTIVES Various Various (credits depend on track) 1
Various Various (credits depend on track) 1
TOTAL 7
TOTAL 7.5
Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-401 Recording Techniques for Songwrit- ARTST-411 Project Advising 4 2
ers & Producers 4 2 ARTST-403 Final Project for A/P/E 2
PROF. DEV. PROF. DEV.
MUBUS-0202 Media Relations 2 AUDIO-215 Vocal Production 1
ARTST-353 Music Video Bootcamp 1.5 CHOOSE ONE OF THE FOLLOWING:
MUSICIANSHIP ARTST-454 Option 1: Music Video Editing w/ Adobe 1.5
ARTST-407 Songwriting for Artists 4 1.5 Premiere
ELECTIVES ARTST-413 Option 2: Final Cut Pro X 1.5
Various Various (credits depend on track) 1 ELECTIVES
Various Various (credits depend on track) 2
TOTAL 8
TOTAL 7.5
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

27 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
LIVE MUSIC EVENT PRODUCTION

MI’s certificate in Live Music Event Production offers students an opportunity to learn about and gain
experience working in the production side of live music shows and other live events. Students are emersed in
all aspects of production as well as the positions and roles of production personnel, as they learn hands-on in
workshops and live show scenarios. Students also learn about legal and contractual obligations, which
comprise the business of the live entertainment industry.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Audio Foundations: Theory & Technique 3
Pro Tools 101-110 4
Electronics 2
Intro to Live Sound 1
Console Operation 1: Yamaha QL5 2
Console Operation 2: A&H Avantis 2
Console Operation 3: Avid S6L 2
Analog and Digital Signal Processing 2
CERTIFICATE

Safety & Rigging 1

Stage Technician 2
MAJOR AREA = 45 CREDITS Monitor Engineering 2
Live Mixing, Recording & Playback 1-2 5
Lighting 2
Event Production & Tour Management 2
Musical Event Systems & Components 1
Repair, Maintenance & Troubleshooting 2
Audio/Visual, Wireless & Broadcasting 2
Staging 2
Networking Audio 1
Electrical Implementation 2
Live Music Workshop 2
Small Footprint Digital Consoles 1

Business Practices for Musicians 1-2 3

PROF. DEVELOPMENT = 6 CREDITS Operating a Music Business 2
Networking Strategies 1
Evolution of Audio 1
Musicianship for Industry Professionals 1
MUSICIANSHIP = 5 CREDITS
Critical Listening 2
The Live Sound Engineer as an Artist 1
ELECTIVES = 4 CREDITS Various 4

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

28 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
LIVE MUSIC EVENT PRODUCTION

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112 Audio Foundations: Theory & Technique 3 AUDIO-157 Pro Tools 110 2
AUDIO-057 Pro Tools 101 2 AUDIO-206 Intro to Live Sound 1
AUDIO-151 Electronics 2 AUDIO-280 Console Operation 2: A&H Avantis 2
AUDIO-180 Console Operation 1: Yamaha QL5 2 AUDIO-208 Analog and Digitial Signal Processing 2
AUDIO-142 Small Footprint Digital Consoles 1 AUDIO-210 Safety & Rigging 1
PRO. DEV. AUDIO-241 Stage Technician 2
MUBUS-0360 Business Practices for Musicians 1 1.5 AUDIO-242 Repair, Maintenance & Troubleshooting 2
MUSICIANSHIP PRO. DEV.
AUDIO-106 Musicianship for Industry Professionals 1 MUBUS-0460 Business Practices for Musicians 2 1.5
AUDIO-105 Critical Listening 2 MUSICIANSHIP
AUDIO-141 The Live Sound Engineer as an Artist 1 AUDIO-111 Evolution of Audio 1

TOTAL 14.5
TOTAL 15.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT

CERTIFICATE
MAJOR AREA MAJOR AREA
AUDIO-361 Console Operation 3: Avid S6L 2 AUDIO-455 Live Mixing, Recording & Playback 2 2
AUDIO-362 Monitor Engineering 2 AUDIO-471 Event Production & Tour Management 2
AUDIO-355 Live Mixing, Recording & Playback 1 3 AUDIO-472 Musical Event Systems & Components 1
AUDIO-363 Lighting 2 AUDIO-473 Audio/Visual, Wireless and Broadcasting 2
AUDIO-364 Networking Audio 1 AUDIO-474 Staging 2
AUDIO-365 Electrical Implementation 2 AUDIO-412 Live Music Workshop 2
PRO. DEV. PRO. DEV.
MUBUS-206 Networking Strategies 1 MUBUS-308 Operating a Music Business 2
ELECTIVES ELECTIVES
Various Various 2 Various Various 2

TOTAL 15 TOTAL 15

Certificate in Live Music Event Production Program Learning Outcomes:

1. Demonstrate the ability to operate modern analog and digital audio systems using industry-standard live production
techniques and equipment for sound reinforcement & live recording/playback, lighting, and live video recording/playback.
2. Demonstrate basic knowledge of audio engineering concepts in theory and in practice, including the principles of
computer basics, signal flow, and signal processing.
3. Demonstrate proficiency in frequency recognition and other critical listening skills.
4. Articulate a fundamental understanding of staging shows and events.
5. Articulate a fundamental understanding of basic audio electronics and electrical concepts & implementation, including
basic troubleshooting and repair in the field.
6. Articulate a basic understanding of common business practices related to live music production and live events.

29
 CERTIFICATE
LIVE MUSIC EVENT PRODUCTION
60 CREDITS / 8 QUARTERS*/ PART-TIME

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112 Audio Foundations: Theory & Technique 3 AUDIO-157 Pro Tools 110 2
AUDIO-057 Pro Tools 101 2 AUDIO-206 Intro to Live Sound 1
AUDIO-180 Console Operation 1: Yamaha QL5 2 AUDIO-142 Small Footprint Digital Consoles 1
MUSICIANSHIP
TOTAL 7 AUDIO-105 Critical Listening 2
AUDIO-141 The Live Sound Engineer as an Artist 1
AUDIO-111 The Evolution of Audio 1

TOTAL 8

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-151 Electronics 2 AUDIO-210 Safety & Rigging 1
AUDIO-280 Console Operation 2: A&H Avantis 2 AUDIO-355 Live Mixing, Recording & Playback 1 3
AUDIO-208 Analog and Digitial Signal Processing 2 AUDIO-472 Musical Event Systems & Components 1 1
MUSICIANSHIP AUDIO-242 Repair, Maintenance & Troubleshooting 2
CERTIFICATE

AUDIO-106 Musicianship for Industry Professionals 1 PRO. DEV.

MUBUS-206 Networking Strategies 1
TOTAL 7
TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-361 Console Operation 3: Avid S6L 2 AUDIO-362 Monitor Engineering 2
AUDIO-241 Stage Technician 2 AUDIO-364 Networking Audio 1
AUDIO-455 Live Mixing, Recording & Playback 2 2 AUDIO-365 Electrical Implementation 2
ELECTIVES PROF. DEV.
Various Various 1 MUBUS-308 Operating a Music Business 2
ELECTIVES
TOTAL 7 Various Various 1

TOTAL 8

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-363 Lighting 2 AUDIO-474 Staging 2
AUDIO-471 Event Production & Tour Management 2 AUDIO-412 Live Music Workshop 2
AUDIO-473 Audio/Visual, Wireless and Broadcasting 2 PROF. DEV.
PROF. DEV. MUBUS-0460 Business Practices for Musicians 2 1.5
MUBUS-0360 Business Practices for Musicians 1 1.5 ELECTIVES
Various Various 2
TOTAL 7.5
TOTAL 7.5

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

30 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
STUDIO RECORDING
Musicians Institute’s Certificate in Studio Recording is a 4-quarter, 60-unit program that gives audio recording engineers
and producers the opportunity to work in professional recording studios and audio recording scenarios while learning
all phases of music recording, with hands-on projects in individual and team exercises designed to build a strong,
fundamental understanding of the recording process.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Audio Foundations: Theory & Technique 3
Recording Techniques 2 1
Pro Tools 101-110 4
Console Operation 1: Neve with Practical Recording 2
Console Operation 2: API with Practical Recording 2
Electronics 2
Intro to Post 1
Intro to Live Sound 1
Interactive Audio & Emerging Technologies 2
Mixing Essentials 1-3 7
CERTIFICATE

MAJOR AREA = 42 CREDITS Pro Tools 201-210M 4

Console Operation 3: SSL with Practical Recording 2
Console Operation 4: Euphonix with
Practical Recording 2
Advanced Audio Principles 3
Analog and Digital Signal Processing 2
Advanced Digital Signal Processing 1
Music Mastering 1
Systems Integration & File Management 2
Recording Studio Etiquette 1

Business Practices for Musicians 1-2 3

PROF. DEVELOPMENT = 5 CREDITS Business Law for Music Producers 2

Musicianship for Industry Professionals 1

Critical Listening 2
MUSICIANSHIP = 11 CREDITS Music Production 1
Song Structure and Content 2
Music Industry History 1-2 4
ELECTIVES = 2 CREDITS Various 4
Certificate in Studio Recording Program Learning Outcomes:
1. Provide practical vocational training in the skills, concepts and techniques required for employment as a professional
Audio Engineer.
2. Provide in-depth training in specific technical and creative skills related to Studio Recording.
3. Provide general training in professional business skills related to owning or operating a recording studio business.
4. Provide general and specific musical knowledge required to carry out the role of an audio engineer in a professional
studio setting.
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

31 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
STUDIO RECORDING
CERTIFICATE

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-102 Console Operation 1: Neve with 2 AUDIO-209 Console Operation 2: API with 2
Practical Recording Practical Recording
AUDIO-112 Audio Foundations: Theory & Technique 3 AUDIO-201 Recording Techniques 2 1
AUDIO-057 ProTools 101 2 AUDIO-157 ProTools 110 2
AUDIO-140 Recording Studio Etiquette 1 AUDIO-207 Intro to Post Production 1
AUDIO-151 Electronics 2 AUDIO-204 Mixing Essentials I 3
PROF. DEV. 1 AUDIO-208 Analog and Digital Signal Processing 2
MUBUS-0360 Business Practices for Musicians 1 1.5 PROF. DEV.
MUSICIANSHIP MUBUS-0460 Business Practices for Musicians 2 1.5
AUDIO-105 Critical Listening 2 MUSICIANSHIP
AUDIO-051 The Modern Music Producer 1 AUDIO-106 Musicianship for Industry Professionals 1
MUBUS-110 Music Industry History 1 2
TOTAL 15.5
TOTAL 15.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-206 Intro to Live Sound 1 AUDIO-440 Mixing Essentials 3 2
AUDIO-360 Interactive Audio and Emerging AUDIO-357 Pro Tools 210M 2
Technologies 2 AUDIO-430 Console Operation 4: Euphonix with
AUDIO-340 Mixing Essentials 2 2 Practical Recording 2
AUDIO-257 Pro Tools 201 2 AUDIO-450 Advanced Analog & Digital Signal
AUDIO-330 Console Operation 3: SSL with Principles 2 2
Practical Recording 2 AUDIO-460 Music Mastering 1
AUDIO-350 Advanced Analog & Digital Signal 1 AUDIO-470 System Integration & File Management 2
Principles 1 MUSICIANSHIP
AUDIO-320 Advanced Digital Signal Processing 1 MUBUS-360 Song Structure & Content 2
PROV. DEV. ELECTIVES
AUDIO-375 Business Law for Music Producers 2 Various Various 2
MUSICIANSHIP
MUBUS-210 Music Industry History 2 2 TOTAL 15
TOTAL 15
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

32 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
STUDIO RECORDING
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Studio Recording Program is designed for individuals wishing to pursue a certificate in
Studio Recording who, due to employment, time constraints, family responsibilities, or health reasons,
may not be able to undertake a traditional full-time program. Specific requirements and regulations
apply to enrollment in the part-time Studio Recording program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112 Audio Foundations: Theory & Technique 3 AUDIO-157 ProTools 110 2
AUDIO-102 Console Operation 1: Neve with 2 AUDIO-151 Electronics 2
Practical Recording MUSICIANSHIP
AUDIO-057 ProTools 101 2 AUDIO-105 Critical Listening 2
MUSICIANSHIP AUDIO-106 Musicianship for Industry Professionals 1
AUDIO-051 The Modern Music Producer 1
TOTAL 7

TOTAL 8

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA

CERTIFICATE
AUDIO-201 Recording Techniques 2 1 AUDIO-206 Intro to Live Sound 1
AUDIO-209 Console Operation 2: API with AUDIO-204 Mixing Essentials I 3
Practical Recording 2 AUDIO-257 Pro Tools 201 2
AUDIO-207 Intro to Post Production 1 AUDIO-208 Analog and Digital Signal Processing 2
AUDIO-360 Interactive Audio and Emerging
Technologies 2 TOTAL 8
MUSICIANSHIP
MUBUS-360 Song Structure & Content 2

TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-340 Mixing Essentials 2 2 AUDIO-440 Mixing Essentials 3 2
AUDIO-357 Pro Tools 210M 2 AUDIO-330 Console Operation 3: SSL with
AUDIO-320 Advanced Digital Signal Processing 1 Practical Recording 2
MUSICIANSHIP AUDIO-460 Music Mastering 1
MUBUS-110 Music Industry History 1 2 MUSICIANSHIP
MUBUS-210 Music Industry History 2 2
TOTAL 7
TOTAL 7

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-430 Console Operation 4: Euphonix with 2 AUDIO-450 Advanced Analog & Digital Signal
Practical Recording PROF. DEV. Principles 2 2
AUDIO-350 Advanced Analog & Digital Signal 1 AUDIO-375 Business Law for Music Producers 2
Principles 1 MUBUS-0460 Business Practices for Musicians 2 1.5
AUDIO-470 System Integration & File 2 ELECTIVES
Management Various Various 2
AUDIO-140 Recording Studio Etiquette 1
PROF. DEV. TOTAL 7.5
MUBUS-0360 Business Practices for Musicians 1 1.5

TOTAL 7.5
** Student’s choice of various DAWs

**Part-Time study may not be available for all programs

Student financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.
33
 CERTIFICATE
BASS

Students can earn a Certificate in MI’s Performance Studies program for Bass. With an innovative
360-degree approach to music education, MI Certificates are centered on Harmony, Theory and
Ear Training, with core subjects in Reading, Technique and Performance. This Certificate program
provides students with a broad foundation of knowledge and practical experience, encouraging
the rapid development of skills in preparation for a range of professional music performance
situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT

Private Lesson 1-4 8

Bass LPW 013-203 4
Bass Performance 013-230 8
Bass Technique & Fretboard 011-210 8
MAJOR AREA = 40 OR 42
CERTIFICATE

Bass Reading 012-220 8

CREDITS DEPENDING ON Bass Gear Maintenance & Mastery 1
SELECTED DAW STUDY Bass & Drum Concepts 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)

2
Rhythm Reading Workout 1-2
6
Harmony & Theory 011-201
MUSICIANSHIP = 16 CREDITS 6
Ear Training 012-202
2
Keyboard Proficiency 1-2

ELECTIVES = 2 OR 4 CREDITS
Various 2 or 4
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Certificate in Performance (Bass) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

34 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
BASS

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 1 2 BASS-PL Private Lesson 2 2
CC-013B Bass LPW 013 1 CC-023B Bass LPW 023 1
BASS-013 Bass Performance 013 2 BASS-023 Bass Performance 023 2
BASS-011 Bass Technique & Fretboard 011 2 BASS-021 Bass Technique & Fretboard 021 2
BASS-012 Bass Reading 012 2 BASS-022 Bass Reading 022 2
BASS-014 Bass Gear Maintenance & Mastery 1 BASS-025 Bass & Drum Concepts 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 3 2 BASS-PL Private Lesson 4 2

CERTIFICATE
CC-103B Bass LPW 103 1 CC-203B Bass LPW 203 1
BASS-130 Bass Performance 130 2 BASS-230 Bass Performance 230 2
BASS-110 Bass Technique & Fretboard 110 2 BASS-210 Bass Technique & Fretboard 210 2
BASS-120 Bass Reading 120 2 BASS-220 Bass Reading 220 2
DAW Choose one of the following three DAW 1 LEVEL 2 The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP 1.5
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 2

TOTAL 15 TOTAL 15

Certificate in Performance (Bass) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as an electric
bassist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production,
and live performance workshops/ ensembles.
2. The student will develop composition, studio production, and technical skills through advanced studies of studio-based
recording software and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a
skill set specific to themselves as artists/musicians.

35
 CERTIFICATE
BASS
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Bass Program is designed for individuals wishing to pursue a certificate in Bass who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Bass program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 1 2 CC-013B Bass LPW 013 1
BASS-011 Bass Technique & Fretboard 011 2 BASS-012 Bass Reading 012 2
BASS-014 Bass Gear Maintenance & Mastery 1 BASS-013 Bass Performance 2
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-012 Ear Training 012 1.5
TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 2 2 CC-023B Bass LPW 023 1
BASS-021 Bass Technique & Fretboard 021 2 BASS-022 Bass Reading 022 2
BASS-024 Bass & Drum Concepts 1 BASS-023 Bass Performance 023 2
MUSICIANSHIP DAW Choose one of the following three
CC-021 Harmony & Theory 021 1.5 DAW platforms:
CC-108 Keyboard Proficiency 1 1
AUDIO-057 Pro Tools 101 2
CERTIFICATE

TOTAL 7.5 AUDIO-052 Logic 1 1

AUDIO-058 Ableton Live 1 1
MUSICIANSHIP
CC-022 Ear Training 022 1.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 3 2 CC-103B Bass LPW 103 1
BASS-110 Bass Technique & Fretboard 110 2 BASS-120 Bass Reading 120 2
DAW The second course in selected BASS-130 Bass Performance 130 2
DAW study MUSICIANSHIP
CC-102 Ear Training 102 1.5
AUDIO-157 Pro Tools 110 2
ELECTIVES
AUDIO-152 Logic 2 1
AUDIO-158 Ableton Live 2 1 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
MUSICIANSHIP for DAW study) 1
CC-101 Harmony & Theory 101 1.5
CC-208 Keyboard Proficiency 1 1 TOTAL 7.5
TOTAL 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 4 2 CC-203B Bass LPW 203 1
BASS-210 Bass Technique & Fretboard 210 2 BASS-220 Bass Reading 220 2
MUSICIANSHIP BASS-230 Bass Performance 230 2
CC-201 Harmony & Theory 201 1.5 MUSICIANSHIP
ELECTIVES CC-202 Ear Training 202 1.5
Various Various 2 ELECTIVES
TOTAL 7.5 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

** Student’s choice of various DAWs

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

36 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
DRUM
Students can earn a Certificate in MI’s Performance Studies program for Drums. With an innovative 360-degree approach to
music education, MI’s Drum Certificate is centered on Reading, Technique and Performance. This Certificate program provides
students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in
preparation for a range of professional music performance situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT

Private Lesson 1-4 8

Drum LPW 013-203 4
Drum Performance 013-230 8
Drum Technique 011-210 8
Drum Reading 012-220 8
MAJOR AREA = 40 OR 42 CREDITS Developing Your Groove 1
DEPENDING ON SELECTED DAW STUDY Drum Gear Maintenance & Mastery 1
E-Drumming Essentials 1

CERTIFICATE
Timekeeping 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)

Harmony & Theory 011-201 6

MUSICIANSHIP = 14 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2

ELECTIVES = 2 OR 4 CREDITS
Various 2 or 4
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Certificate in Performance (Drum) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

Certificate in Performance (Drum) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and
ensemble drumset performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
workstations, electronic drumming and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a
skill set specific to themselves as artists/musicians
37
 CERTIFICATE
DRUM

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 1 2 DRUM-PL Private Lesson 2 2
CC-013D Drum LPW 013 1 CC-023D Drum LPW 023 1
DRUM-013 Drum Performance 013 2 DRUM-023 Drum Performance 023 2
DRUM-011 Drum Technique 011 2 DRUM-021 Drum Technique 021 2
DRUM-012 Drum Reading 012 2 DRUM-022 Drum Reading 022 2
DRUM-015 Developing Your Groove 1 DAW Choose one of the following three
DRUM-014 Drum Gear Maintenance & Mastery 1 DAW platforms:
MUSICIANSHIP
CC-011 Harmony & Theory 011 1.5 AUDIO-057 Pro Tools 101 2
CC-012 Ear Training 012 1.5 AUDIO-052 Logic 1 1
ELECTIVES AUDIO-058 Ableton Live 1 1
Various Various 1 DRUM-025 Timekeeping 1
MUSICIANSHIP
TOTAL 15 CC-021 Harmony & Theory 021 1.5
CC-022 Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 15
CERTIFICATE

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 3 2 DRUM-PL Private Lesson 4 2
CC-103D Drum LPW 103 1 CC-203D Drum LPW 203 1
DRUM-130 Drum Performance 130 2 DRUM-230 Drum Performance 230 2
DRUM-110 Drum Technique 110 2 DRUM-210 Drum Technique 210 2
DRUM-120 Drum Reading 120 2 DRUM-220 Drum Reading 220 2
DAW The second course in selected
DRUM-240 E-Drumming Essentials 1
DAW study MUSICIANSHIP
CC-201 Harmony & Theory 201 1.5
AUDIO-157 Pro Tools 110 2 CC-202 Ear Training 202 1.5
AUDIO-152 Logic 2 1 CC-208 Keyboard Proficiency 2 1
AUDIO-158 Ableton Live 2 1 ELECTIVES
MUSICIANSHIP 1.5 Various Various 1
CC-101 Harmony & Theory 101 1.5
CC-102 Ear Training 102 1 TOTAL 15
CC-108 Keyboard Proficiency 1
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 15

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

38 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
DRUM
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Drum Program is designed for individuals wishing to pursue a certificate in Drum who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Drum program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 1 2 CC-013D Drum LPW 013 1
DRUM-011 Drum Technique 011 2 DRUM-013 Drum Performance 013 2
DRUM-015 Developing Your Groove 1 DRUM-012 Drum Reading 012 2
MUSICIANSHIP DRUM-025 Timekeeping 1
CC-108 Keyboard Proficiency 1 1 MUSICIANSHIP
ELECTIVES CC-208 Keyboard Proficiency 1 1
Various Various 1
TOTAL 7
TOTAL 7

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 2 2 CC-023D Drum LPW 023 1
DRUM-023 Drum Performance 023 2
DAW Choose one of the following three
DAW platforms:
DRUM-022 Drum Reading 022 2
DRUM-240 E-Drumming Essentials 1

CERTIFICATE
AUDIO-057 Pro Tools 101 2
AUDIO-052 Logic 1 1 DAW The second course in selected
DAW study
AUDIO-058 Ableton Live 1 1
AUDIO-157 Pro Tools 110 2
DRUM-021 Drum Technique 021 1
AUDIO-152 Logic 2 1
DRUM-014 Drum Gear Maintenance & Mastery 2
AUDIO-158 Ableton Live 2 1
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 TOTAL (Pro Tools selected for DAW study) 8
Various Various (Logic Pro or Ableton Live selected TOTAL (Logic Pro or Ableton Live selected for DAW study) 7
for DAW study) 1

TOTAL 7

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 3 2 DRUM-130 Drum Performance 130 2
CC-103D Drum LPW 103 1 DRUM-120 Drum Reading 120 2
DRUM-110 Drum Technique 110 2 MUSICIANSHIP
MUSICIANSHIP CC-021 Harmony & Theory 021 1.5
CC-011 Harmony & Theory 011 1.5 CC-022 Ear Training 022 1.5
CC-012 Ear Training 012 1.5 ELECTIVES
TOTAL 8 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 7

TOTAL (Logic Pro or Ableton Live selected for DAW study) 8

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA 2
DRUM-PL Private Lesson 4 2 DRUM-230 Drum Performance 230 2
CC-203D Drum LPW 203 1 DRUM-220 Drum Reading 220
DRUM-210 Drum Technique 210 2 MUSICIANSHIP 1.5
MUSICIANSHIP CC-201 Harmony & Theory 201 1.5
CC-101 Harmony & Theory 101 1.5 CC-202 Ear Training 202
CC-102 Ear Training 102 1.5 ELECTIVES 1
TOTAL 8 Various Various
TOTAL 8
** Student’s choice of various DAWs
**Part-Time study may not be available for all programs
Student financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.
39
 CERTIFICATE
GUITAR

Students can earn a Certificate in MI’s Performance Studies program for Guitar. With an innovative 360-degree approach to
music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in Reading, Technique
and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience,
encouraging the rapid development of skills in preparation for a range of professional music performance situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT
Private Lesson 1-4 8
Guitar LPW 013-203 4
Guitar Performance 013-230 8
Guitar Technique 011-210 8
MAJOR AREA = 40 OR 42 CREDITS Guitar Reading 012-220 8
Guitar Gear Maintenance 1
DEPENDING ON SELECTED DAW STUDY
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
CERTIFICATE

- Logic Pro 1–2 (2 credits)

- Ableton Live 1–2 (2 credits)

Rhythm Reading Workout 1-2 2

MUSICIANSHIP = 16 CREDITS Harmony & Theory 011-201 6
Ear Training 012-202 6
Keyboard Proficiency 1-2 2
ELECTIVES = 2 OR 4 CREDITS Various 2 or 4
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Certificate in Performance (Guitar) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.
Certificate in Performance (Guitar) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and
ensemble guitar performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, tone production, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
workstations and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a
skill set specific to themselves as artists/musicians.
*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

40 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
GUITAR

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT

CERTIFICATE
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 1 2 GUIT-PL Private Lesson 2 2
CC-013G Guitar LPW 013 1 CC-023G Guitar LPW 023 1
GUIT-013 Guitar Performance 013 2 GUIT-023 Guitar Performance 023 2
GUIT-011 Guitar Technique 011 2 GUIT-021 Guitar Technique 021 2
GUIT-012 Guitar Reading 012 2 GUIT-022 Guitar Reading 022 2
GUIT-015 Guitar Gear Maintenance & Mastery 1 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-021 Harmony & Theory 021 1.5
CC-011 Harmony & Theory 011 1.5 CC-022 Ear Training 022 1.5
CC-012 Ear Training 012 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1
TOTAL 15
TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 3 2 GUIT-PL Private Lesson 4 2
CC-103G Guitar LPW 103 1 CC-203G Guitar LPW 203 1
GUIT-130 Guitar Performance 130 2 GUIT-230 Guitar Performance 230 2
GUIT-110 Guitar Technique 110 2 GUIT-210 Guitar Technique 210 2
GUIT-120 Guitar Reading 120 2 GUIT-220 Guitar Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP 1.5 MUSICIANSHIP 1.5
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1 CC-202 Ear Training 202 1
CC-108 Keyboard Proficiency 1 CC-208 Keyboard Proficiency 2
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 1

TOTAL 15 TOTAL 15

41
 CERTIFICATE
GUITAR
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Guitar Program is designed for individuals wishing to pursue a certificate in Guitar who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Guitar program.
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 1 2 GUIT-013 Guitar Performance 013 2
CC-013G Guitar LPW 013 1 GUIT-012 Guitar Reading 012 2
GUIT-011 Guitar Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5 ELECTIVES
Various Various 1
TOTAL 7.5
TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 2 2 GUIT-023 Guitar Performance 023 2
CC-023G Guitar LPW 023 1 GUIT-022 Guitar Reading 022 2
GUIT-021 Guitar Technique 021 2
DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-021 Harmony & Theory 021 1.5
ELECTIVES AUDIO-057 Pro Tools 101 2
Various Various 1 AUDIO-052 Logic 1 1
CERTIFICATE

AUDIO-058 Ableton Live 1 1

TOTAL 7.5
MUSICIANSHIP 1.5
CC-022 Ear Training 022
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 3 2 GUIT-130 Guitar Performance 130 2
CC-103G Guitar LPW 103 1 GUIT-120 Guitar Reading 120 2
GUIT-110 Guitar Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study CC-108 Keyboard Proficiency 1 1
ELECTIVES
AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1 Various Various (Pro Tools selected for DAW study) 0
AUDIO-158 Ableton Live 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
MUSICIANSHIP 1.5
CC-101 Harmony & Theory 101 TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Pro Tools selected for DAW study) 8.5 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 4 2 GUIT-230 Guitar Performance 230 2
CC-203G Guitar LPW 203 1 GUIT-220 Guitar Reading 220 2
GUIT-210 Guitar Technique 210 2 GUIT-015 Guitar Gear Maintenance & Mastery 1
MUSICIANSHIP MUSICIANSHIP
CC-201 Harmony & Theory 201 1.5 CC-202 Ear Training 202 1.5
ELECTIVES CC-208 Keyboard Proficiency 2 1
Various Various 1
TOTAL 7.5
TOTAL 7.5

** Student’s choice of various DAWs

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

42 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
Students can earn a Certificate in MI’s Performance Studies program for Keyboard Technology. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in
Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and
practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance
situations.
Choosing the Performance Track allows students to receive a heavier emphasis on live performance skills, as well as basic
training in using a Digital Audio Workstation (DAW)software.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Private Lesson 1-4 8
Keyboard LPW 013-203 4
Keyboard Performance 013-230 8
Keyboard Technique 011-210 8
MAJOR AREA = 39 OR 41 CREDITS Keyboard Reading 012-220 8

CERTIFICATE
DEPENDING ON SELECTED DAW STUDY Keyboard Gear Mastery 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Rhythm Reading Workout 1-2 2
MUSICIANSHIP = 14 CREDITS Harmony & Theory 011-201 6
Ear Training 012-202 6
ELECTIVES = 5 OR 7 CREDITS
Various 5 or 7
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Certificate in Performance (Keyboard Technology) students, in fulfilling their required Digital Audio Workstation (DAW)
courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

Certificate in Performance (Keyboard Technology) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo
and ensemble keyboard performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, tone production, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based
recording software and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, and in-depth rhythmic studies.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a
skill set specific to themselves as artists/musicians.

43
 CERTIFICATE
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
CERTIFICATE

KEYBD-PL Private Lesson 1 2 KEYBD-PL Private Lesson 2 2

CC-013K Keyboard LPW 013 1 CC-023K Keyboard LPW 023 1
KEYBD-013 Keyboard Performance 013 2 KEYBD-023 Keyboard Performance 023 2
KEYBD-011 Keyboard Technique 011 2 KEYBD-021 Keyboard Technique 021 2
KEYBD-012 Keyboard Reading 012 2 KEYBD-022 Keyboard Reading 022 2
MUSICIANSHIP KEYBD-024 Keyboard Gear Mastery 1
CC-015 Rhythm Reading Workout 1 1 MUSICIANSHIP
CC-011 Harmony & Theory 011 1.5 CC-025 Rhythm Reading Workout 2 1
CC-012 Ear Training 012 1.5 CC-021 Harmony & Theory 021 1.5
ELECTIVES CC-022 Ear Training 022 1.5
Various Various 2 ELECTIVES
Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 3 2 KEYBD-PL Private Lesson 4 2
CC-103K Keyboard LPW 103 1 CC-203K Keyboard LPW 203 1
KEYBD-130 Keyboard Performance 130 2 KEYBD-230 Keyboard Performance 230 2
KEYBD-110 Keyboard Technique 110 2 KEYBD-210 Keyboard Technique 210 2
KEYBD-120 Keyboard Reading 120 2 KEYBD-220 Keyboard Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP 1.5 MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 CC-202 Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL 15 TOTAL 15

** Student’s choice of various DAWs

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

44 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Keyboard Technologies Program is designed for individuals wishing to pursue a certificate
in Keyboard who, due to employment, time constraints, family responsibilities, or health reasons, may
not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Keyboard program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 1 2 KEYBD-013 Keyboard Performance 013 2
CC-013K Keyboard LPW 013 1 KEYBD-012 Keyboard Reading 012 2
KEYBD-011 Keyboard Technique 011 2 KEYBD-024 Keyboard Gear Mastery 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-012 Ear Training 012 1.5
TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 2 2 KEYBD-023 Keyboard Performance 023 2
CC-023K Keyboard LPW 023 1 KEYBD-022 Keyboard Reading 022 2
KEYBD-021 Keyboard Technique 021 2 DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-021 Harmony & Theory 021 1.5
AUDIO-057 Pro Tools 101 2
ELECTIVES

CERTIFICATE
AUDIO-052 Logic 1 1
Various Various 1
AUDIO-058 Ableton Live 1 1
TOTAL 7.5
MUSICIANSHIP
CC-022 Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 3 2 KEYBD-130 Keyboard Performance 130 2
CC-103K Keyboard LPW 103 1 KEYBD-120 Keyboard Reading 120 2
KEYBD-110 Keyboard Technique 110 2 MUSICIANSHIP
AUDIO-156 DAW 2 1 CC-102 Ear Training 102 1.5
DAW The second course in selected
ELECTIVES
DAW study Various Various 2
AUDIO-157 Pro Tools 110 2 Various Various (Pro Tools selected for DAW study) 1
AUDIO-152 Logic 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 2
AUDIO-158 Ableton Live 2 1
MUSICIANSHIP TOTAL 7.5
CC-101 Harmony & Theory 101 1.5

TOTAL 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 4 2 KEYBD-230 Keyboard Performance 230 2
CC-203K Keyboard LPW 203 1 KEYBD-220 Keyboard Reading 220 2
KEYBD-210 Keyboard Technique 210 2 MUSICIANSHIP
MUSICIANSHIP CC-202 Ear Training 202 1.5
CC-201 Harmony & Theory 201 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1
TOTAL 7.5
TOTAL 7.5

** Student’s choice of various DAWs

**Part-Time study may not be available for all programs
Student financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.
45
 CERTIFICATE
SAXOPHONE
Students can earn a Certificate in MI’s Performance Studies program for Saxophone. With an innovative
360-degree approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with
core subjects in Reading, Technique and Performance. This Certificate program provides students with a broad
foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for
a range of professional music performance situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT
Private Lesson 1-4 8
Saxophone LPW 013-203 4
Horn Section Performance 013-230 8
Saxophone Technique 011 and 021 4
Horn Section Technique 110 and 210 4
CERTIFICATE

MAJOR AREA = 40 OR 42 Horn Section Reading 012-220 8

CREDITS DEPENDING ON Skills in Spontaneity 1
SELECTED DAW STUDY Transposition Skills 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 16 CREDITS
Ear Training 012-202 6
Keyboard Proficiency 1-2 2

ELECTIVES = 2 OR 4 CREDITS
Various 2 or 4
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Certificate in Performance (Guitar) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

46 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
SAXOPHONE

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 [Link] Private Lesson 2 2
CC-013S Saxophone LPW 013 1 CC-023S Saxophone LPW 023 1
HORN-013 Horn Section Performance 013 2 HORN-023 Horn Section Performance 023 2
HORN-011S Saxophone Technique 011 2 HORN-021S Saxophone Technique 021 2
HORN-012 Horn Section Reading 012 2 HORN-022 Horn Section Reading 022 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP 1 MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1.5 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1 CC-022 Ear Training 022 1.5
CC-108 Keyboard Proficiency 1 CC-208 Keyboard Proficiency 2 1

TOTAL (Pro Tools selected for DAW study) 16 TOTAL (Pro Tools selected for DAW study) 16
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

CERTIFICATE
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 [Link] Private Lesson 4 2
CC-103S Saxophone LPW 103 1 CC-203S Saxophone LPW 203 1
HORN-130 Horn Section Performance 130 2 HORN-230 Horn Section Performance 230 2
HORN-110 Horn Section Technique 110 2 HORN-210 Horn Section Technique 210 2
HORN-120 Horn Section Reading 120 2 HORN-220 Horn Section Reading 220 2
HORN-140 Skills in Spontaneity 1 HORN-240 Transposition Skills 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 14 TOTAL (Pro Tools selected for DAW study) 14
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Certificate in Performance (Saxophone) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo
and ensemble saxophone performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, tone production, performing and recording music “by-ear,” transposing memorized and notated music “on the
spot,” and live performance workshops/ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
workstations.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a skill
set specific to themselves as artists/musicians.

47
 CERTIFICATE
SAXOPHONE
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Saxophone Program is designed for individuals wishing to pursue a certificate in
Saxophone Performance who, due to employment, time constraints, family responsibilities, or health
reasons, may not be able to undertake a traditional full-time program. Specific requirements and
regulations apply to enrollment in the part-time Saxophone program.
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 HORN-013 Horn Section Performance 013 2
CC-013S Saxophone LPW 013 1 HORN-012 Horn Section Reading 012 2
HORN-011S Saxophone Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5 CC-108 Keyboard Proficiency 1
TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 2 2 HORN-023 Horn Section Performance 023 2
CC-023S Saxophone LPW 023 1 HORN-022 Horn Section Reading 022 2
HORN-021S Saxophone Technique 021 2 HORN-140 Skills in Spontaneity 1
MUSICIANSHIP AUDIO-056 DAW 1 1
CC-021 Harmony & Theory 021 1.5 DAW Choose one of the following three
CC-208 Keyboard Proficiency 2 1 DAW platforms:
CERTIFICATE

TOTAL 7.5 AUDIO-057 Pro Tools 101 2

AUDIO-052 Logic 1 1
AUDIO-058 Ableton Live 1 1
MUSICIANSHIP 1.5
CC-022 Ear Training 022
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 HORN-130 Horn Section Performance 130 2
CC-103S Saxophone LPW 103 1 HORN-120 Horn Section Reading 120 2
HORN-110 Horn Section Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study ELECTIVES
Various
Various Various (Pro Tools selected for DAW study) 1
Various 2
AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1 Various Various (Logic Pro or Ableton Live selected
AUDIO-158 Ableton Live 2 1 for DAW study) 2

AUDIO-156 DAW 2 1 TOTAL (Pro Tools selected for DAW study) 6.5
MUSICIANSHIP TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
CC-101 Harmony & Theory 101 1.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 4 2 HORN-230 Horn Section Performance 230 2
CC-203S Saxophone LPW 203 1 HORN-220 Horn Section Reading 220 2
HORN-210 Horn Section Technique 210 2 MUSICIANSHIP
HORN-240 Transposition Skills 1 CC-202 Ear Training 202 1.5
MUSICIANSHIP ELECTIVES
CC-201 Harmony & Theory 201 1.5 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected
TOTAL 7.5 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

48 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
TROMBONE
Students can earn a Certificate in MI’s Performance Studies program for Trombone. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core
subjects in Reading, Technique and Performance. This Certificate program provides students with a broad
foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for
a range of professional music performance situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT

Private Lesson 1-4 8

Trombone LPW 013-203 4
Horn Section Performance 013-230 8
MAJOR AREA = 40 OR 42 CREDITS Trombone Technique 011 and 021 4

CERTIFICATE
DEPENDING ON SELECTED DAW STUDY Horn Section Technique 110 and 210 4
Horn Section Reading 012-220 8
Skills in Spontaneity 1
Transposition Skills 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 16 CREDITS
Ear Training 012-202 6
Keyboard Proficiency 1-2 2

ELECTIVES = 2 OR 4 CREDITS Various 2 or 4

DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Certificate in Performance (Trombone) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

49
 CERTIFICATE
TROMBONE

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 [Link] Private Lesson 2 2
CC-013TB Trombone LPW 013 1 CC-023TB Trombone LPW 023 1
HORN-013 Horn Section Performance 013 2 HORN-023 Horn Section Performance 023 2
HORN-011TB Trombone Technique 011 2 HORN-021TB Trombone Technique 021 2
HORN-012 Horn Section Reading 012 2 HORN-022 Horn Section Reading 022 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP 1 MUSICIANSHIP 1
CC-015 Rhythm Reading Workout 1 1.5 CC-025 Rhythm Reading Workout 2 1.5
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1 CC-022 Ear Training 022 1
CC-108 Keyboard Proficiency 1 CC-208 Keyboard Proficiency 2

TOTAL (Pro Tools selected for DAW study) 16 TOTAL (Pro Tools selected for DAW study) 16
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Q3 Q4
CERTIFICATE

CODE COURSE CREDIT CODE COURSE CREDIT

MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 [Link] Private Lesson 4 2
CC-103TB Trombone LPW 103 1 CC-203TB Trombone LPW 203 1
HORN-130 Horn Section Performance 130 2 HORN-230 Horn Section Performance 230 2
HORN-110 Horn Section Technique 110 2 HORN-210 Horn Section Technique 210 2
HORN-120 Horn Section Reading 120 2 HORN-220 Horn Section Reading 220 2
HORN-140 Skills in Spontaneity 1 HORN-240 Transposition Skills 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 14 TOTAL (Pro Tools selected for DAW study) 14
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Certificate in Performance (Trombone) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo
and ensemble trombone performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, tone production, performing and recording music “by-ear,” transposing memorized and notated music “on the
spot,” and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
workstations.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a skill
set specific to themselves as artists/musicians.

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

50 THIS CATALOG APPLIES TO ACADEMIC YEAR 2019/2020: OCTOBER 1, 2019 - SEPTEMBER 30, 2020.
ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS
 CERTIFICATE
TROMBONE
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Trombone Program is designed for individuals wishing to pursue a certificate in
Trombone Performance who, due to employment, time constraints, family responsibilities, or health
reasons, may not be able to undertake a traditional full-time program. Specific requirements and
regulations apply to enrollment in the part-time Trombone program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 HORN-013 Horn Section Performance 013 2
CC-013TB Trombone LPW 013 1 HORN-012 Horn Section Reading 012 2
HORN-011TB Trombone Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5 CC-108 Keyboard Proficiency 1
TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 2 2 HORN-023 Horn Section Performance 023 2
CC-023TB Trombone LPW 023 1 HORN-022 Horn Section Reading 022 2
HORN-021TB Trombone Technique 021 2 HORN-140 Skills in Spontaneity 1
MUSICIANSHIP DAW Choose one of the following three

CERTIFICATE
CC-021 Harmony & Theory 021 1.5 DAW platforms:
CC-208 Keyboard Proficiency 2 1
AUDIO-057 Pro Tools 101 2
AUDIO-052 Logic 1 1
TOTAL 7.5
AUDIO-058 Ableton Live 1 1
MUSICIANSHIP 1.5
CC-022 Ear Training 022
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 HORN-130 Horn Section Performance 130 2
CC-103TB Trombone LPW 103 1 HORN-120 Horn Section Reading 120 2
HORN-110 Horn Section Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study ELECTIVES
AUDIO-157 Pro Tools 110 2 Various Various (Pro Tools selected for DAW study) 1
AUDIO-152 Logic 2 1 Various Various (Logic Pro or Ableton Live selected
AUDIO-158 Ableton Live 2 1 for DAW study) 2

MUSICIANSHIP 1.5 TOTAL (Pro Tools selected for DAW study) 6.5
CC-101 Harmony & Theory 101 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 4 2 HORN-230 Horn Section Performance 230 2
CC-203TB Trombone LPW 203 1 HORN-220 Horn Section Reading 220 2
HORN-210 Horn Section Technique 210 2 MUSICIANSHIP
HORN-240 Transposition Skills 1 CC-202 Ear Training 202 1.5
MUSICIANSHIP ELECTIVES
CC-201 Harmony & Theory 201 1.5 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected
TOTAL 7.5 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

51
 CERTIFICATE
TRUMPET
Students can earn a Certificate in MI’s Performance Studies program for Trumpet. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core
subjects in Reading, Technique and Performance. This Certificate program provides students with a broad
foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for
a range of professional music performance situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT

Private Lesson 1-4 8

Trumpet LPW 013-203 4
Horn Section Performance 013-230 8
Trumpet Technique 011 and 021 4
CERTIFICATE

Horn Section Technique 110 and 210 4

MAJOR AREA = 40 OR 42 Horn Section Reading 012-220 8
CREDITS DEPENDING ON Skills in Spontaneity 1
SELECTED DAW STUDY Transposition Skills 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 16 CREDITS
Ear Training 012-202 6
Keyboard Proficiency 1-2 2

ELECTIVES = 2 OR 4 CREDITS Various 2 or 4

DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Certificate in Performance (Trumpet) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

52 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
TRUMPET

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 [Link] Private Lesson 2 2
CC-013T Trumpet LPW 013 1 CC-023T Trumpet LPW 023 1
HORN-013 Horn Section Performance 013 2 HORN-023 Horn Section Performance 023 2
HORN-011T Trumpet Technique 011 2 HORN-021T Trumpet Technique 021 2
HORN-012 Horn Section Reading 012 2 HORN-022 Horn Section Reading 022 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1

TOTAL (Pro Tools selected for DAW study) 16 TOTAL (Pro Tools selected for DAW study) 16
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Q3 Q4

CERTIFICATE
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 [Link] Private Lesson 4 2
CC-103T Trumpet LPW 103 1 CC-203T Trumpet LPW 203 1
HORN-130 Horn Section Performance 130 2 HORN-230 Horn Section Performance 230 2
HORN-110 Horn Section Technique 110 2 HORN-210 Horn Section Technique 210 2
HORN-120 Horn Section Reading 120 2 HORN-220 Horn Section Reading 220 2
HORN-140 Skills in Spontaneity 1 HORN-240 Transposition Skills 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 14 TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Certificate in Performance (Trumpet) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo
and ensemble trumpet performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, tone production, performing and recording music “by-ear,” transposing memorized and notated music “on the
spot,” and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
workstations.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a skill
set specific to themselves as artists/musicians.

53
 CERTIFICATE
TRUMPET
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Trumpet Program is designed for individuals wishing to pursue a certificate in Trumpet
Performance who, due to employment, time constraints, family responsibilities, or health reasons, may
not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Trumpet program.
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 HORN-013 Horn Section Performance 013 2
CC-013T Trumpet LPW 013 1 HORN-012 Horn Section Reading 012 2
HORN-011T Trumpet Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5 CC-108 Keyboard Proficiency 1
TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 2 2 HORN-023 Horn Section Performance 023 2
CC-023T Trumpet LPW 023 1 HORN-022 Horn Section Reading 022 2
HORN-021T Trumpet Technique 021 2 HORN-140 Skills in Spontaneity 1
MUSICIANSHIP DAW Choose one of the following three
CC-021 Harmony & Theory 021 1.5 DAW platforms:
CC-208 Keyboard Proficiency 2 1
CERTIFICATE

AUDIO-057 Pro Tools 101 2

TOTAL 7.5 AUDIO-052 Logic 1 1
AUDIO-058 Ableton Live 1 1
MUSICIANSHIP 1.5
CC-022 Ear Training 022
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 HORN-130 Horn Section Performance 130 2
CC-103T Trumpet LPW 103 1 HORN-120 Horn Section Reading 120 2
MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study ELECTIVES
AUDIO-157 Pro Tools 110 2 Various Various (Pro Tools selected for DAW study) 1
AUDIO-152 Logic 2 1 Various Various (Logic Pro or Ableton Live selected
AUDIO-158 Ableton Live 2 1 for DAW study) 2

HORN-110 Horn Section Technique 110 2 TOTAL (Pro Tools selected for DAW study) 6.5
MUSICIANSHIP TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
CC-101 Harmony & Theory 101 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 4 2 HORN-230 Horn Section Performance 230 2
CC-203T Trumpet LPW 203 1 HORN-220 Horn Section Reading 220 2
HORN-210 Horn Section Technique 210 2 MUSICIANSHIP
HORN-240 Transposition Skills 1 CC-202 Ear Training 202 1.5
MUSICIANSHIP ELECTIVES
CC-201 Harmony & Theory 201 1.5 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected
TOTAL 7.5 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

54 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE
VOCAL
Students can earn a Certificate in MI’s Performance Studies program for Vocal. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core
subjects in Reading, Technique and Performance. This Certificate program provides students with a broad
foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for
a range of professional music performance situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Private Lesson 1-4 8
Vocal LPW 013-203 4
Vocal Performance 013-230 8
Vocal Technique 011-210 8
MAJOR AREA = 40 OR 42 CREDITS Sightsinging 012-220 8
DEPENDING ON SELECTED DAW STUDY Styles Survey 1-2 2
DAW (choose from one platform below) 2 or 4

CERTIFICATE
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Rhythm Reading Workout 1-2 2
Harmony & Theory 011-201 6
MUSICIANSHIP = 16 CREDITS
Ear Training 012-202 6
Keyboard Proficiency 1-2 2
ELECTIVES = 2 OR 4 CREDITS Various 2 or 4
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Certificate in Performance (Vocal) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.
Certificate in Performance (Vocal) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo
and ensemble vocalist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, and
live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based
recording software.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a skill
set specific to themselves as artists/musicians.

55
 CERTIFICATE
VOCAL

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 1 2 VOCAL-PL Private Lesson 2 2
CC-013V Vocal LPW 013 1 CC-023V Vocal LPW 023 1
VOCAL-013 Vocal Performance 013 2 VOCAL-023 Vocal Performance 023 2
VOCAL-011 Vocal Technique 011 2 VOCAL-021 Vocal Technique 021 2
VOCAL-012 Sightsinging 012 2 VOCAL-022 Sightsinging 022 2
VOCAL-014 Styles Survey 1 1 VOCAL-024 Styles Survey 2 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 3 2 VOCAL-PL Private Lesson 4 2
CC-103V Vocal LPW 103 1 CC-203V Vocal LPW 203 1
VOCAL-130 Vocal Performance 130 2 VOCAL-230 Vocal Performance 230 2
CERTIFICATE

VOCAL-110 Vocal Technique 110 2 VOCAL-210 Vocal Technique 210 2

VOCAL-120 Sightsinging 120 2 VOCAL-220 Sightsinging 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP 1.5
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 1

TOTAL 15 TOTAL 15

Certificate in Performance (Vocal) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo
and ensemble vocalist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, and
live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based
recording software.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a skill
set specific to themselves as artists/musicians.

*Based on optimal course load of 15 credits per quarter **Part-Time study may not be available for all programs
Student Financial Aid may be affected by enrollment in Part-Time programs. Financial Aid students should consult with the Financial Aid Office for guidance.

56 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
VOCAL
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Vocal Program is designed for individuals wishing to pursue a certificate in Vocals who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Vocal program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 1 2 VOCAL-013 Vocal Performance 013 2
CC-013V Vocal LPW 013 1 VOCAL-012 Sightsinging 012 2
VOCAL-011 Vocal Technique 011 2 VOCAL-014 Styles Survey 1 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-012 Ear Training 012 1.5

TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 2 2 VOCAL-023 Vocal Performance 023 2
CC-023V Vocal LPW 023 1 VOCAL-022 Sightsinging 022 2
VOCAL-021 Vocal Technique 021 2 VOCAL-024 Styles Survey 2 1
MUSICIANSHIP MUSICIANSHIP
CC-021 Harmony & Theory 021 1.5 CC-022 Ear Training 022 1.5
ELECTIVES CC-108 Keyboard Proficiency 1 1
Various Various 1

CERTIFICATE
TOTAL 7.5
TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 3 2 VOCAL-130 Vocal Performance 130 2
CC-103V Vocal LPW 103 1 VOCAL-120 Sightsinging 120 2
VOCAL-110 Vocal Technique 110 2 DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-101 Harmony & Theory 101 1.5
AUDIO-057 Pro Tools 101 2
CC-208 Keyboard Proficiency 2 1
AUDIO-052 Logic 1 1
AUDIO-058 Ableton Live 1 1
TOTAL 7.5
MUSICIANSHIP 1.5
CC-102 Ear Training 102
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA
VOCAL-PL Private Lesson 4 2 MAJOR AREA
CC-203V Vocal LPW 203 1 VOCAL-230 Vocal Performance 230 2
VOCAL-210 Vocal Technique 210 2 VOCAL-220 Sightsinging 220 2
MUSICIANSHIP
DAW The second course in selected
CC-202 Ear Training 202 1.5
DAW study
ELECTIVES
AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1 Various Various (Pro Tools selected for DAW study) 1
AUDIO-158 Ableton Live 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 2
MUSICIANSHIP 1.5
CC-201 Harmony & Theory 201 TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

** Student’s choice of various DAWs

57
 THIS CATALOG APPLIES TO ACADEMIC YEAR 2015/2016: OCTOBER 1, 2015 - SEPTEMBER 30, 2016.
58 ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS. 58
 ASSOCIATE OF ARTS OVERVIEW
6 QTRS IN PERFORMANCE STUDIES*

MI’s Associate of Arts Degree in Performance offers students extensive vocational training in Bass, Drum, Guitar,
Keyboard Technology, Vocal, Saxophone, Trombone and Trumpet. Topics in Harmony, Theory and Ear Training are
explored in extensive depth through Reading, Technique and Performance on the chosen instrument.

The intensive A.A. curriculum prepares musicians to perform in professional situations, along with learning
professional development skills such as basic computer use, EPK creation, resume and bio writing, and social
media as a tool for business and networking. The Associate of Arts Degree is intended to equip students with the
knowledge and training needed to become professional performers in today’s music industry.

ASSOCIATE OF ARTS // COMBINED EMPHASIS

4 QTRS IN PERFORMANCE STUDIES & 2 QTRS
IN ENTERTAINMENT INDUSTRY STUDIES*

With additional training, students can choose to earn an Associate of Arts Degree with a Combined Emphasis in
Performance and Entertainment Industry Studies. Enhancing the instrumental performance education of a regular
Associate of Arts Degree, graduates attain specialization in their choice of Audio Engineering, Electronic Music
Production, Independent Artist, Music Business or Songwriting (see Certificate section for details).
ASSOCIATE

See the Admissions/Bachelor Program/Transfer of Credit section of this catalog for information on transfer of
Associate of Arts credits into MI’s Bachelor of Music Program.

59 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE

60
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
BASS
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*
COURSE CREDIT
Private Lesson 1-6 12
Bass LPW 013-403 6
Bass Performance 013-230 8
Bass Technique & Fretboard 011-210 8
Bass Reading 012-220 8
Bass Gear Maintenance & Mastery 1
MAJOR AREA = 53 OR 55 CREDITS Bass & Drum Concepts 1
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Synth Bass 1
Upright Bass Workshop 1-2 2
Project Recording: Bass 1-2 4
Business Practices for Musicians 1-2 3
Media Relations 2
ASSOCIATE

PROF. DEVELOPMENT = 11 CREDITS

Graphic Design for Artists 1-2 4
Independent Artist Marketing 2
Rhythm Reading Workout 1-2 2
MUSICIANSHIP = 19 CREDITS Harmony & Theory 011-201 6
Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS
Various 5 or 7
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance (Bass) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Bass) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as a bassist through advanced
studies in electric bass, upright bass, and synth bass technique; reading, ensemble, stylistic appropriateness/diversity, tone production,
and live performance workshops/ ensembles.
2. The student will develop composing, studio production and technical skills through advanced studies of studio-based recording
software and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio performance and
production.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.

61 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
BASS
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 1 2 BASS-PL Private Lesson 2 2
CC-013B Bass LPW 013 1 CC-023B Bass LPW 023 1
BASS-013 Bass Performance 013 2 BASS-023 Bass Performance 023 2
BASS-011 Bass Technique & Fretboard 011 2 BASS-021 Bass Technique & Fretboard 021 2
BASS-012 Bass Reading 012 2 BASS-022 Bass Reading 022 2
BASS-014 Bass Gear Maintenance & Mastery 1 BASS-025 Bass & Drum Concepts 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 3 2 BASS-PL Private Lesson 4 2
CC-103B Bass LPW 103 1 CC-0203B Bass LPW 203 1

ASSOCIATE
BASS-130 Bass Performance 130 2 BASS-230 Bass Performance 230 2
BASS-110 Bass Technique & Fretboard 110 2 BASS-210 Bass Technique & Fretboard 210 2
BASS-120 Bass Reading 120 2 BASS-220 Bass Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study

AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2

AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 1

TOTAL 15 TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 5 2 BASS-PL Private Lesson 6 2
CC-303B Bass LPW 303 1 CC-403B Bass LPW 403 1
BASS-370 Synth Bass 1 BASS-450 Upright Bass Workshop 2 1
BASS-350 Upright Bass Workshop 1 1 BASS-460 Project Recording: Bass 2 2
BASS-360 Project Recording: Bass 1 2 PROF. DEV.
PROF. DEV. MUBUS-0460 Business Practices for Musicians 2 1.5
MUBUS-0360 Business Practices for Musicians 1 1.5 CC-407 Graphic Design for Artists 2 2
MUBUS-0202 Media Relations 2 MUBUS-0307 Independent Artist Marketing 2
CC-307 Graphic Design for Artists 1 2 MUSICIANSHIP
MUSICIANSHIP CC-207 Songwriting for Artists 2 1.5
CC-107 Songwriting for Artists 1 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1
TOTAL 15
TOTAL 15

62
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
BASS
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Bass Program is designed for individuals wishing to pursue an Associate of Arts degree
in Bass who, due to employment, time constraints, family responsibilities, or health reasons, may not
be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Bass program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA CC-013B Bass LPW 013 1
BASS-PL Private Lesson 1 2 BASS-012 Bass Reading 012 2
BASS-011 Bass Technique & Fretboard 011 2 BASS-013 Bass Performance 2
BASS-014 Bass Gear Maintenance & Mastery 1 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5
TOTAL 7.5
TOTAL 7.5

Q3
Q4
CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA
CODE COURSE CREDIT
BASS-PL Private Lesson 2 2 MAJOR AREA
BASS-021 Bass Technique & Fretboard 021 2 CC-023B Bass LPW 023 1
BASS-024 Bass & Drum Concepts 1 BASS-022 Bass Reading 022 2
MUSICIANSHIP BASS-023 Bass Performance 023 2
CC-021 Harmony & Theory 021 1.5 DAW Choose one of the following three
ELECTIVES DAW platforms:
Various Various 1
AUDIO-057 Pro Tools 101 2
AUDIO-052 Logic 1 1
TOTAL 7.5 AUDIO-058 Ableton Live 1 1
MUSICIANSHIP
CC-022 Ear Training 022 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 3 2 CC-103B Bass LPW 103 1
BASS-110 Bass Technique & Fretboard 110 2 BASS-120 Bass Reading 120 2
DAW The second course in selected BASS-130 Bass Performance 130 2
DAW study MUSICIANSHIP 1.5
CC-102 Ear Training 102 1
AUDIO-157 Pro Tools 110 2
CC-108 Keyboard Proficiency 1 1
AUDIO-152 Logic 2 1
AUDIO-158 Ableton Live 2 1
MUSICIANSHIP TOTAL 7.5
CC-101 Harmony & Theory 101 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5/8.5

** Student’s choice of various DAWs

63 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
BASS
90 CREDITS / 12 QUARTERS*/ PART-TIME/ CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 4 2 CC-203B Bass LPW 203 1
BASS-210 Bass Technique & Fretboard 210 2 BASS-220 Bass Reading 220 2
MUSICIANSHIP BASS-230 Bass Performance 230 2
CC-201 Harmony & Theory 201 1.5 MUSICIANSHIP
ELECTIVES CC-202 Ear Training 202 1.5
CC-208 Keyboard Proficiency 2 1
Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected
for DAW study) 2
TOTAL 7.5
TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT

ASSOCIATE
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 5 2 CC-303B Bass LPW 303B 1
PRO. DEV. BASS-360 Project Recording 1 2
MUBUS-0202 Media Relations 2 PRO. DEV.
MUSICIANSHIP MUBUS-0360 Business Practices for Musicians 1 1.5
CC-107 Songwriting for Artists 1 1.5 CC-307 Graphic Design for Artists 1 2
ELECTIVES ELECTIVES
Various Various 2 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
TOTAL 7.5

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL Private Lesson 6 2 CC-403B Bass LPW 403B 1
BASS-460 Project Recording 2 2 PRO. DEV.
PRO. DEV. MUBUS-0460 Business Practices for Musicians 2 1.5
MUBUS-0307 Independent Artist Marketing 2 CC-407 Graphic Design for Artists 2 2
MUSICIANSHIP ELECTIVES
CC-207 Songwriting for Artists 2 1.5 Various Various 3

TOTAL 7.5 TOTAL 7.5

64
*Based on optimal course load of 15 credits per quarter
ASSOCIATE

*Based on optimal course load of 15 credits per quarter 65

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
DRUM
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*
COURSE CREDIT
Private Lesson 1-6 12
Drum LPW 013-403 6
Drum Performance 013-230 8
Drum Technique 011-210 8
Drum Reading 012-220 8
Developing Your Groove 1
Drum Gear Maintenance & Mastery 1
MAJOR AREA = 56 OR 58 CREDITS E-Drumming Essentials 1
DEPENDING ON SELECTED DAW STUDY Timekeeping 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Advanced Drumming Styles: Jazz 2
Advanced Drumming Styles: Latin or R&B 2
Gospel (pick one option)
Project Recording: Drum 1-2 4

ASSOCIATE
Business Practices for Musicians 1-2 3
Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS Graphic Design for Artists 1-2 4
Independent Artist Marketing 2
Harmony & Theory 011-201 6
MUSICIANSHIP = 17 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS
Various 4 or 6
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance (Drum) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.
Associate of Arts in Performance (Drum) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and ensemble
drumset performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production, and
live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio workstations,
electronic drumming and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition, and studio production with
instrument performance as the focal point.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, songwriting, and in-depth rhythmic studies.
5. The student will develop basic skills in recording techniques, digital audio software, applied entertainment business concepts,
marketing techniques, visual media software, digital branding, and media relations concepts and practices, allowing them to negotiate
the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.
66
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
DRUM
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 1 2 DRUM-PL Private Lesson 2 2
CC-013D Drum LPW 013 1 CC-023D Drum LPW 023 1
DRUM-013 Drum Performance 013 2 DRUM-023 Drum Performance 023 2
DRUM-011 Drum Technique 011 2 DRUM-021 Drum Technique 021 2
DRUM-012 Drum Reading 012 2 DRUM-022 Drum Reading 022 2
DRUM-015 Developing Your Groove 1 DAW Choose one of the following three
DRUM-014 Drum Gear Maintenance & Mastery 1 DAW platforms:
MUSICIANSHIP
AUDIO-057 Pro Tools 101 2
CC-011 Harmony & Theory 011 1.5
AUDIO-052 Logic 1 1
CC-012 Ear Training 012 1.5
AUDIO-058 Ableton Live 1 1
ELECTIVES
Various Various 1 DRUM-025 Timekeeping 1
MUSICIANSHIP
TOTAL 15 CC-021 Harmony & Theory 021 1.5
CC-022 Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA MAJOR AREA

DRUM-PL Private Lesson 3 2 DRUM-PL Private Lesson 4 2
CC-103D Drum LPW 103 1 CC-203D Drum LPW 203 1
DRUM-130 Drum Performance 130 2 DRUM-230 Drum Performance 230 2
DRUM-110 Drum Technique 110 2 DRUM-210 Drum Technique 210 2
DRUM-120 Drum Reading 120 2 DRUM-220 Drum Reading 220 2
DAW The second course in selected DRUM-240 E-Drumming Essentials 1
DAW study MUSICIANSHIP
CC-201 Harmony & Theory 201 1.5
AUDIO-157 Pro Tools 110 2
CC-202 Ear Training 202 1.5
AUDIO-152 Logic 2 1
CC-208 Keyboard Proficiency 2 1
AUDIO-158 Ableton Live 2 1
ELECTIVES
MUSICIANSHIP Various Various 1
CC-101 Harmony & Theory 101 1.5
CC-102 Ear Training 102 1.5 TOTAL 15
CC-108 Keyboard Proficiency 1 1
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 5 2 DRUM-PL Private Lesson 6 2
CC-303D Drum LPW 303 1 CC-403D Drum LPW 403 1
DRUM-350 Advanced Drumming Styles: Jazz 1 2 DRUM-460 Project Recording: Drum 2 2
DRUM-360 Project Recording: Drum 1 2 PROF. DEV.
PROF. DEV. MUBUS-0460 Business Practices for Musicians 2 1.5
MUBUS-0360 Business Practices for Musicians 1 1.5 CC-407 Graphic Design for Artists 2 2
MUBUS-0202 Media Relations 2 MUBUS-0307 Independent Artist Marketing 2
CC-307 Graphic Design for Artists 1 2 MUSICIANSHIP
MUSICIANSHIP CC-207 Songwriting for Artists 2 1.5
CC-107 Songwriting for Artists 1 1.5 ELECTIVES
ELECTIVES Various Various 1
Various Various 1
TOTAL 15
TOTAL 15

** Student’s choice of various DAWs

67 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
DRUM
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Drum Program is designed for individuals wishing to pursue an Associate of Arts degree
in Drum who, due to employment, time constraints, family responsibilities, or health reasons, may not
be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Drum program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA CC-013D Drum LPW 013 1
DRUM-PL Private Lesson 1 2 DRUM-012 Drum Reading 012 2
DRUM-011 Drum Technique 011 2 DRUM-013 Drum Performance 013 2
DRUM-015 Developing Your Groove 1 DRUM-025 Timekeeping 1
MUSICIANSHIP ELECTIVES
CC-108 Keyboard Proficiency 1 2 Various Various 1
ELECTIVES
Various Various 1 TOTAL 7

TOTAL 7

Q3 Q4

ASSOCIATE
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 2 2 CC-023D Drum LPW 023 1
DRUM-021 Drum Technique 021 2 DRUM-023 Drum Performance 023 2
DRUM-014 Drum Gear Maintenance & Mastery 1 DRUM-022 Drum Reading 022 2
DAW Choose one of the following three
DRUM-240 E-Drumming Essentials 1
DAW platforms: DAW The second course in selected
AUDIO-057 Pro Tools 101 2 DAW study
AUDIO-052 Logic 1 1 AUDIO-157 Pro Tools 110 2
AUDIO-058 Ableton Live 1 1 AUDIO-152 Logic 2 1
MUSICIANSHIP AUDIO-158 Ableton Live 2 1
CC-208 Keyboard Proficiency 2 1
ELECTIVES TOTAL (Pro Tools selected for DAW study) 8
Various Various (Pro Tools selected for DAW study) 0 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 3 2 DRUM-130 Drum Performance 130 2
CC-103D Drum LPW 103 1 DRUM-120 Drum Reading 120 2
DRUM-110 Drum Technique 110 2 MUSICIANSHIP
MUSICIANSHIP CC-021 Harmony & Theory 021 1.5
CC-011 Harmony & Theory 011 1.5 CC-022 Ear Training 022 1.5
CC-012 Ear Training 012 1.5 ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
TOTAL 8
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 7

TOTAL (Logic Pro or Ableton Live selected for DAW study) 8

** Student’s choice of various DAWs

68
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
DRUM

90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 4 2 DRUM-230 Drum Performance 230 2
CC-203D Drum LPW 203 1 DRUM-220 Drum Reading 220 2
DRUM-210 Drum Technique 210 2 MUSICIANSHIP
MUSICIANSHIP CC-201 Harmony & Theory 201 1.5
CC-101 Harmony & Theory 101 1.5 CC-202 Ear Training 202 1.5
CC-102 Ear Training 102 1.5 ELECTIVES
Various Various 1
TOTAL 8
TOTAL 8

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA
MAJOR AREA
DRUM-PL Private Lesson 5 2
DRUM-360 Project Recording 1 2
CC-303D Drum LPW 303 1
PROF. DEV.
DRUM-350 Advanced Drumming 1: Jazz 2
MUBUS-0360 Business Practices for Musicians 1 1.5
PROF. DEV.
MUBUS-0307 Independent Artist Marketing 2
MUBUS-0202 Media Relations 2
MUSICIANSHIP
CC-107 Songwriting for Artists 1 1.5
TOTAL 7
TOTAL 7

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL Private Lesson 6 2 DRUM-460 Project Recording 2 2
CC-403D Drum LPW 403 1 PROF. DEV.
DRUM-450/452 Advanced Drumming 2: Latin or MUBUS-0460 Business Practices for Musicians 2 1.5
Gospel 2 CC-407 Graphic Design for Artists 2 2
PROF. DEV. MUSICIANSHIP
CC-307 Graphic Design for Artists 1 2 CC-207 Songwriting for Artists 2 1.5
ELECTIVES
TOTAL 7 Various Various 1

TOTAL 8

69 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE

70 70
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
GUITAR
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*

COURSE CREDIT
Private Lesson 1-6 12
Guitar LPW 013-403 6
Guitar Performance 013-230 8
Guitar Technique 011-210 8
Guitar Reading 012-220 8
MAJOR AREA = 54 OR 56 CREDITS Guitar Gear Maintenance & Mastery 1
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Advanced Musicianship Concepts 1-2 4
Project Recording: Guitar 1-2 4
Business Practices for Musicians 1-2 3
PROF. DEVELOPMENT = 11 CREDITS Media Relations 2
Graphic Design for Artists 1-2 4
ASSOCIATE

Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2
Harmony & Theory 011-201 6
MUSICIANSHIP = 19 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS Various 5 or 7
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Associate of Arts in Performance (Guitar) students, in fulfilling their required Digital Audio Workstation (DAW) courses, have a
choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Guitar) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and ensemble
guitar performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production, and live
performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio workstations,
electronic guitar and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio production with
instrument performance as the focal point.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.

71 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
GUITAR
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 1 2 GUIT-PL Private Lesson 2 2
CC-013G Guitar LPW 013 1 CC-023G Guitar LPW 023 1
GUIT-013 Guitar Performance 013 2 GUIT-023 Guitar Performance 023 2
GUIT-011 Guitar Technique 011 2 GUIT-021 Guitar Technique 021 2
GUIT-012 Guitar Reading 012 2 GUIT-022 Guitar Reading 022 2
GUIT-015 Guitar Gear Maintenance & Mastery 1 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-021 Harmony & Theory 021 1.5
CC-011 Harmony & Theory 011 1.5 CC-022 Ear Training 022 1.5
CC-012 Ear Training 012 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1
TOTAL 15
TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 3 2 GUIT-PL Private Lesson 4 2
CC-103G Guitar LPW 103 1 CC-203G Guitar LPW 203 1
GUIT-130 Guitar Performance 130 2 GUIT-230 Guitar Performance 230 2

ASSOCIATE
GUIT-110 Guitar Technique 110 2 GUIT-210 Guitar Technique 210 2
GUIT-120 Guitar Reading 120 2 GUIT-220 Guitar Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 10 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 1

TOTAL 15 TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 5 2 GUIT-PL Private Lesson 6 2
CC-303G Guitar LPW 303 1 CC-403G Guitar LPW 403 1
GUIT-350 Advanced Musicianship Concepts 1 2 GUIT-450 Advanced Musicianship Concepts 2 2
GUIT-360 Project Recording: Guitar 1 2 GUIT-460 Project Recording: Guitar 2 2
PROF. DEV. PROF. DEV.
MUBUS-0360 Business Practices for Musicians 1 1.5 MUBUS-0460 Business Practices for Musicians 2 1.5
MUBUS-0202 Media Relations 2 CC-407 Graphic Design for Artists 2 2
CC-307 Graphic Design for Artists 1 2 MUBUS-0307 Independent Artist Marketing 2
MUSICIANSHIP MUSICIANSHIP
CC-107 Songwriting for Artists 1 1.5 CC-207 Songwriting for Artists 2 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

72
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
GUITAR
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Guitar Program is designed for individuals wishing to pursue an Associate of Arts degree
in Guitar who, due to employment, time constraints, family responsibilities, or health reasons, may not
be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Guitar program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA GUIT-013 Guitar Performance 013 2
GUIT-PL Private Lesson 1 2 GUIT-012 Guitar Reading 012 2
CC-013G Guitar LPW 013 1 MUSICIANSHIP
GUIT-011 Guitar Technique 011 2 CC-025 Rhythm Reading Workout 2 1
MUSICIANSHIP CC-012 Ear Training 012 1.5
CC-015 Rhythm Reading Workout 1 1 ELECTIVES
CC-011 Harmony & Theory 011 1.5 Various Various 1

TOTAL 7.5 TOTAL 7.5

Q3
Q4
CODE COURSE CREDIT
CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA
GUIT-PL Private Lesson 2 2 MAJOR AREA
CC-023G Guitar LPW 023 1 GUIT-023 Guitar Performance 023 2
GUIT-021 Guitar Technique 021 2 GUIT-022 Guitar Reading 022 2
MUSICIANSHIP DAW Choose one of the following three
CC-021 Harmony & Theory 021 1.5 DAW platforms:
ELECTIVES
Various Various 1 AUDIO-057 Pro Tools 101 2
AUDIO-052 Logic 1 1
AUDIO-058 Ableton Live 1 1
TOTAL 7.5
MUSICIANSHIP
CC-022 Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
TOTAL for DAW study) 7.5
1

TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 3 2 GUIT-130 Guitar Performance 130 2
CC-103G Guitar LPW 103 1 GUIT-120 Guitar Reading 120 2
GUIT-110 Guitar Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study CC-108 Keyboard Proficiency 1 1
ELECTIVES
AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1 Various Various (Pro Tools selected for DAW study) 0
AUDIO-158 Ableton Live 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5
TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Pro Tools selected for DAW study) 8.5 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

** Student’s choice of various DAWs

73 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
GUITAR

90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 4 2 GUIT-230 Guitar Performance 230 2
CC-203G Guitar LPW 203 1 GUIT-220 Guitar Reading 220 2
GUIT-210 Guitar Technique 210 2 MUSICIANSHIP
GUIT-015 Guitar Gear Maintenance & Mastery 1 CC-202 Ear Training 202 1.5
MUSICIANSHIP CC-208 Keyboard Proficiency 2 1
CC-201 Harmony & Theory 201 1.5 ELECTIVES
VARIOUS Various 1
TOTAL 7.5
TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 4 2 GUIT-350 Adv. Musician Concepts 1 2

ASSOCIATE
CC-203G Guitar LPW 203 1 GUIT-360 Project Recording 1 2
PROF. DEV. PROF. DEV.
MUBUS-0202 Media Relations 1 2 MUBUS-0360 Business Practices for Musicians 1 1.5
MUSICIANSHIP CC-307 Graphic Design for Artists 1 2
CC-107 Songwriting for Artists 1 1.5
ELECTIVES
VARIOUS Various 1 TOTAL 7.5

TOTAL 7.5

Q11
CODE COURSE CREDIT Q12
MAJOR AREA CODE COURSE CREDIT
GUIT-PL Private Lesson 5 2
CC-203G Guitar LPW 203 1 MAJOR AREA
PROF. DEV. GUIT-450 Adv. Musician Concepts 2 2
MUBUS-0307 Independent Artist Marketing 2 GUIT-460 Project Recording 2 2
MUSICIANSHIP PROF. DEV.
CC-207 Songwriting for Artists 2 1.5 MUBUS-0460 Business Practices for Musicians 2 1.5
ELECTIVES CC-407 Graphic Design for Artists 2 2
VARIOUS Various 1

TOTAL 7.5
TOTAL 7.5

74
*Based on optimal course load of 15 credits per quarter
ASSOCIATE

*Based on optimal course load of 15 credits per quarter 75

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK

90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*

COURSE CREDIT
Private Lesson 1-6 12
Keyboard LPW 013-403 6
Keyboard Performance 013-230 8
Keyboard Technique 011-210 8
Keyboard Reading 012-420 8
MAJOR AREA = 53 OR 55 CREDITS Keyboard Gear Mastery 1
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Commercial Composition 1-2 4
Project Recording: Keyboard 1-2 4
Business Practices for Musicians 1-2 3

ASSOCIATE
Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS Graphic Design for Artists 1-2 4
Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 17 CREDITS Ear Training 012-202 6
Songwriting for Artists 1-2 3
ELECTIVES = 7 OR 9 CREDITS Various 7 or 9
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance (Keyboard Technology) students, in fulfilling their required Digital Audio Workstation (DAW) courses,
have a choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Keyboard Technology) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and ensemble
keyboard performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production, and
live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based recording
software and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of recording, composition, and studio
production (performance focus).
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, and in-depth rhythmic studies.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, and
media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.
76
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 1 2 KEYBD-PL Private Lesson 2 2
CC-013K Keyboard LPW 013 1 CC-023K Keyboard LPW 023 1
KEYBD-013 Keyboard Performance 013 2 KEYBD-023 Keyboard Performance 023 2
KEYBD-011 Keyboard Technique 011 2 KEYBD-021 Keyboard Technique 021 2
KEYBD-012 Keyboard Reading 012 2 KEYBD-022 Keyboard Reading 022 2
MUSICIANSHIP KEYBD-024 Keyboard Gear Mastery 1
CC-015 Rhythm Reading Workout 1 1 MUSICIANSHIP
CC-011 Harmony & Theory 011 1.5 CC-025 Rhythm Reading Workout 2 1
CC-012 Ear Training 012 1.5 CC-021 Harmony & Theory 021 1.5
ELECTIVES CC-022 Ear Training 022 1.5
Various Various 2 ELECTIVES
Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 3 2 KEYBD-PL Private Lesson 4 2
CC-103K Keyboard LPW 103 1 CC-203K Keyboard LPW 203 1
KEYBD-130 Keyboard Performance 130 2 KEYBD-230 Keyboard Performance 230 2
ASSOCIATE

KEYBD-110 Keyboard Technique 110 2 KEYBD-210 Keyboard Technique 210 2

KEYBD-120 Keyboard Reading 120 2 KEYBD-220 Keyboard Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL 15 TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 5 2 KEYBD-PL Private Lesson 6 2
CC-303K Keyboard LPW 303 1 CC-403K Keyboard LPW 403 1
KEYBD-350 Commercial Composition 1 2 KEYBD-450 Commercial Composition 2 2
KEYBD-360 Project Recording: Keyboard 1 2 KEYBD-460 Project Recording: Keyboard 2 2
PROF. DEV. PROF. DEV.
MUBUS-0360 Business Practices for Musicians 1 1.5 MUBUS-0460 Business Practices for Musicians 2 1.5
MUBUS-0202 Media Relations 2 CC-407 Graphic Design for Artists 2 2
CC-307 Graphic Design for Artists 1 2 MUBUS-0307 Independent Artist Marketing 2
MUSICIANSHIP MUSICIANSHIP
CC-107 Songwriting for Artists 1 1.5 CC-207 Songwriting for Artists 2 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

** Student’s choice of various DAWs

77 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
90 CREDITS / 12 QUARTERS*/ PART-TIME

The part-time Keyboard Technologies Program is designed for individuals wishing to pursue an
Associate of Arts degree in Keyboard who, due to employment, time constraints, family responsibilities,
or health reasons, may not be able to undertake a traditional full-time program. Specific requirements
and regulations apply to enrollment in the part-time Keyboard program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA KEYBD-013 Keyboard Performance 013 2
KEYBD-PL Private Lesson 1 2 KEYBD-012 Keyboard Reading 012 2
CC-013K Keyboard LPW 013 1 KEYBD-024 Keyboard Gear Mastery 1
KEYBD-011 Keyboard Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5

TOTAL 7.5
TOTAL 7.5

Q3 Q4

ASSOCIATE
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 2 2 KEYBD-023 Keyboard Performance 023 2
CC-023K Keyboard LPW 023 1 KEYBD-022 Keyboard Reading 022 2
KEYBD-021 Keyboard Technique 021 2 DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-021 Harmony & Theory 021 1.5 Pro Tools 101 2
AUDIO-057
ELECTIVES Logic 1 1
AUDIO-052
Various Various 1 Ableton Live 1 1
AUDIO-058
TOTAL 7.5 MUSICIANSHIP
CC-022 Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 3 2 KEYBD-130 Keyboard Performance 130 2
CC-103K Keyboard LPW 103 1 KEYBD-120 Keyboard Reading 120 2
KEYBD-110 Keyboard Technique 110 2 MUSICIANSHIP
DAW The second course in selected
CC-102 Ear Training 102 1.5
DAW study ELECTIVES
AUDIO-157 Pro Tools 110 2 Various Various (Pro Tools selected for DAW study) 1
AUDIO-152 Logic 2 1 Various Various (Logic Pro or Ableton Live selected
AUDIO-158 Ableton Live 2 1 for DAW study) 2

MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

78
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
KEYBOARD TECHNOLOGY// PERFORMANCE TRACK
90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 4 2 KEYBD-230 Keyboard Performance 230 2
CC-203K Keyboard LPW 203 1 KEYBD-220 Keyboard Reading 220 2
KEYBD-210 Keyboard Technique 210 2 MUSICIANSHIP
MUSICIANSHIP CC-202 Ear Training 202 1.5
CC-201 Harmony & Theory 201 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1

TOTAL 7.5 TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 5 2 KEYBD-360 Project Recording 1 2
CC-303K Keyboard LPW 303 1 PROF. DEV.
KEYBD-350 Commercial Composition 1 2 MUBUS-0202 Media Relations 1 2
ASSOCIATE

PROF. DEV. CC-307 Graphic Design for Artists 1 2

MUBUS-0360 Business Practices for Musicians 1 1.5 MUSICIANSHIP
ELECTIVES CC-107 Songwriting for Artists 1 1.5
Various Various 1

TOTAL 7.5 TOTAL 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL Private Lesson 5 2 KEYBD-460 Project Recording 2 2
CC-403K Keyboard LPW 403 1 PROF. DEV.
KEYBD-450 Commercial Composition 2 2 CC-407 Graphic Design for Artists 2 2
PROF. DEV. MUBUS-0307 Independent Artist Marketing 2
MUBUS-0460 Business Practices for Musicians 2 1.5 MUSICIANSHIP
ELECTIVES CC-207 Songwriting for Artists 2 1.5
Various Various 1

TOTAL 7.5 TOTAL 7.5

79 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE

80
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
SAXOPHONE
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*
COURSE CREDIT
Private Lesson 1-6 12
Saxophone LPW 013-403 6
Horn Section Performance 013-230 8
Saxophone Technique 011 and 021 4
Horn Section Technique 110 and 210 4
Horn Section Reading 012-220 8
Skills in Spontaneity 1
MAJOR AREA = 54 OR 56 CREDITS Transposition Skills 1
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
The Horn Section 2
Contemporary Doubles 2
Project Recording 1-2 4
Business Practices for Musicians 1-2 3
ASSOCIATE

Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS Graphic Design for Artists 1-2 4
Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 19 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS
Various 4 or 6
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance (Saxophone) students, in fulfilling their required Digital Audio Workstation (DAW) courses,
have a choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.
Associate of Arts in Performance (Saxophone) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo and ensemble
saxophone performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production,
performing and recording music “by-ear,” transposing memorized and notated music “on the spot,” the history and workings of the
contemporary horn section, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio workstations
and project recording.
3. The student will develop functional performance skills on at least one secondary instrument.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, popular music history, technology, music
business, creative development and composition and analysis; assembling a skill set specific to themselves as artists/musicians.

81 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
SAXOPHONE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 [Link] Private Lesson 2 2
CC-013S Saxophone LPW 013 1 CC-023S Saxophone LPW 023 1
HORN-013 Horn Section Performance 013 2 HORN-023 Horn Section Performance 023 2
HORN-011S Saxophone Technique 011 2 HORN-021S Saxophone Technique 021 2
HORN-012 Horn Section Reading 012 2 HORN-022 Horn Section Reading 022 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1

TOTAL (Pro Tools selected for DAW study) 16 TOTAL (Pro Tools selected for DAW study) 16
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT

ASSOCIATE
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 [Link] Private Lesson 4 2
CC-103S Saxophone LPW 103 1 CC-203S Saxophone LPW 203 1
HORN-130 Horn Section Performance 130 2 HORN-230 Horn Section Performance 230 2
HORN-110 Horn Section Technique 110 2 HORN-210 Horn Section Technique 210 2
HORN-120 Horn Section Reading 120 2 HORN-220 Horn Section Reading 220 2
HORN-140 Skills in Spontaneity 1 HORN-240 Transposition Skills 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 14 TOTAL (Pro Tools selected for DAW study) 14
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 5 2 [Link] Private Lesson 6 2
CC-303S Saxophone LPW 303 1 CC-403S Saxophone LPW 403 1
HORN-360 Project Recording 1 2 HORN-350 The Horn Section 2
Contemporary Doubles Option HORN-460 Project Recording 2 2
CC-XXX Option 1: Two “Intro to” type courses 2 PROF. DEV.
and/or DJ workshop MUBUS-0460 Business Practices for Musicians 2 1.5
[Link] Option 2: One Secondary Private 2 CC-407 Graphic Design for Artists 2 2
Lesson MUBUS-0307 Independent Artist Marketing 2
PROF. DEV. MUSICIANSHIP
MUBUS-0360 Business Practices for Musicians 1 1.5 CC-207 Songwriting for Artists 2 1.5
MUBUS-0202 Media Relations 2 ELECTIVES
CC-307 Graphic Design for Artists 1 2 Various Various 1
MUSICIANSHIP
CC-107 Songwriting for Artists 1 1.5 TOTAL 15
ELECTIVES
Various Various 1

TOTAL 15

82
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
SAXOPHONE
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Saxophone Program is designed for individuals wishing to pursue an Associate of Arts
degree in Saxophone Performance who, due to employment, time constraints, family responsibilities, or
health reasons, may not be able to undertake a traditional full-time program. Specific requirements and
regulations apply to enrollment in the part-time Saxophone program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 HORN-013 Horn Section Performance 013 2
CC-013S Saxophone LPW 013 1 HORN-012 Horn Section Reading 012 2
HORN-011S Saxophone Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5 CC-108 Keyboard Proficiency 1

TOTAL 7.5 TOTAL 7.5

Q3 Q4
ASSOCIATE

CODE COURSE CREDIT CODE COURSE CREDIT

MAJOR AREA MAJOR AREA
[Link] Private Lesson 2 2 HORN-023 Horn Section Performance 023 2
CC-023S Saxophone LPW 023 1 HORN-022 Horn Section Reading 022 2
HORN-021S Saxophone Technique 021 2 HORN-140 Skills in Spontaneity 1
MUSICIANSHIP DAW Choose one of the following three
CC-021 Harmony & Theory 021 1.5 DAW platforms:
CC-208 Keyboard Proficiency 2 1
AUDIO-057 Pro Tools 101 2
AUDIO-052 Logic 1 1
TOTAL 7.5 AUDIO-058 Ableton Live 1 1
MUSICIANSHIP
CC-022 Ear Training 022 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 HORN-130 Horn Section Performance 130 2
CC-103S Saxophone LPW 103 1 HORN-120 Horn Section Reading 120 2
HORN-110 Horn Section Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study ELECTIVES
Various Various 2
AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1
AUDIO-158 Ableton Live 2 1 TOTAL 7.5

MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

83 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
SAXOPHONE
90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 4 2 HORN-230 Horn Section Performance 230 2
CC-203S Saxophone LPW 203 1 HORN-220 Horn Section Reading 220 2
HORN-210 Horn Section Technique 210 2 MUSICIANSHIP
HORN-240 Transposition Skills 1 CC-202 Ear Training 202 1.5
MUSICIANSHIP ELECTIVES
CC-201 Harmony & Theory 201 1.5 Various Various 2

TOTAL 7.5 TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 5 2 HORN-360 Project Recording 1 2

ASSOCIATE
CC-303S Saxophone LPW 303 1 PROF. DEV.
HORN-350 The Horn Section 2 MUBUS-0460 Business Practices for Musicians 2 1.5
PROF. DEV. CC-307 Graphic Design for Artists 1 2
MUBUS-0360 Business Practices for Musicians 1 1.5 MUSICIANSHIP
ELECTIVES CC-107 Songwriting for Artists 1 1.5
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected TOTAL 7
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 6 2 HORN-460 Project Recording 2 2
CC-403S Saxophone LPW 403 1 PROF. DEV.
CC-XXX Contemporary Doubles Option 2 MUBUS-0307 Independent Artist Marketing 2
Option 1: Two “Intro to” type courses CC-407 Graphic Design for Artists 2 2
and/or DJ workshop MUSICIANSHIP
[Link] Option 2: One Secondary Private CC-207 Songwriting for Artists 2 1.5
Lesson 2
PROF. DEV. TOTAL 7.5
MUBUS-0202 Media Relations 1 2
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 7

TOTAL (Logic Pro or Ableton Live selected for DAW study) 8

84
*Based on optimal course load of 15 credits per quarter
ASSOCIATE

85 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
TROMBONE
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*
COURSE CREDIT
Private Lesson 1-6 12
Trombone LPW 013-403 6
Horn Section Performance 013-230 8
Trombone Technique 011 and 021 4
Horn Section Technique 110 and 210 4
Horn Section Reading 012-220 8
MAJOR AREA = 54 OR 56 CREDITS Skills in Spontaneity 1
Transposition Skills 1
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
The Horn Section 2
Contemporary Doubles 2
Project Recording 1-2 4

ASSOCIATE
Business Practices for Musicians 1-2 3
Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS Graphic Design for Artists 1-2 4
Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 19 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS
Various 4 or 6
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance (Trombone) students, in fulfilling their required Digital Audio Workstation (DAW) courses,
have a choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Trombone) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo and ensemble
saxophone performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production,
performing and recording music “by-ear,” transposing memorized and notated music “on the spot,” the history and workings of the
contemporary horn section, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio workstations
and project recording.
3. The student will develop functional performance skills on at least one secondary instrument.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, popular music history, technology, music
business, creative development and composition and analysis; assembling a skill set specific to themselves as artists/musicians.
86
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
TROMBONE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 [Link] Private Lesson 2 2
CC-013TB Trombone LPW 013 1 CC-023TB Trombone LPW 023 1
HORN-013 Horn Section Performance 013 2 HORN-023 Horn Section Performance 023 2
HORN-011TB Trombone Technique 011 2 HORN-021TB Trombone Technique 021 2
HORN-012 Horn Section Reading 012 2 HORN-022 Horn Section Reading 022 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2 1

TOTAL (Pro Tools selected for DAW study) 16 TOTAL (Pro Tools selected for DAW study) 16
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA MAJOR AREA

[Link] Private Lesson 3 2 [Link] Private Lesson 4 2
CC-103TB Trombone LPW 103 1 CC-203TB Trombone LPW 203 1
HORN-130 Horn Section Performance 130 2 HORN-230 Horn Section Performance 230 2
HORN-110 Horn Section Technique 110 2 HORN-210 Horn Section Technique 210 2
HORN-120 Horn Section Reading 120 2 HORN-220 Horn Section Reading 220 2
HORN-140 Skills in Spontaneity 1 HORN-240 Transposition Skills 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 14 TOTAL (Pro Tools selected for DAW study) 14
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 5 2 [Link] Private Lesson 6 2
CC-303TB Trombone LPW 303 1 CC-403TB Trombone LPW 403 1
HORN-360 Project Recording 1 2 HORN-350 The Horn Section 2
Contemporary Doubles Option HORN-460 Project Recording 2 2
CC-XXX Option 1: Two “Intro to” type courses 2 PROF. DEV.
and/or DJ workshop MUBUS-0460 Business Practices for Musicians 2 1.5
[Link] Option 2: One Secondary Private 2 CC-407 Graphic Design for Artists 2 2
Lesson MUBUS-0307 Independent Artist Marketing 2
PROF. DEV. MUSICIANSHIP
MUBUS-0360 Business Practices for Musicians 1 1.5 CC-207 Songwriting for Artists 2 1.5
MUBUS-0202 Media Relations 2 ELECTIVES
CC-307 Graphic Design for Artists 1 2 Various Various 1
MUSICIANSHIP
CC-107 Songwriting for Artists 1 1.5 TOTAL 15
ELECTIVES
Various Various 1

TOTAL 15

87 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
TROMBONE
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Trombone Program is designed for individuals wishing to pursue an Associate of Arts
degree in Trombone Performance who, due to employment, time constraints, family responsibilities, or
health reasons, may not be able to undertake a traditional full-time program. Specific requirements and
regulations apply to enrollment in the part-time Trombone program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 HORN-013 Horn Section Performance 013 2
CC-013TB Trombone LPW 013 1 HORN-012 Horn Section Reading 012 2
HORN-011TB Trombone Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5 CC-108 Keyboard Proficiency 1

TOTAL 7.5 TOTAL 7.5

Q3 Q4

ASSOCIATE
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 2 2 HORN-023 Horn Section Performance 023 2
CC-023TB Trombone LPW 023 1 HORN-022 Horn Section Reading 022 2
HORN-021TB Trombone Technique 021 2 HORN-140 Skills in Spontaneity 1
MUSICIANSHIP DAW Choose one of the following three
CC-021 Harmony & Theory 021 1.5 DAW platforms:
CC-208 Keyboard Proficiency 2 1
AUDIO-057 Pro Tools 101 2
AUDIO-052 Logic 1 1
TOTAL 7.5 AUDIO-058 Ableton Live 1 1
MUSICIANSHIP
CC-022 Ear Training 022 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 HORN-130 Horn Section Performance 130 2
CC-103TB Trombone LPW 103 1 HORN-120 Horn Section Reading 120 2
HORN-110 Horn Section Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study ELECTIVES
Various Various 2
AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1
AUDIO-158 Ableton Live 2 1 TOTAL 7.5

MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

88
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
TROMBONE
90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 4 2 HORN-230 Horn Section Performance 230 2
CC-203TB Trombone LPW 203 1 HORN-220 Horn Section Reading 220 2
HORN-210 Horn Section Technique 210 2 MUSICIANSHIP
HORN-240 Transposition Skills 1 CC-202 Ear Training 202 1.5
MUSICIANSHIP ELECTIVES
CC-201 Harmony & Theory 201 1.5 Various Various 2

TOTAL 7.5 TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 5 2 HORN-360 Project Recording 1 2
CC-303TB Trombone LPW 303 1 PROF. DEV.
HORN-350 The Horn Section 2 MUBUS-0460 Business Practices for Musicians 2 1.5
ASSOCIATE

PROF. DEV. CC-307 Graphic Design for Artists 1 2

MUBUS-0360 Business Practices for Musicians 1 1.5 MUSICIANSHIP
ELECTIVES CC-107 Songwriting for Artists 1 1.5
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected TOTAL 7
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 6 2 HORN-460 Project Recording 2 2
CC-403TB Trombone LPW 403 1 PROF. DEV.
CC-XXX Contemporary Doubles Option 2 MUBUS-0307 Independent Artist Marketing 2
Option 1: Two “Intro to” type courses CC-407 Graphic Design for Artists 2 2
and/or DJ workshop MUSICIANSHIP
[Link] Option 2: One Secondary Private 2 CC-207 Songwriting for Artists 2 1.5
PROF. DEV. Lesson
MUBUS-0202 Media Relations 1 2 TOTAL 7.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

89 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE

90 90
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
TRUMPET
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*
COURSE CREDIT
Private Lesson 1-6 12
Trumpet LPW 013-403 6
Horn Section Performance 013-230 8
Trumpet Technique 011 and 021 4
Horn Section Technique 110 and 210 4
MAJOR AREA = 54 OR 56 CREDITS Horn Section Reading 012-220 8
DEPENDING ON SELECTED DAW STUDY Skills in Spontaneity 1
Transposition Skills 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
The Horn Section 2
Contemporary Doubles 2
Project Recording 1-2 4
Business Practices for Musicians 1-2 3
ASSOCIATE

Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS Graphic Design for Artists 1-2 4
Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 19 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS
Various 4 or 6
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance (Trumpet) students, in fulfilling their required Digital Audio Workstation (DAW) courses,
have a choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.
Associate of Arts in Performance (Saxophone) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo and ensemble
saxophone performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production,
performing and recording music “by-ear,” transposing memorized and notated music “on the spot,” the history and workings of the
contemporary horn section, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio workstations
and project recording.
3. The student will develop functional performance skills on at least one secondary instrument.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, popular music history, technology, music
business, creative development and composition and analysis; assembling a skill set specific to themselves as artists/musicians.

91 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
TRUMPET
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 [Link] Private Lesson 2 2
CC-013T Trumpet LPW 013 1 CC-023T Trumpet LPW 023 1
HORN-013 Horn Section Performance 013 2 HORN-023 Horn Section Performance 023 2
HORN-011T Trumpet Technique 011 2 HORN-021T Trumpet Technique 021 2
HORN-012 Horn Section Reading 012 2 HORN-022 Horn Section Reading 022 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-057 Pro Tools 101 2 AUDIO-157 Pro Tools 110 2
AUDIO-052 Logic 1 1 AUDIO-152 Logic 2 1
AUDIO-058 Ableton Live 1 1 AUDIO-158 Ableton Live 2 1
MUSICIANSHIP MUSICIANSHIP 1
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1.5
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1
CC-108 Keyboard Proficiency 1 1 CC-208 Keyboard Proficiency 2

TOTAL (Pro Tools selected for DAW study) 16 TOTAL (Pro Tools selected for DAW study) 16
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT

ASSOCIATE
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 [Link] Private Lesson 4 2
CC-103T Trumpet LPW 103 1 CC-203T Trumpet LPW 203 1
HORN-130 Horn Section Performance 130 2 HORN-230 Horn Section Performance 230 2
HORN-110 Horn Section Technique 110 2 HORN-210 Horn Section Technique 210 2
HORN-120 Horn Section Reading 120 2 HORN-220 Horn Section Reading 220 2
HORN-140 Skills in Spontaneity 1 HORN-240 Transposition Skills 1
MUSICIANSHIP MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5 CC-201 Harmony & Theory 201 1.5
CC-102 Ear Training 102 1.5 CC-202 Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 14 TOTAL (Pro Tools selected for DAW study) 14
TOTAL (Logic Pro or Ableton Live selected for DAW study) 15 TOTAL (Logic Pro or Ableton Live selected for DAW study) 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 5 2 [Link] Private Lesson 6 2
CC-303T Trumpet LPW 303 1 CC-403T Trumpet LPW 403 1
HORN-360 Project Recording 1 2 HORN-350 The Horn Section 2
Contemporary Doubles Option HORN-460 Project Recording 2 2
CC-XXX Option 1: Two “Intro to” type courses 2 PROF. DEV.
and/or DJ workshop MUBUS-0460 Business Practices for Musicians 2 1.5
[Link] Option 2: One Secondary Private 2 CC-407 Graphic Design for Artists 2 2
Lesson MUBUS-0307 Independent Artist Marketing 2
PROF. DEV. MUSICIANSHIP
MUBUS-0360 Business Practices for Musicians 1 1.5 CC-207 Songwriting for Artists 2 1.5
MUBUS-0202 Media Relations 2 ELECTIVES
CC-307 Graphic Design for Artists 1 2 Various Various 1
MUSICIANSHIP
CC-107 Songwriting for Artists 1 1.5 TOTAL 15
ELECTIVES
Various Various 1

TOTAL 15

92
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
TRUMPET
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Trumpet Program is designed for individuals wishing to pursue an Associate of Arts
degree in Trumpet Performance who, due to employment, time constraints, family responsibilities, or
health reasons, may not be able to undertake a traditional full-time program. Specific requirements and
regulations apply to enrollment in the part-time Trumpet program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 1 2 HORN-013 Horn Section Performance 013 2
CC-013T Trumpet LPW 013 1 HORN-012 Horn Section Reading 012 2
HORN-011T Trumpet Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5 CC-108 Keyboard Proficiency 1

TOTAL 7.5 TOTAL 7.5

Q3 Q4
ASSOCIATE

CODE COURSE CREDIT CODE COURSE CREDIT

MAJOR AREA MAJOR AREA
[Link] Private Lesson 2 2 HORN-023 Horn Section Performance 023 2
CC-023T Trumpet LPW 023 1 HORN-022 Horn Section Reading 022 2
HORN-021T Trumpet Technique 021 2 HORN-140 Skills in Spontaneity 1
MUSICIANSHIP DAW Choose one of the following three
CC-021 Harmony & Theory 021 1.5 DAW platforms:
CC-208 Keyboard Proficiency 2 1
AUDIO-057 Pro Tools 101 2
AUDIO-052 Logic 1 1
TOTAL 7.5 AUDIO-058 Ableton Live 1 1
MUSICIANSHIP
CC-022 Ear Training 022 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 3 2 HORN-130 Horn Section Performance 130 2
CC-103T Trumpet LPW 103 1 HORN-120 Horn Section Reading 120 2
HORN-110 Horn Section Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study ELECTIVES
Various Various 2
AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1
AUDIO-158 Ableton Live 2 1 TOTAL 7.5

MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

93 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
TRUMPET
90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 4 2 HORN-230 Horn Section Performance 230 2
CC-203T Trumpet LPW 203 1 HORN-220 Horn Section Reading 220 2
HORN-210 Horn Section Technique 210 2 MUSICIANSHIP
HORN-240 Transposition Skills 1 CC-202 Ear Training 202 1.5
MUSICIANSHIP ELECTIVES
CC-201 Harmony & Theory 201 1.5 Various Various 2

TOTAL 7.5 TOTAL 7.5

Q9 Q10

ASSOCIATE
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 5 2 HORN-360 Project Recording 1 2
CC-303T Trumpet LPW 303 1 PROF. DEV.
HORN-350 The Horn Section 2 MUBUS-0460 Business Practices for Musicians 2 1.5
PROF. DEV. CC-307 Graphic Design for Artists 1 2
MUBUS-0360 Business Practices for Musicians 1 1.5 MUSICIANSHIP
ELECTIVES CC-107 Songwriting for Artists 1 1.5
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected TOTAL 7
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
[Link] Private Lesson 6 2 HORN-460 Project Recording 2 2
CC-403T Trumpet LPW 403 1 PROF. DEV.
CC-XXX Contemporary Doubles Option 2 MUBUS-0307 Independent Artist Marketing 2
Option 1: Two “Intro to” type courses CC-407 Graphic Design for Artists 2 2
and/or DJ workshop MUSICIANSHIP
[Link] Option 2: One Secondary Private 2 CC-207 Songwriting for Artists 2 1.5
PROF. DEV. Lesson
MUBUS-0202 Media Relations 1 2 TOTAL 7.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

94
*Based on optimal course load of 15 credits per quarter
 *Based on optimal course load of 15 credits per quarter 95
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
VOCAL
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*

COURSE CREDIT
Private Lesson 1-6 12
Vocal LPW 013-403 6
Vocal Performance 013-230 8
Vocal Technique 011-210 8
Sightsinging 012-220 8
MAJOR AREA = 54 OR 56 CREDITS Styles Survey 1-2 2
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 101–110 (4 credits)
- Logic Pro 1–2 (2 credits)
- Ableton Live 1–2 (2 credits)
Ensemble 1-2 4
Project Recording: Vocal 1-2 4
Business Practices for Musicians 1-2 3
Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS 4

ASSOCIATE
Graphic Design for Artists 1-2
Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 19 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS
Various 4 or 6
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Associate of Arts in Performance (Vocal) students, in fulfilling their required Digital Audio Workstation (DAW) courses,
have a choice of three different DAW platform course sequences for study:
1. AUDIO-052 Logic 1 (1 credit) and AUDIO-152 Logic 2 (1 credit)
2. AUDIO-058 Ableton Live 1 (1 credit) and AUDIO-158 Ableton Live 2 (1 credit) OR
3. AUDIO-057 Pro Tools 101 (2 credits) and AUDIO-157 Pro Tools 110 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Vocal) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo and ensemble
vocalist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, and live performance workshops/
ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based recording
software.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio production with
vocal performance as the focal point.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.
96
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
VOCAL

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 1 2 VOCAL-PL Private Lesson 2 2
CC-013V Vocal LPW 013 1 CC-023V Vocal LPW 023 1
VOCAL-013 Vocal Performance 013 2 VOCAL-023 Vocal Performance 023 2
VOCAL-011 Vocal Technique 011 2 VOCAL-021 Vocal Technique 021 2
VOCAL-012 Sightsinging 012 2 VOCAL-022 Sightsinging 022 2
VOCAL-014 Styles Survey 1 1 VOCAL-024 Styles Survey 2 1
MUSICIANSHIP MUSICIANSHIP
CC-015 Rhythm Reading Workout 1 1 CC-025 Rhythm Reading Workout 2 1
CC-011 Harmony & Theory 011 1.5 CC-021 Harmony & Theory 021 1.5
CC-012 Ear Training 012 1.5 CC-022 Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

Q3
CODE COURSE CREDIT Q4
MAJOR AREA
VOCAL-PL Private Lesson 3 2
CODE COURSE CREDIT
CC-103V Vocal LPW 103 1 MAJOR AREA
ASSOCIATE

VOCAL-130 Vocal Performance 130 2 VOCAL-PL Private Lesson 4 2

VOCAL-110 Vocal Technique 110 2 CC-203V Vocal LPW 203 1
VOCAL-120 Sightsinging 120 2 VOCAL-230 Vocal Performance 230 2
DAW Choose one of the following three VOCAL-210 Vocal Technique 210 2
DAW platforms: VOCAL-220 Sightsinging 220 2
AUDIO-057 Pro Tools 101 2 DAW The second course in selected
AUDIO-052 Logic 1 1 DAW study
AUDIO-058 Ableton Live 1 1 AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1
MUSICIANSHIP
AUDIO-158 Ableton Live 2 1
CC-101 Harmony & Theory 101 1.5
CC-102 Ear Training 102 1.5 MUSICIANSHIP
CC-108 Keyboard Proficiency 1 1 CC-201 Harmony & Theory 201 1.5
ELECTIVES CC-202 Ear Training 202 1.5
Various Various (Pro Tools selected for DAW study) 0 CC-208 Keyboard Proficiency 2 1
Various Various (Logic Pro or Ableton Live selected ELECTIVES
for DAW study) 1 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
TOTAL 15

TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 5 2 VOCAL-PL Private Lesson 6 2
CC-303V Vocal LPW 303 1 CC-403V Vocal LPW 403 1
VOCAL-350 Contemporary Vocal Ensemble 2 VOCAL-450 Advance Contemporary Vocal Ensemble 2
VOCAL-360 Project Recording: Vocal 1 2 VOCAL-460 Project Recording: Vocal 2 2
PRO. DEV. PROF. DEV.
MUBUS-0360 Business Practices for Musicians 1 1.5 MUBUS-0460 Business Practices for Musicians 2 1.5
MUBUS-0202 Media Relations 2 CC-407 Graphic Design for Artists 2 2
CC-307 Graphic Design for Artists 1 2 MUBUS-0307 Independent Artist Marketing 2
MUSICIANSHIP MUSICIANSHIP
CC-107 Songwriting for Artists 1 1.5 CC-207 Songwriting for Artists 2 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

** Student’s choice of various DAWs

97 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS
VOCAL
90 CREDITS / 12 QUARTERS*/ PART-TIME

The part-time Vocal Program is designed for individuals wishing to pursue an Associate of Arts degree
in Vocals who, due to employment, time constraints, family responsibilities, or health reasons, may not
be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Vocal program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA VOCAL-013 Vocal Performance 013 2
VOCAL-PL Private Lesson 1 2 VOCAL-012 Sightsinging 012 2
CC-013V Vocal LPW 013 1 VOCAL-014 Styles Survey 1 1
VOCAL-011 Vocal Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025 Rhythm Reading Workout 2 1
CC-015 Rhythm Reading Workout 1 1 CC-012 Ear Training 012 1.5
CC-011 Harmony & Theory 011 1.5
TOTAL 7.5
TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT

ASSOCIATE
CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 2 2 VOCAL-023 Vocal Performance 023 2
CC-023V Vocal LPW 023 1 VOCAL-022 Sightsinging 022 2
VOCAL-021 Vocal Technique 021 2 VOCAL-024 Styles Survey 2 1
MUSICIANSHIP
CC-021 Harmony & Theory 021 1.5 DAW Choose one of the following three
DAW platforms:
CC-108 Keyboard Proficiency 1 1
AUDIO-157 Pro Tools 110 2
TOTAL 7.5 AUDIO-152 Logic 2 1
AUDIO-158 Ableton Live 2 1
MUSICIANSHIP 1.5
CC-022 Ear Training 022

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 3 2 VOCAL-130 Vocal Performance 130 2
CC-103V Vocal LPW 103 1 VOCAL-120 Sightsinging 120 2
VOCAL-110 Vocal Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study VOCAL-031E Digital Notation & Arranging 1
ELECTIVES
AUDIO-157 Pro Tools 110 2
AUDIO-152 Logic 2 1 Various Various (Pro Tools selected for DAW study) 0
AUDIO-158 Ableton Live 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
MUSICIANSHIP 1.5
CC-101 Harmony & Theory 101
TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Pro Tools selected for DAW study) 8.5 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

** Student’s choice of various DAWs

98
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS
VOCAL
90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA
VOCAL-PL Private Lesson 4 2 MAJOR AREA
CC-203V Vocal LPW 203 1 VOCAL-230 Vocal Performance 230 2
VOCAL-210 Vocal Technique 210 2 VOCAL-220 Sightsinging 220 2
MUSICIANSHIP VOCAL-360 Project Recording 1 2
CC-201 Harmony & Theory 201 1.5 MUSICIANSHIP
CC-208 Keyboard Proficiency 2 1 CC-202 Ear Training 202 1.5

TOTAL 7.5
TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ASSOCIATE

VOCAL-PL Private Lesson 5 2 VOCAL-350 Vocal Ensemble 1 2

CC-303V Vocal LPW 303 1 PROF. DEV.
VOCAL-460 Project Recording 2 2 MUBUS-0460 Business Practices for Musicians 2 1.5
PROF. DEV. CC-307 Graphic Design for Artists 1 2
MUBUS-0360 Business Practices for Musicians 1 1.5 MUSICIANSHIP
ELECTIVES CC-107 Songwriting for Artists 1 1.5
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected TOTAL 7
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 6 2 VOCAL-450 Vocal Ensemble 2 2
CC-403V Vocal LPW 403 1 PROF. DEV.
PROF. DEV. CC-407 Graphic Design for Artists 2 2
MUBUS-0202 Media Relations 1 2 MUSICIANSHIP
MUBUS-0307 Independent Artist Marketing 2 CC-207 Songwriting for Artists 2 1.5
ELECTIVES
Various Various 2
TOTAL 7
TOTAL 7.5

99 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 LIVE PERFORMANCE WORKSHOPS
LIVE PERFORMANCE • Real World LPW: Students perform
WORKSHOPS (LPW) - STYLE & contemporary styles while sight reading
REPERTOIRE charts and following the direction of a
Staffed by Musicians Institute faculty and musical director.
teaching assistants, these LPW sections
feature a “tune of the week” format. Students Note: LPW offerings vary by quarter; check current
prepare parts in advance, perform on stage course schedule for availability.
with other students, and receive coaching and
critique on their musical and performing skills. LPW is a core course offering for the
An LPW is a great way for students to meet Certificate in Performance and Associate
each other, learn about different styles, and of Arts in Performance. It is also offered as
develop their repertoire. a Common Course elective to all students.
Students are not required to report to a single
Style & Repertoire LPWs include: LPW section at a specific time each week.
• Billboard Hot 100 Instead, they complete their LPW credits a
• Blues la carte. Students enrolled in LPW sign up
• Brazilian / Latin weekly in [Link] for performance slots
• Classic R&B / Contemporary R&B / Neo in the LPW sections of their choice in order to
Soul complete their required ten performances per
• Classic Rock quarter. For this reason, enrollment in LPW will
• Country not appear on the student’s weekly schedule.
ASSOCIATE

• Funk
• Fusion
• Hard Rock
• Hip-Hop
• Jam Band
• Jazz Studio
• K-Pop
• Rock Repertoire

LIVE PERFORMANCE
WORKSHOPS (LPW) -
ADDITIONAL OFFERINGS
Besides the Style and Repertoire LPW classes,
students have many other opportunities in
which to earn LPW credits.
• Coffee House LPWs: Coffee House
LPWs meet under the guidance of
different instructors experienced in
songwriting, production, and live
performance. Students form solos, duo,
and trios to perform original songs and/
or arrangements.
• Playback: Students perform cover
songs, original arrangements, or original
compositions to their own backing
tracks.

100 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF SCIENCE OVERVIEW
6 QTRS IN MUSIC BUSINESS OR STUDIO RECORDING

Associate of Science in Music Business

The goal of this degree is to provide extensive knowledge, experience, and practical skills needed for a professional
business career in the contemporary music industry, applicable as preparation for entry-level employment
and beyond as well as for further professional advancement and specialization, fully managing a career as an
independent/ performing artist, creating and developing music businesses as an entrepreneur, and for the full
scope of assessing, acquiring, developing, marketing, promoting and launching a new artist or music project in
the current music industry and marketplace. Along with several of the primary industry related subjects being
structured as in-depth progressive course series, the program curriculum also includes expanded studies in general
business skills as well as supportive studies of basic musicianship and the creative aspects of music relevant for a
music business professional to know, and a broadened historical perspective.

Associate of Science in Studio Recording

The goal of this degree is to prepare students to pursue career opportunities in the field of Audio Engineering with
an emphasis on the unique aspects of studio recording. Students will learn all phases of music recording, with
hands-on projects in individual and team exercises designed to build a mastery of the recording process.

ASSOCIATE

101
*Based on optimal course load of 15 credits per quarter
ASSOCIATE

102
102 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF SCIENCE
STUDIO RECORDING

90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF SCIENCE DEGREE*

COURSE CREDIT

Audio Foundations: Theory & Technique 3

Recording Techniques 1-2 1
Pro Tools 101-110 4
Electronics 2
Console Operation 1-4 8
Intro to Post-Production 1
Intro to Live Sound 1
Interactive Audio & Emerging Technologies 2
MAJOR AREA = 59 CREDITS Mixing Essentials 1-3 7
Pro Tools 201-210M 4
Advanced Analog and Digital Audio Principles 1-2 3
Analog and Digital Signal Processing 2
Advanced Digital Signal Processing 1
Music Mastering 1
Systems Integration & File Management 2
Broadcast Media 1-2 2

ASSOCIATE
Advanced Recording & Production 1-2 4
Live to 2 Track Studio Recording 2
Studio Technology 2
Recording Studio Etiquette 1
Final Project 1-2 6

Business Practices for Musicians 1-2 3

Owning and Operating a Music Business 2
PROF. DEVELOPMENT = 12 CREDITS Networking Strategies 1
Graphic Design for Artists 1-2 4
Business Law for Music Producers 2

The Evolution of Audio 1

Musicianship for Industry Professionals 1
MUSICIANSHIP = 11 CREDITS Critical Listening 2
Music Production 1
Song Structure and Content 2
Music Industry History 1-2 4

ELECTIVES = 8 CREDITS Various 8

Associate of Science in Studio Recording Program Learning Outcomes:

1. Demonstrate the ability to operate modern analog and digital audio systems using industry-standard production techniques and equipment.
2. Demonstrate basic knowledge of audio engineering concepts in theory and in practice, including the principles of computer basics, signal flow, and
signal processing.
3. Demonstrate proficiency in frequency recognition and other critical listening skills.
4. Articulate a basic understanding of common business practices related to music and professional efforts in the entertainment industry.
5. Demonstrate basic musicianship skills and practical knowledge of Western music theory, methods and fundamentals associated with the creation and
production of contemporary, popular music.
6. Articulate a fundamental understanding of common audio post-production and live sound technologies and practices.
7. Articulate a fundamental understanding of basic audio electronics and theory, including soldering techniques related to professional audio equipment.

103
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF SCIENCE
STUDIO RECORDING
The Associate of Science in Studio Recording offers audio recording engineers and producers the
opportunity to work in professional recording studios and audio recording scenarios. Using industry
relevant equipment in a number of studio and production spaces, students will learn all phases of music
recording, with hands-on projects in individual and team exercises designed to build a mastery of the
recording process.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112 Audio Foundations: Theory & Technique 3 AUDIO-157 Pro Tools 110 2
AUDIO-057 Pro Tools 101 2 AUDIO-209 Console Operation 2: API with
AUDIO-102 Console Operation 1: Neve with Practical Recording 2
Practical Recording 2 AUDIO-207 Intro to Post 1
AUDIO-151 Electronics 2 AUDIO-206 Intro to Live Sound 1
PRO. DEV. AUDIO-204 Mixing Essentials 1 3
MUBUS-0360 Business Practices for Musicians 1 1.5 AUDIO-208 Analog and Digital Signal Processing 2
MUSICIANSHIP PRO. DEV.
AUDIO-111 Evolution of Audio 1 MUBUS-0460 Business Practices for Musicians 2 1.5
AUDIO-105 Critical Listening 2 MUSICIANSHIP
AUDIO-051 The Modern Music Producer 1 AUDIO-106 Musicianship for Industry
Professionals 1
TOTAL 14.5 MUBUS-110 Music Industry History 1 2

TOTAL 15.5

Q3 Q4
ASSOCIATE

CODE COURSE CREDIT CODE COURSE CREDIT

MAJOR AREA MAJOR AREA
AUDIO-201 Recording Techniques 2 1 AUDIO-440 Mixing Essentials 3 2
AUDIO-360 Interactive Audio & Emerging 2 AUDIO-357 Pro Tools 210 2
Technologies AUDIO-430 Console Operation 4: Euphonix with 2
AUDIO-340 Mixing Essentials 2 2 Practical Recording
AUDIO-257 Pro Tools 201 2 AUDIO-216 Music Mastering 1
AUDIO-330 Console Operation 3: SSL with 1 AUDIO-470 Systems Integration & File
Practical Recording Management 2
AUDIO-370 Advanced Audio Principles 3 MUSICIANSHIP
Advanced Digital Signal Processing 1 MUBUS-360 Song Structure and Content 2
AUDIO-320 ELECTIVES
PRO. DEV. Business Law for Music Producers 2 Various Various 2
AUDIO-375
MUSICIANSHIP Music Industry History 2 2
MUBUS-210
TOTAL 15
TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-510 Broadcast Media 1 1 AUDIO-610 Broadcast Media 2 1
AUDIO-520 Advanced Recording & Production 1 2 AUDIO-620 Advanced Recording & Production 2 2
AUDIO-530 Live to 2 Track Studio Recording 2 AUDIO-660 Studio Technology 2
AUDIO-140 Recording Studio Etiquette 1 AUDIO-650 Final Project 2 3
AUDIO-550 Final Project 1 3 PRO. DEV.
PRO. DEV. CC-407 Graphic Design for Artists 2 2
MUBUS-206 Networking Strategies 1 MUBUS-308 Operating a Music Business 2
CC-307 Graphic Design for Artists 1 2 ELECTIVES
ELECTIVES Various Various 3
Various Various 3
TOTAL 15

TOTAL 15

104 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF SCIENCE
STUDIO RECORDING
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Studio Recording program is designed for individuals wishing to pursue an Associate degree in
Studio Recording who, due to employment, time constraints, family responsibilities, or health reasons, may not be
able to undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in the
part-time Studio Recording program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112 Audio Foundations: Theory & Technique 3 AUDIO-157 Pro Tools 110 2
AUDIO-057 Pro Tools 101 2 AUDIO-151 Electronics 2
AUDIO-102 Console Operation 1: Neve with MUSICIANSHIP
Practical Recording 2 AUDIO-105 Critical Listening 2
MUSICIANSHIP
AUDIO-111 The Evolution of Audio 1 TOTAL 6
AUDIO-106 Musicianship for Industry
Professionals 1
AUDIO-051 The Modern Music Producer 1

TOTAL 8

ASSOCIATE
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-201 Recording Techniques 2 1 AUDIO-206 Intro to Live Sound 1
AUDIO-209 Console Operation 2: API with AUDIO-204 Mixing Essentials 1 3
Practical Recording 2 AUDIO-257 Pro Tools 201 2
AUDIO-207 Intro to Post-Production 1 AUDIO-208 Analog and Digital Signal Processing 2
AUDIO-360 Interactive Audio & Emerging
Technologies 2 TOTAL 8
MUSICIANSHIP
MUBUS-360 Song Structure and Content 2

TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-340 Mixing Essentials 2 2 AUDIO-440 Mixing Essentials 3 2
AUDIO-357 Pro Tools 210M 2 AUDIO-330 Console Operation 3: SSL with 2
AUDIO-320 Advanced Digital Signal Processing 1 Practical Recording
MUSICIANSHIP AUDIO-216 Music Mastering 1
MUBUS-110 Music Industry History 1 2 MUSICIANSHIP
MUBUS-210 Music Industry History 2 2
TOTAL 7
TOTAL 7

105
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF SCIENCE
STUDIO RECORDING
90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-430 Console Operation 4: Euphonix with AUDIO-370 Advanced Audio Principles 1
Practical Recoding 2 PRO. DEV.
AUDIO-470 Systems Integration and File MUBUS-0360 Business Practices for Musicians 1 1.5
Management 2 MUBUS-308
PRO. DEV. CC-407 Graphic Design for Artists 2 2
CC-307 Graphic Design for Artists 1 2 ELECTIVES
AUDIO-375 Business Law for Music Producers 2 Various Various 1

TOTAL 8 TOTAL 5.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-520 Advanced Recording & Production 1 2 AUDIO-510 Broadcasting Media 1 1
PRO. DEV. AUDIO-620 Advanced Recording & Production 2 2
ASSOCIATE

MUBUS-0460 Business Practices for Musicians 2 1.5 AUDIO-530 Live to 2 Track Studio Recording 2
MUBUS-206 Networking Strategies 1 ELECTIVES
MUBUS-308 Owning and Operating a Music Various Various 2
ELECTIVES Business 2
Various Various 1 TOTAL 7.5

TOTAL 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-610 Broadcasting Media 2 1 AUDIO-660 Studio Technology 2
AUDIO-140 Recording Studio Etiquette 1 AUDIO-650 Final Project 2 3
AUDIO-550 Final Project 1 3 ELECTIVES
ELECTIVES Various Various 2
Various Various 2
TOTAL 7
TOTAL 7

106 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF SCIENCE
MUSIC BUSINESS
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF SCIENCE DEGREE*
COURSE CREDIT
Music Industry History 1-2 4
Music Business Law & Contracts 1-3 5
Music Publishing & Licensing 1-4 8
Music Industry 1-4 11
Computer Tech Music Business Applications 1-2 3
MAJOR AREA = Music Business Accounting & Finance 1-2 3
Personal Management & the Artist’s Team 1
64.5 CREDITS Artist Development: Skills for the Creative Ent. 1.5
Music Business Marketing & Social Media 1-5 10
Music Industry Internship 1-2 6
Personal Entrepreneurship 1-2 4
Publishing/A&R Practicum 4
Booking & Management Practicum 4

PROF. DEVELOPMENT = Management & Business Skills 1-4 6.5

10.5 CREDITS (includes Business Writing, Networking, Public Speaking and Leadership)
Graphic Design for Artists 1-2 4
Musicianship for Industry Professionals 1
SUPPORTIVE MUSIC = Song Structure & Content 2
Songs, Recording & Production: A&R Analysis 2
ASSOCIATE

9 CREDITS Production Music for Visual Media: Critical Listening 1-2 4

ELECTIVES =
6 CREDITS Various 6

Associate of Science in Music Business Program Learning Outcomes:

1. Define and articulate more comprehensively and with added global perspective the current music industry landscape including how the
more specific business areas function and are interconnected to drive the industry as a whole.
2. Describe, apply and demonstrate the essential skills of primary music business career paths and roles across main industry areas such as
personal management/artist management, music publishing and licensing, record label operations including A&R (Artists & Repertoire), music
marketing, music distribution, and booking and touring.
3. Employ industry-specific practical knowledge gained from application-oriented projects and hands-on technology training, and integrate
direct business experience through music business internships.
4. Recall and implement prevailing business practices and strategies applicable to major established music companies as well as the
independent sectors of the industry.
5. Relate and integrate additional valuable business insight gained from networking with successful music industry professionals.
6. Apply and demonstrate a more developed and expanded range of transferable business skills, such as those in leadership, team building,
effective communication and expanding a professional network, with an emphasis on applications within the music industry, as well as identify
resources to carry out music business research.
7. Determine particular professional music industry career paths, suited to acquired skills, knowledge and personal strengths, to then identify
and secure appropriate business opportunities as well as job opportunities at entry level or beyond, or for further professional advancement and
specialization.
8. Appropriately analyze and adapt the acquired knowledge and skills to individual and specific industry situations that will be encountered in a
professional career.
9. Analyze and adapt to new developments and trends in the contemporary music industry utilizing broadened historical perspective and
context.
10. Fully apply and demonstrate the above-referenced knowledge and skills as a self-managed independent/performing artist.
11. As for being an entrepreneur, define, articulate and implement the practical and legal aspects/steps of forming a business, develop skills to
operate and manage the day-to-day functions of a music-related company, and overall business planning.
12. Demonstrate practical skills related to goal-setting, task allocation, research and analysis techniques, measurement and results analysis,
problem solving, and time management.
13. More effectively evaluate musical talent and music product as prospects from an independent business/company standpoint, considering
both business and artistic/creative goals.
14. Demonstrate basic musical knowledge as well as critical/analytical skills sufficient for a certain level of professional music evaluation from
a creative standpoint and effective communication with artists and other creative professionals such as songwriters, producers, musicians and
audio engineers.
15. Wholly utilize the in-depth knowledge, experience and practical skills acquired, to perform the full scope of assessing, acquiring, developing,
marketing, promoting and launching a new artist or music project.

107 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF SCIENCE
MUSIC BUSINESS

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-110 Music Industry History 1 2 MUBUS-210 Music Industry History 2 2
MUBUS-120 Music Business Law & Contracts 1 2 MUBUS-220 Music Business Law & Contracts 2 2
MUBUS-130 Music Publishing & Licensing 1 2 MUBUS-230 Music Publishing & Licensing 2 2
MUBUS-140 Music Industry 1 2 MUBUS-240 Music Industry 2 2
MUBUS-150 Computer Tech Music Business 1.5 MUBUS-250 Music Business Accounting & 1.5
Applications 1 Finance 1
MUBUS-170 Personal Management & The Artist’s 1 MUBUS-280 Music Business Marketing & Social 2
Team Media 2
MUBUS-180 Music Business Marketing & Social 2 PRO. DEV.
Media 1 MUBUS-290 Management & Business Skills 2 1.5
PRO. DEV. SUP. MUSIC
MUBUS-190 Management & Business Skills 1 1.5 AUDIO-106 Musicianship for Industry 1
ELECTIVES Professionals
Various Various 1 ELECTIVES
Various Various 1
TOTAL 15
TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT

ASSOCIATE
MAJOR AREA MAJOR AREA
MUBUS-320 Music Business Law & Contracts 3 1 MUBUS-430 Music Publishing & Licensing 4 2
MUBUS-330 Music Publishing & Licensing 3 2 MUBUS-440 Music Industry 4A 2
MUBUS-340 Music Industry 3A 2 MUBUS-441 Music Industry 4B 1
MUBUS-341 Music Industry 3B 1 MUBUS-450 Computer Tech Music Business 1.5
MUBUS-342 Music Industry 3C 1 Applications 2
MUBUS-350 Music Business Accounting & 1.5 MUBUS-470 Artist Development: Skills for the 1.5
Finance 2 Creative Environment
MUBUS-380 Music Business Marketing & Social 2 MUBUS-480 Music Business Marketing & Social 2
Media 3 Media 4
PRO. DEV. PRO. DEV.
MUBUS-390 Management & Business Skills 3 1.5 MUBUS-490 Management & Business Skills 4 2
SUP. MUSIC SUP. MUSIC
MUBUS-360 Song Structure & Content 2 MUBUS-460 Songs, Recording & Production: 2
ELECTIVES A&R Analysis
Various Various 1 ELECTIVES
Various Various 1
TOTAL 15
TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-580 Music Business Marketing & Social MUBUS-640 Music Industry Internship 2 4
Media 5 2 MUBUS-650 Personal Entrepreneurship 2 2
MUBUS-540 Music Industry Internship 1 2 MUBUS-670 Booking & Mgmt. Practicum 4
MUBUS-550 Personal Entrepreneurship 1 2 PRO. DEV.
MUBUS-570 Publishing/A&R Practicum 4 CC-407 Graphic Design for Artists 2 2
PRO. DEV. SUP. MUSIC
CC-307 Graphic Design for Artists 1 2 MUBUS-660 Production Music for Graphic Design
SUP. MUSIC for Artists 2 2
MUBUS-560 Production Music for Graphic Design 2 ELECTIVES
for Artists 1 Various Various 1
ELECTIVES
Various Various 1 TOTAL 15

TOTAL 15

108
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF SCIENCE
MUSIC BUSINESS
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Music Business Program is designed for individuals wishing to pursue an Associate degree
in Music Business who, due to employment, time constraints, family responsibilities, or health reasons,
may not be able to undertake a traditional full-time program. Specific requirements and regulations
apply to enrollment in the part-time Music Business program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-140 Music Industry 1 2 MUBUS-110 Music Industry History 1 2
MUBUS-150 Computer Tech Music Business 1.5 MUBUS-120 Music Business Law & Contracts 1 2
Applications 1 MUBUS-130 Music Publishing & Licensing 1 2
MUBUS-180 Music Business Marketing & Social 2 MUBUS-240 Music Industry 2 2
Media 1
PRO. DEV. TOTAL 8
MUBUS-190 Management & Business Skills 1 1.5
ELECTIVES
Various Various 1

TOTAL 8
ASSOCIATE

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-210 Music Industry History 2 2 MUBUS-320 Music Business Law & Contracts 3 1
MUBUS-220 Music Business Law & Contracts 2 2 MUBUS-330 Music Publishing & Licensing 3 2
MUBUS-230 Music Publishing & Licensing 2 2 MUBUS-340 Music Industry 3A 2
MUBUS-170 Personal Management & The 1 MUBUS-341 Music Industry 3B 1
ELECTIVES Artist’s Team MUBUS-342 Music Industry 3C 1
Various Various 1

TOTAL 7
TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-250 Music Business Accounting & 1.5 MUBUS-430 Music Publishing & Licensing 4 2
Finance 1 MUBUS-440 Music Industry 4A 2
MUBUS-280 Music Business Marketing & Social 2 MUBUS-441 Music Industry 4B 1
Media 2 MUBUS-380 Music Business Marketing & Social 2
PRO. DEV. Media 3
MUBUS-290 Management & Business Skills 2 1.5
SUP. MUSIC
AUDIO-106 Musicianship for Industry 1 TOTAL 7
Professionals
ELECTIVES
Various Various 1

TOTAL 7

109 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF SCIENCE
MUSIC BUSINESS
90 CREDITS / 12 QUARTERS*/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-350 Music Business Accounting & 1.5 MUBUS-450 Computer Tech Music Business 1.5
Finance 2 Applications 2
MUBUS-480 Music Business Marketing & Social 2 MUBUS-470 Artist Development: Skills for the 1.5
Media 4 Creative Environment
PROF. DEV. MUBUS-580 Music Business Marketing & Social 2
MUBUS-390 Management & Business Skills 3 1.5 Media 5
SUP. MUSIC SUP. MUSIC
MUBUS-360 Song Structure & Content 2 MUBUS-460 Songs, Recording & Production: 2
A&R Analysis
ELECTIVES
TOTAL 7 Various Various 1

TOTAL 8

ASSOCIATE
Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-550 Personal Entrepreneurship 1 2 MUBUS-650 Personal Entrepreneurship 2 2
PROF. DEV. PROF. DEV.
MUBUS-490 Management & Business Skills 4 2 CC-407 Graphic Design for Artists 2 2
CC-307 Graphic Design for Artists 1 2 SUP. MUSIC
SUP. MUSIC MUBUS-660 Production Music for Graphic Design
MUBUS-560 Production Music for Graphic Design for Artists 2 2
for Artists 1 2 ELECTIVES
Various Various 1
TOTAL 8
TOTAL 7

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-540 Music Industry Internship 1 2 MUBUS-640 Music Industry Internship 2 4
MUBUS-570 Publishing/A&R Practicum 4 MUBUS-670 Booking & Mgmt. Practicum 4
ELECTIVES
Various Various 1
TOTAL 8

TOTAL 7

110
*Based on optimal course load of 15 credits per quarter
 (SCORING FOR VISUAL MEDIA)

THIS CATALOG APPLIES TO ACADEMIC YEAR 2015/2016: OCTOBER 1, 2015 - SEPTEMBER 30, 2016.
111 ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS.
 BACHELOR OF MUSIC OVERVIEW
12 QTRS IN COMPOSITION, PERFORMANCE* OR SONGWRITING & PRODUCTION

MI’s Bachelor of Music Degree offers several options for students who want to gain an in-depth mastery of
Harmony, Theory and Ear Training as well as comprehensive courses in music history, music production
software, producing, and business relations. Bachelor Degrees are available in either Composition,
Performance or Songwriting & Production with the goal of preparing graduates to become professional
artists in the contemporary music and entertainment industry.

Bachelor of Music in Composition (Scoring for Visual Media)

The goal of this degree program is to provide a complete educational foundation that prepares students
for careers as soundtrack composers, arrangers, orchestrators, editors and copyists for film, TV, animation
and video games. Specific objectives include a comprehensive education in Music Composition;
professional training in digital music creation tools; contemporary arranging and orchestration; a
foundation in theory, ear training, music history and music styles; a general education to develop critical
thinking skills and perspective with regard to music’s place in contemporary culture.

Bachelor of Music in Performance (Contemporary Styles)

This unique degree program combines contemporary music performance training with the rigorous
study of traditional disciplines including sight-reading, music history, arranging, conducting, recording and
more. Students attain expertise in one of five major instruments: Bass, Drums, Guitar, Keyboard or Vocal.
The comprehensive program instructs students to demonstrate stylistic depth, creative maturity and
professional competence in preparation for careers in today’s music industries; and preparation for further
studies at the graduate level.

BACHELOR
Bachelor of Music in Songwriting & Production
The Bachelor of Songwriting & Production degree program is designed to prepare students for careers
as songwriters in today’s modern music industry. Graduates of this program will be able to write and
produce their own music, while also gaining the skills to write music for other artists or for TV, film
and commercial placement. Curriculum includes classes in Songwriting, Lyric Writing, Contemporary
Arranging, Studio Production, Logic, Pro Tools, Ear Training, and more.

Minor in Audio Production

Additional recording courses cover technology and techniques including
Acoustics, Console Operation, Pro Tools, Mixing and Mastering, and more.

Minor in Entertainment Industry Studies

Concentrated courses in Music Publishing, Music Law, Record Companies,
Management, Marketing and more.

Bachelor of Music Conditional Acceptance

Students who clearly demonstrate potential to complete a Bachelor’s degree program but do not yet have
the necessary foundational skills required for full acceptance to the Bachelor’s degree program may be
accepted conditionally. This status requires that the student complete 30 credits of foundational courses
before beginning the Bachelor’s program for which they have been conditionally accepted.

*See General Education Transfer Credits for required credit distribution on page 178. Distribution of General Education credits is based on
recommended average credit balance per quarter. General Education requirements can be found on page 224.

Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs
112
 BACHELOR OF MUSIC IN COMPOSITION
(SCORING FOR VISUAL MEDIA)
180 CREDITS / 12 QUARTERS
REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*
COURSE CREDIT
Private Lesson 1-12 24
Scoring 1-10 20
Contemporary Arranging 1-6 12
MAJOR AREA = 65 CREDITS Orchestration 1-2 4
Counterpoint 1
Sophomore Project 2
Senior Project 2
Harmony & Theory 101-801 15
Ear Training 102-602 11
Keyboard Proficiency 1-5 5
Pro reading Ensemble 1-2 2
Music History 1-4 8
History of Scoring 1
Contemporary Vanguards 1
SUPPORTIVE MUSIC = 65 CREDITS Directing and Conducting 1-2 4
BACHELOR

Ableton Live 1-2 2

Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Mechanics of Score Production 1-2 4
Composers Ensemble 1-2 2
Business of Composing 1-2 2
Composers Collaborative 1
Music Information Literacy
GENERAL ED* = 45 CREDITS Various 45
ELECTIVES = 5 CREDITS Various 5

Bachelor of Music in Composition (Scoring for Visual Media) Program Learning Outcomes:
1. Compose, orchestrate, and arrange music for film, television and video games in various musical genres with technical
proficiency, artistry and creativity.
2. Develop specialized compositional techniques that demonstrate flexibility and versatility in collaboration with creative
media professionals.
3. Demonstrate substantive knowledge within supportive areas including music history, harmony and music theory
(traditional and contemporary), arranging, conducting, ear-training, keyboard proficiency, score reading & analysis, music
editing, music business, and collaborative composition.
4. Demonstrate technological proficiency within the areas of music notation, Digital Audio Workstations, and mockup
preparation.
5. Effectively communicate, orally and in writing (English), with directors, other composers, orchestrators, performers,
and editors while demonstrating fluency in music literature, comprehension of music’s cultural significance, the creative
process, and business practices.
6. Exhibit personal and artistic growth and leadership skills as a team-oriented composer, along with the ability to further
develop an organizational foundation for well-rounded self-study.

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
113
 BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES)

Bachelor of Music in Performance (Contemporary Styles) Program Learning Outcomes:

Upon completion of a Bachelor of Music in Performance Degree from Musicians Institute,
students will be able to:
1. Perform music of various contemporary genres, including Jazz, Rock & Roll, Rhythm
& Blues/Funk, Latin and Pop, while exhibiting stylistic authenticity, technical accuracy,
improvisational aptitude and creativity.
2. Develop specialized technical, reading and performing abilities as they pertain to the
aforementioned styles within the specified area of instrumental concentration.
3. Demonstrate substantive knowledge within supportive areas including music history,
theory and composition (traditional and contemporary), arranging, conducting (traditional and
contemporary), ear-training, keyboard proficiency, and instrumental instruction.
4. Demonstrate technological proficiency within the areas of music notation, recording,
performance, and business.
5. Effectively communicate, orally and in writing (English), with regard to specific musical
works, composers, performers, music’s role in shaping world culture, the creative process of
artists in general, music education and business practices.
6. Exhibit personal and artistic growth and leadership skills as a team-oriented performer
of contemporary musical styles along with the ability to further develop an organizational
foundation for well-rounded self-study.
BACHELOR

The Bachelor of Music in Performance Program Learning Outcomes are developed through a
combination of requirements common to traditional undergraduate music degrees including
Private Lessons; Performance Ensemble; Music Theory; Music History; Music Education;
Keyboard Proficiency; Ear-Training; Conducting; and Arranging, and subsequently combined
with Musicians Institute’s contemporary emphasis on Recording Technology; Sibelius Music
Notation; Improvisation; Music Business and Entrepreneurship. Conventional disciplines along
with present-day applications are unified to form a curriculum that emphasizes personal
creativity, synthesis of skills leading to artistic identity, depth and versatility, and comprehensive
assimilation of technique and knowledge through regularly occurring live performance, studio
recording and scholarly research.

*See General Education Transfer Agreement for required credit distribution. Distribution of General Education credits is based on recommended
average credit balance per quarter. General Education requirements can be found on page 123.
Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
114
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) BASS

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT
Private Lesson 1-12 24
Bachelor Ensemble 1-12 12
Performance 1-6 6
MAJOR AREA = 66 CREDITS Technique 110-410 8
Reading 120-420 8
Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

Ear Training 102-602 11
Styles Survey 1

BACHELOR
Music History 1-4 8
Contemporary Arranging 1-5 10
SUPPORTIVE MUSIC = 61 CREDITS Directing and Conducting 2
Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1
Music Information Literacy

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 8 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

115
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) DRUMS

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-4, 5-12 12
Performance 1-6 6
MAJOR AREA = 66 CREDITS Technique 110-410 8
Reading 120-420 8
Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2
Harmony & Theory 101-801 15
Ear Training 102-602 11

BACHELOR
Styles Survey 1
Music History 1-4 8
Contemporary Arranging 1-5 10
SUPPORTIVE MUSIC = 61 CREDITS Directing and Conducting 2
Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1
Music Information Literacy

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 8 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

116
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) GUITAR

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-12 12
Performance 1-6 6
MAJOR AREA = 66 CREDITS Technique 110-410 8
Reading 120-420 8
Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

BACHELOR
Ear Training 102-602 11
Styles Survey 1
Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
SUPPORTIVE MUSIC = 61 CREDITS Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1
Music Information Literacy

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 11 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

117
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) KEYBOARD

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-12 12
Performance 1-6 6
MAJOR AREA = 66 CREDITS Technique 110-410 8
Reading 120-420 8
Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

BACHELOR
Ear Training 102-602 11
Styles Survey 1
Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
SUPPORTIVE MUSIC = 58 CREDITS Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1
Music Information Literacy

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 11 CREDITS Various 11

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

118
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) SAXOPHONE

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-12 12
Performance 1-6 6
MAJOR AREA = 62 CREDITS Technique 110-310 6
Reading 120-420 8
Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

BACHELOR
Ear Training 102-602 11
Styles Survey 1
Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
Contemporary Doubles (PL: Trumpet,
SUPPORTIVE MUSIC = 65 CREDITS Trombone, Guitar, Voice, Bass, Drums, DJ) 2
Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1
Music Information Literacy

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 8 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

119
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) TROMBONE

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-12 12
Performance 1-6 6
MAJOR AREA = 62 CREDITS Technique 110-310 6
Reading 120-420 8
Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

BACHELOR
Ear Training 102-602 11
Styles Survey 1
Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
Contemporary Doubles (PL: Trumpet,
SUPPORTIVE MUSIC = 65 CREDITS Saxophone, Guitar, Voice, Bass, Drums, DJ) 2
Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1
Music Information Literacy

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 8 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

120
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) TRUMPET

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-12 12
Performance 1-6 6
MAJOR AREA = 62 CREDITS Technique 110-310 6
Reading 120-420 8
Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

BACHELOR
Ear Training 102-602 11
Styles Survey 1
Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
Contemporary Doubles (PL: Trombone,
SUPPORTIVE MUSIC = 65 CREDITS Saxophone, Guitar, Voice, Bass, Drums, DJ) 2
Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1
Music Information Literacy

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 8 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

121
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES) VOCAL

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-12 12
Performance 1-4 4
MAJOR AREA = 68 CREDITS Sightsinging 120-220 4
Vocal Creativity 320-420 4
Vocal Tech 011-210 8
Vocal Performance 130-430 8
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2
Harmony & Theory 101-801 15

BACHELOR
Ear Training 102-602 11
Styles Survey 1
Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
SUPPORTIVE MUSIC = 61 CREDITS Sibelius Notation 1
Logic 1-2 2
ProTools 101-110 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1
Music Information Literacy

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 6 CREDITS Various 6

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

122
 BACHELOR OF MUSIC
SONGWRITING & PRODUCTION
180 CREDITS / 12 QUARTERS
REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*
COURSE CREDIT
Songwriting Private Lesson 1-12 24
Songwriting 1-4 7
Compositional Style and Analysis 1-2 4
Lyric Writing 1-2 4
Contemporary Arranging 1-5 10
MAJOR AREA = 63 CREDITS Vocal Arranging 1-2 4
Sophomore Recital 2
Recording & Production 1-4 8
Mixing Essentials 1 3
Studio Recording and Production 1-2 4
Music Mastering 1
Senior Portfolio Project 2

Keyboard Harmony for Songwriting 2
Music History 1-4 8
Musical Directing/Conducting 2

BACHELOR
Secondary Applied Lessons 2
Business of Composing 1-2 2
SUPPORTIVE MUSIC = 33 CREDITS Sibelius Notation 1
Advanced Chart Writing 1
Electronic Music Techniques 2
Logic 1-2 2
ProTools 101-110 4
Music Information Literacy
Harmony & Theory 1-8 15
Ear Training 1-6 11
MUSICIANSHIP = 33 CREDITS Keyboard Proficiency 1-3 3
Vocal Technique for Songwriters 1
Guitar Harmony for Songwriters 1
Critical Listening 2
GENERAL ED* = 45 CREDITS Various 45
ELECTIVES = 4 CREDITS Various 3
Bachelor of Music in Songwriting and Production Program Learning Outcomes:
1. Compose and arrange within various genres of contemporary music including: Pop, Rock & Roll, Rhythm & Blues/Funk,
Latin, Jazz, and Country while exhibiting stylistic authenticity, lyric-writing ability and originality.
2. Demonstrate comprehensive technical, reading and performing abilities as they pertain to the aforementioned styles
within the specified area of instrumental concentration.
3. Demonstrate proper application of audio production techniques including: microphone placement, live tracking, audio-
editing, mixing and mastering along with showcasing leadership skills as applied to problem solving within a recording
studio environment.
4. Demonstrate substantive knowledge within supportive areas including: music history, theory and composition
(traditional and contemporary), arranging, conducting (traditional and contemporary), ear-training, keyboard and guitar
proficiency.
5. Demonstrate technological proficiency within the areas of music notation, recording, performance and music business.
6. Exhibit personal and artistic growth and leadership skills as a team-oriented songwriter and producer of contemporary
musical styles along with the ability to further develop an organizational foundation for well-rounded self-study. 123
BACHELOR

124
 BACHELOR OF MUSIC
MINOR

AUDIO PRODUCTION [+26 CREDITS*]

Q13 Q14
CODE COURSE CREDIT CODE COURSE CREDIT
MINOR AREA MINOR AREA
AUDIO-102 Console Operation 1: Neve with Practical Recording 2 AUDIO-201 Recording Techniques 2 1
AUDIO-104 The Business of Audio 1 AUDIO-204 Mixing Essentials 1 3
AUDIO-105 Critical Listening 2 AUDIO-206 Intro to Live Sound 1
AUDIO-106 Musicianship for Industry Professionals 1 AUDIO-207 Intro to Post Production 1
AUDIO-151 Electronics 2 AUDIO-208 Analog and Digital Signal Processing 2
AUDIO-051 The Modern Music Producer 1 AUDIO-209 Console Operation 2: API with Practical Recording 2
AUDIO-111 Evolution of Audio 1 AUDIO-215 Vocal Production 1
AUDIO-112 Audio Foundations: Theory & Technique 3 ELECTIVES
Various Various 2
TOTAL 13
TOTAL 13
BACHELOR

MUSIC INDUSTRY STUDIES [+30 CREDITS*]

Q13 Q14
CODE COURSE CREDIT CODE COURSE CREDIT
MINOR AREA MINOR AREA
MUBUS-104 Your Music Business Career 2 MUBUS-220 Law & Contracts 2 2
MUBUS-120 Law & Contracts 1 2 MUBUS-280 Marketing & Social Media 2 2
MUBUS-130 Music Publishing & Licensing 1 2 MUBUS-290 Management & Business Skills 2 1.5
MUBUS-140 Industry 1: Labels & Talent 2 MUBUS-207 Music Licensing & Supervision 2
MUBUS-150 Computer Tech Applications 1 1.5 MUBUS-240 Industry 2: Distribution & Label Services 2
MUBUS-170 Personal Management 1 MUBUS-250 Accounting & Finance 1 1.5
MUBUS-180 Marketing & Social Media 1 2 MUBUS-342 Industry 3C: Tour Management 1
MUBUS-190 Management & Business Skills 1 1.5 MUBUS-441 Industry 4B: Concert Promoters 1
MUBUS-341 Industry 3B: Agents & Bookings 1 ELECTIVES
Various Various 2
TOTAL 15
TOTAL 15

*See General Education Transfer Agreement for required credit distribution. Distribution of General Education credits is based on recommended
average credit balance per quarter. General Education requirements can be found on page 123.
Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
125
 BACHELOR

THIS CATALOG APPLIES TO ACADEMIC YEAR 2015/2016: OCTOBER 1, 2015 - SEPTEMBER 30, 2016.
126 ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS. 126
 MASTER OF MUSIC OVERVIEW
4 QTRS IN PERFORMANCE

A collaboration between nationally recognized academic instructors and

leading industry professionals, this unique one-year graduate degree program
is designed to prepare students for successfully navigating the ever-changing
landscape of today’s music industry while simultaneously assisting with the
development of artistic identity as a performer. The Master of Music (M.M.) from
Musicians Institute combines advanced performance training with additional
study in both traditional and contemporary disciplines such as music history,
theory, education, research skills, recording technology, production, business
relations and online brand management. Students further their performance
expertise in one of five major instruments: Vocals, Keyboard, Guitar, Electric Bass
or Drums. Successful completion of both a written thesis and graduate recital
are required of all candidates pursuing a M.M. in Performance from Musicians
Institute. Whenever possible, visiting artists are invited into the classroom to
participate in the group discussion and professional critique that serves as the
intellectual foundation of the graduate program.
MASTER

ENTRANCE REQUIREMENTS
Successful applicants to Musicians Institute’s Master of Music (M.M.) Performance
program must hold either a Bachelor of Music (B.M.) degree or a Bachelor of
Arts (B.A.) with music as the primary focus. In addition to working knowledge
of contemporary styles and advanced performance experience, students must
demonstrate a strong academic record, language, writing & leadership skills
and the ability to interact well with others while consistently displaying overall
dedication to the worldwide advancement of music as an art form

NOTICE: Although this program invites students to apply year-round, this program
begins during the Winter and Summer Quarters only. Please refer to the Academic
Calendar on pages 6-7 for specific start dates for the upcoming quarters.

*See General Education Transfer Agreement for required credit distribution on page 166. Distribution of General Education credits is based on
recommended average credit balance per quarter. General Education requirements can be found on page 123.
Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
127
 MASTER OF MUSIC IN PERFORMANCE
CONTEMPORARY STYLES: BASS, DRUM, GUITAR, KEYBOARD, VOCAL

45 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS MASTER OF MUSIC DEGREE*

QUARTER/
CREDIT BREAKD0WN
COURSE CREDIT
Q1 Q2 Q3 Q4
Master of Music Applied Lesson 1-4 8 2 2 2 2
MAJOR AREA Advanced Studio Ensemble 1-2 4 2 2
= 23 CREDITS Graduate Performance Seminar 1-2 2 1 1
Graduate Thesis 3 3
Graduate Recital 6 6

Global Economics and the Performing Musician 2 2

SUPPORTIVE Project Recording 1-2 4 2 2
MUSIC Advanced History: Popular Music of the United States 2 2

MASTER
= 18 CREDITS Contemporary Performance Styles and Analysis 1-2 4 2 2
Research Methods for the Contemporary Musician 1-2 4 2 2
21st Century Music Education 2 2

2 2
ELECTIVES Various 4
= 4 CREDITS

Master of Music in Performance (Contemporary Styles) Program Learning Outcomes:

1. Perform, compose, record and analyze music of various contemporary genres, including Jazz, Rock & Roll, Rhythm &
Blues/Funk, Latin and Pop with stylistic authenticity, technical accuracy, improvisational aptitude and creativity.
2. Demonstrate advanced comprehension within the following areas: technique, reading, improvisation, composition and
arranging within the specified area of instrumental concentration.
3. Demonstrate comprehensive knowledge within supportive areas including music history, theory, contemporary
composition and arranging, audio recording, music business, and instrumental instruction.
4. Demonstrate technological proficiency within the areas of music notation, recording, performance, business and
entrepreneurship.
5. Generate, and communicate research, (through scholarly writing and oral presentation) derived from the analysis of
specific musical works, composers, performers, music’s role in shaping world culture, the creative process of artists in
general, music education and business practices.

128
MASTER

*See General Education Transfer Agreement for required credit distribution on page 166. Distribution of General Education credits is based on
recommended average credit balance per quarter. General Education requirements can be found on page 123.
Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

THIS CATALOG APPLIES TO ACADEMIC YEAR 2019/2020: OCTOBER 1, 2019 - SEPTEMBER 30, 2020.
129 ADDITIONS AND CHANGES TOTHIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS
NON CERTIFICATE

130
 NON-CERTIFICATE
MI SELECT are available for enrollment as an MI Select student.
MI Select is a non-certificate, non-degree status Successful completion of courses while in MI Select
designed to allow students to enroll in courses and status do not equate acceptance into any certificate
experience Musicians Institute without enrolling in a or degree program.
degree or certificate program. Students can create
their own customized schedule from available classes COURSE SELECTION
and workshops, while enjoying access to the music Students may choose courses from programs
library, special guest clinics, extra-curricular activities, outside their primary instrument based on availability
and other industry networking opportunities. and Office of Academic Affairs (OAA) approval.
Sequential courses above the initial level of a
Enrollment is available at the beginning of any quarter, sequence are not available to MI Select students
and may be repeated for additional quarters. MI without the successful completion of placement
Select features a full-time schedule, including week testing for said sequential courses.
11 final projects and exams.
ENROLLMENT
The class schedule is based on an initial evaluation Students enrolling in the MI Select Program
and consultation with the student’s admissions must choose a primary instrument/department
advisor, where the student is provided with a list of (Bass, Common Course, Drum, Guitar, Keyboard
available courses appropriate to the student’s level of Technology, Saxophone, Trombone, Trumpet, or
knowledge and skill. Course offerings vary by quarter Vocal) based on their desired courses for the quarter.
and some courses and programs are not available for Students may choose courses from programs outside
MI Select enrollment. their primary instrument based on availability and
Office of Academic Affairs (OAA) approval.
NON CERTIFICATE

Private Lessons are available for MI Select students,

consisting of weekly, one-hour private lessons on EXAMS
the student’s primary instrument. The instructor and MI Select students may participate voluntarily in
student jointly develop learning outcomes for the exams and other evaluative procedures, but evaluation
quarter based on the student’s particular interests. is not a requirement. However, the completion of all
The instructor and student then work throughout exams and projects is highly recommended should
the quarter to achieve their established learning the student be interested in continuing into a program
outcomes. Requests for private lessons with a and/or to advance onto the next level of the approved
specific instructor are subject to Office of Academic MI Select course.
Affairs approval and/or instructor availability.
FEES
ACCESS MI Select students are responsible for all applicable
MI Select students must enroll in a minimum of fees; see Tuition and Fees for specific information.
seven credits to enjoy full access to MI’s facilities for
personal practice, band rehearsals, extra-curricular FINANCIAL AID
activities, clinics, and seminars offered during the MI Select is not eligible for State or Federal financial
student’s period of enrollment. They also receive aid and/or scholarships.
access to the Artist and Career Services Office
and all of the resources they provide to MI students. MATERIALS
However, the same full access is available to MI MI Select students are entitled to receive curriculum
Select students enrolled in less than seven credits and other materials applicable to courses included in
through a quarterly Campus Access fee of $300. their official course schedule only.

IMPORTANT ADDITIONAL NUMBER OF CREDITS

INFORMATION Based on the list of courses available for MI Select
enrollment at the student’s appropriate level during
COURSE CREDIT the quarter(s) of enrollment, the student chooses a
MI Select students receive credit for successfully course load anywhere from 1.0 credit to full time (15+
completed courses (70%+) should they choose to credits).
enter a certificate or degree program. Not all courses

131 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 NON-CERTIFICATE
PRO TOOLS CERTIFICATIONS music. Along with MI’s expert faculty, students learn
The Avid Pro Tools® certification courses are non- from special guest artists who perform professionally
accredited courses designed for those who wish with some of the top names in the music industry.
to acquire their Avid Specialist and/or Professional Summer Shot includes week-long sessions for
Certification through weekend classes at Musicians Performance and Music Production & Recording.
Institute. Summer Shot is offered annually between the Spring
and Summer quarters. Updated details are available
The 100 Level Specialist Certification focuses on the at [Link].
basic concepts and theory involved in using a digital
audio workstation. Students will be able to set-up ELIGIBILITY
an Avid Pro Tools® session for recording, importing There are no specific academic entrance
audio, editing, recording MIDI, backing-up data, requirements for Summer Shot.
working with fire wire drives, and more. The 200 Level
Professional Certification explores powerful Avid Pro HOW TO APPLY TO SUMMER SHOT
Tools® editing and processing functions, including Please send the following items together by mail or
plug-ins, automation, synchronization, quantization, email (admissions@[Link]):
mastering and more. 1. Completed application form.
2. $50.00 (USD) application fee.
Each course requires 48 hours of weekend class time
to prepare for the appropriate exam. An additional APPLICATION REVIEW AND
4 hours of open lab time (non-proctored) will be NOTIFICATION
available after each day for student use. Class sizes are limited and placement priority is
given to applications in the order accepted. Fully

NON CERTIFICATE
For more information, including dates, times and rates, completed applications are reviewed for acceptance
please visit: Pro [Link] on an ongoing basis. Accepted applicants will be
notified by mail or telephone. Applicants who are not
ELIGIBILITY accepted will be notified by mail or telephone.
Students must have basic computer knowledge
including the ability to use a keyboard, mouse and an SCHEDULING/REGISTRATION/
Apple or Windows based operating system. Minimum ORIENTATION
age is 16 years old (High School diploma/GED is not Summer Shot students are expected to arrive prior
required) to the start of classes for Scheduling, Registration,
and Orientation. For updated information, visit
HARDWARE REQUIREMENTS [Link].
Stereo Headphones (Student will need to bring to the
first day of class):
• Any brand
• 1/4 plug

HOW TO APPLY
Please visit: [Link]
1. Complete the application form under the “Sign
Up” Tab.
• * includes $100 non-refundable “Application
Fee” which can be applied to the total cost.
• * All Avid Pro Tools books associated with the
course are included in the rate.

SUMMER SHOT
Summer Shot is a sneak peek into the variety of
programs offered at MI. The week long music camp is
intended for all ages, experience levels and styles of

132
 CAMPUS
Musicians Institute’s central Hollywood campus includes facilities devoted to a variety of programs and
purposes. The 60,000-square-foot Main Complex includes several performance venues, recording
studios, classrooms, practice and private lesson rooms, a library, and more.

Musicians Institute’s Main Building is located at 1655 North McCadden Place, Hollywood, California,
90028. Both Performance and Industry classes are held in the Main Building. The Passage is located
at 6752 Hollywood Blvd., Hollywood California 90028. Besides being the home of Musicians Institute’s
administrative offices, performance classes are also held in the Passage performance rooms (PASS-101,
-201, -301, and -302).
1ST FLOOR
HIGHLAND AVE

145 150

PERFORMANCE AE
CLASSROOMS STUDIO D Main Building: First Floor Map

Human
Private 190
Women Mail Room Men Lesson Resources
Studio

AE
LIVE SOUND
CLASS ROOM
The Passage: First Floor Map

CAMPUS
Parking Lot
Faculty and Administration
STUDENT
STUDENT BILLING
Security AFFAIRS

HOLLYWOOD BLVD
AE
HAWTHORNE AVE

THX STUDIO E Main Lobby The Passage

REGISTRAR ARTIST & CAREER

FINANCIAL AID SERVICES
AE
STUDIO C
Passage Performance Rooms (3 levels)
155

Green PERFORMANCE
Room
Restrooms CLASSROOM

160
Utility Closet AE
Stage
CONCERT HALL STUDIO F

MICRO
MARKET Vocal
Booth
AE
102 STUDIO A

DAW LAB
Isolation

Audio
Booth

Control Room
Security

STUDENT LOUNGE COMPOSITION/AE/IAP STUDIO

MCCADDEN PLACE

133
 CAMPUS

MAIN BUILDING: 2ND FLOOR

229 231 233 235 240 245 250
UPRIGHT UPRIGHT KEYBOARD KEYBOARD AND
BASS LAB BASS LAB TECH. LABS COMPOSITION PROJECT
STUDIOS

Women
227
KEYBOARD CLASSROOMS 252
226 232

225
COMPOSITION GUITAR & BASS
IAP / SONGWRITING PRIVATE LESSON & LABS
PRIVATE LESSON ROOMS Men
254
222 234 237 239

223 DJ GUITAR & BASS

PRACTICE ROOMS PRIVATE LESSON & LABS 247 249
KEYBOARD AND COMPOSITION PROJECT STUDIOS

221

220 236 210

DJ
PRACTICE Staff
219 ROOM 258
Lounge

KEYBOARD TECH. LABS

218
217
VINYL/CDJ/
GUITAR & BASS PRIVATE LESSON & LABS

216 TURNTABLISM
215
LAB
CAMPUS

GUITAR & BASS LABS

PRIVATE LESSON & LABS

263

VOCAL PL
211 264
VOCAL
PRIVATE LESSON ROOM
214 VL10 VL8 VL6 VL4 VL2
MUSIC LIBRARY
265
212
85 MAC WORK STATIONS
207
BASS
24 BOSS + 45 M AUDIO JAM STATIONS VL9 VL7 VL5 VL3 VL1 STUDIO
VOCAL LABS 267
STUDENTS CAN CHECK OUT INSTRUMENTS, VIDEOS, GUITAR
205
SHEET MUSIC, EBOOKS, +MORE STUDIO
VL11 VL12 VL13 VL14 VL15 269

203
278 270 IAP
STUDIO
Copy
Room
VOCAL
PRIVATE LESSON ROOM
201

271

293 291 284 281 277

TECH IAP
OFFICE STUDIO IAP
289 283 DAW LAB IAP LAB STUDIO
TECH ROOM
Custodian

IAP
OFFICE STUDIO
Elevator

134 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CAMPUS

MAIN BUILDING: 3RD FLOOR

331 330 335 340

Women

Men
DRUM
SERVICE
SERATO ABLETON CLASSROOMS
& LAB
TRAKTOR 339
CONTROLLERISM
LABS DRUM PRIVATE 345 DL43 DL44 DL2
LESSON ROOMS

337 346 DL41 DL42 DL4 DL3

325 AC Duct 347 DL39 DL40 DL6 DL5

DRUM PRIVATE LESSON ROOMS

DL46 DL37 DL38 DL8 DL7

320 350

CAMPUS
DL47 DL35 DL36 DL10 DL9
321
DRUM LABS
DL48 DL33 DL34 DL12 DL11

317 CLASSROOMS DL50 DL31 DL32 DL32 DL13

315 390 360 DL15

DL51 DL29 DL30 DL16
ELECTRONIC
DRUM KIT

313 DL26 DL27 DL17

DL28 DL18

311
DL25 DL24 DL23 DL22 DL21 DL20 DL19

DRUM
STUDIO 391
385 380 375 370
DRUM PRIVATE
LESSON ROOMS
393

CLASSROOMS

Elevator

135
 CAMPUS
CAMPUS GUIDE

Please use the following guide to find the proper locations for your specific needs.

Changing MI Programs Locker Sign-Ups

Admissions Artist Support Center
East side of The Passage, 2nd Floor East side of The Passage, 1st Floor
admissions@[Link] asc@[Link]

Changing Instructors or Class Times Lost MI ID Card

Registrar Office Security Desk
East side of The Passage, 1st Floor McCadden Entrance
registrar@[Link] 1655 N. McCadden Place

Dropping Classes Parent Needs to Find Student /

Registrar Office Locate Lost Child
East side of The Passage, 2nd Floor Student Services Office
registrar@[Link] East side of The Passage, 1st Floor
studentaffairs@[Link]
Financial Aid & Scholarships
CAMPUS

Financial Aid Office Paying Fees

West side of The Passage, 1st Floor Student Billing Office
West side of The Passage, 1st Floor
Housing studentbilling@[Link]
Contact the Housing Coordinator
housing@[Link] Posting Flyers
Artist & Career Services (ACS) Office
Instructor Did Not Show Up for For flyer inquiries, email acs@[Link]
Student’s Class
Student Services Office Practice Room Reservations
East side of The Passage, 1st Floor [Link]
studentaffairs@[Link]
Visiting Friends/Family of Students
Locating an Instructor
Security Desk
Registrar Office McCadden Entrance
East side of The Passage, 1st Floor 1655 N. McCadden Place
registrar@[Link] Student will need to fill out a Guest Pass available at
[Link]

136 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CAMPUS

MAIN COMPLEX lighting options. The area’s backline

LIVE PERFORMANCE FACILITIES features a variety of top-of-the line drum kits,
keyboards, microphones, and guitar and
Concert Hall bass amplifiers, along with a full compliment of

CAMPUS
The 500-capacity Concert Hall is the microphones, both wireless and wired.
centerpiece of Musicians Institute’s
performance facilities, boasting a stage area Performance Rooms
of 900 square feet, fixed theater seating, and Eight performance rooms, between 800 to
a comfortable backstage green room. The 1,000 square feet each, seat 25 to 50 people
Concert Hall is MI’s primary venue for concerts, and are fully equipped for Live Performance
seminars and clinics from world-renowned Workshops. Each room contains a complete PA
visiting special guests; as well as student system and an assortment of guitar and bass
performances, workshops and auditions. amplifiers, keyboards, and drum sets. These
The state-of-the-art hall is equipped with top rooms are located at MI-145, MI-150, MI-155,
professional video and audio production gear, PASS-101, PASS-201, PASS-301 and PASS-
including amplifiers and speaker enclosures, 302
dual large-screen video projectors, and a variety
of multi-colored concert lighting options. The Note: All performance stages are handicapped-
area’s backline features a variety of top-of-the- accessible.
line drum kits, keyboards, microphones, guitar
and bass amplifiers, monitors and a front-of-
house sound system. RECORDING AND PRODUCTION
FACILITIES
MI-190 MI’s extensive recording facilities, ranging
The 80-capacity MI-190 is MI’s go to venue for from top-of-the-line professional studios to
smaller shows, live sound instruction, project studios and recording classrooms,
special clinics, masterclasses, panels and include industry-standard recording and mixing
seminars for both the school of industry and systems, complemented by an extensive array of
performance students. Boasting a stage area of
500 square feet with open seating, the professional microphones and outboard gear.
state-of-the-art venue is equipped with two live
sound consoles, a lighting board, a AUDIO ENGINEERING STUDIOS
computer with audio recording capabilities, and
other top professional video and audio Studio A
production gear, including two-line arrays, a Features a large tracking room for live band
large dropdown screen with a video recording, an SSL Duality SE 24-Channel
projector, and a variety of multi-colored concert 137
 CAMPUS
Hybrid analog/digital console, an Avid Pro Plugin Bundles, Eosis Air EQ Premium,
Tools® HD X 192 interface, 24 I/O digital Auto-Tune 8, Melodyne 4 Editor, Arturia
audio recording system, and Otari MTR 90 2” C-Collection 4, UAD Ultimate plug-in bundle,
analog reel-to-reel recorder. and Adobe Creative Cloud.

Studio B Studio 02
A 5.1 surround mixing/editing suite outfitted Multi-purpose studio with Yamaha U3 upright
with AVID Artist Control and Artist Mix piano, Mesa guitar amp, Neumann, Mojave,
components, a Dangerous Music Monitoring Royer, AKG, and Shure microphones,
System and an AVID Pro Tools HD system. Dynaudio monitors, Avalon channel strips,
Universal Audio Apollo 16 interface,
Studio C Focusrite Scarlett 2i4 interface, and MIDI
Features a API 1608 32-channel analog controllers. This studio features a Mac
console and an Avid Pro Tools® HD system workstation equipped with Avid Pro Tools®
with three 96 interfaces. 12, Logic Pro X, Ableton Live 10 Suite, Native
Instruments Komplete 10, Waves Gold, Waves
Studio D Renaissance Max, McDSP Everything bundle,
A Rupert Neve Designs 5088 Izotope Music Production Suite, Izotope RX
16-channel analog console with an AVID Pro Post Production Suite, Sonnox and Softube
Tools HD X System. Plugin Bundles, Eosis Air EQ Premium,
Auto-Tune 8, Melodyne 4 Editor, Arturia
Studio E C-Collection 4, UAD Ultimate plug-in bundle,
A world-class THX-certified dubbing stage and Adobe Creative Cloud.
CAMPUS

equipped with a 48-channel Avid ICON

D-Control console and an Avid Pro Tools® Studio 03
HD recording system. Production/mixing studio equipped with
Neumann, Mojave, Royer, AKG, and Shure
Studio F microphones, Adam monitors, Avalon
Sports an Avid Euphonix S5 Fusion 24 channel strip, ROLI Seaboard Rise keyboard
console, an Avid Pro Tools® HD X recording controller/synthesizer, Native Instruments
system, and a variety of high-end outboard Machine controller, Universal Audio Apollo 16
gear. interface, Focusrite Scarlett 2i4 interface, and
MIDI controllers. This studio features a Mac
workstation equipped with Avid Pro Tools®
INDEPENDENT ARTIST STUDIOS
12, Logic Pro X, Ableton Live 10 Suite, Native
Studio 01
Instruments Komplete 10, Waves Gold, Waves
Multi-purpose studio with isolated tracking
Renaissance Max, McDSP Everything bundle,
and mix rooms. Equipped with DW drum
Izotope Music Production Suite, Izotope RX
kit; Fender guitar amp, Budda guitar amp;
Post Production Suite, Sonnox and Softube
Neumann, Mojave, Royer, AKG, and Shure
Plugin Bundles, Eosis Air EQ Premium,
microphones; as well as outboard gear
Auto-Tune 8, Melodyne 4 Editor, Arturia
from API, Universal Audio, and Chandler
C-Collection 4, UAD Ultimate plug-in bundle,
Ltd., Universal Audio Apollo 16 interface,
and Adobe Creative Cloud.
Focusrite Scarlett 2i4 interface, and MIDI
controllers. This studio features a Mac
Studio 04
workstation equipped with Avid Pro Tools®
Production studio equipped with Moog
12, Logic Pro X, Ableton Live 10 Suite, Native
Little Phatty Synthesizer, Native Instruments
Instruments Komplete 10, Waves Gold, Waves
Maschine Mikro, Dynaudio monitors, Roland
Renaissance Max, McDSP Everything bundle,
A-88 weighted MIDI controller, Universal
Izotope Music Production Suite, Izotope RX
Post Production Suite, Sonnox and Softube
138 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CAMPUS
Audio Apollo 16 interface, and Focusrite (MBH-103, MBH-104)
Scarlett 2i4 interface. This studio features a Audio Engineering students learn digital
Mac workstation equipped with Avid Pro Tools® recording techniques on Apple Mac
12, Logic Pro X, Ableton Live 10 Suite, Native workstations with Avid Pro Tools® Standard,
Instruments Komplete 10, Waves Gold, Waves Logic X, Waves Gold Bundles, Avid Omni
Renaissance Max, McDSP Everything bundle, Interface, and Avid HD Native Thunderbolt
Izotope Music Production Suite, Izotope RX Interfaces.
Post Production Suite, Sonnox and Softube
Plugin Bundles, Eosis Air EQ Premium, Auto- Ableton Live Lab
Tune 8, Melodyne 4 Editor, Arturia C-Collection (MI-330)
4, UAD Ultimate plug-in bundle, and Adobe This DJ Performance and Production lab
Creative Cloud. facility features Mac workstations equipped
with MIDI controllers, Ableton Live 10 Suite,
DJ PERFORMANCE AND and Ableton PUSH 2 controllers. The Lab also
PRODUCTION PROGRAM LABS features an NFUZD electronic drum kit, a PA
AND PRACTICE ROOMS system, and Mackie HR824 Studio monitors.
Vinyl/CDJ/Turntablism Lab
(MI-236) Recording Techniques Lab
This DJ Performance lab facility features (MI-281)
standing workstations equipped with Technics This Audio Engineering lab contains Apple
SL-1200 (Mk5G, Mk5, Mk6) Vinyl Turntables, Mac workstations equipped with Avid
Pioneer DJ CDJ-2000 NXS and XDJ-1000 Pro Tools® Ultimate, Logic X, Waves
Media Players, Pioneer DJ DJM-S9 and Traktor Gold Bundles, Focusrite Scarlett 2i2’s, Ni

CAMPUS
Z2 DJ Mixers, Traktor F1 Controllers, Pioneer Maschines, Line 6 Pod Pro bass and guitar
Pro Audio RM-07 Studio Monitors. amp modelers.

PRODUCTION LABS PRODUCTION STUDIOS

DAW Labs Production Stage
(MI-102, MI-277, HIGH-125, MBH-102, A fully functional 16x20 soundstage with a
MBH-201) white cyclorama set.
These Audio Engineering recording and
teaching lab facilities feature Mac workstations, INSTRUMENT-SPECIFIC
each equipped with an Avid Pro Tools® STUDIOS
Standard, Logic Pro X, Ableton Live 9.5 Bass, Drums, Guitar, Keyboard
Standard, McDSP Everything bundle, Sonnox Technology, Vocals
and Softube Plugin Bundles, Eosis Air EQ Each of these studios is designed to train
Premium, Adobe Creative Cloud, Arturia students in the art and technique of studio
C-Collection 4, Focusrite Scarlett 2i2’s and performance as it relates to their specific
MIDI controllers. instrument. Each is equipped with an Apple
Mac, Avid Pro Tools® and/or Logic Audio
Serato & Traktor Controllerism Lab and related hardware, software, and outboard
(MI-331) gear.
This DJ Performance lab facility features
standing workstations equipped with Pioneer DJ Class And Rehearsal Facilities
DDJ-SX2, DDJ-SR and Traktor S4Mk2 and S8 MI’s Instrument and Vocal Programs are
Controllers, Pioneer Pro Audio RM-07 Studio taught in dual-use facilities that function
Monitors. as classrooms during the day and student
rehearsal rooms during evenings and
Pro Tools HD Lab weekends. Most are equipped with guitar,

139
 CAMPUS
bass and keyboard amps, drum kits, PA, and audio playback, and access to thousands
audio playback systems. In addition to 11 of instrumental backing tracks, Apple Logic,
general-use classrooms on the Main Complex Sibelius, and course-specific reference
third floor, one on the second floor and two materials.
in the Highland Annex, some classrooms
are customized to fit the needs of specific Drums
programs. Nine Drum Counseling Labs each contain two
complete drum kits for private lessons and
Keyboards open counseling. An additional 50 personal
(MI-240, MI-245) practice labs each contain a drum set as
Keyboard teaching/practice facilities include well as lockers for storage. Students need to
two main classrooms with 32 student provide their own pedals, cymbals, and clutch.
keyboard stations, video-assisted instructor
stations, and audio systems. This room also
MUSIC LIBRARY
features DJ equipment, such as Vinyl and CDJ
The Musicians Institute Music Library provides
stations, equipped with Serato boxes.
a wealth of media, online research databases
and resources, print materials, and related
DJ Practice Rooms
equipment to support MI’s educational
(MI-220, MI-222 and MI-234)
programs. Over 80 Apple Mac workstations
These DJ Performance practice facilities
offer Internet as well as access to videos
each feature a standing workstation equipped
of visiting artist concerts, seminars, and
with Technics SL-1200 Mk5 Vinyl Turntables,
instructional media. Students may check out
Pioneer DJ XDJ-1000 Media Players, a
CDs, CD players, books, sheet music, and
CAMPUS

Pioneer DJ DJM-900 NXS2 DJ Mixer and

instruments. Mobile printing, wireless printing,
Pioneer Pro Audio BULIT 7 Studio Monitors.
and a self-operated copy machine are available
for student use.
Drums
(MI-370, 375, 380)
The Music Library is located in the Main
Drum-specific class/rehearsal rooms include
Building, second floor. The hours are:
customized padded tables designed for group
Mon-Fri: 8:30 AM – 12:00 Midnight
drum instruction.
Sat-Sun: 12:00 Noon - 8:00 PM
COUNSELING AND PRACTICE
Media Lab
FACILITIES
Within the library, 45 individual Apple Mac-
Guitar, Bass, Keyboard
based practice stations provide software,
35 general-purpose counseling/practice labs
including Guitar Rig, GarageBand, Sibelius,
are equipped with various combinations of
and Adobe Creative Suite. An additional
guitar and bass amplifiers, keyboards, and
23 practice lab stations are equipped with
other specialized equipment. All counseling
instrument gear.
labs are used for Private Lesson instruction
during scheduled hours, and are otherwise
MICRO MARKET
available for student practice. Located on the ground floor of the main
building, the Micro Market offers a variety of
Vocal premium food and drink options; in addition to
The Vocal Program features 15 individual a microwave oven, televisions and tables with
Vocal Labs. Each lab is equipped with a 27- seating.
inch Apple iMac computer, weighted 88-key
piano keyboard, mirror (to allow students to SPECIAL FACILITIES AND
check that their vocal technique is correct), SERVICES FOR HANDICAPPED
STUDENTS
140 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CAMPUS
Main Building - First Floor: “MI,” and Hollywood Passage rooms are
• Elevator: One handicapped-equipped designated with the prefix “PASS.” Should an
elevator provides service to all three MI Hollywood classroom be designated as
floors. “MI-ZOOM,” it meets via the ZOOM tele-
• Lift: A hydraulic lift provides handicapped
access between the main entrance and conferencing platform.
ground floor (access to upper floors is by
elevator). Parking
• Restrooms: There is one handicapped Parking is available nearby at daily and
stall in the men’s restroom and one monthly rates. Metered and street parking
handicapped stall in the women’s
restroom. The men’s restroom is also options are also available.
provided with one handicapped urinal.
Both are provided with handicapped Public Transportation
sinks. MI’s main campus is located near the
• Drinking Fountain: There are two Hollywood/Highland stop on the Metro Red
handicapped drinking fountains.
Line subway. A variety of convenient bus
• Concert Hall: Handicapped seat stations
are provided in the auditorium. Access routes and other trip-planning details are
to the Concert Hall stage is provided by available at [Link]. In addition, MI
mechanical/electrical lift. provides students with a free evening shuttle
Second And Third Floors: service to nearby apartments.
• Drinking Fountain: There is at least one
handicapped-accessible drinking fountain
Security Access
on each floor.
• Restrooms: There is one male and one Only current students, employees, and those
female handicapped restroom on each with official business with Musicians Institute

CAMPUS
floor. are allowed on campus or in any Musicians
Hollywood Passage: Institute facilities or buildings. Students must
• Elevator: One handicapped-equipped present their MI ID and scan it immediately
elevator provides service to all three upon entering or exiting MI facilities or
floors. buildings. Information from these scans is
logged and can be used as documentation of
DIRECTIONS attendance at and/or use of the facilities at MI.
MI’s main building is located at 1655 N. All personnel are required to have ID visible at
McCadden Place, Hollywood, CA 90028, near all times while on campus. Visitors must check
the major intersection of Hollywood Boulevard in with Security upon entering the MI campus
and Highland Avenue. The main entrance or any MI buildings/facilities.
is located in the alley that branches off of
McCadden Place. The concert hall, classrooms, Administration
micro market, performance rooms, practice Most of MI’s administrative offices are housed
rooms and labs, student lounge, studios, and the in the Hollywood Passage building, including
library are found in the Main Building. Artist & Career Services, Student Support
Center, Office of Academic Affairs, Registrar,
MI’s campus also includes the Hollywood Admissions, Financial Aid, Marketing,
Passage, located at 6752 Hollywood Boulevard, Accounting and Instructional and Information
Hollywood, CA 90028, one half block East Technology Services. Human Resources is
of Highland Avenue. Administration, Artist & located on the first floor of the Main Building,
Career Services, and Performance rooms are behind the alley security desk. The Operations
found in the Hollywood Passage. Department is located at the McCadden
entrance.
Musicians Institute Hollywood classes are
conducted in both the Main Building and
in the Hollywood Passage. Main Building
classrooms are designated with the prefix

141
 MUSICIANS INSTITUTE GUITAR CRAFT ACADEMY NASHVILLE

Musicians Institute Guitar Craft Academy Nashville is located at:

5000 Harding Place
Nashville, TN 37211
[Link]
800-255-7529 (Toll Free)
615-333-9423 (Local & International)

Mission Statement
Musicians Institute’s Guitar Craft Academy Nashville is dedicated to inspiring excellence in the art of guitar
building and design, while preparing students for careers in the music industry. By providing hands-on
instruction from top professionals in a state-of-the-art educational environment, we give students the skills
necessary to achieve their goals. We strive to develop a diverse array of talented individuals who can enrich
the global community by contributing their expertise and craftsmanship.

CERTIFICATE
GUITAR CRAFT

Students learn to build an electric guitar or bass from scratch—including design, fabrication,
wiring, electronics, repair and maintenance. This program provides comprehensive preparation
for professions in the fields of instrument manufacturing and repair.
NASHVILLE

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT

Instrument Design 1 & 2 3

Instrument Fabrication 1 & 2 12
Fretwork & Setup 1 & 2 4
MAJOR AREA = 26 CREDITS
Electronics 1 & 2 2
Instrument Repair 2
Finish Work 3

PERFORMANCE = 4 CREDITS Instrument Performance 1 & 2** 4

NOTICE: Although this program invites students to apply year-round, this program begins during the
Fall and Spring Quarters only. Please refer to the Academic Calendar on pages 6-7 for specific start
dates for the upcoming Fall and Spring Quarters.

142 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MUSICIANS INSTITUTE GUITAR CRAFT ACADEMY NASHVILLE

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GCRFT-103 Instrument Design 1 2 GCRFT-203 Instrument Design 2 1
GCRFT-104 Instrument Fabrication 1 6 GCRFT-204 Instrument Fabrication 2 6
GCRFT-102 Fretwork & Setup 1 2 GCRFT-202 Fretwork & Setup 2 2

NASHVILLE
GCRFT-101 Electronics 1 1 GCRFT-201 Electronics 2 1
GCRFT-105 Instrument Repair 2 GCRFT-206 Finish Work 3
PERFORMANCE PERFORMANCE
GCRFT-107 Instrument Performance 1 2 GCRFT-207 Instrument Performance 2 2

TOTAL 15 TOTAL 15

GUITAR CRAFT
// ACOUSTIC GUITAR DESIGN Q3 (Q1 + Q2 ARE THE SAME AS ABOVE)
45 CREDITS / 3 QUARTERS* CODE COURSE CREDIT
EMPHASIS
GCRFT-303 Acoustic Guitar Design 2
GCRFT-304 Acoustic Guitar Fabrication 5
In addition to learning the material taught in GCRFT-305 Acoustic Guitar Fixtures 4
GCRFT-306 Acoustic Guitar Finishing 2
the Certificate program for Guitar Craft, which GCRFT-307 Instrument Performance 3 2
covers electric instruments, students can also
learn in the specific design, fabrication and TOTAL 15
finishing requirements of acoustic guitars.

APPROVAL AND ACCREDITATION

Musicians Institute Guitar Craft Academy Nashville is authorized by the Tennessee Higher Education Commission.
This authorization must be renewed each year and is based on an evaluation by minimum standards concerning
quality of education, ethical business practices, health and safety, and fiscal responsibility.

In order to view detailed job placement and graduation information on the programs offered by Musicians Institute
Guitar Craft Academy Nashville, please visit [Link]

Musicians Institute has been an accredited institutional member of the National Association of Schools of Music
since 1981. The National Association of Schools of Music is recognized by the United States Department of
Education (USDE).
143
 CAMPUS
CONCERT HALL
CAMPUS

The 500-capacity Concert

Hall has a stage area of 900
square feet, fixed theater
seating, and a comfortable
backstage green room.

144 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CAMPUS
CONCERT HALL

MI’s backline features

a variety of top-of-the-
line drum kits, keyboards,
microphones, guitar and bass
amplifiers, monitors and a
front-of-house sound system.

CAMPUS

145
 CAMPUS
STUDIOS & LABS
CAMPUS

MI’s extensive recording

facilities range from
top-of-the-line
professional studios
to project studios and
recording classrooms.

146 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CAMPUS
STUDIOS & LABS

Left: Studio A
Below (left to right):
Studio F, Studio E (THX)

CAMPUS

147
 MI HOLLYWOOD COURSE DESCRIPTIONS
basic mixing. Upon completion, students will understand how to
AUDIO ENGINEERING route signals for tracking, overdubbing, and mixing. One lecture
MAJOR AREA // AUDIO ENGINEERING hour and two lab hours per week for one quarter.

AUDIO-051 | THE MODERN MUSIC PRODUCER (1) AUDIO-104 | THE BUSINESS OF AUDIO (1)
This course exposes students to the “ins and outs” of both In this course, students gain a comprehensive overview
the business and creative sides of being a modern music of operating a business as an audio engineer or producer.
producer. Classes are hands-on, intensive, and based in Topics include music budgets, invoicing, finances, and basic
real-world situations, covering concepts such as budgeting, accounting methods to legally setting up their own business.
choosing studios and musicians, working with engineers and Students also discuss the challenges of the new business
management, and finessing the best performance out of artists. model as well as industry definitions and roles. One lecture
Two lab hours per week for one quarter. hour per week for one quarter.

AUDIO-057 | PRO TOOLS 101 (2) AUDIO-105 | CRITICAL LISTENING (2)

This course introduces fundamental Pro Tools concepts and Students are exposed to various musical content and
principles, covering everything an individual needs to know production styles. Identifying frequencies and key instruments
to complete a basic Pro Tools project, from initial setup to will be an integral part of this class, along with the equipment
final mixdown. Students learn to build sessions that include and processes involved in producing commercial recordings.
multitrack recordings of live audio, MIDI sequences, and virtual Two lecture hours per week for one quarter.
instruments. Hands-on exercises and projects introduce
essential techniques for creating sessions, recording, and AUDIO-106 | MUSICIANSHIP FOR INDUSTRY
importing audio and MIDI, editing session media, navigating PROFESSIONALS (1)
sessions, arranging media on tracks, as well as using basic Students will be introduced to the fundamentals of music
processing and mixing techniques to finalize a production. notation on the staff, including the basics of harmony and
Together with the second course in the series, this course theory that are discussed between producers, engineers, and
provides the foundation training required to prepare for the Avid musicians in the studio. Upon completion, students will be able
101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1 to differentiate between major vs. minor keys, Roman numeral

COURSES
of 2). Two lecture hours per week for one quarter. harmony, song form, and the basics of chart creation. Two lab
hours per week for one quarter.
AUDIO-112 | AUDIO FOUNDATIONS: THEORY & TECHNIQUE
(3) AUDIO-111 | EVOLUTION OF AUDIO (1)
This introductory course equips audio engineers with the This course explores many of the seminal inventions and
fundamentals of audio recording theory, technique, and basic processes that have evolved over the last century and a half,
computer operation. Students learn about the basic principles which have helped shape recorded and live music, sound
of sound, audio terminology, processors & signal flow, as well reinforcement in general, as well as sound to picture. Students
as applying Apple’s MacIntosh computer to audio production. will examine professional and consumer advancements in
The class surveys studio microphones and common miking equipment, processes, and recording and playback mediums,
techniques for contemporary instruments including drums, to understand the art form. Topics include how they have
bass, guitar, piano, keyboard, and vocals. Three lecture hours evolved, sometimes have become extinct, and in some cases,
per week for one quarter. how they revolutionized the industry. One lecture hour per week
for one quarter.
AUDIO-157 | PRO TOOLS 110 (2)
Prerequisite: AUDIO-057 Pro Tools 101. This second Pro AUDIO-151 | ELECTRONICS (2)
Tools course builds on the foundation laid out in Pro Tools 101 This course examines the fundamentals of electricity
as it explores the industry standard Pro Tools Digital Audio including Ohm’s Law, AC and DC sources, as well as basic
Workstation (DAW) in greater detail. Students reinforce the electronic components and they relate to audio. Students
core concepts and techniques needed to competently operate learn about audio specifications, microphone characteristics
a Pro Tools system running mid-sized sessions, helping to including construction, and complete hands-on projects,
prepare them for entry-level positions in virtually any aspect of building audio cables and a D.I. box while gaining experience in
the audio industry. Completion of the course prepares students soldering. Additional equipment fee: $95. Two lecture hours per
for the Avid 110 Pro Tools (User) Certified Specialist Exam v. week for one quarter.
2023 (Part 2 of 2). Two lecture hours per week for one quarter.
AUDIO-204 | MIXING ESSENTIALS (3)
AUDIO-102 | CONSOLE OPERATION 1: NEVE WITH Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159
PRACTICAL RECORDING (2) Pro Tools 1. As mixing music is an important skill for
Students examine signal flow as it applies directly to high-end the professional audio engineer, this course introduces
professional consoles while working on a Rupert Neve Designs professional mixing techniques. Components to effective mixing
5088 console. The class records live sources and executes are discussed and executed in class such as musical balance,
dynamic control (compression), tonal balance (equalization),

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 MI HOLLYWOOD COURSE DESCRIPTIONS
ambience, effects, as well as automation. Lab time mirrors the AUDIO-215 | VOCAL PRODUCTION (1)
lecture content as students work individually to create their own Prerequisite: Successful completion of one of the following
mixes. Two lecture hours and two lab hours per week for one courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic
quarter. 1, or ARTST 101 Recording Techniques for Songwriters &
Producers 1. Using industry standard programs Pro Tools
AUDIO-206 | INTRO TO LIVE SOUND (1) and Logic Pro X, the course will explore templates, project
Students explore the fundamentals of live sound engineering management, EQ, Compression, vocal FX, comping, bussing,
in this hands-on course. The class is tasked with running front vocal alignment, printing stems, and remixing techniques, as
of house sound and monitors on industry relevant equipment applied to vocal production. One lecture hour per week for one
for the stage with live musicians, performing weekly. The quarter.
course also gives students a broad overview of live stage work
with music acts, including setup and breakdown of sound,
advancing shows, contract riders, basic lighting, and multitrack ELECTIVES // AUDIO ENGINEERING
recording from the Front of House console. Note: Audio Engineering students must complete their elective
requirements from the following program-specific electives
AUDIO-207 | INTRO TO POST- PRODUCTION (1) only.
Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159 Pro
Tools 1. This course examines the entire post-production ENTRY-LEVEL ELECTIVES // AUDIO ENGINEERING
sound to picture workflow as well as the various related jobs
and career opportunities available in the industry. Students are AUDIO-041E | ANALOG TAPE MACHINES (1)
exposed to fundamental concepts and techniques of audio Prerequisite: AUDIO-102 Console Op 1: Neve or AUDIO-180
post production to picture including, sound effects editing, Console Op 1: Yamaha QL5. In this course, students will
dialogue editing, Foley, mixing, and surround sound formats. learn about practical application and theory behind analog
Students are immersed in weekly hands-on projects designing, tape recording. The class explores concepts such as tape
editing, and mixing sound to picture, with the weekly projects machine alignment procedures, standards, and variations, razor
culminating in a Final Project. Thirty minutes of lecture and one blade tape editing, as well as tape machine maintenance and
lab hour per week for one quarter. tape storage. Students participate in practical exercises that
COURSES

incorporate applications used in analog tape recording. Two lab

AUDIO-208 | ANALOG AND DIGITAL SIGNAL PROCESSING hours per week for one quarter.
(2)
Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159 Pro AUDIO-042E | SMALL FOOTPRINT DIGITAL CONSOLES (1)
Tools 1. This course focuses on how to operate professional This course is an introduction to “small footprint” digital
signal processing gear, including traditional in-line processors console operation, which includes equipment setup and
(compressor, gate, EQ), effects processors (reverb, delay, “strike”, signal routing, signal flow, interfacing with ancillary
chorus, pitch shift), and both Avid Pro Tools® and third-party equipment, and applied applications. Students learn to operate
plug-ins. Two lecture hours per week for one quarter. and work with an industry standard compact digital console/
mixer using hands-on exercises ranging from console setup
AUDIO-209 | CONSOLE OPERATION 2: API WITH PRACTICAL and configuration, to sound reinforcement techniques and
RECORDING (2) approaches for live mixing through a Dante Virtual Soundcard.
Prerequisite: AUDIO-102 Console Operation 1: Neve with Topics such as remote control of the mixer via a tablet as well
Practical Recording. Students continue examining signal as live sound console configurations will also be discussed.
flow as it applies directly to high-end professional consoles Two lab hours per week for one quarter.
while working on an API 1608 console. The class records
instruments and participates in mixing on the console. Upon AUDIO-052 | LOGIC 1 (1)
completion, students will be expected to demonstrate how This course introduces students to the primary features and
to route signals for tracking, overdubbing, and mixing while basic user interface of Logic Pro X. The class explores the
tracking and overdubbing single instruments. One lecture hour process of creating an actual song, from start to finish. Pre-
and two lab hours per week for one quarter. production using Apple Loops, recording/editing audio and
midi, arranging of tracks, producing drumbeats with a virtual
AUDIO-201 | RECORDING TECHNIQUES 2 (1) drummer, as well as basic mixing and automation techniques
Prerequisite: AUDIO-112 Audio Fundamentals: Theory & are explored. This course addresses the requirements needed
Technique. As a continuation of recording techniques, Students (Part 1 of 2) to take the “Apple Certified Pro” exam in Logic Pro
learn common methods for tracking strings, choirs, and other X 10.4. Two lab hours per week for one quarter.
ensembles. Also, this course focuses on additional single
instrument recording such as upright bass, Hammond organ, AUDIO-058 | ABLETON LIVE 1 (1)
trumpet, saxophone, and various percussion. Students explore A practical application of digital recording techniques using
recording signal chains and more complex routing for tracking. Ableton Live, this course provides an overview for songwriters
One lecture hour per week for one quarter. and artists on the fundamentals of the recording process,
including file and session setup, tracking, arranging, editing,

149 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
and mixing. Upon successful completion of the course, Ableton Live 1, this course provides a more in-depth practical
students will be able to compose, record, and produce music application of digital recording techniques using Ableton Live,
using Ableton Live. Two lab hours per week for one quarter. including synthesis, building racks, advanced audio effects,
dummy clips, remixing, and live performance. Upon successful
AUDIO-155E | VIDEO GAME AUDIO (1) completion of this course, students will have tools to create
This course is designed to teach the key concepts that are their own sounds and effects as well as have building blocks to
essential in the creation of an engaging and immersive audio perform live. Two lab hours per week for one quarter.
environment for video games. Students learn industry standard
sound implementation software as well as its effective use AUDIO-161E | ADVANCED MUSIC PRODUCTION (1)
in game audio design. The class explores real world design Prerequisites: Successful completion of one of the following
techniques, overall project work flow, and asset management DAW courses: AUDIO-057 Pro Tools 101, AUDIO-052
along with hands-on experience in all aspects of game audio Logic 1, AUDIO-058 Ableton Live 1, AUDIO-159 Pro
including sound effects design, music composition, and voice Tools 1, AUDIO-162 Logic Fundamentals 1, or AUDIO-164
over. Completion of this course prepares students to take the Ableton Live Online 1. Along with Successful completion of
Avid Certified User exam for Pro Tools | Game Audio. Two lab AUDIO-106 Musicianship for Industry Professionals or CC-011
hours per week for one quarter. Harmony and Theory 011. Building on the material presented
in the Modern Music Producer course, the class focuses on
CIS-010E | IOS DJ & BEAT MAKING (1) concepts of music production and what it takes to create a
Using the latest technology available to mobile devices such as final deliverable product to clients. Students analyze previously
tablets and smart phones, students will understand how to both recorded projects spanning multiple genres of music. The class
perform and create music on several innovative DJ and beat- is encouraged to take a closer look at their favorite songs in an
making software applications in a reliable and effective way. effort to discover the elements that make up the productions.
Advanced features, compatibility, multi-device synchronization, This course also surveys professional studio session
and the mobile platforms’ strengths and limitations will be preparation, DAW preparation, session editing, session tuning
addressed. Students may be required to purchase device and timing adjustments, backups, mix delivery preparation, and
applications separately for the course. For more information mastering delivery preparation. One lecture hour per week for
on specific applications, please contact the DJ Program Chair. one quarter.

COURSES
One lecture hour per week for one quarter.
AUDIO-250E | AUDIO INTERNSHIP (2)
AUDIO-215 | VOCAL PRODUCTION (1) Prerequisites: AUDIO-380 Console Operation 3: Yamaha
Prerequisite: Successful completion of one of the following CL5 or AUDIO-330 Console Operation 3: SSL Practical
courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic Recording, 3.5 minimum GPA. Contact the Audio Engineering
1, or ARTST 101 Recording Techniques for Songwriters & administrator for additional requirements. Students gain
Producers 1. Using industry standard programs Pro Tools practical professional experience in working recording
and Logic Pro X, the course will explore templates, project studios, production houses, mastering labs, or live sound
management, EQ, Compression, vocal FX, comping, bussing, venues as engineering assistants. Hours and schedules will
vocal alignment, printing stems, and remixing techniques, as vary according to the specific internship-position obtained. A
applied to vocal production. One lecture hour per week for one minimum requirement of six internship-hours per week for one
quarter. quarter. May be repeated for credit.

ADVANCED ELECTIVES // AUDIO ENGINEERING AUDIO-350E | AUDIO INTERNSHIP (3)

Note: For full details, refer to the course description for each Prerequisites: AUDIO-430 Console Operation 4: Euphonix
prerequisite named in your elective of interest. with Practical Recording or AUDIO-525 Musical Event
Systems & Components 2, 3.5 minimum GPA. Contact the
AUDIO-152 | LOGIC 2 (1) Audio Engineering administrator for additional requirements.
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1. Students gain practical professional experience in working
This course is a continuation of the Logic Pro X 10.4.x user recording studios, production houses, mastering labs, or live
interface for songwriters, composers, producers, and sound sound venues as engineering assistants. Hours and schedules
engineers. Upon completion, students will understand how to will vary according to the specific internship-position obtained.
use Logic Pro’s comprehensive array of software instruments, A minimum requirement of nine internship-hours per week for
arranging of MIDI sequences, as well as editing with Flex Time one quarter. May be repeated for credit.
& Pitch, Keep Tempo, Smart Controls, Advanced Audio & MIDI
Recording/Editing Techniques, and trouble-shooting. This AUDIO-153E | PROJECT STUDIO DESIGN (1)
course addresses the requirements needed (Part 2 of 2) to Prerequisite: AUDIO-105 Critical Listening. This course covers
take the “Apple Certified Pro” exam in Logic Pro X 10.4. Two the process of planning, designing, equipping, and setting up a
lab hours per week for one quarter. project/home studio capable of professional recording studio
results. Acoustic theory and design genesis, budget priorities,
AUDIO-158 | ABLETON LIVE 2 (1) ergonomic/workflow layout, recording gear, monitoring
Prerequisite: AUDIO-058 Ableton Live 1. Building on systems, headphone choices, the deployment of various

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 MI HOLLYWOOD COURSE DESCRIPTIONS
types of corrective acoustical treatments, studio AC power which have helped shape recorded and live music, sound
considerations, sound isolation principles and techniques, reinforcement in general, as well as sound to picture. Students
construction materials, bass traps, diffuser types, electronic will examine professional and consumer advancements in
room correction, décor, lighting, studio furniture, heating equipment, processes, and recording and playback mediums,
ventilation and air conditioning will all be covered. Two lab hours to understand the art form. Topics include how they have
per week for one quarter. evolved, sometimes have become extinct, and in some cases,
how they revolutionized the industry. One lecture hour per week
AUDIO-216 | MUSIC MASTERING (1) for one quarter.
Prerequisite: Successful completion of one of the following
courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic AUDIO-201 | RECORDING TECHNIQUES 2 (1)
1, AUDIO-058 Ableton 1. Students will study the theory, art, Prerequisite: AUDIO-112 Audio Fundamentals: Theory &
and practical applications of mastering music. Discussion Technique. As a continuation of recording techniques, Students
and practice will include analyzing stylistic approaches for learn common methods for tracking strings, choirs, and other
mastering various genres of music, understanding specific ensembles. Also, this course focuses on additional single
technical requirements for mastered products and the practical instrument recording such as upright bass, Hammond organ,
applications of typical analog and digital mastering processors. trumpet, saxophone, and various percussion. Students explore
Two lab hours per week for one quarter. recording signal chains and more complex routing for tracking.
One lecture hour per week for one quarter.
CIS-016E | BEAT MAKING AND MASCHINE (1)
Prerequisite: Successful completion of one of the following AUDIO-257 | PRO TOOLS 201 (2)
courses: AUDIO-057 Pro Tools 101, AUDIO-052 Logic 1, Prerequisite: AUDIO-157 Pro Tools 110. This course covers the
AUDIO-058 Ableton I, or DJ-058 Ableton Live for DJs and core concepts and skills needed to operate an Avid Pro Tools
Electronic Music Producers 1. An introduction to the use and | Ultimate system with HD-series hardware in a professional
utility of Maschine Sampler software. Students will be exposed studio environment. This course builds on the Pro Tools
to modern production and programming techniques using Fundamentals I and II series of courses, providing intermediate
Native Instruments’ Maschine. Upon completing this course, and advanced-level Pro Tools concepts and techniques.
students will be able to create beat sequences as well as more Students learn to customize the configuration of Pro Tools |
COURSES

complex productions and remixes using the Maschine software HD Native systems to maximize results and improve recording,
and hardware suite. Two lab hours per week for one quarter. editing, and mixing work flows. Completion of the course
prepares students for the Avid Certified Operator: Pro Tools
CIS-150E | SERUM (1) exam, which once passed, adds them to Avid’s official listing.
Prerequisite: DJ-058 Ableton Live 1 for DJs, AUDIO-052 Logic Two lecture hours per week for one quarter.
1, AUDIO-057 ProTools 101, or AUDIO-058 Ableton Live 1.
This course is designed to explore the functions, work flow AUDIO-357 | PRO TOOLS 210M (2)
and creative options of the Serum synthesizer plugin. Students Prerequisite: AUDIO-257 Pro Tools 201. This course covers
will demonstrate how to produce their own sounds using techniques for working with Pro Tools systems in a professional
the software’s extensive routing and editing features. Upon music production environment and is a continued exploration of
successful completion of this course, students will understand concepts and theory operating Avid Pro Tools including editing
how to program the Serum synthesizer plugin to create and and processing functions, use of plug-ins, higher automation
apply sounds found in modern productions. One lecture hour functions, synchronization, MIDI quantization, mastering and
per week for one quarter. more. Completion of the course prepares students for the Avid
Certified Operator: Pro Tools exam, which once passed, adds
CIS-125E | MAX FOR LIVE (1) them to Avid’s official listing. Two lecture hours per week for
Prerequisite: DJ-058 Ableton Live for DJs & EMP 1 or AUDIO- one quarter.
058E Ableton Live 1. Building on the concepts learned
in Ableton Live 1, students focus on creating original Max AUDIO-330 | CONSOLE OPERATION 3: SSL WITH PRACTICAL
for Live devices. Starting with the basic elements of the RECORDING (2)
programming language up to real-world examples like building Prerequisite: AUDIO-209 Console Operation 2: API with
note arpeggiators, audio delays, and devices that change Practical Recording. Students examine signal flow as it applies
how Ableton Live functions in real-time. Upon successfully directly to high-end professional consoles while working on
completion of this course, students will be able to produce their an SSL Duality console. Students record musical ensembles
own custom Max for Live devices. One lecture hour per week and single instruments as well as mix on the console. Upon
for one quarter. completion, students will understand how to route signals for
tracking, overdubbing, and mixing. One lecture hour and two
AUDIO ENGINEERING // STUDIO RECORDING lab hours per week for one quarter.

AUDIO-111 | EVOLUTION OF AUDIO (1) AUDIO-430 | CONSOLE OPERATION 4: EUPHONIX WITH

This course explores many of the seminal inventions and PRACTICAL RECORDING (2)
processes that have evolved over the last century and a half, Prerequisite: AUDIO-330 Console Operation 3: SSL with

151 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Practical Recording. This course covers signal flow on the Avid continue to apply mixing skills learned in Mixing Essentials
Euphonix System 5 Fusion console. Students study Euphonix 1. In this course, focus shifts to mixing multiple songs within
specific hardware such as the ML530 mic pre, the MC524 a project. Students learn about delivery requirements,
monitor controller, and the SC264, the brains of the console, in consistency of mixes within a larger project, and production
pursuit of mastering the configurations for mixing and tracking value in mixing as well as time management. One lecture hour
inside the E-Mix software. Students participate in recording and two lab hours per week for one quarter.
sources and mixing. One lecture hour and two lab hours per
week for one quarter. AUDIO-440 | MIXING ESSENTIALS 3 (2)
Prerequisite: AUDIO-340 Mixing Essentials 2. This course is a
AUDIO-360 | INTERACTIVE AUDIO & EMERGING continuation of Mixing Essentials with the focus on advanced
TECHNOLOGIES (2) In this course, students learn to create, mixing efforts and professional scenarios. Students continue to
publish and market audio content for new platforms such as mix multiple song projects and are expected to execute tasks
interactive media, games, webcasting, podcasting, apps, in mixdown such as matching reference mixes and performing
and streaming content. Projects focus on the core elements, edits to the arrangement as requested. The focus is on
workflow, and concepts utilized in creating audio for gaming achieving commercial production value in mixdown. One lecture
platforms and multimedia applications. Two lecture hours per hour and two lab hours per week for one quarter.
week for one quarter.
AUDIO-320 | ADVANCED DIGITAL SIGNAL PROCESSING
MUBUS-308 | OPERATING A MUSIC BUSINESS (2) (1) Prerequisite: AUDIO-208 Analog and Digital Signal
This course is designed to assist independent entrepreneurs Processing. Students examine some of the more common
in the “how to” of forming, developing and operating a music specialized signal processors available as hardware and plug-
business. Focus will be any business related to recording & ins. The course explores processors that can only exist in the
engineering, owning or leasing a studio, developing a related digital domain, including linear phase & dynamic EQ’s, multi-
recording/production business. Detailed business items band processors, look ahead processors, pitch correction,
include, applying for a DBA, EIN and sales permits, business and convolution reverbs. One Lecture hour per week for one
entity choices, marketing strategies, advance networking, quarter.
making budgets plus identifying tax benefits. Course Type &
AUDIO-216 | MUSIC MASTERING (1) Prerequisite: Successful

COURSES
Duration: Two lecture hours per week for one quarter.
completion of one of the following courses: AUDIO-057
AUDIO-370 | ADVANCED AUDIO PRINCIPLES (3) ProTools 101, or AUDIO-052 Logic 1, AUDIO-058 Ableton 1.
Prerequisite: AUDIO-112 Audio Foundations: Theory & Students will study the theory, art, and practical applications of
Technique. This course equips audio engineers with the mastering music. Discussion and practice will include analyzing
technical knowledge necessary to understand and optimize stylistic approaches for mastering various genres of music,
analog and digital audio systems. Throughout the course, understanding specific technical requirements for mastered
students learn best practices for producing high-quality audio products and the practical applications of typical analog and
using both analog and digital equipment. The course delves digital mastering processors. Two lab hours per week for one
into signal types, specifications, physical interconnections, quarter.
storage, and signal processing. Analog topics include voltage,
impedance, decibels, and loudness, while digital theory AUDIO-470 | SYSTEMS INTEGRATION & FILE MANAGEMENT
covers analog-to-digital conversion, digital audio codecs and (2) Students learn the basic theory and connectivity of
protocols, data storage, and digital signal processing. Three workstation components and industry-standard audio
lecture hours per week for one quarter. interfaces. File management techniques (employed to track
the volume of data generated in modern recording projects)
AUDIO-375 | BUSINESS LAW FOR MUSIC PRODUCERS (2) are explored in detail, along with approaches for maintaining
This course is designed to help students develop an accurate data. The basics of device networking and standard
understanding of the fundamentals of law and business, methodologies for the structuring of metadata are also
including employment and corporate-related duties permeating discussed. Two lecture hours per week for one quarter.
the entertainment industry. By providing an overview of legal
concepts governing all business activities, music creatives AUDIO-510 | BROADCAST MEDIA 1 (1)
and music technicians will learn the essence of functioning Broadcast Media is an introduction to the skill sets required for
in a corporate structure as well as the ability of developing an careers in the television, film, Internet, commercial broadcast,
independent business from the ground up. With particular live event, and video production industries. Explorations include
emphasis on music business transactions, lectures will cover the fundamentals of radio, television and Internet broadcasting
concepts such as employment, contractual and fiduciary (and streaming), in conjunction with both fieldwork and
obligations, basic music-related clauses and provisions, studio productions. Topics include: the use of sector-specific
intellectual property fundamentals, and bargaining agreements. equipment, as well as staging. One lecture hour per week for
Two lecture hours per week for one quarter. one quarter.

AUDIO-340 | MIXING ESSENTIALS 2 (2) AUDIO-610 | BROADCAST MEDIA 2 (2)

Prerequisite: AUDIO-204 Mixing Essentials 1. Students Prerequisite: AUDIO-510 Broadcast Media 1. Applying the

152
 MI HOLLYWOOD COURSE DESCRIPTIONS
skills acquired in Broadcast Media 1, students complete Students learn how to contribute to the songwriting process in
independent and collaborating exercises on materials ranging a studio environment and will be exposed to real-world studio
from documentary and dramatic productions, to news, sports, experiences in order to learn the importance of professional
live event production, commercials, and client projects. Topics demeanor in getting and keeping work as an engineer or
include: industry-standard broadcast and HD equipment assistant. One lecture hour per week for one quarter.
use and associated workflows, microphone techniques,
approaches for industrial and commercial voice-over, digital AUDIO-550 | FINAL PROJECT 1 (3)
audio editing and production techniques, media formats, and Prerequisite: AUDIO-430 Console Operation 4: Euphonix with
final product delivery logistics and specifications. One lecture Practical Recording. Synthesizing prior theoretical, practical,
hour per week for one quarter. and experiential learning; in combination with the critical
thinking and subject mastery acquired throughout the program;
AUDIO-520 | ADVANCED RECORDING & PRODUCTION 1 students work collaboratively on self-directed, full-cycle music
(2) Prerequisite: AUDIO-430 Console Operation 4: Euphonix projects. This is realized through the production of one song,
with Practical Recording. Students synthesize the theoretical from pre-production planning through recording and mixing to
and practical skills acquired in previous courses, to real- mastering and final delivery. Six supervised lab hours per week
world recording session scenarios, in which they assume the for one quarter.
collaborative role of the recording team. In such exercises,
students arrive in “dark” studios, in which they must: execute AUDIO-650 | FINAL PROJECT 2 (3)
the session setup, oversee the production, and record and mix Prerequisite: AUDIO-550 Final Project 1. Building on the
live musicians. One lecture hour and two lab hours per week for premise of the Final Project 1 course, in conjunction with
one quarter. ongoing learning from the program’s final quarter core offerings,
students continue to work collaboratively on self-directed,
AUDIO-620 | ADVANCED RECORDING & PRODUCTION 2 (2) full-cycle, music projects. Focus shifts to production volume
Prerequisite: AUDIO-520 Advanced Recording & Production and quality, with students producing two songs-which, when
1. Building on the skills and experience gained in Advanced combined with the end product of Final Project 1, provides
Recording and Production 1, students are placed into students with a three-song, capstone completion reel. Six
collaborative recording session scenarios of greater complexity supervised lab hours per week for one quarter.
COURSES

and challenge-in which students must apply prior theoretical

and practical skills with newly acquired experiential learning LIVE MUSIC EVENT PRODUCTION
and critical thinking. One lecture hour and two lab hours for one
quarter.
MAJOR AREA // LMEP
AUDIO-057 | PRO TOOLS 101 (2)
AUDIO-530 | LIVE TO 2 TRACK STUDIO RECORDING (2) This course introduces fundamental Pro Tools concepts and
Prerequisites: AUDIO-201 Recording Techniques 2 and
principles, covering everything an individual needs to know
AUDIO-430 Console Operation 4: Euphonix with Practical
to complete a basic Pro Tools project, from initial setup to
Recording or AUDIO-430X Console Operation 4: Euphonix final mixdown. Students learn to build sessions that include
Theory. Similar to live sound reinforcement and broadcast multitrack recordings of live audio, MIDI sequences, and
audio engineering, students practice live recording and mixing virtual instruments. Hands-on exercises and projects introduce
to stereo without the aid of multitrack recording. Building on essential techniques for creating sessions, recording, and
the skills and experience gained in previous courses, students importing audio and MIDI, editing session media, navigating
record live music acts. These exercises help build confidence, sessions, arranging media on tracks, as well as using basic
workflow strategies, and decision making skills necessary for a processing and mixing techniques to finalize a production.
professional career in engineering. Four lab hours per week for Together with the second course in the series, this course
one quarter. provides the foundation training required to prepare for the Avid
101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1
AUDIO-660 | STUDIO TECHNOLOGY (2) of 2). Two lecture hours per week for one quarter.
Prerequisite: AUDIO-151 Electronics. This course is
an examination of technologies behind the design and AUDIO-112 | AUDIO FOUNDATIONS: THEORY & TECHNIQUE
maintenance of commercial recording studios. Students learn (3)
basic acoustic principles in studio design, speaker monitors This introductory course equips audio engineers with the
and power amplifiers, audio grounding schemes, electrical fundamentals of audio recording theory, technique, and basic
service, as well as electrical protection for equipment. Prior computer operation. Students learn about the basic principles
learning of Ohm’s Law, impedance, and cabling are reinforced. of sound, audio terminology, processors & signal flow, as well
Two lecture hours per week for one quarter. as applying Apple’s MacIntosh computer to audio production.
The class surveys studio microphones and common miking
AUDIO-140 | RECORDING STUDIO ETIQUETTE (1) techniques for contemporary instruments including drums,
This course provides a basic understanding of terms used by bass, guitar, piano, keyboard, and vocals. Three lecture hours
musicians, engineers and producers, providing the information per week for one quarter.
necessary to link these three crucial, but different roles.

153 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
AUDIO-157 | PRO TOOLS 110 (2) AUDIO-142 | SMALL FOOTPRINT DIGITAL CONSOLES (1)
Prerequisite: AUDIO-057 Pro Tools 101. This second Pro This course is an introduction to “small footprint” digital
Tools course builds on the foundation laid out in Pro Tools 101 console operation, which includes equipment setup and
as it explores the industry standard Pro Tools Digital Audio “strike”, signal routing, signal flow, interfacing with ancillary
Workstation (DAW) in greater detail. Students reinforce the equipment, and applied applications. Students learn to operate
core concepts and techniques needed to competently operate and work with an industry standard compact digital console/
a Pro Tools system running mid-sized sessions, helping to mixer using hands-on exercises ranging from console setup
prepare them for entry-level positions in virtually any aspect of and configuration, to sound reinforcement techniques and
the audio industry. Completion of the course prepares students approaches for live mixing through a Dante Virtual Soundcard.
for the Avid 110 Pro Tools (User) Certified Specialist Exam v. Topics such as remote control of the mixer via a tablet as well
2023 (Part 2 of 2). Two lecture hours per week for one quarter. as live sound console configurations will also be discussed.
Two lab hours per week for one quarter.
AUDIO-151 | ELECTRONICS (2)
This course examines the fundamentals of electricity including AUDIO-206 | INTRO TO LIVE SOUND (1)
Ohm’s Law, AC and DC sources, as well as basic electronic Students explore the fundamentals of live sound engineering
components and they relate to audio. Students learn about in this hands-on course. The class is tasked with running front
audio specifications, microphone characteristics including of house sound and monitors on industry relevant equipment
construction, and complete hands-on projects, building audio for the stage with live musicians, performing weekly. The
cables and a D.I. box while gaining experience in soldering. course also gives students a broad overview of live stage work
Additional equipment fee: $95. Two lecture hours per week for with music acts, including setup and breakdown of sound,
one quarter. advancing shows, contract riders, basic lighting, and multitrack
recording from the Front of House console.
AUDIO-210 | SAFETY AND RIGGING (1)
Students learn industry-standard safety protocols, procedures AUDIO-208 | ANALOG AND DIGITAL SIGNAL PROCESSING
and techniques-as required by OSHA and the EPA-in relation (2)
to all forms of stage work. Topics include: truss assembly, pre- Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159 Pro
staging, suspension techniques, counter weighting, harnesses, Tools 1. Take AUDIO-107 Mac Basics. This course focuses on
how to operate professional signal processing gear, including

COURSES
electrical safety (including: codes, safety standards, metering
and power distribution) and safe sound pressure levels (“SPL”) traditional in-line processors (compressor, gate, EQ), effects
for both FOH and stage monitoring. One lecture hour per week processors (reverb, delay, chorus, pitch shift), and both Avid
for one quarter. Pro Tools® and third-party plug-ins. Two lecture hours per
week for one quarter.
AUDIO-180 | CONSOLE OPERATION 1: YAMAHA QL5 (2)
This course is an introduction to console operation. This AUDIO-241 | STAGE TECHNICIAN (2)
includes equipment setup and “strike,” signal routing, Students learn to execute common duties of the stage
signal flow, interfacing with ancillary equipment and applied technician role. Topics and practical exercises include loading
applications. Students learn to operate a Yamaha QL5 and unloading various types of equipment, assembling sound
console. Hands-on exercises range from console set-up and systems, stage setup and teardown, sound checks, and basic
configuration to techniques and approaches for live mixing. Two stage-technician-level troubleshooting. Students apply the
lecture hours per week for one quarter. information, techniques, and approaches learned in this course
to real-world setup to teardown scenarios. This includes
AUDIO-280 | CONSOLE OPERATION 2: A&H AVANTIS (2) executing stage setups and teardowns from stage plots,
Prerequisite: AUDIO-180 Console Operation 1: Yamaha instrument placement, microphone choice and placement,
QL5. Building on the topics of Console Operation 1, this monitor requirements, troubleshooting; and the comment
course focuses on the application signal flow using the A&H elements of sound checks, show time and encores. Two lecture
Avantis console. Students learn intermediate techniques and hours per week for one quarter.
approaches for live mixing.
AUDIO-242 | REPAIR, MAINTENANCE & TROUBLESHOOTING
AUDIO-361 | CONSOLE OPERATION 3: AVID S6L (2) (2) Prerequisite: AUDIO-151 Electronics. This course offers
Prerequisite: AUDIO-280 Console Operation 2: A&H Avantis. an overview of the tools, materials and procedures for basic
This third Console Operation course reinforces the previously live event equipment repair and maintenance. Students learn
learned concepts using the Avid VENUE | S6L. Students to identify issues with a variety of pieces of malfunctioning
learn to configure systems, set up show files, navigate the equipment and systems. Topics include: safety, testing,
work surface and touch screens, use the record/playback schematic diagrams, routine inspection, malfunction diagnosis
functionality with Pro Tools and learn other tips essential for use and analysis, industry-standard tools, and preventative and
in a live sound environment. Completion of the course prepares corrective maintenance. Two lecture hours per week for one
students for the Avid VENUE | S6L User Certification. Two quarter.
lecture hours per week for one quarter.
AUDIO-474 | STAGING (2)
Prerequisite: AUDIO-363 Lighting. The course focuses on

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 MI HOLLYWOOD COURSE DESCRIPTIONS
core aspects of show production-from small stages to full- aspects of systems and component management. Topics
production live events-are discussed and then executed in include key production departments’ functions, production
a mock live production. Students learn scenic design and team member roles and duties, selecting and renting
fabrication elements (utilizing rendering and modeling software), equipment, creating, and managing budgets, specification
venue coordination, logistics, installation scheduling, on- sheets, contracts, and riders, and obtaining requisite permits.
site performance space modifications, portable platforms, One lecture hour per week for one quarter.
risers, seating, barricades, sets, dressing, scaffolding
“blocking,” “show flow” creation, sound checking, signage, AUDIO-473 | AUDIO/VISUAL, WIRELESS & BROADCASTING
and architectural lighting. Two lecture hours per week for one (2)
quarter. This course is an introduction to audio/visual, wireless and
broadcasting systems and processes, as they apply to live
AUDIO-362 | MONITOR ENGINEERING (2) music event production. This includes a full-cycle audio
Prerequisite: AUDIO-280 Console Operation 2: A&H Avantis. engineering requirement overview, with an emphasis on field-
Students explore the fundamental theoretical and practical relevant technologies, audio capture and playback. Two lecture
aspects of stage monitoring in which they practice configuring hours per week for one quarter.
and operating on-stage monitor systems for live performance.
Topics include system setup, routing schemes (on various types AUDIO-364 | NETWORKING AUDIO (1)
of live consoles), single and multi-mix monitor systems, side- Prerequisite: AUDIO-206 Intro to Live Sound. This course
fills, and feedback control and prevention. Two lecture hours focuses on essential network computer software required
per week for one quarter. for professional event production work and how the Internet
can be used for applications to help with event production.
AUDIO-471 | EVENT PRODUCTION & TOUR MANAGEMENT Students learn about the different types of network topologies:
(2) client-server, peer-to-peer, network administration and a basic
This course focuses on live concert and event management, understanding of Packet Formation and Switching within a
through an exploration of commonly employed industry modern Ethernet network. Students research and use mobile
processes and procedures. Topics include contract riders, applications for tablets and cell phones in event production.
backline, scheduling, logistics, media, accounting security, One lecture hour per week for one quarter.
COURSES

capacity, security deposits, all-age shows, fire and exit

laws, booking venues, risk minimization, ticket sales, and AUDIO-365 | ELECTRICAL IMPLEMENTATION (2) Prerequisite:
merchandising. Two lecture hours per week for one quarter. AUDIO-151 Electronics. Students learn the importance of a
consistent electrical power source and how electricity should
AUDIO-363 | LIGHTING (2) be implemented in any type of venue. The course examines
Prerequisite: AUDIO-210 Safety and Rigging. Students learn waveform analysis, troubleshooting, safety and hazards,
industry-standard lighting and video production systems, Gauss’s Law; real power, reactive power and power factors;
moving lights and lighting design software, as well as wiring terminations, phase and polarity, cables, connectors
programmable fixtures and lighting cues. Roles and associated and more advanced applications of prior topics such as power
duties of the lighting department’s staff are also explored. distribution and tying in power. Two lecture hours per week for
Students collaboratively participate in real-world lighting one quarter.
exercises. Two lecture hours per week for one quarter.
AUDIO-412 | LIVE MUSIC WORKSHOP (2)
AUDIO-355 | LIVE MIXING, RECORDING & PLAYBACK 1 (3) Prerequisites: AUDIO-362 Monitor Engineering and
Using industry standard Pro Tools® DAW, students learn to AUDIO-361 Console Operation 3: Avid S6L. Students
set up, record, and mix live music with a focus on advanced participate in a weekly live music show, comprised of hands-on
concepts (fader balance, automation, EQ, compression and experience with equipment and roles related to audio, video,
limiting, editing and gating, basic mastering, etc.) as they apply lighting, and LED projection combined with cameras as with
to live event recording and mixing. Two lecture hours and two various music acts perform. With a heavy focus on technical
lab hours per week for one quarter. skills, these mock shows teach teamwork and communication
in a live performance environment and situation. Students learn
aesthetics issues such as loudness, mix musicality, and stylistic
AUDIO-455 | LIVE MIXING, RECORDING & PLAYBACK 2 (2) appropriateness as well as serving the needs of the performers
Prerequisite: AUDIO-355 Live Mixing, Recording & Playback
and the audience. Four lab hours per week for one quarter.
1. Focus shifts to the basic concepts for the playback of audio,
video and multimedia during live event productions. This
includes: general playback workflow, techniques for managing PROFESSIONAL DEVELOPMENT // LIVE MUSIC EVENT
diverse content, digital cues, instant replay, “snapshot” PRODUCTION
automation, and an overview of industry-standard playback
computer software. Two lecture hours per week for one quarter. MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1
(1.5)
AUDIO-472 | MUSICAL EVENT SYSTEMS & COMPONENTS (1) The first in a two-quarter course sequence, designed to
This course is an introduction to the logistical and managerial provide students with an understanding of the entertainment

155 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
industry, as it exists today, and essential knowledge for This course examines the integrated roles of a live sound
sustaining a career in the digital era. In Business Practices for engineer. Students learn many of the professional general
Musicians 1, topics include an overview of industry structure, guidelines, which experienced live sound engineers follow.
the artist’s team (manager, attorney, agent, etc.), copyrights Students learn to be confident, skilled, and employable
and music publishing, band partnerships and solo artists, engineers in the live sound industry, including corporate A/V
employment agreements, work-for-hire, unions and more. One installations, live sound for theatre, and immersive applications
lecture hour per week for one quarter. in live sound technology. One lecture hour per week for one
quarter.
MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2
(1.5) AUDIO-111 | THE EVOLUTION OF AUDIO (1)
Prerequisite: MUBUS-0360 Business Practices for Musicians This course explores many of the seminal inventions and
1. This course is a continuation of Business Practices for processes that have evolved over the last century and a half,
Musicians 1, further covering the most important areas and which have helped shape recorded and live music, sound
aspects of the entertainment industry. Topics include record reinforcement in general, as well as sound to picture. Students
labels (major and indie), types of deals, the DIY market, will examine professional and consumer advancements in
distribution, touring, merchandising, and more. S.M.A.R.T. goal equipment, processes, and recording and playback mediums,
setting is also covered to support students in creating a path to to understand the art form. Topics include how they have
career success. One lecture hour per week for one quarter. evolved, sometimes have become extinct, and in some cases,
how they revolutionized the industry. One lecture hour per week
MUBUS-206 | NETWORKING STRATEGIES (1) for one quarter.
Success in a changing music industry is determined by the
strength and longevity of personal contacts: who you know,
what you know and, most important, who knows you. In this ELECTRONIC MUSIC PRODUCTION
practical, application-oriented course, students analyze and MAJOR AREA // EMP
practice different types of communication, social techniques,
and presentation skills important to making personal contacts EMP-PL | EMP PRIVATE INSTRUCTION (1)
in all strata of the music business and building a professional In a weekly private session with an instructor, the student is
guided in the development of technique, musicianship, and

COURSES
support network. One lecture hour per week for one quarter.
style in support of electronic music production skills. Students
will enhance their basic music production knowledge with the
MUBUS-308 | OWNING & OPERATING A MUSIC BUSINESS
goal of creating dynamic and professional quality material.
(2)
Topics include drum programming, sampling, synthesis,
Students learn the legal aspects of starting a business,
arrangement, and more. One private instruction hour per week
including trademark searches and clearances, DBAs, licenses,
per quarter.
setting up the tax structure, and obtaining business loans and
grants. Topics also include managing daily business operations
such as hiring employees, taking inventory, basic business DJ-106 | MUSICIANSHIP 1 ( 1.5)
accounting, and more. Two lecture hours per week for one Designed for aspiring music professionals, this course is
quarter. the study of popular music composition devices and their
foundation in the basic music theory. This is accomplished
through the analysis of popular harmonic structures, melodies,
MUSICIANSHIP // LIVE MUSIC EVENT PRODUCTION and various common rhythmic patterns. Basics of harmony and
theory will be covered, including the role of melody, harmony
AUDIO-106 | MUSICIANSHIP FOR INDUSTRY and rhythm, major vs. minor chord qualities, Roman numeral
PROFESSIONALS (1) harmonic analysis, song form and the basics of chart creation.
Students will be introduced to the fundamentals of music Students will also be introduced to basic rhythmic notation
notation on the staff, including the basics of harmony and and will study ear training by using popular songs as examples.
theory that are discussed between producers, engineers, and Upon completing this course, students will be able to effectively
musicians in the studio. Upon completion, students will be able communicate with other musical professionals by using
to differentiate between major vs. minor keys, Roman numeral appropriate music terminology, which will prove invaluable
harmony, song form, and the basics of chart creation. Two lab during writing or recording sessions in the studio. This course
hours per week for one quarter. is equivalent to the IAP Musicianship course (ARTST-106).
This course is NOT equivalent to the Audio Engineering
AUDIO-105 | CRITICAL LISTENING (2) Department’s Musicianship course (AUDIO-106). One lecture
Students are exposed to various musical content and hour and one lab hour per week for one quarter.
production styles. Identifying frequencies and key instruments
will be an integral part of this class, along with the equipment DJ-206 | MUSICIANSHIP 2 (1.5)
and processes involved in producing commercial recordings. Prerequisite: DJ-106 or ARTST-106 Musicianship 1. Building on
Two lecture hours per week for one quarter. Musicianship 1, this course provides a more in-depth practical
application of Harmony and Theory, addressing concepts such
AUDIO-141 | THE LIVE SOUND ENGINEER AS AN ARTIST (1) as Time Signatures, Minor Scales, Triad Cadences, Inversions,

156
 MI HOLLYWOOD COURSE DESCRIPTIONS
and Voice Leading. Upon successful completion of this course, EMP-107 | TRACK BUILDING 1 (2)
students will be able to effectively communicate with other This course focuses on providing students with production
music professionals by using appropriate music terminology, skills that are designed to elevate the quality of their recorded
which will prove invaluable during writing or recording sessions music to the professional level. Additionally, students will
in the studio. One lecture hour and one lab hour per week for develop a stylistic identity, utilizing such skills, in a unique and
one quarter. individualized manner. The instructor mentors on the production
aspects involved in recorded music for the modern electronic
ARTST-380 | KEYBOARD ESSENTIALS 1 (1) music producer. Two lecture hours per week for one quarter.
This is an introductory course on contemporary keyboard
technique. Through the study of physical posture, major scales EMP-207 | TRACK BUILDING 2 (2)
and common chord progressions, this course will enable Prerequisite: EMP-107 Song Building 1. Building on the
students to develop the necessary motor skills required teaching of Song Building 1, students focus on refining their
for using the keyboard as an arranging and compositional stylistic identity and production skills (their unique “sound”)
tool. Upon completion of this course, students will gain a by developing a short body of work encompassing several
basic knowledge of keyboard skills through focused study compositions. Advanced production techniques such as
of performance posture, practice routine development, tracking, arranging, and mixing will also be covered. Two lecture
major scale construction, finger dexterity, interval and triad hours per week for one quarter.
construction as well as common chord progressions. One
lecture hour per week for one quarter.
EMP-209 | REMIXING (1)
Prerequisite: DJ-058 Ableton Live for DJs & Electronic Music
ARTST-480 | KEYBOARD ESSENTIALS 2 (1) Producers 1. This course explores the essential techniques
Prerequisite: ARTST-380 Keyboard Essentials 1. Building upon needed to transform a pre-existing track into a successful
the foundation provided in Keyboard Essentials 1, this course remix. Students will understand how to use flextime editing to
focuses on more advanced contemporary keyboard techniques change the tempo and pitch of audio stems and layer their own
through the introduction and study of 4-note chords. Topics beats, synths, and samples. The course will also examine the
include Major and Minor 7, Dominant 7, Augmented and difference between an “official” remix versus a “bootleg” and
Diminished 7, Sus4 and Sus2 chords, natural minor and blues how to collect remix fees and royalties. One lecture hour per
COURSES

scales. Upon completion of this course, students will be able week per quarter.
to continue developing the necessary motor skills and music
vocabulary required for using the keyboard as an arranging,
compositional and production tool. One Lecture hour per week AUDIO-016 | BEAT MAKING AND MASCHINE (1)
per quarter. Corequisite: DJ-058 Ableton Live for DJs & Electronic Music
Producers 1. Prerequisite: Successful completion of one of the
following courses: AUDIO-052 Logic 1, AUDIO-057 ProTools
AUDIO-215 | VOCAL PRODUCTION (1) 101, or AUDIO-058 Ableton Live 1. An introduction to the use
Using industry standard programs Pro Tools and Logic Pro X, and utility of Maschine Sampler software. Students will be
the course will explore templates, project management, EQ, exposed to modern production and programming techniques
Compression, vocal FX, comping, bussing, vocal alignment, using Native Instruments’ Maschine. Upon completing this
printing stems, and remixing techniques, as applied to vocal course, students will be able to create beat sequences as well
production. One lecture hour per week for one quarter. as more complex productions and remixes using the Maschine
software and hardware suite. This course is equivalent to
EMP-102 | PRODUCTION ADVISING 1 (1) ARTST-016E Beat Making and Maschine. Two lab hours per
Working in close consultation with various production advisors, week per quarter.
with whom they are required to meet at least once a week,
students begin planning and creating their final project for the EMP-111 | SOUND DESIGN WITH ABLETON LIVE 1 (1.5)
Final Project for Electronic Music Production requirement, This course examines the fundamental elements of sound
including three or more original or remixed tracks, and a synthesis and signal flow, including critical concepts in
marketing/career plan. One hour production advising meeting subtractive and additive forms of synthesis as well as the
per week for one quarter. important basics of sampling. The course material focuses on
tools within Ableton Live. Although concepts are applicable to
EMP-202 | PRODUCTION ADVISING 2 (1) any platform, students will learn to design unique sounds on
Prerequisite: EMP-102 Production Advising 1. Working in close various synthesizer instruments within Ableton Live. One lecture
consultation with various production advisors, with whom they and one lab hour per week per quarter.
are required to meet at least once a week, students continue
planning and fine-tuning their project for the Final Project for EMP-211 | SOUND DESIGN WITH ABLETON LIVE 2 (1.5)
Electronic Music Production requirement, including three or Prerequisite: EMP-111 Sound Design w/Ableton Live 1.
more original or remixed tracks, and a marketing/career plan. Students will continue to develop the skills introduced in
One-hour production advising meeting per week for one Sound Design with Ableton 1, by learning new, more advanced
quarter. techniques to further define their unique musical sound beyond

157 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
the scope of preset patches. This course introduces additional, Prerequisite: DJ-058 Ableton Live for DJs & Electronic Music
more complex forms of sound synthesis, including a in-depth Producers 1. Building on the material of Ableton Live for DJs &
examination of Frequency Modulation (FM) synthesis, as well EMP 1, students focus on gaining a deeper understanding of
as Amplitude Modulation, Phase Modulation and Physical Ableton’s instruments, effects, mapping, and audio warping.
Modelling. The course material explores examples in Ableton as Students will also learn the techniques used to create custom
well as Native Instruments Komplete. One lecture hour and one live performance setups. Two lab hours per week for one
lab hour per week per quarter. quarter.

EMP-203 | FINAL PROJECT FOR EMP (2) EMP-108 | THE BUSINESS OF ELECTRONIC MUSIC
Prerequisite: EMP-102 Production Advising 1. Corequisite: PRODUCTION & PERFORMANCE 1 (1)
EMP-202 Production Advising 2. Electronic Music Production In this course, students gain a comprehensive overview of
students are required to complete a culminating experience that operating a business as an electronic music producer or DJ.
serves as both a practicum and a bridge to the professional Topics include: creating a business entity, filing taxes, the
world. This experience takes the form of a directed final key personnel in an electronic music producer/performer’s
project, that enables the student to utilize their work within (and business team, session riders; performance, recording, and
experience from) Track Building, Production Advising, Ableton personnel contracts; an overview of copyright law and the
Live, Remixing, Beat Making with Maschine, Private Lesson basics of publishing; along with common situations in which the
and Sound Design. The student will work in consultation producer/performer may find him/herself in the execution of the
with a mentor during weeks 2, 4, 7 and 10 to develop his/her craft. One lecture hour per week per quarter.
unique project, set of compositions/arrangements, produced
tracks and and a marketing/career plan, the goal of which is a EMP-208 | THE BUSINESS OF ELECTRONIC MUSIC
professional outcome. A committee evaluates the final project
PRODUCTION & PERFORMANCE 2 (1)
that results from the culminating experience.
Prerequisite: EMP-108 The Business of Electronic Music
Production & Performance 1. This course reveals basic
STUDIES IN MUSIC marketing concepts applicable to any professional producer
EMP-214 | PLUGIN PROCESSING (1) business venture and focuses on the creation of a fully
This course covers topics such as EQ, compression, customized business and revenue plan. After identifying an

COURSES
reverb, delay, pitch correction, sound replacing, and signal overarching vision, students conduct research, set short-term
flow. Students will be exposed to different types of effects and long-term goals, and create an integrated mix of business
processors, as well as how to operate and apply them to and revenue generating strategies to achieve their unique
recorded music. Upon successful completion of this course, career objectives. One lecture hour per week per quarter.
students will understand how to use and implement these tools
appropriately. One lecture hour per week per quarter. INDEPENDENT ARTIST DEVELOPMENT
MAJOR AREA // INDEPENDENT ARTIST DEVELOPMENT
EMP-216 | MUSIC MASTERING (1)
Prerequisite: Successful completion of one of the following ARTST-103 | ARTIST IDENTITY (1)
courses: DJ-058 Ableton Live for DJs & Electronic Music This is a course in which students explore various concepts
Producers 1, AUDIO-052 Logic 1, AUDIO-057 ProTools 101, of aesthetics, with a focus on developing their own musical
or AUDIO-058 Ableton live 1. Students will study the theory, fingerprint, artistic identity and personal branding. Students
art, and practical applications of mastering music. Discussion receive an overview of all the tools necessary to establish
and practice will include analyzing stylistic approaches for themselves as Independent Artists when it comes to online
mastering various genres of music, understanding specific branding, communicating in the industry and launching original
technical requirements for mastered products and the practical content. One lecture hour per week for one quarter.
applications of typical analog and digital mastering processors.
Two lab hours per week per quarter. AUDIO-057 | PRO TOOLS 101 (2)
This course introduces fundamental Pro Tools concepts and
DJ-058 | ABLETON LIVE FOR DJS & ELECTRONIC MUSIC principles, covering everything an individual needs to know
to complete a basic Pro Tools project, from initial setup to
PRODUCERS 1 (1) final mixdown. Students learn to build sessions that include
Ableton Live is a production and live music solution favored multitrack recordings of live audio, MIDI sequences, and virtual
by electronic music producers, DJs, beatmakers, and remix instruments. Hands-on exercises and projects introduce
Artists. In this course, students explore this platform and learn essential techniques for creating sessions, recording, and
core functionality in order to be able to create tracks from the importing audio and MIDI, editing session media, navigating
ground up, put together “mashups” and remixes, and how sessions, arranging media on tracks, as well as using basic
to incorporate external controllers in order to trigger cues, processing and mixing techniques to finalize a production.
samples, and effects (“FX”). Two lab hours per week for one Together with the second course in the series, this course
quarter. provides the foundation training required to prepare for the Avid
101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1
DJ-158 | ABLETON LIVE FOR DJS & ELECTRONIC MUSIC of 2). Two lecture hours per week for one quarter.
PRODUCERS2 (1)

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 MI HOLLYWOOD COURSE DESCRIPTIONS
AUDIO-157 | PRO TOOLS 110 (2) school’s studios as well as their own home setups. Specific
Prerequisite: AUDIO-057 Pro Tools 101. This second Pro topics include: project-studio terminology, mic choice and
Tools course builds on the foundation laid out in Pro Tools 101 placement, EQ, compression and vocal production techniques.
as it explores the industry standard Pro Tools Digital Audio Two lecture hours per week for one quarter.
Workstation (DAW) in greater detail. Students reinforce the
core concepts and techniques needed to competently operate ARTST-201 | RECORDING TECHNIQUES FOR SONGWRITERS
a Pro Tools system running mid-sized sessions, helping to & PRODUCERS 2 (2)
prepare them for entry-level positions in virtually any aspect of Prerequisite: ARTST-101 Recording Techniques for
the audio industry. Completion of the course prepares students Songwriters & Producers 1. Building on the foundation of
for the Avid 110 Pro Tools (User) Certified Specialist Exam v. Recording Techniques for Songwriters & Producers 1, this
2023 (Part 2 of 2). Two lecture hours per week for one quarter. course focuses on the mixing and mastering process. Students
learn how to turn basic tracks into dynamic and professional
AUDIO-052 | STUDIO RECORDING 1: LOGIC 1 (1) finished products. Topics include effects, mixing, mastering,
This course introduces songwriters, composers, producers buying equipment and home-studio setup. Two lecture hours
and sound engineers to the primary features and basic user per week for one quarter.
interface of Logic Pro X. Upon completion, students will be
exposed to the process of creating an actual song, from start
ARTST-111 | PROJECT ADVISING 1 (2)
to finish! Preproduction using Apple Loops, recording/editing
Working in close consultation with project advisors, begin
audio & MIDI, arranging tracks and producing drum beats
planning and creating your final Independent Artist project,
with a virtual drummer, as well as basic mixing and automation
techniques will be touched on. This course covers the including two or more original songs, artwork, an Internet
requirements needed (Part 1 of 2) to take the Apple Certified presence, a press kit and a marketing/career plan. Initial
Pro Level One exam in Logic Pro X. Two lab hours per week for assignments include choosing a project category/focus,
one quarter. creating a production schedule and creating a project proposal.
One lecture hour per week for one quarter.
AUDIO-152 | STUDIO RECORDING 2: LOGIC 2 (1)
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1. ARTST-107 | SONGWRITING FOR ARTISTS 1 (1.5)
This course is a continuation of the Logic Pro X 10.4.x user This course is a hands-on introduction to the methods
and practices of modern songwriting for the contemporary
COURSES

interface for songwriters, composers, producers, and sound

engineers. Upon completion, students will understand how to independent music artist. Topics covered include: genre-based
use Logic Pro’s comprehensive array of software instruments, song structure studies, lyric writing, reverse-engineering, and
arranging of MIDI sequences, as well as editing with Flex Time effective chord progressions, melody, and groove. Students will
& Pitch, Keep Tempo, Smart Controls, Advanced Audio & MIDI examine and work with multiple songwriting styles, structures,
Recording/Editing Techniques, and trouble-shooting. This and examples, analyzing both classic and current hit songs.
course addresses the requirements needed (Part 2 of 2) to take Students will develop their skills as independent songwriters
the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab through weekly writing exercises, and apply what they have
hours per week for one quarter. learned by creating and presenting a fully-finished song at the
end of the course. One lecture hour and one lab hour per week,
AUDIO-058 | ABLETON LIVE 1 (1) per quarter.
A practical application of digital recording techniques using
Ableton Live, this course provides an overview for songwriters ARTST-207 | SONGWRITING FOR ARTISTS 2 (1.5)
and artists on the fundamentals of the recording process, Prerequisite: ARTST-107 Songwriting for Artists 1 or SONG-
including file and session setup, tracking, arranging, editing, 101 Songwriting 1. Building on the concepts and methods from
and mixing. Upon successful completion of the course, level 1, this course further explores the art and application of
students will be able to compose, record, and produce music songwriting for modern independent music artists. Students
using Ableton Live. Two lab hours per week for one quarter.
will dig deeper into detailed analysis of various genres of
songwriting styles, practice more advanced lyric writing
AUDIO-158 | STUDIO RECORDING 2: ABLETON LIVE 2 (1) techniques, and produce more complex melodies, chord
Prerequisite: AUDIO-058E Ableton Live 1. Building on
progressions, and rhythm/groove. In addition, students will learn
Ableton Live 1, this course provides a more in-depth practical
crucial knowledge about navigating the business of songwriting
application of digital recording techniques using Ableton
Live, including effects, timing, pitch correction, automation, with respect to publishing, performance rights organizations
mastering, and sound for picture. Upon successful completion (PROs), and copyright. Students will work both independently
of this course, students will be able to produce a project from and collaboratively on various creative songwriting exercises,
beginning to end. Two lab hours per week for one quarter. which will culminate in a final presentation of one or more
completed songs at the end of the quarter. One lecture hour
ARTST-101 | RECORDING TECHNIQUES FOR SONGWRITERS and one lab hour per week, per quarter.
& PRODUCERS 1 (2)
Learn to produce professional recordings in a project studio ARTST-211 | PROJECT ADVISING 2 (2)
environment. This portion of this course focuses on recording Prerequisite: ARTST-111 Project Advising 1. Working in close
fundamentals and the process of tracking and overdubbing. consultation with project advisors, students continue to develop
Students learn how to record their original songs using the a music performance, production, and marketing plan for their
final culminating experience (The Final Project). They also

159 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
complete a promotional package, to consist of a recording of Internet has opened up an enormous opportunity for musicians
their recording and supporting materials. The final package to promote themselves directly to music fans. This class
must be defended before a faculty committee chaired by the focuses on the technical skills needed to promote music online.
student’s advisor/mentor. One lecture hour per week for one Topics include: building a strong online presence, creation
quarter. of a content-rich artist website, online marketing tools and
strategies, video editing basics, and social media. Two lecture
ARTST-203 | FINAL PROJECT FOR THE INDEPENDENT hours per week for one quarter.
ARTIST (2)
Prerequisite: ARTST-111 Project Advising 1. Co-requisite: MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2)
ARTST-211 Project Advising 2. Students are required to This course reveals basic marketing concepts applicable to
complete a culminating experience that serves as both any professional business venture and focuses on the creation
a practicum and bridge to the professional world. This of a fully customized, low-budget marketing plan of attack.
directed study project enables the student to utilize his/ Furthermore, at a time when new technologies make it more
her research within (and experience from) our Visual Media, possible than ever for artists to leverage their own careers,
Recording Project, Independent Artist Marketing and Artist there has never been a greater need for practical, independent
Identity courses. During the quarter, the student will work in marketing advice. After identifying a business vision, students
consultation with a mentor during weeks 2, 4, 7 and 10 to conduct research, set short-term goals, and create an
develop his/her unique, professional project, which will include integrated mix of marketing strategies to achieve their objective,
a set of compositions/arrangements, videos, DIY marketing including defining an image, brand, position, and format,
plan, website and album art. Two lecture hours per week for identifying the target audience, gaining access to radio, as
one quarter. well as effectively utilizing live shows, the Internet, press, video
promotion, advertising and sponsorships, sales and licensing.
PROFESSIONAL DEVELOPMENT // INDEPENDENT Students create a complete marketing plan utilizing handy
templates included in the course resource, and receive useful
ARTIST DEVELOPMENT feedback during three in-class work hours. Two lecture hours
per week for one quarter.
MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1
(1.5)
MUSICIANSHIP // INDEPENDENT ARTIST

COURSES
The first in a two-quarter course sequence, designed toprovide
students with an understanding of the entertainment DEVELOPMENT
industry, as it exists today, and essential knowledge for
sustaining a career in the digital era. In Business Practices for ARTST-106 | MUSICIANSHIP 1 (1.5)
Musicians 1, topics include an overview of industry structure, Designed for aspiring music professionals, this course is
the artist’s team (manager, attorney, agent, etc.), copyrights the study of popular music composition devices and their
and music publishing, band partnerships and solo artists, foundation in basic music theory. This is accomplished
employment agreements, work-for-hire, unions and more. One through the analysis of popular harmonic structures, melodies
lecture hour per week for one quarter. and various common rhythmic patterns. Basic harmony and
theory will be covered, including the role of melody, harmony
MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2 and rhythm, major vs. minor chord qualities, Roman numeral
(1.5) harmonic analysis, song form and the basics of chart creation.
Prerequisite: MUBUS-0360 Business Practices for Musicians Students will also be introduced to basic rhythmic notation and
1. This course is a continuation of Business Practices for will study ear training by using popular songs as examples. Two
Musicians 1, further covering the most important areas and lecture hours per week for one quarter.
aspects of the entertainment industry. Topics include: record
labels (major and indie), types of deals, the DIY market, ARTST-206 | MUSICIANSHIP 2 (1.5)
distribution, touring, merchandising, and more. S.M.A.R.T. goal Prerequisite: ARTST-106 Musicianship 1. Building on
setting is also covered to support students in creating a path to Musicianship 1, this course provides a more in-depth practical
career success. One lecture hour per week for one quarter. application of Harmony and Theory, addressing concepts such
as Time Signatures, Minor Scales, Triad Cadences, Inversions
CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2) and Voice Leading. Upon successful completion of this course,
Students learn how to use Adobe Photoshop to design original students will be able to effectively communicate with other
CD artwork, flyers, promotional tools, and other visual materials music professionals by using appropriate music terminology,
vital to modern artists. Emphasis is on creating exciting and which will prove invaluable during writing or recording sessions
expressive designs that directly support music marketing in the studio. Two lecture hours per week for one quarter.
campaigns. Topics covered in this class include: typography,
flyer design, album artwork design, image manipulation, ELECTIVES // INDEPENDENT ARTIST DEVELOPMENT
merchandise design, and more. Two lecture hours per week for
one quarter. PROGRAM-SPECIFIC ELECTIVES

CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2) ARTST-010E | MUSIC PRODUCTION WORKSHOP (1)
Prerequisites: CC-307 Graphic Design for Artists 1. The Computer-based weekly one-on-one workshop with an

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 MI HOLLYWOOD COURSE DESCRIPTIONS
instructor who guides the student in developing technique, use effective branding strategies as well as practical skills to
musicianship, and style in support of music production create and post relevant content. One lecture hour per week for
skills. Students learn how to enhance their basic production one quarter.
knowledge into dynamic and professional quality material.
Topics include drum programming, sampling, remixing, synth ARTST-119E | SOCIAL MEDIA BRANDING FOR THE
development and more. One workshop hour per week for one INDEPENDENT ARTIST 2 (1)
quarter. May be repeated for credit. Prerequisite: ARTST-319 or CC-019E Social Media Branding
1. This course continues to navigate the world of Social
ARTST-013E | INTRO TO MUSIC PUBLISHING (1) Media for musicians. By further developing their storytelling
An overview of music publishing from the artist’s perspective. skills, students will grow their social media channels through
Topics include copyright basics, how co-writers divide song and visuals and will gain practical experience in live
percentages in a composition, when the producer gets streaming and on-the-go filmmaking to showcase their
credit, protecting your compositions (PA and SR forms), what musical abilities. Upon successful completion of this course,
publishing companies can do for your career (song-plugging, students will be able to create and regularly post content on
advances, administration, marketing funds), and more. One Social Media platforms while putting solid strategies in place
lecture hour per week for one quarter. to continue building their fan base and monetizing via Social
Media. One lecture hour per week for one quarter.
ARTST-014E | MUSIC PRODUCTION ANALYSIS (1)
Group-based course in which students and instructor listen to ARTST-021E | PERSONAL FINANCE FOR THE INDEPENDENT
and discuss music of different styles and genres. Discussions ARTIST (1)
center on what production techniques are being employed Using practical and proven concepts, the course will offer an
musically and sonically. One discussion-based lecture hour per introduction to saving, banking, building and paying off credit,
week for one quarter. protecting oneself against identity theft, investing (stocks,
bonds, mutual funds), building retirement plans, understanding
ARTST-015E | THE WORKING SONGWRITER (1) basic tax concepts, and protecting oneself and one’s
This course will dive deeper into the realm of current industry possessions with necessary insurance (auto, home/renter,
hit songwriting and help students learn what it takes to become equipment, and life). Upon completion of this course, students
a working songwriter plus practice current forms of industry will be able to think more practically about money, understand
COURSES

songwriting techniques. One lecture hour per week for one how to better manage consumer credit, build a higher credit
quarter. rating score, and how to manage their financial resources. One
lecture hour per week for one quarter.
CIS-016E | BEAT MAKING AND MASCHINE (1)
Prerequisite: Successful completion of one of the following ARTST-022E | BUILDING A SUCCESSFUL YOUTUBE
courses: AUDIO-057 Pro Tools 101, AUDIO-052 Logic 1, CHANNEL (1)
AUDIO-058 Ableton I, or DJ-058 Ableton Live for DJs and This is an introductory course on creating a successful YouTube
Electronic Music Producers 1. An introduction to the use and music channel. Students will study how to create, edit and post
utility of Maschine Sampler software. Students will be exposed music videos to their YouTube channel. Upon completion of this
to modern production and programming techniques using course, students will be able to independently and successfully
Native Instruments’ Maschine. Upon completing this course, manage their YouTube channel. Topics addressed will include
students will be able to create beat sequences as well as more original content creation, how to increase audience traffic and
complex productions and remixes using the Maschine software boost organic views, time management and post scheduling,
and hardware suite. Two lab hours per week for one quarter. seeking branding and sponsorships, collaborations via
YouTube, as well as understanding metrics and analytics. One
ARTST-018E | ACCENT REDUCTION (1) lecture hour per week for one quarter.
This course enables non-native English speaking students
to develop an American English accent for effective English- ARTST-032E | LIVE PERFORMANCE WORKSHOPS (1)
language vocals. Students learn to break words into their Live Performance Workshops (LPWs) and Ensembles provide
phonetic elements and identify and concentrate on specific students with a wide range of opportunities to gain valuable
problematic sounds. One lecture-lab hour per week for one performing experience by concentrating in one area or by
quarter. sampling a variety of styles and musical settings. A minimum of
ten performance credits are required per quarter.
ARTST-019E | SOCIAL MEDIA BRANDING FOR THE
INDEPENDENT ARTIST (1) ARTST-051E | MUSIC PRODUCTION (1)
This is an introductory course on navigating the world of social This course exposes students to the “ins and outs” of both
media as a musician. Students will study how to share their the business and creative sides of album production. Classes
story and music effectively through Social Media platforms are hands-on, intensive, and real-world, covering concepts
such as YouTube, Facebook and Instagram. Throughout this such as budgeting, choosing studios and musicians, working
course, students will be guided through various practical with engineers and management, and finessing the best
steps to shape their image and expand their fan base. Upon performance out of artists. Two lab hours per week for one
successful completion of this course, students will be able to quarter.

161 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
discover how to engage vocal effects and operate presets that
ARTST-080E | KEYBOARD ESSENTIALS FOR THE result in vocal versatility while onstage. Two lecture/ensemble
INDEPENDENT ARTIST (1) hours per week for one quarter.
This is an introductory course on contemporary keyboard
technique. Through the study of physical posture, major scales ARTST-214E | PLUGIN PROCESSING (1)
and common chord progressions, this course will enable Prerequisite: Successful completion of one of the following
students to develop the necessary motor skills required courses: AUDIO-057 Pro Tools 101, or AUDIO-052 Logic
for using the keyboard as an arranging and compositional 1, or ARTST-101 Recording Techniques for Songwriters
tool. Upon completion of this course, students will gain a & Producers 1. This course covers topics such as EQ,
basic knowledge of keyboard skills through focused study compression, reverb, delay, pitch correction, sound replacing,
of performance posture, practice routine development, and signal flow. Students will be exposed to different types of
major scale construction, finger dexterity, interval and triad effects processors, as well as how to operate and apply them
construction as well as common chord progressions. One to recorded music. Upon successful completion of this course,
lecture hour per week for one quarter. students will understand how to use and implement these tools
appropriately. One lecture hour per week for one quarter.
ARTST-180E | KEYBOARD ESSENTIALS FOR THE
INDEPENDENT ARTIST 2 (1) ARTST-260E | ARTIST PRODUCER AND ENTREPRENEUR
Prerequisite: ARTST-080E Keyboard Essentials for IAP 1 INTERNSHIP (1)
or ARTST-380 Keyboard Essentials 1. Building upon the Prerequisite: completion of one quarter of study in the Artist,
foundation provided in Keyboard Essentials 1, this course Producer & Entrepreneur Program in residence. Students
focuses on more advanced contemporary keyboard techniques gain practical experience working with a music industry-
through the introduction and study of 4-note chords. Topics related company in the Los Angeles area. The student will
include Major and Minor 7, Dominant 7, Augmented and assist in the daily operations of a music company, working
Diminished 7, Sus4 and Sus2 chords, natural minor and blues with record labels, publishing companies, booking agents,
scales. Upon completion of this course, students will be able venues, marketing, publicity companies, and other music
to continue developing the necessary motor skills and music related entities. Music students can take this elective during
vocabulary required for using the keyboard as an arranging, any quarter after the first quarter is completed. They MUST
compositional and production tool. One Lecture hour per week complete at least 30 internship hours per enrolled quarter. May

COURSES
per quarter. be repeatable for credit.

ARTST-111E | SYNTHESIS AND SAMPLING 2 (1) AUDIO-215 | VOCAL PRODUCTION (1)

Prerequisites: ARTST-011E Synthesis and Sampling 1. More Prerequisite: Successful completion of one of the following
advanced elements of subtractive synthesis as well as an courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic
introduction to FM and granular synthesis. Students also learn 1, or ARTST 101 Recording Techniques for Songwriters &
to work with hardware synths and samplers, such as the Little Producers 1. Using industry standard programs Pro Tools
Phatty and Akai MPC. One lecture hour per week for one and Logic Pro X, the course will explore templates, project
quarter. management, EQ, Compression, vocal FX, comping, bussing,
vocal alignment, printing stems, and remixing techniques, as
ARTST-153E | PROJECT STUDIO DESIGN (1) applied to vocal production. One lecture hour per week for one
Prerequisite: ARTST-101 Recording Techniques for quarter.
Songwriters & Producers 1. This course covers the process
of planning, designing, equipping, and setting up a project/ IAP Private Lesson (2)
home studio capable of professional recording studio results. ARTST-BPL (Bass)
Acoustic theory and design genesis, budget priorities, ARTST-DPL (Drum)
ergonomic/workflow layout, recording gear, monitoring ARTST-GPL (Guitar)
systems, headphone choices, the deployment of various ARTST-KPL (Keyboard)
types of corrective acoustical treatments, studio AC power ARTST-VPL (Vocal)
considerations, sound isolation principles and techniques,
construction materials, bass traps, diffuser types, electronic Weekly lesson with an instructor who guides the student in
room correction, décor, lighting, studio furniture, heating developing technique, musicianship, and style in support of
ventilation and air conditioning will all be covered. Two lab student goals and program requirements. One private lesson
hours per week for one quarter. hour per week for one quarter. May be repeated for credit.

ARTST-205E | TC HELICON FOR VOCALISTS 1 (1) AUDIO-216 | MUSIC MASTERING (1)

Prerequisite: Audition required for IAP Students. Please contact Prerequisite: Successful completion of one of the following
your Program Chair via email to schedule an audition. This courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic
course provides students with skills to record, loop and design 1, AUDIO-058 Ableton 1. Students will study the theory, art,
vocals in live performance situations. The class will create vocal and practical applications of mastering music. Discussion
improvisations and harmonies with diverse effects that expand and practice will include analyzing stylistic approaches for
a vocalist’s presentation utilizing TC Helicon’s VoiceLive Touch
2, a vocal effects processor and looping device. The class will

162
 MI HOLLYWOOD COURSE DESCRIPTIONS
mastering various genres of music, understanding specific One lecture hour per week for one quarter.
technical requirements for mastered products and the practical
applications of typical analog and digital mastering processors. ARTST-211 | PROJECT ADVISING 2 (2)
Two lab hours per week for one quarter. Prerequisite ARTST-111 Project Advising 1. Working in close
consultation with project advisors, students continue to develop
ARTIST/PRODUCER/ENTREPRENEUR a music performance, production, and marketing plan for their
final culminating experience (The Final Project). They also
MAJOR AREA/ ARTIST/PRODUCER/ENTREPRENEUR complete a promotional package, to consist of a recording of
their recording and supporting materials. The final package
ARTST-101 | RECORDING TECHNIQUES FOR SONGWRITERS must be defended before a faculty committee chaired by the
& PRODUCERS 1 (2) student’s advisor/mentor. One lecture hour per week for one
Learn to produce professional recordings in a project-studio quarter.
environment. This portion of this course focuses on recording
fundamentals and the process of tracking and overdubbing.
Students learn how to record their original songs using the ARTST-311 | PROJECT ADVISING 3 (2)
school’s studios as well as their own home setups. Specific Prerequisite ARTST-211 Project Advising 2. Working in close
topics include project-studio terminology, mic choice and consultation with various project advisors, whom they are
placement, EQ, compression and vocal production techniques. required to meet with at least once a week, students begin
Two lecture hours per week for one quarter. planning and creating their final project, including five or more
original songs, artwork, an internet presence, four videos, a
press kit and a marketing/career plan. One lecture hour per
ARTST-201 | RECORDING TECHNIQUES FOR SONGWRITERS week for one quarter.
& PRODUCERS 2 (2)
Prerequisite: ARTST-101 Recording Techniques for
Songwriters & Producers 1. Building on the foundation of
ARTST-411 | PROJECT ADVISING 4 (2)
Prerequisite ARTST-311 Project Advising 3. Working in close
Recording Techniques for Songwriters & Producers 1, this
consultation with various project advisors, with whom they
course focuses on the mixing and mastering process. Students
are required to meet at least once a week, students begin
learn how to turn basic tracks into dynamic and professional
planning and creating their final project, including three or more
finished products. Topics include effects, mixing, mastering,
original songs, artwork, an internet presence, a press kit and
buying equipment, and home studio setup. Two lecture hours
a marketing/career plan. One lecture hour per week for one
COURSES

per week per quarter.

quarter.
ARTST-301 | RECORDING TECHNIQUES FOR SONGWRITERS ARTST-103 | ARTIST IDENTITY (1)
& PRODUCERS 3 (2) This is a workshop in which students explore various concepts
Prerequisite: ARTST-201 Recording Techniques for of aesthetics, with a focus on developing their own musical
Songwriters & Producers 2. This course delves deeper aesthetic philosophy, artistic identity and personal branding.
in to the specifics of production, with an increased focus Students present their own original material to the class for
on performance, arrangement, and recording. Students feedback and advice. Guest lecturers and artists-in-residence
learn what it takes to transform their tracks into dynamic, from a variety of diverse backgrounds will also join the
professional products. Topics include production vision, discussions. One lecture hour per week for one quarter.
home studio setup, live instrument tracking, time/pitch editing,
MIDI performance/programming, and virtual instruments/
samplers. Upon completion of this course, students should be
ARTST-106 | MUSICIANSHIP 1 (1.5)
Designed for aspiring music professionals, this course is
able to conceptualize and execute all steps needed to create
the study of popular music composition devices and their
commercial-quality recordings leading up the post-production
foundation in the basic music theory. This is accomplished
stage. Two lecture hours per week for one quarter.
through the analysis of popular harmonic structures, melodies,
and various common rhythmic patterns. Basics of harmony
ARTST-401 | RECORDING TECHNIQUES FOR SONGWRITERS and theory will be covered, including the role of melody,
& PRODUCERS 4 (2) harmony and rhythm, major vs. minor chord qualities, Roman
Prerequisite: ARTST-301 Recording Techniques for numeral harmonic analysis, song form and the basics of chart
Songwriters & Producers 3. Building on the foundation of creation. Students will also be introduced to basic rhythmic
Recording Techniques for Songwriters & Producers 3, this notation and will study ear training by using popular songs as
course focuses on the mixing and mastering process. Students examples. Upon completing this course students will be able
learn how to turn basic tracks into dynamic and professional to effectively communicate with other musical professionals by
finished products. Topics include remixing, mix bus processing, using appropriate music terminology, which will prove invaluable
and mix delivery. Two lecture hours per week for one quarter. during writing or recording sessions in the studio. This course
is equivalent to the DJ Performance and Production Program’s
ARTST-111 | PROJECT ADVISING 1 (2) Musicianship course (DJ-106). This course is NOT equivalent
Working in close consultation with project advisors, begin to the Audio Engineering Department’s Musicianship course
planning and creating your final Independent Artist project, (AUDIO-106). One lecture hour and one lab hour per week for
including two or more original songs, artwork, an Internet one quarter.
presence, a press kit and a marketing/career plan. Initial
assignments include choosing a project category/focus, ARTST-206 | MUSICIANSHIP 2 (1.5)
creating a production schedule and creating a project proposal. Prerequisite: ARTST-106 or DJ-106 Musicianship 1. Building on

163 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Musicianship 1, this course provides a more in-depth practical ARTST-207 | SONGWRITING FOR ARTISTS 2 (1.5)
application of Harmony and Theory, addressing concepts such Prerequisite: ARTST-107 Songwriting for Artists 1 or SONG-
as Time Signatures, Minor Scales, Triad Cadences, Inversions, 101 Songwriting 1. Building on the concepts and methods from
and Voice Leading. Upon successful completion of this course, level 1, this course further explores the art and application of
students will be able to effectively communicate with other songwriting for modern independent music artists. Students
music professionals by using appropriate music terminology, will dig deeper into detailed analysis of various genres of
which will prove invaluable during writing or recording sessions songwriting styles, practice more advanced lyric writing
in the studio. One lecture hour and one lab hour per week for techniques, and produce more complex melodies, chord
one quarter. progressions, and rhythm/groove. In addition, students will learn
crucial knowledge about navigating the business of songwriting
ARTST-306 | MUSICIANSHIP 3 (1.5) with respect to publishing, performance rights organizations
Prerequisite: ARTST-206 or DJ-206 Musicianship 2. This (PROs), and copyright. Students will work both independently
course provides continued study of popular music composition and collaboratively on various creative songwriting exercises,
devices and their foundation in music theory and ear training. which will culminate in a final presentation of one or more
This is accomplished through the analysis of popular harmonic completed songs at the end of the quarter. One lecture hour
structures, melodies and various common rhythmic patterns. and one lab hour per week, per quarter.
Topics will include the role of melody, harmony and rhythm,
common chord progressions, 7th chords, song form and the ARTST-307 | SONGWRITING FOR ARTISTS 3 (1.5)
basics of chart creation will be covered, as well as continued Prerequisite: ARTST-207 or CC-207 Songwriting for Artists
study of ear training. Upon completion of this course, students 2. Building on the fundamental techniques learned throughout
will be able to understand advanced harmonic concepts Songwriting for Artists 1 & 2, this project-focused “bootcamp”
and to demonstrate a high degree of proficiency in the aural style course provides continued analysis and practice of
recognition skills required by a professional musician. One popular music composition devices in preparation for writing
lecture hour and one lab hour per week per quarter. songs in the contemporary marketplace. Covered topics include
arranging, complex chord progressions, modulation, writing
ARTST-406 | MUSICIANSHIP 4 (1.5) from an acapella, use of metaphor, simile and imagery and co-
Prerequisite: ARTST-306 Musicianship 3. Building on writing collaboration preparation. This is accomplished through
Harmony/Theory/Ear Training for Independent Artists 3 reading, listening and analysis of popular songs demonstrating
(Musicianship 3), this course provides students with detailed the week’s techniques, weekly songwriting assignments, plus

COURSES
instruction in the principles of modulation, tonicization, in-class individual exercises and/or collaborations. One lecture
and reharmonization and how different types of diminished hour and one lab hour per week for one quarter.
7th chords resolve within chord progressions. Advanced
concepts such as second inversion triads, smaller formal ARTST-407 | SONGWRITING FOR ARTISTS 4 (1.5)
structures, sequences, and irregular resolution will also be Prerequisite: ARTST-307 Songwriting for Artists 3. Building
addressed. Students will also be introduced to such topics upon the foundation provided in Songwriting for Artists 3,
as aural recognition skills using the solfege labeling system; this course focuses on more advanced songwriting tips and
concentrates on identification, arpeggiation, sightsinging, techniques, further study of lyrical development, melody,
dictation, and transcription of musical elements that are groove and chords, as well as continued analytical study of
diatonic to Minor key centers (Natural Minor, Harmonic Minor, contemporary songs. One lecture and one lab hour per week
and Melodic Minor) including single notes, intervals, diatonic for one quarter.
triads and seventh chords, and melodic patterns. Upon
completion of this course, students will be able to understand ARTST-353 | MUSIC VIDEO BOOT CAMP (1.5)
advanced harmonic concepts such as second inversion triad An introductory course in creating simple, single-camera-style
formation, smaller formal structures, and diatonic and chromatic music videos. Students, sourcing their own bands or artists, will
modulation. Students will also be able to demonstrate a high create a music video under the guidance of the instructor in a
degree of proficiency in the aural recognition skills required by series of seminar-style workshops. Topics covered will be: the
a professional musician. One lecture hour and one lab hour per basics of directing performance, camera operation, and video
week per quarter. editing. One lecture hour and one lab hour per week for one
quarter.
ARTST-107 | SONGWRITING FOR ARTISTS 1 (1.5)
This course is a hands-on introduction to the methods ARTST-319 | SOCIAL MEDIA BRANDING FOR THE
and practices of modern songwriting for the contemporary INDEPENDENT ARTIST (1)
independent music artist. Topics covered include: genre-based This is an introductory course on navigating the world of social
song structure studies, lyric writing, reverse-engineering, and media as a musician. Students will study how to share their
effective chord progressions, melody, and groove. Students will story and music effectively through Social Media platforms such
examine and work with multiple songwriting styles, structures, as YouTube, Facebook and Instagram. Throughout this course,
and examples, analyzing both classic and current hit songs. students will be guided through various practical steps to
Students will develop their skills as independent songwriters shape their image and expand their fan base. Upon successful
through weekly writing exercises, and apply what they have completion of this course, students will be able to use effective
learned by creating and presenting a fully-finished song at the branding strategies as well as practical skills to create and post
end of the course. One lecture hour and one lab hour per week, relevant content. One lecture hour per week for one quarter.
per quarter.
ARTST-419 | SOCIAL MEDIA BRANDING FOR THE

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 MI HOLLYWOOD COURSE DESCRIPTIONS
INDEPENDENT ARTIST (1) AUDIO-215 | VOCAL PRODUCTION (1)
Prerequisite: ARTST-319 or CC-019E Social Media Branding Prerequisite: Successful completion of one of the following
1. Building upon the foundation provided in Social Media courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic
Branding 1, this course focuses on more advanced concepts 1, or ARTST 101 Recording Techniques for Songwriters &
in navigating the world of social media as a musician. Students Producers 1. Using industry standard programs Pro Tools
will continue to study how to share their story effectively and Logic Pro X, the course will explore templates, project
through song and visuals by fully harnessing the power of management, EQ, Compression, vocal FX, comping, bussing,
Social Media platforms such as YouTube, Facebook and vocal alignment, printing stems, and remixing techniques, as
Instagram. Students will gain experience in live streaming applied to vocal production. One lecture hour per week for one
and on-the-go filmmaking aimed at showcasing their musical quarter.
abilities. Upon successful completion of this course, students
will be better able to use more advanced branding strategies ARTST-403 | FINAL PROJECT FOR APE (2)
as well as practical skills to create, post and monetize relevant Prerequisite: ARTST-302 Project Advising 3. Corequisite:
content and build their fan base. One lecture hour per week for ARTST-402 Recording Techniques for Songwriters &
one quarter. Producers 4. Students are required to complete a culminating
experience that serves as both a practicum and bridge to
ARTST-380 | KEYBOARD ESSENTIALS 1 (1) the professional world. This directed study project enables
This is an introductory course on contemporary keyboard the student to utilize his/her research within (and experience
technique. Through the study of physical posture, major scales from) our Visual Media, Recording Project, Songwriting,
and common chord progressions, this course will enable Video, Social Media Branding and Artist Identity courses.
students to develop the necessary motor skills required During the quarter, the student will work in consultation with a
for using the keyboard as an arranging and compositional mentor during weeks 2, 4, 7 and 10 to develop his/her unique,
tool. Upon completion of this course, students will gain a professional project, which will include a set of compositions/
basic knowledge of keyboard skills through focused study arrangements, videos, DIY marketing plan, website and album
of performance posture, practice routine development, art. A committee evaluates the final project that results from the
major scale construction, finger dexterity, interval and triad culminating experience.
construction as well as common chord progressions. One
lecture hour per week for one quarter. MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1
(1.5) The first in a two-quarter course sequence, designed
COURSES

ARTST-480 | KEYBOARD ESSENTIALS 2 (1) toprovide students with an understanding of the entertainment
Prerequisite requirement: ARTST-380 Keyboard Essentials 1. industry, as it exists today, and essential knowledge for
Building upon the foundation provided in Keyboard Essentials sustaining a career in the digital era. In Business Practices for
1, this course focuses on more advanced contemporary Musicians 1, topics include an overview of industry structure,
keyboard techniques through the introduction and study of the artist’s team (manager, attorney, agent, etc.), copyrights
4-note chords. Topics include Major and Minor 7, Dominant 7, and music publishing, band partnerships and solo artists,
Augmented and Diminished 7, Sus4 and Sus2 chords, natural employment agreements, work-for-hire, unions and more. One
minor and blues scales. Upon completion of this course, lecture hour per week for one quarter.
students will be able to continue developing the necessary
motor skills and music vocabulary required for using the MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2 (1.5
keyboard as an arranging, compositional and production tool. ) Prerequisite: MUBUS-0360 Business Practices for Musicians
One Lecture hour per week per quarter. 1. This course is a continuation of Business Practices for
Musicians 1, further covering the most important areas and
ARTST-454 | MUSIC VIDEO EDITING WITH ADOBE PREMIERE aspects of the entertainment industry. Topics include: record
(1.5) labels (major and indie), types of deals, the DIY market,
An introduction to editing music videos and other short-form distribution, touring, merchandising, and more. S.M.A.R.T. goal
video content. Techniques include importing footage, file setting is also covered to support students in creating a path to
management, time code, building sequences, working with career success. One lecture hour per week for one quarter.
effects and transitions, fine-cutting, and delivering outputs
from Adobe Premiere Pro. The quarter culminates with the CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2)
student editing their final project to completion. Students will Students learn how to use Adobe Photoshop to design original
be exposed to the basic skills of editing, color correction, and CD artwork, flyers, promotional tools, and other visual materials
creating outputs. Upon completion of this course, students will vital to modern artists. Emphasis is on creating exciting and
be able to understand the post-production process and how expressive designs that directly support music marketing
it relates to other aspects of production. One lecture hour and campaigns. Topics covered in this class include: typography,
one lab hour per week per quarter. flyer design, album artwork design, image manipulation,
merchandise design, and more. Two lecture hours per week for
ARTST-413 | FINAL CUT PRO X (1.5) one quarter.
A course designed to familiarize the beginning to seasoned
film editor on the variety of features available in Final Cut Pro X. CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2)
Topics will include transforming clips, manipulating audio, color Prerequisite: CC-307 Graphic Design for Artists 1. The
correcting, and multi-camera editing. One lecture hour and one Internet has opened up an enormous opportunity for musicians
lab hour per week for one quarter. to promote themselves directly to music fans. This course
focuses on the technical skills needed to promote music online.

165 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Topics include: building a strong online presence, creation of 2). Two lecture hours per week for one quarter.
of a content-rich artist website, online marketing tools and
strategies, video editing basics and social media. Two lecture
hours per week for one quarter.
AUDIO-157 | PROTOOLS 110 (2)
Prerequisite: AUDIO-057 Pro Tools 101. This second Pro
Tools course builds on the foundation laid out in Pro Tools 101
MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2)Learn as it explores the industry standard Pro Tools Digital Audio
do-it-yourself grass-roots marketing strategies designed for Workstation (DAW) in greater detail. Students reinforce the core
limited budgets. Each student guides an independent artist’s concepts and techniques needed to competently operate a Pro
album through the entire marketing process, including defining Tools system running mid-sized sessions, helping to prepare
an image, brand, position, and format, identifying the target them for entry-level positions in virtually any aspect of the audio
audience, creating practical plans for booking live shows, industry. Completion of the course prepares students for the
gaining access to radio, Internet, press, and video promotion, Avid 110 Pro Tools (User) Certified Specialist Exam v. 2023 (Part
advertising and sponsorships, sales and distribution, film and 2 of 2). Two lecture hours per week for one quarter.
TV licensing, and development and distribution of press kits.
As the final project, students track, compile, and report on
marketing results. This is the real thing! Two lecture hours per
AUDIO-058 | ABLETON LIVE 1 (1)
A practical application of digital recording techniques using
week for one quarter.
Ableton Live, this course provides an overview for songwriters
and artists on the fundamentals of the recording process,
MUBUS-0202 | MEDIA RELATIONS (2) including file and session setup, tracking, arranging, editing, and
The Internet has forever changed the music industry. This mixing. Upon successful completion of the course, students will
course covers all aspects of how the Internet has impacted be able to compose, record, and produce music using Ableton
music industry distribution, promotion, marketing and retail Live. Two lab hours per week for one quarter.
practices. Topics include: blogging, podcasts, widgets and
online retail. Students engage in real-time research. Two
lecture hours per week for one quarter.
AUDIO-158 | ABLETON LIVE 2 (1)
Prerequisite: AUDIO-058 Ableton Live 1. Building on Ableton
Live 1, this course provides a more in-depth practical application
AUDIO-052 | LOGIC 1 (1) of digital recording techniques using Ableton Live, including
This course introduces students to the primary features and synthesis, building racks, advanced audio effects, dummy clips,
basic user interface of Logic Pro X. The class explores the remixing, and live performance. Upon successful completion of

COURSES
process of creating an actual song, from start to finish. Pre- this course, students will have tools to create their own sounds
production using Apple Loops, recording/editing audio and and effects as well as have building blocks to perform live. Two
midi, arranging of tracks, producing drum beats with a virtual lab hours per week for one quarter.
drummer, as well as basic mixing and automation techniques
are explored. This course addresses the requirements needed
(Part 1 of 2) to take the “Apple Certified Pro” exam in Logic Pro MUSIC BUSINESS
X 10.4. Two lab hours per week for one quarter. MAJOR AREA // MUSIC BUSINESS (CERTIFICATE)
AUDIO-152 | LOGIC 2 (1) MUBUS-104 | YOUR MUSIC BUSINESS CAREER (2)
Prerequisite: AUDIO-057 Pro Tools 101. This course expands An overview of the varied career opportunities available in the
upon the basic principles taught in Pro Tools 101 and music business, including job descriptions ranging from on-
introduces the core concepts and techniques students need air radio personality to production manager to music-related
to competently operate a Pro Tools system running mid-
teaching. Students receive individual career planning advice
sized sessions. Students learn to build sessions designed
from the Music Business Program Director and guest speakers
for commercial purposes and improve the results of their
recording, editing, and mixing efforts. Completion of the course provide professional insights. Two lecture hours per week for one
prepares students to the Avid 101 Pro Tools Certified User quarter.
Exam v. 2020 (Part 2 of 2). Two lecture hours per week for one
quarter. MUBUS-120 | MUSIC BUSINESS LAW AND CONTRACTS 1 (2)
This course is designed to develop an understanding of the
fundamentals of law and legal rights which permeate the music
AUDIO-057 | PROTOOLS 101 (2) industry by providing an overview of legal concepts which govern
This course introduces fundamental Pro Tools concepts and
all business activities, with particular emphasis on those which
principles, covering everything an individual needs to know
play a significant role in music- related transactions, including
to complete a basic Pro Tools project, from initial setup to
final mixdown. Students learn to build sessions that include copyrights, trademarks, “name & likeness” (publicity rights),
multitrack recordings of live audio, MIDI sequences, and virtual property law (generally), Constitutional rights and guaranties
instruments. Hands-on exercises and projects introduce in the context of the music industry (e.g., freedom of speech,
essential techniques for creating sessions, recording, and freedom of assembly), and the basics of contract law (with
importing audio and MIDI, editing session media, navigating introduction to common industry agreements, negotiation
sessions, arranging media on tracks, as well as using basic techniques, and specialized terminology). Two lecture hours per
processing and mixing techniques to finalize a production. week for one quarter.
Together with the second course in the series, this course
provides the foundation training required to prepare for the Avid MUBUS-220 | MUSIC BUSINESS LAW AND CONTRACTS 2 (2)
101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1 Prerequisite MUBUS-120 Music Business Law and Contracts

166
 MI HOLLYWOOD COURSE DESCRIPTIONS
1. More advanced principles of contract law including analysis agreements between the artist and manager, fulfillment of those
of commonly-encountered contract clauses and provisions, obligations, and management responsibilities with regard to the
as well as practical exercises with expert coaching in the negotiation and concluding of various contracts. In addition,
negotiation and drafting of effective legal contracts, licenses, the specific roles of an artist’s team are defined and discussed,
releases, and other written instruments, coupled with study of including the attorney, agent, business manager, tour manager
real-world disputes as a guide to what to include and what to and publicist. Overview of planning and positioning an artist’s
avoid in formulating contracts. During the course, students will career along with strategies are discussed. One lecture hour
actually negotiate and draft at least five complete contracts per week for one quarter.
including: a mechanical license; a personal management
agreement; a general partnership agreement (band agreement); MUBUS-180 | MUSIC BUSINESS MARKETING AND SOCIAL
a “sync” license for first-use inclusion of a musical composition
MEDIA 1 (2)
in a motion picture; and a comprehensive recording contract
An overview of the principles of marketing for music as well as
deal memo. Two lecture hours per week for one quarter.
the distinct channels used, including airplay, publicity, video
and social media. Students study how to structure effective
MUBUS-130 | MUSIC PUBLISHING AND LICENSING 1 (2) marketing campaigns, as well as strategies for maximizing
Topics include the business and creative responsibilities of a
results. The course culminates with students developing an
publisher, how to copyright songs and recorded works, how
online marketing campaign for an artist, including creating
royalties are paid to writers and publishers, an overview of
the message, slogans, media and visual elements along with
various of royalty income streams, and the scope and functions
defining their methods and channels of exposure. Two lecture
of the Performing Rights Organizations (PRO) and emerging
hours per week for one quarter.
music rights organizations. Hands-on exercises include
copyright and PRO form execution, completing cue sheets
MUBUS-280 | MUSIC BUSINESS MARKETING AND SOCIAL
using online forms, and performance, sync, and mechanical
licenses. In addition, as the industry is firmly entrenched in MEDIA 2 (2)
digital platforms, ongoing developments in the world of music Prerequisite MUBUS-180 Music Business Marketing and
publishing will also be discussed. Two lecture hours per week Social Media 1. Continued study of marketing strategies
for one quarter. focusing on the principles and methods of public relations
(PR) as well as effective use of video content in this current
COURSES

MUBUS-140 | MUSIC INDUSTRY 1: LABELS AND TALENT (2) digital age. Topics include the logistics of media relationships,
An overview of typical record label structures and how they implementing a press plan, creating PR materials, promotional
evolved, including an analysis of the functions of specific writing, image development; online video platforms such as
departments and how they interact to build an artist’s career. YouTube and an overview of how to use content; integration of
Students analyze the similarities and differences in company social media to support and tie-in. As a final project, students
structure as well as artist deals between major and indie labels. will write a press release incorporating live links to a video
In addition, students will study the evolution and responsibilities series starring an artist, and then sharing on multiple social
of the A&R (Artist & Repertoire) role, including the screening of media platforms. Two lecture hours per week for one quarter.
new material, new artist discovery, the signing process, artist
development, song selection and the artist-label-management MUBUS-190 | MANAGEMENT AND BUSINESS SKILLS 1 (1.5)
dynamic. The course culminates in a final project in which each Time and resource management is the process of exercising
student creates a full A&R report for an independent artist’s conscious control over the time spent on specific activities
album of their choosing covering musical genre, production in order to increase efficiency and productivity. Topics
strategy, target demographics, internet exposure, radio airplay, include maintaining written records, setting goals, creating a
streaming, marketing ideas, and more. Two lecture hours per vision, prioritizing, punctuality, reducing information overload,
week for one quarter. organizing, delegating, artist incentivizing, and how to focus and
use time effectively in business affairs. Students study business
MUBUS-150 | COMPUTER TECH APP 1 (1.5) writing skills including how to use words as a productive
A practical introduction to commonly used music business business tool to establish a professional image, how to
software. Using on-site computer rooms, students explore communicate clearly and effectively in written communications
office basics and develop projects using MS Office (Word, including business letters, email (including email etiquette), and
Excel and PowerPoint) as well as a survey of Mac productivity web content, and how to expand vocabulary and polish their
suite applications (Keynote, Pages, Numbers, Preview). Also grammar. One lecture hour and one lab hour per week for one
includes an overview of cloud-based and mobile productivity quarter.
applications such as the Evernote and Google applications.
One lecture hour and one lab hour per week for one quarter. MUBUS-290 | MANAGEMENT AND BUSINESS SKILLS 2 (1.5)
Prerequisite MUBUS-190 Management and Business Skills
MUBUS-170 | PERSONAL MANAGEMENT (1) 1. Success in a changing music industry is determined by the
Corequisite: MUBUS-140 Music Industry 1: Labels and Talent. strength and longevity of personal contacts: who you know,
An overview of the responsibilities of personal managers as what you know, and most important, who knows you. In this
leaders of the artist’s team, and the nature of the relationships practical, application-oriented course, students analyze and
they maintain with their artists. Topics include: contractual practice different types of communication, social techniques,
and presentation skills important to making personal contacts

167 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
in all strata of the music business, plus study how to comport statements, cash flow statements); tax considerations and
themselves professionally at events and in corporate situations. common government forms (W-2, W-4, W-7, W-9, 1099, SS-
Students select and attend appropriate music performance 4, etc.). One lecture hour and one lab hour per week for one
and music business events where they network, follow up with quarter.
professionals, and report on the activity and results. Building on
the aforementioned, students develop career strategies to seek MUBUS-342 | INDUSTRY 3C: TOUR MANAGEMENT (1)
out job opportunities or business ventures through networking, Working in tandem with the Agent, the Tour Manager handles
establish a reputation in chosen career area, meet the right all responsibilities on the ground for the artist during the tour.
people and identify the primary players (companies and people) All logistical aspects are explored including, sound checks,
in a chosen field in order to enter the industry at the highest and performance deliverables, advancing shows, coordinating
level possible. One lecture hour and one lab hour per week for itineraries to follow routing, dealing with stage managers,
one quarter. merchandising, budgets, per diems, personnel management,
interviews, and running a mobile production office. The
MUBUS-341 | INDUSTRY 3B: AGENTS-BOOKINGS (1) specifics in working festival tours are also discussed. One
The Booking Agent has emerged as a vital team member for the lecture hour per week for one quarter.
artist. This critical role and its corresponding responsibilities
in the live concert industry are explored. Topics include the MUBUS-441 | INDUSTRY 4B: CONCERT PROMOTERS (1)
history and evolution of agencies, methods involved in booking As the live concert industry has become one of the most
tours (local to major), sourcing contacts and venues, offers and dominant areas of the music and entertainment business,
pitching, performance contracts, fee structures, and negotiating the distinct role of the Concert Promoter is explored. Topics
with talent buyers and promoters. Logistical aspects and include the history of promoters and talent buyers, venue
execution of contract requirements and riders along with the ownership, and the evolution and rise of large corporations
steps in advancing shows will be introduced. Additionally, the such as Live Nation and AEG. In addition, the specifics of how
specifics of college tours and booking conferences will be to produce a live concert, musical event, festival or tour are
discussed. One lecture hour per week for one quarter. covered, including sizing of venues, ticket sales, contracts,
negotiating with booking agents, technical aspects and more.
MUBUS-207 | MUSIC LICENSING AND SUPERVISION (2) Industry resources for the live industry are reviewed such as
Artists can open up significant additional revenue streams by Pollstar and Celebrity Access. One lecture hour per week for

COURSES
licensing their recordings to international record labels, TV, one quarter.
film and video games. This course explains how to submit
your music to labels and music supervisors and how deals are MAJOR AREA // MUSIC BUSINESS (ASSOCIATE)
typically structured. Two lecture hours per week for one quarter.

MUBUS-240 | INDUSTRY 2: DISTRIBUTION AND LABEL MUBUS-110 | MUSIC INDUSTRY HISTORY 1 (2)
An introduction to the key components of the music business
SERVICES (2) and a comprehensive historical overview of the recorded
Prerequisite MUBUS-140 Music Industry 1. A complete
music industry from 1909 to the onset of the rock ’n’ roll era.
study of the area of distribution in the music industry
Students listen to and analyze the music of each era, including
including traditional and digital channels, independent vs.
sources and influences on subsequent trends in the context of
major distributors and the various deal structures, along with
social and cultural movements and political events. In addition,
innovative approaches to releasing and positioning music.
students are given an overview of the basic concepts and steps
Topics include radio, retail, online and digital platforms, mobile,
in the recording process, and its evolution from invention to the
consignment, and the concept of bundling; techniques for
end of the 1950’s. Two lecture hours per week for one quarter.
pitching to distributors, and how sales results are tallied
through tracking systems such as SoundScan; specifics in
embedding metadata and digital watermarking. In addition, with MUBUS-210 | MUSIC INDUSTRY HISTORY 2 (2)
the rise of independent artists foregoing traditional recording Prerequisite: MUBUS-110 Music Industry History 1. An
deals, the more recently developed segment of companies overview of the evolution of the industry through an era of
providing label services will be explored. Two lecture hours per increasingly rapid change beginning in the ‘60s and coming
week for one quarter. into the digital age. Includes listening and musical analysis as
well as examination of sources and influences on subsequent
MUBUS-250 | ACCOUNTING AND FINANCE 1 (1.5) trends in the context of social and cultural movements and
Prerequisite MUBUS-150 Computer Tech Music Business political events. Additional topics include the advent and
Applications 1. An introduction to core concepts and exponential growth of new technologies in the recording
techniques of business accounting and fiscal management, process as well as with music consumption and formats, and
including: cash accounting and accrual accounting methods; the remodeling of business practices and economic structures
debits and credits; charts of accounts; the “acid test” and other throughout the entertainment arena. The course concludes with
commonly used fiscal ratios; personal and business budgeting an overview of industry careers in the modern era. Two lecture
and financial planning; fundamentals of entertainment industry hours per week for one quarter.
project budgeting (“above-the-line” and “below-the-line”
elements); common financial reports (balance sheets, income MUBUS-120 | MUSIC BUSINESS LAW AND CONTRACTS 1 (2)
This course is designed to develop an understanding of the

168
 MI HOLLYWOOD COURSE DESCRIPTIONS
fundamentals of law and legal rights which permeate the music Prerequisite: MUBUS-130 Music Publishing and Licensing 1.
industry by providing an overview of legal concepts which Global Markets. A study of publishing with a global focus.
govern all business activities, with particular emphasis on those Concepts include sub-publishing in non-U.S. territories,
which play a significant role in music- related transactions, international copyright terms and extensions, royalty payments
including copyrights, trademarks, “name & likeness” (publicity and international PRO’s (Songwriter Societies). In addition, the
rights), property law (generally), Constitutional rights and creative aspects of music publishing with a global perspective
guaranties in the context of the music industry (e.g., freedom of are examined, including songwriter relationships, song plugging
speech, freedom of assembly), and the basics of contract law and promoting music in alternative markets. Two lecture hours
(with introduction to common industry agreements, negotiation per week for one quarter.
techniques, and specialized terminology). Two lecture hours per
week for one quarter. MUBUS-330 | MUSIC PUBLISHING AND LICENSING 3 (2)
Prerequisite: MUBUS-230 Music Publishing and Licensing 2.
MUBUS-220 | MUSIC BUSINESS LAW AND CONTRACTS 2 (2) Co-requisite: MUBUS-350 Accounting and Finance 2.
Prerequisite MUBUS-120 Music Business Law and Contracts Music Licensing and Alternative Catalog Income. An
1. More advanced principles of contract law including analysis examination of the significant revenue streams generated by
of commonly-encountered contract clauses and provisions, licensing recordings for use in TV, film, trailers, commercials,
as well as practical exercises with expert coaching in the video games, digital and mobile platforms, print music and
negotiation and drafting of effective legal contracts, licenses, lyrics, compilations/special projects, karaoke, toys, greeting
releases, and other written instruments, coupled with study of cards, and more. Topics include an overview and analysis of
real-world disputes as a guide to what to include and what to typical deal structures, contracts, forms, and licenses used in
avoid in formulating contracts. During the course, students will the field along with the process of music rights clearance and
actually negotiate and draft at least five complete contracts royalty disbursements. Also explored is the use of metadata
including: a mechanical license; a personal management and advancements in music recognition technology. Two
agreement; a general partnership agreement (band agreement); lecture hours per week for one quarter.
a “sync” license for first-use inclusion of a musical composition
in a motion picture; and a comprehensive recording contract MUBUS-430 | MUSIC PUBLISHING AND LICENSING 4 (2)
deal memo. Two lecture hours per week for one quarter. Prerequisite: MUBUS-330 Music Publishing and Licensing 3.
Music Supervision and Music Libraries. The role of the music
COURSES

MUBUS-320 | MUSIC BUSINESS LAW AND CONTRACTS 3 (1) supervisor is explored as well as how to submit music for
Prerequisite: MUBUS-220 Music Business Law and various types of projects. Topics also include music libraries,
Contracts 2. Analysis of real-world disputes in the music configuration of music for them and how this affects royalty
industry, including the various legal and equitable doctrines disbursement, along with a review of the numerous publishing
as applied by courts rendering judgment in those cases, deals available in today’s business. Students also study to
exploring a broad range of legal issues and causes of action: employ online resources to gather information on film and TV
copyright infringements, contract disputes, artist/manager productions as well as methods for connecting with industry
disputes, trademark infringements and dilutions, trade professionals to further their own careers. Two lecture hours
dress, misappropriations of personality and publicity rights, per week for one quarter.
“sound-alike” and “look alike” personality rights infringements,
performers’ actions to disaffirm contracts entered when they MUBUS-140 | MUSIC INDUSTRY 1 (2)
were minors, co-authors’ disputes, fraud cases, publishing An overview of typical record label structures and how they
disputes, licensing disputes, and conflict-of-law cases evolved, including an analysis of the functions of specific
balancing the interactions between the laws of different departments and how they interact to build an artist’s career.
countries in the same case. One lecture hour per week for one Students analyze the similarities and differences in company
quarter. structure as well as artist deals between major and indie labels.
In addition, students will study the evolution and responsibilities
MUBUS-130 | MUSIC PUBLISHING AND LICENSING 1 (2) of the A&R (Artist & Repertoire) role, including the screening of
Topics include the business and creative responsibilities of a new material, new artist discovery, the signing process, artist
publisher, how to copyright songs and recorded works, how development, song selection and the artist-label-management
royalties are paid to writers and publishers, an overview of dynamic. The course culminates in a final project in which each
various of royalty income streams, and the scope and functions student creates a full A&R report for an independent artist’s
of the Performing Rights Organizations (PRO) and emerging album of their choosing covering musical genre, production
music rights organizations. Hands-on exercises include strategy, target demographics, internet exposure, radio airplay,
copyright and PRO form execution, completing cue sheets streaming, marketing ideas, and more. Two lecture hours per
using online forms, and performance, sync, and mechanical week for one quarter.
licenses. In addition, as the industry is firmly entrenched in
digital platforms, ongoing developments in the world of music MUBUS-240 | MUSIC INDUSTRY 2 (2)
publishing will also be discussed. Two lecture hours per week (Distribution & Label Services Companies)
for one quarter. Prerequisite: MUBUS-140 Music Industry 1. A complete
study of the area of distribution in the music industry including
MUBUS-230 | MUSIC PUBLISHING AND LICENSING 2 (2) traditional, online and digital channels, independent and major
distributors, varied deal structures and innovative strategies

169 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
for releasing and positioning music in an evolving global Co-requisite: MUBUS-441 Music Industry 4B. An overview of
marketplace. Topics cover all distribution platforms, including creative and business requirements for starting an independent
terrestrial radio, digital, online and mobile platforms, pitching record label or music-based company (related product or
distributors in each area, alternative distribution, consignments, service). Students developing a mock label define the music
servicing retail outlets, coordinating promotions and marketing genre; identify the target audience; find and sign artists; set
with distribution, and packaging and bundling music for added- recording budgets; select producers, arrangers, backup
value. Additionally, how sales are monitored, tracked and musicians, audio engineers and recording studios; and develop
compiled will be examined, the importance of UPC bar codes, the image, branding, promotion, advertising and publicity.
ISRC’s, metadata and digital watermarks. A special focus will Similarly, students developing a music-related product or
be given to independent artists who forego traditional record service define the company, products and services, identify
deals, and instead utilize label services provided by a variety of the target consumer, outline costs, and likewise develop the
companies, including distributors. Two lecture hours per week image, branding, promotion and advertising. As a final project,
for one quarter. music business students develop business and marketing plan
elements and promotional media for actual independent artists
MUBUS-340 | MUSIC INDUSTRY 3A (2) or for the product or service. Two lecture hours per week for
(Broadcast Media) one quarter.
Prerequisite: MUBUS-240 Music Industry 2. Co-requisites:
MUBUS-341 Music Industry 3B, and MUBUS-342 Music MUBUS-441 | MUSIC INDUSTRY 4B (1)
Industry 3C. Topics include the evolution of radio, as well as As the live concert industry has become one of the most
other broadcast media, and their impact on the music industry. dominant areas of the music and entertainment business,
Various broadcast outlets are examined with a focus on how the distinct role of the Concert Promoter is explored. Topics
they operate, determine formats and programming, and help include the history of promoters and talent buyers, venue
to promote music. Forms of broadcasts for study include ownership, and the evolution and rise of large corporations
commercial and non-commercial radio, public radio, mix and such as Live Nation and AEG. In addition, the specifics of how
specialty shows, satellite and internet radio, digital broadcasts to produce a live concert, musical event, festival or tour are
and streaming services. Focus is given to how music is chosen covered, including sizing of venues, ticket sales, contracts,
and prepared for programming, with an overview of industry negotiating with booking agents, technical aspects and more.
charts, monitoring services and tracking systems. Techniques Industry resources for the live industry are reviewed such as

COURSES
for obtaining airplay in both commercial and non-commercial Pollstar and Celebrity Access. One lecture hour per week for
media are explored, along with promo-tours and live concerts one quarter.
used to support broadcasts. Two lecture hours per week for
one quarter. MUBUS-150 | COMPUTER TECH MUSIC BUSINESS
APPLICATIONS 1 (1.5)
MUBUS-341 | MUSIC INDUSTRY 3B (1) A practical introduction to commonly used music business
The Booking Agent has emerged as a vital team member for the software. Using on-site computer rooms, students explore
artist. This critical role and its corresponding responsibilities office basics and develop projects using MS Office (Word,
in the live concert industry are explored. Topics include the Excel and PowerPoint) as well as a survey of Mac productivity
history and evolution of agencies, methods involved in booking suite applications (Keynote, Pages, Numbers, Preview). Also
tours (local to major), sourcing contacts and venues, offers and includes an overview of cloud-based and mobile productivity
pitching, performance contracts, fee structures, and negotiating applications such as the Evernote and Google applications.
with talent buyers and promoters. Logistical aspects and One lecture hour and one lab hour per week for one quarter.
execution of contract requirements and riders along with the
steps in advancing shows will be introduced. Additionally, the MUBUS-450 | COMPUTER TECH MUSIC BUSINESS
specifics of college tours and booking conferences will be APPLICATIONS 2 (1.5)
discussed. One lecture hour per week for one quarter. Prerequisites: MUBUS-150 Computer Tech Music Business
Applications 1, MUBUS-330 Music Publishing and Licensing
MUBUS-342 | MUSIC INDUSTRY 3C (1) 3, and MUBUS-350 Accounting and Finance 2. Building on
Working in tandem with the Agent, the Tour Manager handles core computer skills, students explore programs designed to
all responsibilities on the ground for the artist during the tour. manage and administer music publishing tasks and songwriter
All logistical aspects are explored including, sound checks, catalogs, rights and royalty accounting and tracking, production
and performance deliverables, advancing shows, coordinating music library digital distribution (including generating cue
itineraries to follow routing, dealing with stage managers, sheets), and music licensing. One lecture hour and one lab hour
merchandising, budgets, per diems, personnel management, per week for one quarter. Required lab fee (software license):
interviews, and running a mobile production office. The $195.00.
specifics in working festival tours are also discussed. One
lecture hour per week for one quarter. MUBUS-250 | MUSIC BUSINESS ACCOUNTING AND FINANCE
1 (1.5)
MUBUS-440 | MUSIC INDUSTRY 4A (2) Prerequisite: MUBUS-150 Computer Tech Music Business
(Entrepreneurial Strategies for Music Based Companies) Applications 1. An introduction to core concepts and
Prerequisites: MUBUS-340 Music Industry 3A, MUBUS-341 techniques of business accounting and fiscal management,
Music Industry 3B, and MUBUS-342 Music Industry 3C. including: cash accounting and accrual accounting methods;

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 MI HOLLYWOOD COURSE DESCRIPTIONS
debits and credits; charts of accounts; double-entry
bookkeeping; the “acid test” and other commonly used fiscal sessions with actual independent artists. One lecture hour and
ratios; inventory controls (“LIFO” vs. “FIFO”); personal and one lab hour per week for one quarter.
business budgeting and financial planning; fundamentals of
entertainment industry project budgeting (“above-the-line” MUBUS-180 | MUSIC BUSINESS MARKETING AND SOCIAL
and “below-the-line” elements); common financial reports MEDIA 1 (2)
(balance sheets, income statements, cash flow statements); An overview of the principles of marketing for music as well as
tax considerations and common government forms (W-2, W-4, the distinct channels used, including airplay, publicity, video
W-7, W-9, 1099, SS-4, etc.). One lecture hour and one lab and social media. Students study how to structure effective
hour per week for one quarter. marketing campaigns, as well as strategies for maximizing
results. The course culminates with students developing an
MUBUS-350 | MUSIC BUSINESS ACCOUNTING AND FINANCE online marketing campaign for an artist, including creating
2 (1.5) the message, slogans, media and visual elements along with
Prerequisites: MUBUS-250 Accounting and Finance 1, and defining their methods and channels of exposure. Two lecture
MUBUS-220 Music Business Law and Contracts 2. Co- hours per week for one quarter.
requisite: MUBUS-330 Music Publishing and Licensing
3. More advanced study of accounting principles and MUBUS-280 | MUSIC BUSINESS MARKETING AND SOCIAL
techniques as applied to the music industry, including: MEDIA 2 (2)
digital rights management, internet marketing and revenue Prerequisite MUBUS-180 Music Business Marketing and
models (subscription, peer-to-peer (P2P), streaming, pay- Social Media 1. Continued study of marketing strategies
per-play), contract analysis to quantify financial elements, focusing on the principles and methods of public relations
royalty collections, royalty accounting, international currency (PR) as well as effective use of video content in this current
considerations, preparing and analyzing royalty statements, digital age. Topics include the logistics of media relationships,
management and distribution of licensing revenues, implementing a press plan, creating PR materials, promotional
considerations arising under multiple-rights (“360”) recording writing, image development; online video platforms such as
contracts (live performance revenue, endorsement and YouTube and an overview of how to use content; integration of
merchandise revenue, other entertainment-related revenue social media to support and tie-in. As a final project, students
streams), and general strategies for minimizing tax liabilities. will write a press release incorporating live links to a video
series starring an artist, and then sharing on multiple social
COURSES

One lecture hour and one lab hour per week for one quarter.
media platforms. Two lecture hours per week for one quarter.
MUBUS-170 | PERSONAL MANAGEMENT & THE ARTIST’S
TEAM (1) MUBUS-380 | MUSIC BUSINESS MARKETING AND SOCIAL
Co-requisite: MUBUS-140 Music Industry 1. An overview of MEDIA 3 (2)
the responsibilities of personal managers as leaders of the Prerequisite: MUBUS-280 Music Business Marketing and
artist’s team, and the nature of the relationships they maintain Social Media 2. Continued study of marketing strategies
with their artists. Topics include: contractual agreements focusing on the areas of airplay and retailing as well as
between the artist and manager, fulfillment of those obligations, expanded social media techniques. Topics include an overview
and management responsibilities with regard to the negotiation of airplay platforms (terrestrial, internet and satellite radio,
and concluding of various contracts. In addition, the specific streaming, mobile and alternative outlets), and how to position
roles of an artist’s team are defined and discussed, including artists and their music. Strategies in retailing for music and
the attorney, agent, business manager, tour manager and merchandise, effective social media integration and online
publicist. Overview of planning and positioning an artist’s advertising are also reviewed. Major platforms such as
career along with strategies are discussed. One lecture hour Facebook and Twitter are explored for creating relationships
per week for one quarter. with and marketing products and services to relevant
demographic communities, along with web analytics and
MUBUS-470 | ARTIST DEVELOPMENT: SKILLS FOR THE search engine optimization (SEO) techniques. Students study
CREATIVE ENVIRONMENT (1.5) how to allocate budgets for maximum impact utilizing a diverse
Prerequisites: MUBUS-170 Personal Management and The media mix. Two lecture hours per week for one quarter.
Artist’s Team, MUBUS-340 Music Industry 3A, MUBUS-341
Music Industry 3B, MUBUS-342 Music Industry 3C, and MUBUS-480 | MUSIC BUSINESS MARKETING AND SOCIAL
MUBUS-360 Song Structure and Content. Co-requisite: MEDIA 4 (2)
MUBUS-460 Songs, Recordings and Production: A&R Prerequisite MUBUS-380 Music Business Marketing &
Analysis. This class explores the roles of the arranger, producer, Social Media 3. This course provides a continued study of
engineer, road technicians, side musicians, background marketing strategies focusing on the areas of consumer
vocalists and technical support personnel employed on a lifestyles and sponsorship. It begins by first defining the term
tour or session. Students study musical terminology required “sponsorships” and proceeds by looking at a number of
for effective communication in rehearsal, stage, or studio successful case studies with several brands-both small and
environments and strategies for carrying out constructive large. Next, it presents an overview of key marketing elements
critique and musical decision-making with artistic/creative related to sponsorships including writing an overview of your
personalities. Students apply relationship scenarios, company, defining your target market, and identifying your
communication and artist-development skills during one-on-one brand identity. A framework is then presented for entering into

171 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
successful sponsorships through a mock pitch project that Credit sheet and completed Hours Log to earn course credits.
students will undertake. This framework includes: describing
the event, identifying the sponsors that would be a good MUBUS-550 | PERSONAL ENTREPRENEURSHIP 1 (2)
“brand fit,” understanding what you want from the sponsor Prerequisite: MUBUS-250 Accounting and Finance 1. The
(money, product giveaways, credibility), identifying what you legal aspects of starting a business, including defining the
are offering the sponsor in return (media exposure, goodwill, business type (proprietorship, partnership, LLC, corporation),
etc.), and locating the proper contacts (brand manager, securing licenses, financial/tax planning, trademark searches
event planner, etc.) to pitch. As a final part of the course, and clearances, DBAs, permits, setting up the tax structure,
students put together an actual pitch and follow-up by writing obtaining business loans, and maintaining compliance with
a mock sponsorship report that evaluates the success of the federal, state, and local laws and regulations that govern
sponsorship and the return on investment. Two lecture hours business ventures. Students also carry out analysis to
per week for one quarter. determine if a proposed business is financially viable and study
daily business operations management skills such as hiring
MUBUS-580 | MARKETING AND SOCIAL MEDIA 5 (2) employees, managing inventory, and more. Two lecture hours
Prerequisite MUBUS-480 Music Business Marketing & Social per week for one quarter.
Media 4. Many businesses start with heart but fail because
there was little, or no marketing research and planning involved. MUBUS-650 | PERSONAL ENTREPRENEURSHIP 2 (2)
This two-part course begins by singling out the research Prerequisites: MUBUS-550 Personal Entrepreneurship
process and then reviewing the entire marketing process. In 1, MUBUS-220 Music Business Law and Contracts 2,
part one, the research process, topics include: Identifying MUBUS-440 Music Industry 4A, MUBUS-441 Music Industry
a problem, designing the research brief, commissioning the 4B, MUBUS-430 Music Publishing and Licensing 4, and
research work, conducting both qualitative and quantitative MUBUS-580 Music Business Marketing and Social Media
research, analyzing the data, and reporting the results. In part 5. Utilizing research and product/service development skills,
2, the marketing process, topics include: research, goal setting, students write a formal business plan, including projections,
strategizing, measuring, assembling, and executing. Two lecture strategies, and resource materials, for a new music business
hours per week for one quarter. firm in a field of their choice (management, booking, label,
music library, publishing, licensing, app development). Based
MUBUS-540 | MUSIC INDUSTRY INTERNSHIP I (2) on the business plan, each student then develops a marketing

COURSES
Prerequisite: MUBUS-110 Music Industry History 1, and promotion strategy. Topics include identifying a physical
MUBUS-120 Music Business Law and Contracts 1, location, naming the business, obtaining financing, and finding
Prerequisite: MUBUS-130 Music Publishing and Licensing and retaining customers/clients. Two lecture hours per week for
1, MUBUS-140 Music Industry 1, MUBUS-150 Computer one quarter.
Tech Music Business Applications 1, MUBUS-170 Personal
Management and The Artist’s Team, MUBUS-180 Music MUBUS-570 | PUBLISHING/A&R PRACTICUM (4)
Business Marketing and Social Media 1, and MUBUS-190 Prerequisites: MUBUS-430 Music Publishing and Licensing
Management and Business Skills 1. Students gain firsthand 4, MUBUS-440 Music Industry 4A, MUBUS-170 Personal
experience within the music industry by working as interns for Management and The Artist’s Team, MUBUS-220 Music
music-related companies. Students are coached on music Business Law and Contracts 2, MUBUS-350 Accounting and
business employment skills including writing professional Finance 2, MUBUS-460 Songs, Recordings and Production:
résumés, personal interview techniques and professionalism. A&R Analysis, MUBUS-470 Artist Development: Skills For
Specific firms, positions and duties vary according to The Creative Environment, MUBUS-480 Music Business
availability. Average of six internship hours per week for Marketing and Social Media 4, and MUBUS-490 Management
one quarter, 60 hours total. Students must present signed and Business Skills 4. Co-requisite: MUBUS-560 Production
Verification of Course Credit sheet and completed Hours Log Music For Graphic Design for Artists 1 (Critical Listening).
to earn course credits. Under the guidance of instructors as project advisors,
business students undertake the responsibilities of the roles
MUBUS-640 | MUSIC INDUSTRY INTERNSHIP 2 (4) of Publishing executive and A&R executive. With application
Prerequisite: MUBUS-110 Music Industry History 1, to MI student artists or their own artists/projects, business
MUBUS-120 Music Business Law and Contracts 1, students’ activities will include determining musical direction
Prerequisite: MUBUS-130 Music Publishing and Licensing as well as providing advice and assistance on copyrighting
1, MUBUS-140 Music Industry 1, MUBUS-150 Computer their songs, co-writer agreements, publishing agreements,
Tech Music Business Applications 1, MUBUS-170 Personal and joining the appropriate Performing Rights Organization
Management and The Artist’s Team, MUBUS-180 Music alongside song critiquing, polishing material and advising
Business Marketing and Social Media 1, and MUBUS-190 preparation of competitive demo recordings; determining
Management and Business Skills 1. Students may continue “casting” (pitching for a self-contained singer/songwriter vs.
their internship with the same firm in an expanded capacity or promoting the songs to other artists) and potential for pitching
undertake a new internship with a different firm. Specific firms, the songs to artist management and record label A&R reps as
positions and duties vary according to availability. Average of well as music supervisors for film/TV/media placement. With
twelve internship hours per week for one quarter, 120 hours respect to the A&R role, business students advise and develop
total. Students must present signed Verification of Course artists/projects towards being signable for a record deal or
marketability and viability as an independent. Interaction with

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 MI HOLLYWOOD COURSE DESCRIPTIONS
industry professionals and relevant industry organizations in all strata of the music business, plus study how to comport
integrated throughout the quarter as well. Four group project themselves professionally at events and in corporate situations.
advisement hours per week for one quarter plus independent Students select and attend appropriate music performance
project completion. and music business events where they network, follow up with
professionals, and report on the activity and results. Building
MUBUS-670 | BOOKING-MANAGEMENT PRACTICUM (4) on the aforementioned, students develop career strategies
Prerequisites MUBUS-330 Music Publishing & Licensing 3, to seek out job opportunities or business ventures through
MUBUS-440 Music Industry 4A, MUBUS-441 Music Industry networking, establish a reputation in chosen career area,
4B, MUBUS-170 Personal Management, MUBUS-220 Music and meet the right people and identify the primary players
Business Law & Contracts 2, MUBUS-350 Music Business (companies and people) in a chosen field in order to enter the
Accounting & Finance 2, MUBUS-460 Songs, Recordings & industry at the highest level possible. One lecture hour and one
Production: A&R Analysis, MUBUS-470 Artist Development: lab hour per week for one quarter.
Skills, MUBUS-480 Music Business Marketing & Social Media
4, and MUBUS-490 Management & Business Skills 4. Music MUBUS-390 | MANAGEMENT AND BUSINESS SKILLS 3 (1.5)
Business instructors direct students through a practicum in the (Public Speaking and Managing Professional Relations)
areas of artist development, management, booking tours in the Prerequisite: MUBUS-290 Management and Business
US and connecting to live events and possible partnerships Skills 2. Whether in the boardroom or the employee lounge,
internationally. Students pick an active musician or band, to you must be able to speak clearly and concisely in order to
use as real-life examples, for all projects and assignments. inspire and motivate your employees, artists or clients. This
The management section will guide the student as an advisor course helps students overcome stage fright and helps them
in career development covering performing, imaging & prepare to speak in public, whether to a handful of people or
branding, pitching for deals and sponsors plus executing full to a crowd. Topics include making business presentations,
management contracts and acquiring team members. On the inspirational speaking, motivational speaking and debating.
live performance side, the student will be instructed on how to Plus, how to diplomatically handle difficult business situations
assess, research, negotiate and book venues. Tour instruction and communicate with artists, managers, agents, record label
will concentrate on executing tour routing, plus constructing personnel, studio personnel, accountants, and audiences. One
music and promotion activities that align with tour budgets in lecture hour and one lab hour per week for one quarter.
both the United States and Internationally. Four lecture hours
COURSES

per week for one quarter. MUBUS-490 | MANAGEMENT AND BUSINESS SKILLS 4 (2)
(Leadership, Business Relations and Applied Methods)
PROFESSIONAL DEVELOPMENT // Prerequisite: MUBUS-390 Management and Business Skills
3. A study of methods for developing the leadership qualities
MUSIC BUSINESS (ASSOCIATE) that enable music business professionals to deal with business
associates ethically and tactfully, set an example for employees,
MUBUS-190 | MANAGEMENT AND BUSINESS SKILLS 1 (1.5) and motivate them in the workplace. Topics include how to be
(Business Writing and Time Management) an effective leader, how to hire/recruit employees, rewarding
Learning and applying effective written communication is your workers, leadership traits, delegating, becoming a better
essential in the music business as is completing tasks with listener, and more. Additional focus will be on maintaining
tight deadlines. In addition to creating business appropriate leadership in your field of specialty by staying ahead of the
communication, students will identify and use industry specific curve, setting trends, and holding membership in executive
language and expand their vocabularies with new words. organizations. Two lecture hours per week for one quarter.
Topics also cover using words as a productive business tool
to establish a professional image, as well as clear, effective CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2)
written communication in business letters, email (with email Students learn how to use Adobe Photoshop to design original
etiquette), and web content. In time management, new methods CD artwork, flyers, promotional tools, and other visual materials
to increase efficiency and productivity will be analyzed and vital to modern artists. Emphasis is on creating exciting and
implemented. Topics include maintaining written records, expressive designs that directly support music marketing
setting goals, creating a vision, prioritizing, punctuality, reducing campaigns. Topics covered in this class include: typography,
information overload, organizing, delegating, and how to focus flyer design, album artwork design, image manipulation,
and use time effectively. merchandise design, and more. Two lecture hours per week for
one quarter.
MUBUS-290 | MANAGEMENT AND BUSINESS SKILLS 2 (1.5)
(Networking Strategies and Professionalism) CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2)
Prerequisite: MUBUS-190 Management and Business Skills Prerequisite: CC-307 Graphic Design for Artists 1. The
1. Success in a changing music industry is determined by the Internet has opened up an enormous opportunity for musicians
strength and longevity of personal contacts: who you know, to promote themselves directly to music fans. This course
what you know, and most important, who knows you. In this focuses on the technical skills needed to promote music online.
practical, application-oriented course, students analyze and Topics include: building a strong online presence, creation of
practice different types of communication, social techniques, a content-rich website, online marketing tools and strategies,
and presentation skills important to making personal contacts video editing basics, and social media. Two lecture hours per

173 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
week for one quarter. tone, dynamics and other factors to significant markers in the
film, and communicating the desired aspects to the composer.
SUPPORTIVE MUSIC // MUSIC BUSINESS (ASSOCIATE) Two lecture hours per week for one quarter.

MUBUS-260 | MUSICIANSHIP FOR BUSINESS MUBUS-660 | PRODUCTION MUSIC FOR Graphic Design for
PROFESSIONALS (1) Artists 2 (CRITICAL LISTENING) (2)
Students will be introduced to the fundamentals of music Prerequisite: MUBUS-560 Production Music For Graphic
notation on the staff, including the basics of harmony and Design for Artists 1 (Critical Listening). Continued study of
theory that are discussed between producers, engineers, and the relationship between music and visual media from the
musicians in the studio. Upon completion, students will be able perspectives of both the composer and the music supervisor.
to differentiate between major vs. minor keys, Roman numeral Professionals in the field explain and demonstrate the role and
harmony, song form, and the basics of chart creation. Two lab requirements of production music libraries by screening film,
hours per week for one quarter. TV and ad cues and interpreting the accompanying sound
effects, compositions and soundtrack elements. Topics of
discussion include the process of custom composing for short
MUBUS-360 | SONG STRUCTURE AND CONTENT (2) films, feature films, various TV show formats, ads/commercials,
Prerequisite: AUDIO-106 Musicianship for Industry
corporate events, and religious institutions. Students are
Professionals. A study of the basic elements of popular song
required to source and select (“place”) existing song material
structure, including melody, lyric patterns and construction,
for use in a commercial, a film trailer and as a TV theme song,
harmony, scales, intervals, rhythm, and form; analysis of
including researching the availability of material and analyzing
the structure of successful songs and the application of
and explaining the musical attributes of selections. Two lecture
those elements to songwriting, including lyric and melodic
hours per week for one quarter.
development, hook recognition, chord structures, and
accompaniment styles. Includes analysis of songwriting styles
in various genres including pop, rock, country, rap/hip-hop, ELECTIVES // MUSIC BUSINESS
R&B/soul, jazz, blues, Latin, and folk/Americana. Through Music Business students must complete their elective
role-playing, students develop techniques for communicating requirements by choosing among the following courses only:
on a musical level with performers, arrangers, engineers, and

COURSES
producers. Two lecture hours per week for one quarter. MUBUS-205E | MUSIC INDUSTRY INTERNSHIP (2)
Prerequisite: MUBUS-190 Management & Business Skills 1,
MUBUS-460 | SONGS, RECORDING & PRODUCTION: A&R 3.0 minimum GPA. Contact the Music Business administrator
ANALYSIS (2) for additional requirements. Students gain firsthand experience
Prerequisite: MUBUS-360 Song Structure and Content. within the music industry by working as interns for music-
Continued development of musical analysis skills and related companies. Students are coached on music business
terminology, with a specific focus on critical listening from employment skills including writing professional résumés,
an A&R standpoint of songs and talent at various levels and personal interview techniques and professionalism. Specific
stages across a range of musical genres. Along with covering firms, positions and duties vary according to availability.
the phases of the recording process, production elements Average of six internship hours per week for one quarter.
for enhancing a musical composition and identifying them Students must present a signed Verification of Course Credit
in a recording will be explored. Analysis and comparison of sheet and completed Hours Log to earn course credits.
preliminary song demos by prominent popular artists with the
commercially-released versions, identifying choices that led to CC-030E | START YOUR OWN RECORD LABEL (2)
a “good song” becoming a “hit song.” Students are also guided This course details what is needed to start your own label from
on how to assess the artist’s needs and provide effective the creative perspective. Topics discussed include defining
advice on performance, song selection, melody, and lyrics as the label’s genre, finding and signing artists, setting recording
well as how to work and communicate with the other creative budgets, selecting producers and studios, and choosing a
personnel (i.e. producers, engineers, musicians, co-writers, distributor. Two lecture hours per week for one quarter.
etc.). One lecture hour and two lab hours per week for one
quarter. CC-035E | SHOWCASE PROMOTION (2)
Students evaluate and select five Los Angeles-area
MUBUS-560 | PRODUCTION MUSIC FOR Graphic Design for independent Artist Marketing classes, then promote and
Artists 1 (CRITICAL LISTENING) (2) produce a live industry showcase concert at a local venue.
Students carry out all aspects of promotion, marketing and
Prerequisites: MUBUS-430 Music Publishing and Licensing
publicity under instructor supervision. Two lecture hours per
4, and MUBUS-360 Song Structure and Content. Introduction
week for one quarter.
to musical analysis from the perspectives of the composer/
songwriter and the music supervisor, including identifying and
MUBUS-114E | GETTING GIGS (1)
interpreting aspects of tone, timbre, instrumentation, dynamics
Students learn the most efficient ways for artists and bands
and motifs within a custom composition or song placement
to book live shows and tours. Subjects include: where to
for film or television. Students are assigned to review various
play, checking out the venue, personal appearance contracts,
pieces of visual media from the perspective of a music
getting paid, and putting together your own tours. Guest
supervisor, assigning specific aspects of lyric content, melodic

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 MI HOLLYWOOD COURSE DESCRIPTIONS
speakers (as available) include club owners, promoters,
booking agents, and touring artists. One lecture hour per week Music Business Associate students may choose from all
for one quarter. electives listed above (except MUBUS-115E), as well as the
following electives.
MUBUS-115E | BUSINESS WRITING (1)
Students learn how to use words as a productive business Music Business Associate students may also choose from a
tool to establish a professional image. This course prepares limited selection of Common Course electives approved by the
students to communicate clearly and efficiently in written Chair after completing their first quarter.
communication, including business letters, email, press
releases, and website content. One lecture/workshop hour per MUBUS-205E | MUSIC INDUSTRY INTERNSHIP (2)
week for one quarter. Prerequisite: MUBUS-190 Management & Business Skills 1,
3.0 minimum GPA. Contact the Music Business administrator
MUBUS-037E | TOUR PLANNING 101 (1) for additional requirements. Students gain firsthand experience
Students will learn how to plan tours; topics include: planning within the music industry by working as interns for music-
the itinerary, creating a budget, and establishing anchor dates. related companies. Students are coached on music business
Additionally, students will learn how to make the most of sales employment skills including writing professional résumés,
and promotional activities through planning a tour scenario for personal interview techniques and professionalism. Specific
a musician or band of your choice. Students will learn how to firms, positions and duties vary according to availability.
assess a touring act’s local career progress, research specific Average of six internship hours per week for one quarter.
money-making touring markets, and estimate tour costs for a Students must present a signed Verification of Course Credit
one-week tour. Student projects will include them completing sheet and completed Hours Log to earn course credits.
a mileage touring sheet, advancing date details, and creating
a detailed tour itinerary. One lecture hour per week for one MUBUS-415E | ADVANCED PERSONAL MANAGEMENT (1)
quarter. Prerequisites: MUBUS-170 Personal Management & The
Artist’s Team, MUBUS-320 Music Business Law & Contracts
MUBUS-214E | NEWS AND INDUSTRY TRENDS (1) 3, MUBUS-330 Music Publishing & Licensing 3, MUBUS-340
Students and instructor review and discuss all of the latest Music Industry 3A, MUBUS-341 Music Industry 3B,
music business news as reported in Billboard, trade websites MUBUS-342 Music Industry 3C, MUBUS-350 Accounting
COURSES

and newspapers, and general media. Discussions center on & Finance 2, MUBUS-380 Marketing & Social Media 3.
how the news impacts the industry and students’ own careers. Building upon the foundational Personal Management course
One lecture hour per week for one quarter. (MUBUS-170) as well as courses up to Qtr. 3 in the Associate
of Science in Music Business program, this advanced course
MUBUS-216E | GRANT WRITING: GETTING FREE MONEY in personal management further cultivates the necessary skills
FOR YOUR MUSIC PROJECTS (1) and abilities to successfully grow and manage music careers,
Grant Writing is becoming an essential skill in our new music as well as develop artists. Topics include: 5-year career goal
world. The National Endowment for the Arts will annually setting, the application of business structures and new media
support more than 30,000 concerts and performances. In this tools to acquire fans and funding, developing successful touring
course, the student will be taken through the entire process scenarios, executing deal negotiations and creating money-
of researching and applying for grants, plus connecting with making ventures to expand the artist’s career. Additionally
corporate awards that align with specific music missions and covered are insider tips and case studies of prominent personal
branding. Detailed topics include: preparing your purpose and managers in the industry (past and present). One lecture hour
audience analysis, drafting and formatting a written proposal per week for one quarter.
plus defining your SMART goals and strategies that can lead to
successful awarded grants. One lecture hour per week for one MUBUS-416E | ADVANCED TOUR MANAGEMENT (1)
quarter. Prerequisites: MUBUS-342 Music Industry 3C: Tour
Management and MUBUS-250 Accounting & Finance 1.
MUBUS-314E | SPONSORSHIPS & ENDORSEMENTS (1) This advanced course provides a more in-depth study of tour
This course examines how artists and music entrepreneurs management practices including the development of show
can acquire sponsorships and endorsements. Students learn pre-advancing information and advancing packages, travel and
how to determine ideal sponsorships and endorsements for logistical planning, leadership and communication management
specific artists, what is needed to obtain a sponsorship and/or techniques, more involved tour budgeting exercises, developing
endorsement, the requirements for both parties in sponsorship a technical understanding of show production, and common
and endorsement agreements, successful strategies for considerations in planning international tours. Throughout the
authoring proposals, as well as how to negotiate sponsorship course, students will plan and manage a mock tour scenario
and endorsement deals. Students will research current while developing a tour book that includes the creation of
endorsements and sponsorships, culminating in a proposal common documents and information collected throughout the
presentation in both areas. One lecture hour per week for one process. One lecture hour per week for one quarter.
quarter.
SONGWRITING
ELECTIVES // MUSIC BUSINESS (ASSOCIATE) MAJOR AREA // SONGWRITING

175 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisite requirement: ARTST-380 Keyboard Essentials 1.
SONG-PL | SONGWRITING PRIVATE LESSON (2) Fostering Building upon the foundation provided in Keyboard Essentials
the development of students “compositional voices” serves as 1, this course focuses on more advanced contemporary
the main objective within the Songwriting lesson program. One keyboard techniques through the introduction and study of
private lesson hour per week per quarter. 4-note chords. Topics include Major and Minor 7, Dominant 7,
Augmented and Diminished 7, Sus4 and Sus2 chords, natural
SONG-101 | SONGWRITING 1: INTRODUCTION TO POP minor and blues scales. Upon completion of this course,
SONGWRITING (1.5) students will be able to continue developing the necessary
Corequisite: SONG-125 Lyric Writing 1. This course motor skills and music vocabulary required for using the
enables students to develop the analytical, compositional keyboard as an arranging, compositional and production tool.
and performance skills necessary for successfully navigating One Lecture hour per week per quarter.
contemporary music’s ever changing stylistic landscape.
Group study of the compositional and production components SONG-125 | LYRIC WRITING 1: INTRODUCTION TO LYRIC
that contribute to authenticity pertaining to key genres and WRITING (2)
repertoire serves as the curricular foundation of these classes. Corequisite: SONG-101 Songwriting 1. This course enables
One lecture hour and one lab hour per week for one quarter. students to develop the skills necessary to create, analyze,
critique, and revise song lyrics in the contemporary songwriting
SONG-201 | SONGWRITING 2: POP AND COUNTRY market. Students will learn important concepts relating to lyrics,
SONGWRITING (2) including finding inspiration, mastering tools of the craft, and
Prerequisites: SONG-101 Songwriting 1: Introduction to tailoring lyrics to different styles and situations. Two lecture
Pop Songwriting. Corequisite: SONG225 Lyric Writing 2. hours per week for one quarter.
This course enables students to develop the skills necessary
to create, analyze, critique, and revise song lyrics in the SONG-225 | LYRIC WRITING 2 (2)
contemporary songwriting market. Students will learn important Prerequisite: SONG-101:Songwriting 1: Introduction to Pop
concepts relating to lyrics, including finding inspiration, Songwriting and SONG-125: Lyric Writing 1: Introduction to
mastering tools of the craft, and tailoring lyrics to different styles Lyric Writing. This course enables students to develop the
and situations. One lecture hour and one lab hour per week for skills necessary to create, analyze, critique, and revise song
one quarter. lyrics in the contemporary songwriting market. Students will

COURSES
learn important concepts relating to lyrics, including finding
CC-011 | HARMONY & THEORY 011 (1.5) inspiration, mastering tools of the craft, and tailoring lyrics
This course is an introduction to the harmony and theory to different styles and situations. This course will introduce
used within popular music. This is accomplished through the advanced story-telling techniques. Two lecture hours per week
application of music notation (for pitch), major scales, key for one quarter.
signatures, intervals, triads, and major scale harmonies. One
video lecture hour and one lab hour per week for one quarter. SONG-210 | SONGWRITING FINAL PROJECT (2)Prerequisites:
SONG-101: Songwriting 1: Introduction to Pop Songwriting
and SONG-125: Lyric Writing 1: Introduction to Lyric Writing.
CC-021 | HARMONY & THEORY 021 (1.5) Co-requisite SONG-225: Lyric Writing 2. This class focuses
Prerequisite: CC-011 Harmony and Theory 011. This course is on the student’s all-around abilities for complete presentation
a continuation of Harmony and Theory 1. This is accomplished and performance of their composed and arranged music.
through the further study of musical notation, diatonic
Skills required include: Chart Preparation, Composition and
structures, rhythmic values, time signatures, natural minor
Arrangement, Repertoire, and Program Note
scales (and variations), minor key signatures, harmonized minor
Writing. Students learn how to be an effective bandleader and
scales, chord inversions, diatonic seventh chords, triad analysis,
musical director, with the goal of delivering a complete live
chord progressions, and key centers. One video lecture hour
musical performance that showcases the student’s creativity
and one lab hour per week for one quarter.
and comprehension of song form, melody, and harmony. One
lecture hour per week for one quarter.
ARTST-380 | KEYBOARD ESSENTIALS 1 (1)
This is an introductory course on contemporary keyboard
technique. Through the study of physical posture, major scales SUPPORTIVE MUSIC // SONGWRITING
and common chord progressions, this course will enable SONG-102 | DEMO RECORDING AND PRODUCTION 1 (1)
students to develop the necessary motor skills required This course prepares students for successfully navigating
for using the keyboard as an arranging and compositional a project studio environment as songwriter, arranger and
tool. Upon completion of this course, students will gain a producer. Demo Recording and Production I focuses on
basic knowledge of keyboard skills through focused study recording theory and pre-production techniques including
of performance posture, practice routine development, interface operation, recording techniques, microphone, preamp
major scale construction, finger dexterity, interval and triad and headphone mixes, EQ considerations and general session
construction as well as common chord progressions. One operation. One lecture hour per week for one quarter.
lecture hour per week for one quarter.
SONG-202 | DEMO RECORDING AND PRODUCTION 2 (1)
ARTST-480 | KEYBOARD ESSENTIALS 2 (1) Prerequisite: SONG-102: Demo Recording and Production 1.

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 MI HOLLYWOOD COURSE DESCRIPTIONS
Recording and Production II continues to focus on recording, production using Apple Loops, recording/editing audio and
basic mixing and general post-production techniques. Students midi, arranging of tracks, producing drum beats with a virtual
will learn proper studio techniques such as tracking, overdubs drummer, as well as basic mixing and automation techniques
and “punch-in” for use in demo recording. At the same time, the are explored. This course addresses the requirements needed
course will discuss how to organize and plan/pre-produce all (Part 1 of 2) to take the “Apple Certified Pro” exam in Logic Pro
aspects of a demo recording session using loops, samples and X 10.4. Two lab hours per week for one quarter.
MIDI. One lecture hour per week for one quarter.
AUDIO-152 | LOGIC 2 (1)
SONG-011 | SONGWRITERS LAB (1) Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1.
This class is designed to foster open discussion, idea sharing, This course is a continuation of the Logic Pro X 10.4.x user
performance, and relationship-building for songwriters. Student interface for songwriters, composers, producers, and sound
songwriters perform their songs and share the writing process engineers. Upon completion, students will understand how to
followed by open discussion of alternative writing techniques use Logic Pro’s comprehensive array of software instruments,
and the creative process. One workshop hour per week for one arranging of MIDI sequences, as well as editing with Flex Time
quarter. & Pitch, Keep Tempo, Smart Controls, Advanced Audio & MIDI
Recording/Editing Techniques, and trouble-shooting. This
SONG-015 | THE WORKING SONGWRITER (1) course addresses the requirements needed (Part 2 of 2) to take
This class delves into the realm of current industry hit the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab
songwriting, helping students learn what it takes to become hours per week for one quarter.
a working songwriter along with studying current industry
songwriting techniques. One lecture hour per week for one TRACK OPTION B:
quarter.
AUDIO-058 | ABLETON LIVE 1 (1)
SONG-486 | BUSINESS OF COMPOSING 1 (1) A practical application of digital recording techniques using
This course explores of the world of music publishing and the Ableton Live, this course provides an overview for songwriters
how-to of owning and exploiting musical copyrights. Topics and artists on the fundamentals of the recording process,
include: copyright law and terminology, the online electronic including file and session setup, tracking, arranging, editing,
Copyright Office (eCO) process, publishing rights, how to set and mixing. Upon successful completion of the course,
COURSES

up a music publishing company, US PROs, public performance students will be able to compose, record, and produce music
royalties, how to affiliate with a PRO, cue sheets, songwriter using Ableton Live. Two lab hours per week for one quarter.
contracts and co-publishing agreements, administration
agreements, sub publishing, joint works, royalty splits, AUDIO-158 | ABLETON LIVE 2 (1)
mechanical and synchronization licenses, works made for hire, Prerequisite: AUDIO-058 Ableton Live 1. Building on
sampling, industry organizations and resources for further Ableton Live 1, this course provides a more in-depth practical
study. One lecture hour per week for one quarter. application of digital recording techniques using Ableton Live,
including synthesis, building racks, advanced audio effects,
SONG-487 | BUSINESS OF COMPOSING 2(1) dummy clips, remixing, and live performance. Upon successful
Prerequisite: SONG-486 The Business of Composing 1. This completion of this course, students will have tools to create
course examines music licensing and the process of placing their own sounds and effects as well as have building blocks to
music and songs into film, television, video games, commercials perform live. Two lab hours per week for one quarter.
and other productions. Topics include: music licensing
terminology, songwriter co-administration agreements, the
importance of music and songs in the film and television
BASS
production process, sources of musical content for producers, MAJOR AREA // BASS
the “Two Sides,” music production libraries and one-stop
shopping, the role of the music supervisor, source cues, music BASS-PL | PRIVATE LESSON (2)
clearance, spotting sessions and a composer’s timing notes, A weekly individual instrument lesson that supports core
temp music, how to negotiate synchronization and master use curriculum goals. An instructor guides the student in developing
licenses, composer package deals, music production and technique, musicianship and style.
sound recordings, union contracts, and how to fill out a cue
sheet. One lecture hour per week for one quarter. CC-013B-CC403B | LIVE PERFORMANCE WORKSHOPS 013-
403 (1)
Students perform in a variety of styles and settings (see section
DIGITAL AUDIO WORKSHOP (DAW) // SONGWRITING on Live Performance Workshops for overview of workshop
offerings). Minimum requirement of ten performances with an
TRACK OPTION A: average grade of 70% or higher per quarter. One ensemble
hour per week per quarter.
AUDIO-052 | LOGIC 1 (1)
This course introduces students to the primary features and
BASS-013 | BASS PERFORMANCE 013 (2)
basic user interface of Logic Pro X. The class explores the
Students develop fundamental technical approaches to a
process of creating an actual song, from start to finish. Pre-
variety of popular styles through weekly live performance.

177 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Concentration is placed on listening, dynamics, awareness of
song form, basic chart reading, instrument & amp setup, and BASS-210 | BASS TECHNIQUE & FRETBOARD 210 (2)
tone. This class coordinates with Bass Technique 011 and A continuation of Bass Technique 110 with concentration on
Bass Reading 012 topics. Two lecture/ensemble hours per grooves, additional striking hand techniques and approaches to
week for one quarter. soloing. Fretboard harmony will continue examining minor scale
variations, modes and improvisation. One lecture hour and one
BASS-023 | BASS PERFORMANCE 023 (2) lab hour per week for one quarter. Technique meets for one
Prerequisites: BASS-013 Bass Performance 013. Continuation hour and fretboard meets for two hours per week.
of ensemble performing experience, including intermediate-
level chart reading as well as further development of BASS-012 | BASS READING 012 (2)
practical performing techniques. This will include: giving and This course introduces the novice reader to the basic elements
following cues, dialing in appropriate tone and feel. This class of music reading in bass clef, including rhythmic subdivisions,
coordinates with Bass Technique 021 and Bass Reading 022 pitch identification, introduced to time signature studies (2/4
topics. Two lecture/ensemble hours per week for one quarter. & 3/4) and position playing on all four strings and scale forms.
Students perform in solo and ensemble settings. This class
BASS-130 | BASS PERFORMANCE 130 (2) coordinates with Bass Technique 011 and Bass Performance
Prerequisites: BASS-023 Bass Performance 023. Ensemble 013 topics. One lecture hour and one lab hour per week for one
performance emphasizing stylistic rhythm section textures and quarter.
applied techniques. Emphasis is placed on handling variations
in typical song form, improving chart-reading skills, and taking BASS-022 | BASS READING 022 (2)
a leadership role within the group. This class coordinates Prerequisites: BASS-012 Bass Reading 012. A continuation
with Bass Technique 110 and Bass Reading 120 topics. Two of Bass Reading 012. This course introduces the bassist to
lecture/ensemble hours per week for one quarter. more advanced elements of music reading, including triplet
subdivisions, time signature studies (2/4 & 3/4), dotted
BASS-230 | BASS PERFORMANCE 230 (2) notes, ties, dynamic markings, chord symbols, reading in
Prerequisites: BASS-230 Bass Performance 230. Ensemble ensembles (duets or trio) and basic chart reading. Continued
performance emphasizing applied techniques and advanced position playing has the student focusing on the lower and
concepts, such as odd meters and metric modulation. middle register of the neck. This class coordinates with Bass

COURSES
Emphasis is also placed on handling variations in typical song Technique 021 and Bass Performance 023 topics. One lecture
form, strengthening chart- reading skills and developing time hour and one lab hour per week for one quarter.
feel, including odd-meter concepts. This class coordinates
with Bass Technique 210 and Bass Reading 220 topics. Two BASS-120 | BASS READING 120 (2)
lecture/ensemble hours per week for one quarter. Prerequisites: BASS-022 Bass Reading 022. In addition to
continued position and specified key reading, this course preps
BASS-011 | BASS TECHNIQUE & FRETBOARD 011 (2) the student to read longer forms through bass clef notation
This course covers techniques for finger-style bass transcriptions and chord charts. Interpreting melodies and
playing, including correct posture, hand positioning, finger rhythms in different styles are also presented in detail. Position
independence, as well as picking (use of plectrum) and muting. playing has the student revisiting the lower register but with
All techniques are mastered through extensive exercises. concentrated focus on the middle register of the neck. Sight-
Fretboard harmony is introduced through major scales, triads reading concepts will be introduced. This class coordinates
and intervals. Technique meets for one hour and fretboard with Bass Technique 110 and Bass Performance 130 topics.
meets for two hours per week. One lecture hour and one lab hour per week for one quarter.

BASS-021 | BASS TECHNIQUE & FRETBOARD 021 (2) BASS-220 | BASS READING 220 (2)
This course covers techniques for slap- style bass playing, Prerequisites: BASS-120 Bass Reading 120. The Bass
including thumb/pluck technique, muting, articulation, Reading 220 curriculum continues with position and specific
rhythmic variations and embellishment. Fretboard harmony key(s) reading in the upper register of the neck. Continuing
study continues with melodic development exercises, scale with sight-reading concepts and exercises. This course will
sequencing and the introduction of the minor scale. Technique introduce odd- meter concepts and exercise reading of treble
meets for one hour and fretboard meets for two hours per clef notation, compound meter, metric modulation, jazz chart
week. reading, lead sheets and transcribing. This class coordinates
with Bass Technique 210 and Bass Performance 230 topics.
BASS-110 | BASS TECHNIQUE &FRETBOARD 110 (2) One lecture hour and one lab hour per week for one quarter.
Continued study of bass guitar techniques, with a
concentration on versatile approaches to standard rhythms, BASS-014 | BASS GEAR MAINTENANCE & MASTERY (1)
grooves and feels, including eighth-note and sixteenthnote This course covers critical techniques of bass setup and
grooves, straight and swung. Fretboard harmony will cover maintenance, such as truss rod adjustment, setting intonation,
chords and scales, including pentatonics, blues harmony, minor action, minor wiring repairs, as well as basic concepts to assure
scale variations, and extended chords. Technique meets for the longevity and performance of bass amps and cables. In
one hour and fretboard meets for two hours per week. addition, this course introduces many elements that make up a
contemporary bassists signal chain and how these components

178
 MI HOLLYWOOD COURSE DESCRIPTIONS
interact to best facilitate the tones and techniques required of a MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1
professional bassist in multiple different working environments (1.5)
and genres. One lecture hour per week for one quarter. The first in a two-quarter course sequence, designed to
provide students with an understanding of the entertainment
BASS-025 | BASS & DRUM CONCEPTS (1) industry, as it exists today, and essential knowledge for
Prerequisite: BASS-011 Bass Technique 011, BASS-016 sustaining a career in the digital era. In Business Practices for
Bass Fretboard 016, and BASS-013 Bass Performance 013. Musicians 1, topics include an overview of industry structure,
Performance workshop for bassists that takes an in-depth look the artist’s team (manager, attorney, agent, etc.), copyrights
at the musical dependency between the two instruments and and music publishing, band partnerships and solo artists,
the effect that it has on the groove. Particular attention is given employment agreements, work-for-hire, unions and more. One
to the intertwining of bass and drum parts and solidifying the lecture hour per week for one quarter.
groove. One ensemble hour per week for one quarter.
MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2
BASS-370 | SYNTH BASS (1) (1.5)
This course is an introduction to keyboard bass playing –
Prerequisites: MUBUS-0360 Business Practices for Musicians
from a bass player’s perspective. The layout and controls of a
1. This course is a continuation of Business Practices for
synthesizer and basic keyboard techniques will be discussed
Musicians 1, further covering the most important areas and
in great detail. Popular songs featuring prominent keyboard
basslines will also be discussed. One lecture/lab hour per week aspects of the entertainment industry. Topics include: record
for one quarter. labels (major and indie), types of deals, the DIY market,
distribution, touring, merchandising, and more. S.M.A.R.T.
BASS-350 | UPRIGHT BASS WORKSHOP 1 (1) goal setting is also covered to support students in creating
Study and performance of the upright bass. The curriculum is a path to career success. One lecture hour per week for one
designed to be a comprehensive resource for the electric bass quarter.
player making the transition to the upright bass. Use of fingers
and the bow will be discussed. When repeated for credit, the MUBUS-0202 | MEDIA RELATIONS (2)
instructor will determine course content and objectives. One Students learn the difference between publicity and public
lecture/lab hour per week for one quarter. relations, how to create and implement media campaigns, and
how to write artist bios, press releases, news releases, and
COURSES

BASS-450 | UPRIGHT BASS WORKSHOP 2 (1) eye-catching headlines. Skills apply to independent artists as
Prerequisites: BASS-350 Upright Bass Workshop 1: well as those aspiring to work in the industry. Two lecture hours
Continuation of performance on the upright bass. The per week for one quarter.
curriculum is designed to be a comprehensive resource for the
electric bass player making the transition to the upright bass. CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2)
Use of fingers and the bow will be discussed. When repeated Students learn how to use Adobe Photoshop to design original
for credit, the instructor will determine course content and CD artwork, flyers, promotional tools, and other visual materials
objectives. One lecture/lab hour per week for one quarter. vital to modern artists. Emphasis is on creating exciting and
expressive designs that directly support music marketing
BASS-360 | PROJECT RECORDING 1: BASS (2) campaigns. Topics covered in this class include: typography,
Prerequisites: Bass Reading 220, Bass Technique 210, flyer design, album artwork design, image manipulation,
Bass Performance 230. This course is designed to mimic the merchandise design, and more. Two lecture hours per week for
“real world” scenario of tracking bass in a 24-track studio. one quarter.
Topics include: developing bass parts, sight-reading charts,
performing with backing tracks, overdubbing, punching in, CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2)
as well as performing with loops and backing tracks. Studio Prerequisites: CC-307 Graphic Design for Artists 1. The
etiquette and sound development are also presented in Internet has opened up an enormous opportunity for
detail. Each student receives an HD video of his or her final musicians to promote themselves directly to music fans. This
performances. One private recording session hour per week for course focuses on the technical skills needed to promote
one quarter. music online. Topics include: building a strong online presence,
creation of a content-rich artist website, online marketing tools
BASS-460 | PROJECT RECORDING 2: BASS (2) and strategies, video editing basics, and social media. Two
Prerequisites: BASS-360 Project Recording 1: Bass. lecture hours per week for one quarter.
A continuation of Project Recording 1: Bass by learning
techniques and experiences, including advanced styles such as MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2)
odd-meter performance and soloing. Detailed bass tones, amp This course reveals basic marketing concepts applicable to
settings and microphone placement are also covered. Each any professional business venture and focuses on the creation
student receives an HD video of his or her final performance. of a fully customized, low-budget marketing plan of attack.
One private recording session hour per week for one quarter. Furthermore, at a time when new technologies make it more
possible than ever for artists to leverage their own careers,
there has never been a greater need for practical, independent
PROFESSIONAL DEVELOPMENT // BASS marketing advice. After identifying a business vision, students

179 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
conduct research, set short-term goals, and create an interchange, secondary dominants, diatonic substitution and
integrated mix of marketing strategies to achieve their objective, modulation, chromatic modulations, Roman numeral analysis,
including defining an image, brand, position, and format, altered and symmetrical scales. One video lecture hour and one
identifying the target audience, gaining access to radio, as lab hour per week for one quarter.
well as effectively utilizing live shows, the Internet, press, video
promotion, advertising and sponsorships, sales and licensing. CC-012 | EAR TRAINING 012 (1.5)
Students create a complete marketing plan utilizing handy This course is an introduction to ear training techniques,
templates included in the course resource, and receive useful which can be used within popular music. This is accomplished
feedback during three in-class work hours. Two lecture hours through the technique of matching specific pitches, major
per week for one quarter. scale melodies, and melodic intervals. Melodic and harmonic
intervals, chromaticism, triads, diatonic harmony, rhythm are
MUSICIANSHIP // BASS also studied. One video lecture hour and one lab hour per week
for one quarter.
CC-015 | RHYTHM READING WORKOUT 1 (1)
This course is designed to give Performance Program students CC-022 | EAR TRAINING 022 (1.5)
a solid foundation in reading rhythms. Students will focus Prerequisites: CC-12 Ear Training 012. This course is a
solely on understanding rhythmic notation and subdividing continuation of Ear Training 012, through the further study
basics. Topics covered include: notation basics (bar lines, of meter and rhythm, eighth-note phrases, sight-singing,
time signatures) notes and rests (ranging from whole note to transcribing melody and rhythm, melodic and harmonic
sixteenth note values), note value relationships, counting, triplets intervals, triad qualities, and diatonic major chord progressions.
and syncopation. One lecture/lab hour per week for one quarter. One video lecture hour and one lab hour per week for one
quarter.
CC-025 | RHYTHM READING WORKOUT 2 (1)
Prerequisites: CC-015 Rhythm Reading Workout 1. This CC-102 | EAR TRAINING 102 (1.5)
class is designed to give Performance Program students an Prerequisites: CC-022 Ear Training 022. This course is an
understanding of intermediate rhythm concepts. Topics covered application- based continuation of Ear Training 022 that
include: dotted notes, tied notes, swung eighth and sixteenth focuses on the recognition and transcription of pentatonic
scales, simple major and minor pentatonic melodies, triplet

COURSES
notes, advanced time signatures (cut time, 3/4, 6/8) and mixed
meters. One lecture/lab hour per week for one quarter. rhythms, blues scales, natural minor scale and its variations,
chord progressions utilizing inversions, diatonic minor key
CC-011 | HARMONY & THEORY 011 (1.5) chord progressions, chord progressions in Roman numerals,
This course is an introduction to the harmony and theory seventh chords. One video lecture hour and one lab hour per
used within popular music. This is accomplished through the week for one quarter.
application of music notation (for pitch), major scales, major key
signatures, intervals, triads, and major scale harmonies. One CC-202 | EAR TRAINING 202 (1.5)
video lecture hour and one lab hour per week for one quarter. Prerequisites: CC-202 Ear Training 102. This course is an
application- based continuation of Ear Training 102 that
CC-021 | HARMONY & THEORY 021 (1.5) focuses on the recognition and transcription of sixteenth-note
Prerequisites: CC-011 Harmony & Theory 011. This course is rhythmic phrases, standard variations in minor-key melody and
a continuation of Harmony & Theory 011. This is accomplished harmony, and seventh chord major and minor diatonic harmony.
through the further study of musical notation, diatonic One video lecture hour and one lab hour per week for one
structures, rhythmic values, time signatures, natural minor quarter.
scales (and variations), minor key signatures, harmonized minor
scales, chord inversions, diatonic seventh chords, triad analysis, CC-108 | KEYBOARD PROFICIENCY 1 (1)
chord progressions, and key centers. One video lecture hour Keyboard Proficiency 1 serves as an introduction to
and one lab hour per week for one quarter. contemporary keyboard technique. Through the study of
physical posture, finger technique, diatonic scales & chord
CC-101 | HARMONY & THEORY 101 (1.5) progressions, this course will enable students to develop the
Prerequisites: CC-021 Harmony & Theory 021. This course necessary motor skills required for using the keyboard both as
presents variations on diatonic structures from Harmony & a performing instrument and compositional tool. One lecture
Theory 021. Highlights include: pentatonic and blues scales, hour and one lab hour per week for one quarter.
inverted, extended and non-standard chord types, chord
symbols and modes, and voice leading and chord progressions. CC-208 | KEYBOARD PROFICIENCY 2 (1)
One video lecture hour and one lab hour per week for one Prerequisites: CC-108 Keyboard Proficiency 1. This course
quarter. further develops the technical skills required for successful
keyboard performance and musical comprehension. Pop and
CC-201 | HARMONY & THEORY 201 (1.5) Classical repertoire performance serves as the main focus of
Prerequisites: CC-101 Harmony & Theory 101. This course this course, in addition to further study of chord progressions
presents non-diatonic melodic and harmonic concepts. and scales. One lecture hour and one lab hour per week for one
Highlights include: minor key harmony and melody, modal quarter.

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 MI HOLLYWOOD COURSE DESCRIPTIONS
including bossa nova, samba, partido alto, and Bahia.
CC-107 | SONGWRITING FOR ARTISTS 1 (1.5) Students apply rhythms to standard Latin tunes during class
This course is a hands-on introduction to the methods performances. One lecture hour per week for one quarter.
and practices of modern songwriting for the contemporary
independent music artist. Topics covered include: genre-based BASS-068E | SLAP BASS 101 (1)
song structure studies, lyric writing, reverse-engineering, and This hands-on workshop is designed to enhance slap
effective chord progressions, melody, and groove. Students will technique and groove. Songs, exercises and grooves in a
examine and work with multiple songwriting styles, structures, variety of musical styles are used to develop thumb strength,
and examples, analyzing both classic and current hit songs. slap syncopation, rhythm, phrasing, ad-lib and funk licks,
Students will develop their skills as independent songwriters soloing, shuffle, swing, and funk grooves. Performances are
through weekly writing exercises, and apply what they have followed by critique and discussion. One lecture hour per week
learned by creating and presenting a fully-finished song at the for one quarter.
end of the course. One lecture hour and one lab hour per week,
per quarter. BASS-069E | ODD METER BASSLINES (1)
This curriculum is designed to be a comprehensive resource for
CC-207 | SONGWRITING FOR ARTISTS 2 (1.5) bass players to understand odd meter rhythms and create bass
Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101 lines and solos. Students will be introduced to concepts that
Songwriting 1. Building on the concepts and methods from will provide mastery of odd meter music and will be tested on
level 1, this course further explores the art and application of these concepts at the end of the quarter. One lecture hour per
songwriting for modern independent music artists. Students week for one quarter.
will dig deeper into detailed analysis of various genres of
songwriting styles, practice more advanced lyric writing BASS-070E | BEATLES BASSLINES (1)
techniques, and produce more complex melodies, chord This course explores the basslines of Paul McCartney in the
progressions, and rhythm/groove. In addition, students will learn context of Beatles repertoire through transcription, analysis,
crucial knowledge about navigating the business of songwriting and performance. One lecture hour per week for one quarter.
with respect to publishing, performance rights organizations
(PROs), and copyright. Students will work both independently BASS-078E | MODERN ROCK BASS: PLAYERS 1 (1)
and collaboratively on various creative songwriting exercises, This course is designed to be a comprehensive study of
COURSES

which will culminate in a final presentation of one or more players including Flea and Les Claypool, and their electric bass
completed songs at the end of the quarter. One lecture hour performance techniques. Not only does this course include a
and one lab hour per week, per quarter. set of detailed transcriptions; but it also contains a thorough set
of performance notes for each player and sub- genre as well.
BASS-SPECIFIC ELECTIVES One lecture hour per week for one quarter.

AVAILABLE ONLY TO BASS MAJORS BASS-151E | CHORDS FOR BASS (1)

A study of double stops, triads, seventh chords and their
BASS-048E | BASS & VOCALS (1) application in creating chord melodies and chord progressions
Prerequisites: BASS-012 Bass Reading 012. This course will on the electric bass. Solo pieces will also be applied using
provide bass players with the needed skills to be able to sing these topics. One lecture hour per week for one quarter.
and play their instruments in working situations. Students will
be trained in the ability to sing and play background and lead BASS-171E | UPRIGHT BASS WORKSHOP (1)
vocals in popular music settings. One lecture-ensemble hour Study and performance of the upright bass. A limited
per week for one quarter. enrollment workshop. This course is designed to be a
comprehensive resource for the electric bass player making the
BASS-052E | JAMES BROWN RHYTHM SECTION (1) transition to the upright bass as well as continued instruction
Performance workshop for bassists and drummers utilizing for more advanced upright players. Use of fingers and the bow
detailed transcriptions from the book The Funkmasters: The will be discussed and practiced. Curriculum and course pacing
Great James Brown Rhythm Sections 1960-1973. Students will reflect the level of experience and needs of the individual
will perform the bass lines and grooves in class with drummers. students. One performance hour per week for one quarter. May
One lecture hour per week for one quarter. be repeated for credit.

BASS-060E | AFRO-CUBAN BASS (1) ELECTIVES // BASS

This course explores different styles of Afro-Cuban music,
Bass students may fulfill their elective credit requirements by
including bolero, cha- cha, mambo, songo, naningo, and
choosing from program-specific electives, Common Course
merengue. Students apply rhythms to standard Latin tunes
electives, or entry-level electives offered by other programs;
during class performances. One lecture hour per week for one
see course offerings for options.
quarter.
BASS-050E | 20TH CENTURY JAZZ BASS I (1)
BASS-062E | BRAZLIAN BASS (1) This listening/lecture course traces the evolution of the jazz
This course explores different styles of Brazilian music,
rhythm section, in particular the evolution of basslines, from the

181 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
time of Louis Armstrong through Bill Evans and Brad Mehldau. any order). One lecture hour per week for one quarter.
One lecture hour per week for one quarter.
BASS-073E | JACO PASTORIUS BASSLINES (1)
BASS-061E | BLUES BASS (1) Prerequisites: BASS-022 Bass Reading 022, BASS-021
This course focuses on standard blues progressions, rhythmic Bass Technique 021. This course focuses on the structural,
interpretation and pentatonic scale construction. Specific topics theoretical, technical and harmonic aspects of classic
include: 12-bar and 8-bar form, minor blues, straight and swing recordings and basslines from one of the most influential bass
eighth-note interpretation, and application of major and minor guitarists in the history of contemporary music. The in-depth
pentatonic scales, as well as standard blues bass patterns, analysis of Jaco’s work will include examples from his original
improvised basslines, and fills. One lecture hour per week for compositions as well as his work with Weather Report, Joni
one quarter. Mitchell, Pat Metheny, and others. One lecture hour per week
for one quarter.
BASS-067E | R&B/FUNK BASS (1)
This course is designed to expose bassists to classic R&B and BASS-065E | MOTOWN BASS 1 (1)
funk styles through the extensive use of detailed transcriptions, Students study the work of legendary bassist James Jamerson
including Stax, Motown, Earth, Wind & Fire, Tower of Power using transcriptions taken from the book Standing in the
and other influential songs, players, and styles. One lecture hour Shadows of Motown. Students perform examples in class with
per week for one quarter. play-along tracks. One lecture hour per week for one quarter.

BASS-071E | CLASSIC METAL BASSLINES (1) BASS-165E | MOTOWN BASS 2 (1)

An examination of the history and evolution of heavy metal Prerequisites: BASS-022 Bass Reading 022. Additional
basslines. Specific techniques and styles are studied through studies in Motown bass style (BASS 065E and BASS-165E
extensive transcriptions and written examples. One lecture hour may be taken in any order). One lecture hour per week for one
per week for one quarter. quarter.

BASS-072E | CONTEMPORARY METAL BASSLINES (1) BASS-152E | CONTEMPORARY IMPROVISATION (1)

This course concentrates on specific metal bass techniques, Prerequisites: BASS-021 Bass Technique 021. This course
including two-handed tapping and three-finger picking. explores an in-depth analysis of diatonic and chromatic passing

COURSES
Includes extensive transcriptions and written examples from notes used to create basslines and solos over standard chord
such contemporary metal bands as Cynic, Lamb of God, and progressions. Students will learn to create linear basslines and
artists such as Billy Sheehan and Stuart Hamm. One lecture solos utilizing these concepts over diatonic and non-diatonic
hour per week for one quarter. chord progressions with applications to 4-, 5-, and 6-string
electric bass. One lecture hour per week for one quarter.
BASS-077E | WALKING BASSLINES (1)
This course is designed to help the bassist construct and BASS-153E | MODAL IMPROVISATION (1)
connect walking bass lines through various chord changes and Prerequisites: BASS-021 Bass Technique 021. Students learn
forms. One lecture hour per week for one quarter. how to analyze scale choices for eight standard chord types
and play smoothly through various types of chord progressions.
ADVANCED ELECTIVES One lecture hour per week for one quarter.
Note: For full details, refer to the course description for each
prerequisite named in your elective of interest. BASS-174E | LED ZEPPELIN BASSLINES (1)
Prerequisites: BASS-022 Bass Reading 022. This course
BASS-045E | TOWER OF POWER BASSLINES (1) explores the bass lines of John Paul Jones in the context of
Prerequisites: BASS-022 Bass Reading 022, BASS-021 the Led Zeppelin repertoire, including extensive and detailed
Bass Technique 021. Students will study, analyze, and learn the transcriptions, performance, and analysis. One lecture hour per
style, technique, and grooves of the great bass lines of Tower week for one quarter.
of Power bassist Francis “Rocco” Prestia. One lecture hour per
week for one quarter.
DRUM
BASS-054E | ADVANCED BASS RSW1 (1) MAJOR AREA // DRUM
Prerequisites: BASS-022 Bass Reading 022, BASS-021
Bass Technique 021. For the advanced bassist, this workshop DRUM-PL | PRIVATE LESSON 1-6 (2)
uses original compositions to explore the intricate technical A weekly individual instrument lesson that supports core
possibilities of the instrument in a group setting, with a curriculum goals. An instructor guides the student in developing
concentration on the groove. One lecture hour per week for one technique, musicianship and style. Twelve credit units required
quarter. (two per quarter).

BASS-154E | ADVANCED BASS RSW 2 (1) CC-013D-CC403D | LIVE PERFORMANCE WORKSHOPS 013-
Prerequisites: BASS-022 Reading 2, BASS-021 Bass 403 (1)
Technique 2. Additional studies in advanced rhythm section Students perform in a variety of styles and settings (see section
performance (BASS-O54E and BASS-154E may be taken in on Live Performance Workshops for overview of workshop

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 MI HOLLYWOOD COURSE DESCRIPTIONS
offerings). Minimum requirement of ten performances with an
average grade of 70% or higher per quarter. One ensemble DRUM-110 | DRUM TECHNIQUE 110 (2)
hour per week per quarter. Six credit units required (one per Prerequisites: DRUM-021 Drum Technique 2. This course
quarter). presents intermediate to advanced hand technique concepts
as applied to the drum set, including rudimental advancement,
DRUM-013 | DRUM PERFORMANCE 013 (2) and limb independence. Intermediate drummers need to further
This course covers fundamental technical approaches to a develop their ability and understanding of stick control and
variety of popular styles. Lessons on essential skills needed the subtleties included. This course coordinates with Drum
for a professional drummer such as: listening, dynamics, song Performance 130 and Drum Reading 120 topics. Two lecture/
form, basic chart reading, instrument setup, and drum set ensemble hours per week for one quarter.
sound are presented. This class coordinates with topics within
Drum Technique 011 and Drum Reading 012. Two lecture/ DRUM-210 | DRUM TECHNIQUE 210 (2)
ensemble hours per week for one quarter. Prerequisites: DRUM-110 Drum Technique 110. This course
presents advanced hand technique concepts as applied
DRUM-023 | DRUM PERFORMANCE 023 (2) to the drum set, including rudimental drum set application
Prerequisites: DRUM-013 Drum Performance 013. and creative development. This course coordinates with Drum
Continuation of ensemble performing experience, including Performance 230 and Drum Reading 220 topics. Two lecture/
intermediate-level chart reading as well as further development ensemble hours per week for one quarter.
of practical performing techniques, such as giving and
following cues, drum set sound and feel. This course DRUM-012 | DRUM READING 012 (2)
coordinates with topics within Drum Technique 021 and Drum This course presents introductory fundamentals of single- line
Reading 022. Two lecture/ensemble hours per week for one and drum set reading. Students learn notation basics, basic
quarter. note and rest values, subdividing, and sight-reading skills.
This course coordinates with Drum Technique 011 and Drum
DRUM-130 | DRUM PERFORMANCE 130 (2) Performance 013 topics.
Prerequisites: DRUM-023 Drum Performance 023. This
course covers ensemble performance emphasizing stylistic DRUM-022 | DRUM READING 022(2)
rhythm section textures and applied techniques. Emphasis is Prerequisites: DRUM-012 Drum Reading 012. This course
COURSES

placed on handling variations in typical song form, advanced presents drum set application of fundamental rhythms. Topics
chart-reading skills, and taking a leadership role within the include: time signature studies, note-value relationships, false
group. This course coordinates with Drum Technique 110 and notation, counting, and subdivision exercises. Interpreting
Drum Reading 120 topics. Two lecture/ensemble hours per rhythms at the drum set, 3-way independence studies and
week for one quarter. basic chart reading are also presented in detail. This course
coordinates with Drum Technique 021 and Drum Performance
DRUM-230 | DRUM PERFORMANCE 230 (2) 023 topics. Two lecture hours per week for one quarter.
Prerequisites: DRUM-130 Drum Performance 130. Ensemble
performance emphasizing applied techniques and advanced DRUM-120 | DRUM READING 120 (2)
Prerequisites: DRUM-022 Drum Reading 022. This course
concepts, such as odd meters and metric modulation.
presents the essential reading fundamentals needed by
Emphasis is also placed on handling variations in typical
professional- level drummers: lead sheet interpretation, drum
song form, improving odd meter chart reading skills, metric set orchestration, sight-reading, and ensemble figure set-
modulations and developing time feel. This course coordinates up fills. One and two-bar ensemble figures are presented
with Drum Technique 210 and Drum Reading 220 topics. Two in varying styles accompanied by orchestration and fill
lecture/ ensemble hours per week for one quarter. suggestions. This course coordinates with Drum Technique
210 and Drum Performance 230 topics. One lecture hour and
DRUM-011 | DRUM TECHNIQUE 011 (2) one lab hour per week for one quarter.
This course covers introductory hand technique for the drum
set player. Essential (and relevant) grips, strokes, posture and DRUM-220 | DRUM READING 220 (2)
rudiments are essential developmental areas for all drummers. Prerequisites: DRUM-120 Drum Reading 120. This course
This course coordinates with Drum Performance 013 and presents the advanced reading concepts needed by
Drum Reading 012 topics. Two lecture/ensemble hours per professional- level drummers: lead sheet interpretation, drum
week for one quarter. set orchestration, sight-reading, and ensemble figure set-up
fills. Advanced concepts such as metric modulations and cut
DRUM-021 | DRUM TECHNIQUE 021 (2) time will also be presented. This course coordinates with Drum
Prerequisites: DRUM-011 Drum Technique 011. This course Technique 210 and Drum Performance 230 topics. One lecture
presents intermediate hand technique as applied to the drum hour and one lab hour per week for one quarter.
set. The transition of essential rudiments from the practice pad
to the drum set is essential for all drummers in order to develop
DRUM-015 | DEVELOPING YOUR GROOVE 1 (1)
This course helps drummers to apply fundamental rhythms
a deep vocabulary. Creativity and functionality is developed
to the drum set, which improve time, feel, independence, and
through technique building. This course coordinates with Drum sound. Coordination drills are introduced and performed in
Performance 023 and Drum Reading 022 topics. Two lecture/ class within rock and jazz styles. One lecture/ ensemble hour
ensemble hours per week for one quarter.

183 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
per week for one quarter. Genre-relevant, drumset-based rudimental voicings and simple
brush patterns will also be presented. Altogether (and upon
DRUM-014 | DRUM GEAR MAINTENANCE & MASTERY (1) completing this study), the student will be able to function
This is an introductory course presenting hands-on lessons within a jazz ensemble (and sound like they belong there). One
on seminal drum equipment care, including equipment lecture hour and one ensemble hour per week for one quarter.
specifications, inspection, maintenance, repair, cleaning,
mounting, repair, restoration, storage and gear selection DRUM-452 | ADVANCED DRUMMING 2C: R&B/ GOSPEL
and options. Additionally, this course offers in-depth sound (2) Prerequisites: DRUM-210 Drum Technique 210 and
design workshops where students learn to tune and create DRUM-350 Advanced Drumming Styles: Jazz 1. This course
appropriate drum sounds from multiple eras of recorded music is designed to help today’s student drummer quickly (and
with an emphasis on modern sounds. Specific topics include efficiently) learn R&B/Gospel drumming techniques. It is an
how to make the proper drum, drumhead and tuning choices in-depth study of how to perform popular R&B/Gospel styles
for all situations. One lecture/lab hour per week for one quarter. and forms. This course takes the technical building blocks
(linear drumming, hand/foot fill combinations, over -the-bar
DRUM-240 | E-DRUMMING ESSENTIALS (1) rhythms, soloing ostinatos and metric modulation) presented in
Prerequisite: Successful completion of either AUDIO-152 Drum-210 and applies these techniques within a modern R&B/
(Logic 2), or AUDIO-157/157E (Pro Tools 110). This course Gospel rhythm section. Instructions on understanding each
focuses on developing a basic understanding of programming
song’s form, rhythmic figures, feel, comping, solo approaches
and performing with electronic percussion instruments.
and appropriate drum set sound are also presented. This class
Concepts such as sampling, looping and triggering will be
presents each student with a weekly assignment that focuses
covered during class and explored with weekly assignments.
on a particular R&B/Gospel form; drum set sound, groove
Upon successful completion of the course, the student will
be comfortable with using electronic percussion for both concept and improvisational approach. Upon completing this
performance and practice settings. In addition, the student course, the student will be able to apply advanced technical
will have a basic understanding of programming electronic drumming concepts in a musical and comprehensive manner.
percussion instruments in their respective modules and with One lecture hour and one ensemble hour per week for one
computer programs such as Ableton Live. One lecture/ lab quarter.
hour per week for one quarter.
DRUM-360 | PROJECT RECORDING 1: DRUMS (2)

COURSES
DRUM-025 | TIMEKEEPING (1) Prerequisites: DRUM-220 DRUM Reading 220, DRUM-210
Prerequisites: DRUM-015 Developing Your Groove. This Drum Technique 210, DRUM-230 Drum Performance 230. This
course applies developed groove-based coordination to course is designed to mimic the “real world” scenario of drum
metronome usage and verbal counting. One lecture/ensemble tracking in a 24-track studio. Topics include: developing drum
hour per week for one quarter. parts, sight-reading charts, performing with backing tracks,
overdubbing and punching in, and learning to lock in with loops
DRUM-350 | ADVANCED DRUMMING STYLES: JAZZ (1) and backing tracks. Studio etiquette and sound development
Prerequisites: DRUM-210 Drum Technique 210, DRUM-230 are also presented in detail. Each student receives an HD video
Drum Performance 230. This course presents the historical, of his or her final performances. Two lecture hours per week for
stylistic and technical evolution of Jazz from Dixieland to 1950s one quarter.
Bebop. In addition, the basic elements of jazz drumming
techniques include: ride patterns and left-hand comping, basic DRUM-460 | PROJECT RECORDING 2: DRUMS (2)
independence and coordination, ensemble interaction, and Prerequisites: DRUM-360 Project Recording 1: Drums. A
soloing concepts. One lecture hour plus one lab hour per week continuation of studio drumming techniques and experiences,
for one quarter. including advanced styles, such as odd-meter performance and
soloing. Detailed drum tuning and microphone placement are
DRUM-450 | ADVANCED DRUMMING STYLES 2B: LATIN also covered. Each student receives an HD video of his or her
(2) Prerequisites: DRUM-350 Advanced Drumming Styles: final performance. Two lecture hours per week for one quarter.
Jazz. This course develops authentic stylistic hand and foot
techniques through listening, demonstration, and classroom
practice, with emphasis on popular Brazilian styles, including PROFESSIONAL DEVELOPMENT // DRUM
bossa nova and samba. One lecture hour plus one lab hour per
week for one quarter. MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1
(1.5)
DRUM-451 | ADVANCED DRUMMING 2A: JAZZ 2 (2) The first in a two-quarter course sequence, designed to
Prerequisites: DRUM-210 Drum Technique 210 and DRUM- provide students with an understanding of the entertainment
350 Advanced Drumming Styles: Jazz 1. This course is industry, as it exists today, and essential knowledge for
designed to help today’s student drummer quickly (and sustaining a career in the digital era. In Business Practices for
efficiently) learn the Jazz idiom. It is an inclusive and in-depth Musicians 1, topics include an overview of industry structure,
study of how to authentically perform—alongside a rhythm the artist’s team (manager, attorney, agent, etc.), copyrights
section — within Jazz’s popular styles and forms. Not only and music publishing, band partnerships and solo artists,
does this class and curricula include a set of detailed charts; employment agreements, work-for-hire, unions and more. One
but each composition also focuses on a particular musical lecture hour per week for one quarter.
form, drum set sound, solo concept, and comping approach.

184
 MI HOLLYWOOD COURSE DESCRIPTIONS
MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2 signatures, intervals, triads, and major scale harmonies. One
(1.5) video lecture hour and one lab hour per week for one quarter.
Prerequisites: MUBUS-0360 Business Practices for Musicians
1. This course is a continuation of Business Practices for CC-021 | HARMONY & THEORY 021 (1.5)
Musicians 1, further covering the most important areas and Prerequisites: CC-011 Harmony & Theory 011. This course is
aspects of the entertainment industry. Topics include: record a continuation of Harmony & Theory 011. This is accomplished
labels (major and indie), types of deals, the DIY market, through the further study of musical notation, diatonic
distribution, touring, merchandising, and more. S.M.A.R.T. structures, rhythmic values, time signatures, natural minor
goal setting is also covered to support students in creating scales (and variations), minor key signatures, harmonized minor
a path to career success. One lecture hour per week for one scales, chord inversions, diatonic seventh chords, triad analysis,
quarter. chord progressions, and key centers. One video lecture hour
and one lab hour per week for one quarter.
MUBUS-0202 | MEDIA RELATIONS (2)
Students learn the difference between publicity and public CC-101 | HARMONY & THEORY 101 (1.5)
relations, how to create and implement media campaigns, and Prerequisites: CC-021 Harmony & Theory 021. This course
how to write artist bios, press releases, news releases, and presents variations on diatonic structures from Harmony
eye-catching headlines. Skills apply to independent artists as & Theory 021. Highlights include: pentatonic and blues
well as those aspiring to work in the industry. Two lecture hours scales, inverted, extended and non-standard chord types,
per week for one quarter. chord symbols and modes, and voice leading and chord
progressions. One video lecture hour and one lab hour per
CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2) week for one quarter.
Students learn to use Adobe Photoshop to design original CD
artwork, flyers, promotional tools, and other visual materials CC-201 | HARMONY & THEORY 201 (1.5)
vital to modern artists. Emphasis is on creating exciting and Prerequisites: CC-101 Harmony & Theory 101. This course
expressive designs that directly support music marketing presents non-diatonic melodic and harmonic concepts.
campaigns. Topics covered in this class include: typography, Highlights include: minor key harmony and melody, modal
flyer design, album artwork design, image manipulation, interchange, secondary dominants, diatonic substitution and
merchandise design, and more. Two lecture hours per week for modulation, chromatic modulations, Roman numeral analysis,
COURSES

one quarter. altered and symmetrical scales. One lecture hour and one lab
hour per week for one quarter.
CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2)
Prerequisites: CC-307 Graphic Design for Artists 1. The CC-012 | EAR TRAINING 012 (1.5)
Internet has opened up an enormous opportunity for This course is an introduction to ear training techniques,
musicians to promote themselves directly to music fans. This which can be used within popular music. This is accomplished
course focuses on the technical skills needed to promote through the technique of matching specific pitches, major
music online. Topics include: building a strong online presence, scale melodies, and melodic intervals. Melodic and harmonic
creation of a content-rich artist website, online marketing tools intervals, chromaticism, triads, diatonic harmony, rhythm are
and strategies, video editing basics, and social media. Two also studied. One video lecture hour and one lab hour per week
lecture hours per week for one quarter. for one quarter.

MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2) CC-022 | EAR TRAINING 022 (1.5)
This course reveals basic marketing concepts applicable to Prerequisites: CC-12 Ear Training 012. This course is a
any professional business venture and focuses on the creation continuation of Ear Training 012, through the further study
of a fully customized, low-budget marketing plan of attack. of meter and rhythm, eighth-note phrases, sight-singing,
At a time when new technologies make it more possible than transcribing melody and rhythm, melodic and harmonic
ever for artists to leverage their own careers, there has never intervals, triad qualities, and diatonic major chord progressions.
been a greater need for practical, independent marketing One video lecture hour and one lab hour per week for one
advice. After identifying a business vision, students conduct quarter.
research, set short-term goals, and create an integrated mix of
marketing strategies to achieve their objective. Students create CC-102 | EAR TRAINING 102 (1.5)
a complete marketing plan utilizing handy templates included in Prerequisites: CC-022 Ear Training 022. This course is an
the course resource, and receive useful feedback during three application- based continuation of Ear Training 022 that
one-hour lab. Two lecture hours per week for one quarter. focuses on the recognition and transcription of pentatonic
scales, simple major and minor pentatonic melodies, triplet
rhythms, blues scales, natural minor scale and its variations,
MUSICIANSHIP // DRUM chord progressions utilizing inversions, diatonic minor key
chord progressions, chord progressions in Roman numerals,
CC-011 | HARMONY & THEORY 011 (1.5) seventh chords. One video lecture hour and one lab hour per
This course is an introduction to the harmony and theory week for one quarter.
used within popular music. This is accomplished through the
application of music notation (for pitch), major scales, major key CC-202 | EAR TRAINING 202 (1.5)

185 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisites: CC-202 Ear Training 102. This course is an electives, or entry-level electives offered by other programs; see
application- based continuation of Ear Training 102 that course offerings for options.
focuses on the recognition and transcription of sixteenth-note
rhythmic phrases, standard variations in minor-key melody and DRUM-SPECIFIC ELECTIVES
harmony, and seventh chord major and minor diatonic harmony.
One video lecture hour and one lab hour per week for one AVAILABLE ONLY TO DRUM MAJORS
quarter.
DRUM-150E | INTRODUCTION TO DRUM RECORDING (1)
CC-108 | KEYBOARD PROFICIENCY 1 (1) Prerequisites: DRUM-013 Drum Performance 013. An
Keyboard Proficiency 1 serves as an introduction to introductory course which presents the traditional recording
contemporary keyboard technique. Through the study of studio to drum students. Specific topics presented include:
physical posture, finger technique, diatonic scales & chord the various physical attributes and components of the studio,
progressions, this course will enable students to develop the common studio terms, and vernacular and performance
necessary motor skills required for using the keyboard both as techniques needed to be successful in the studio. Other topics
a performing instrument and compositional tool. One lecture include: techniques for altering and controlling your sound, how
hour and one lab hour per week for one quarter. to manage headphone mixes, and playing to a click track plus
prerecorded instrument tracks. One lecture/lab hour per week
CC-208 | KEYBOARD PROFICIENCY 2 (1) for one quarter.
Prerequisites: CC-108 Keyboard Proficiency 1. This course
further develops the technical skills required for successful DRUM-260E | HYBRID DRUMMING ENSEMBLE WORKSHOP
keyboard performance and musical comprehension. Pop and (1)
Classical repertoire performance serves as the main focus of Prerequisite: DRUM-160E E-Drumming Essentials. An
this course, in addition to further study of chord progressions intermediate to advanced ensemble workshop designed
and scales. One lecture hour and one lab hour per week for to rehearse and perform as an electronic/acoustic drum
one quarter. ensemble. Students will apply their e-drumming knowledge
as a performance ensemble. One additional aspect of this
CC-107 | SONGWRITING FOR ARTISTS 1 (1.5) workshop is to include essential set-up/tear down technique
This course is a hands-on introduction to the methods and etiquette. Two workshop hours per week for one quarter.

COURSES
and practices of modern songwriting for the contemporary May be repeated for credit.
independent music artist. Topics covered include: genre-based
song structure studies, lyric writing, reverse-engineering, and DRUM-050E | HYBRID CAJON TECHNIQUES (1)
effective chord progressions, melody, and groove. Students will This is an introductory course which presents Cajon playing
examine and work with multiple songwriting styles, structures, basics in a contemporary setting. In addition to basic Cajon
and examples, analyzing both classic and current hit songs. playing, hybrid set-ups are introduced with the addition of
Students will develop their skills as independent songwriters hand held percussion, mounted percussion, foot-operated
through weekly writing exercises, and apply what they have percussion and drum set elements. Audio examples and
learned by creating and presenting a fully-finished song at the playalongs are also included. One lecture hour per week for
end of the course. One lecture hour and one lab hour per week, one quarter.
per quarter.
DRUM-051E | BASIC CARIBBEAN DRUMSET (1)
CC-207 | SONGWRITING FOR ARTISTS 2 (1.5) Students learn how to perform basic Afro-Cuban and Brazilian
Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101 styles on the drumset. Emphasis is on gaining the ability to
Songwriting 1. Building on the concepts and methods from effectively handle any Latin music-based performing situation.
level 1, this course further explores the art and application of One lecture hour per week for one quarter.
songwriting for modern independent music artists. Students
will dig deeper into detailed analysis of various genres of DRUM-066E | BRUSH TECHNIQUE (1)
songwriting styles, practice more advanced lyric writing Brush playing is an essential developmental area for all
techniques, and produce more complex melodies, chord drummers. This course covers introductory brush techniques
progressions, and rhythm/groove. In addition, students will learn for the modern drummer for all styles, such as jazz, pop, RnB,
crucial knowledge about navigating the business of songwriting and Latin. The class will explore essential grips, strokes,
with respect to publishing, performance rights organizations sounds, posture, and rudiments. One lecture hour per week for
(PROs), and copyright. Students will work both independently one quarter.
and collaboratively on various creative songwriting exercises,
which will culminate in a final presentation of one or more DRUM-072E | DOUBLE BASS DRUM WORKOUT (1)
completed songs at the end of the quarter. One lecture hour This course covers the use of double bass drum as a means
and one lab hour per week, per quarter. of furthering skills and broadening independence. Lectures,
demonstrations, and exercises emphasize speed, technique,
ELECTIVES // DRUM and control. One lecture hour per week for one quarter.
Drum students may fulfill their elective credit requirements by
choosing from program-specific electives, Common Course DRUM-074E | FILL FEST (1)
This course shows how to develop a vocabulary of fills

186
 MI HOLLYWOOD COURSE DESCRIPTIONS
on the drum set. Each week, students are introduced to a will study the evolution of funk drumming from James Brown
new fill concept that can be applied to a variety of musical to the early 1980s through listening and analysis of each
situations. This course includes written and audio examples groove supported by transcriptions. This course also includes
of top contemporary rock drummers. Students write out and discussions on how to practice the techniques covered. One
demonstrate their own fills and concepts throughout the class. lecture hour per week for one quarter.
One lecture hour per week for one quarter.
DRUM-154E | PROGRESSIVE DRUMMING (1)
DRUM-075E | HOW TO PRACTICE (1) Prerequisites: DRUM-022 Drum Reading 022. This pre-
This course covers the structure and discipline of efficient, intermediate course examines various concepts from some
productive practicing on the drum set. Students develop of today’s most advanced progressive drummers. The course
individual practice routines and apply them to material covered covers contemporary concepts and creative methods for
in core courses. Also includes performance preparation playing styles of music such as; Drum-n-Bass/Jungle as well as
(prioritizing, overcoming anxiety and more). One lecture hour odd meter and odd groupings with a emphases on groove and
per week for one quarter. fluidity. “Progressive Drumming” also introduces the technique
called D.D. (Double Drumming) to develop capacities related
DRUM-151E | NEW ORLEANS DRUMMING (1) to double bass and four-way coordination for all styles of
This course explores the historical, stylistic, and technical music. Applying D.D. techniques through simultaneous
development of drummers from New Orleans. Students will duet performances, students will explore new rhythm and
learn the second-line grooves of early brass bands up through coordination concepts while focusing on timekeeping and feel.
the invention of the “backbeat” and the irresistible funk that One lecture hour per week for one quarter.
forces people to “take it to the streets” in a Mardi Gras parade.
The individuals, rhythms, and culture of New Orleans that DRUM-155E | RUDIMENTAL WORKOUT (1)
have shaped American music for the last 100 years will be Prerequisite: DRUM-011 Drum Technique 011. This
presented. One lecture hour per week for one quarter. course covers application of hand technique for rudimental
development and strength training. Using simple exercises, and
an intuitive method for breaking down rudiments, the student
ADVANCED ELECTIVES // DRUM will gain necessary tools for developing technique, control, and
Note: For full details, refer to the course description for each analysis. One lecture hour per week for one quarter.
COURSES

prerequisite named in your elective of interest.

DRUM-252E | FUNK DRUMS - MODERN (1)
DRUM-025E | DEVELOPING YOUR GROOVE 2 (1) Prerequisites: DRUM-022 Drum Reading 022. Students study
Prerequisite: DRUM-015 Developing Your Groove. Covers the evolution of funk drumming from the early 1980s to the
drum set coordination techniques necessary for playing present day, including R&B and jazz influences on funk music,
beats between the bass drum, snare drum, hi-hat, hi-hat with and the relationship between acid jazz, hip-hop, R&B, and
the foot and ride cymbal. Limb synchronization and dynamic earlier funk music. One lecture hour per week for one quarter.
independence techniques are presented in systematic steps
to help drummers develop a solid foundation needed for DRUM-156E | BEBOP AND BEYOND (1)
professional-level timekeeping skills. This is an introductory- Prerequisites: DRUM-022 Drum Reading 022. This course
plus course that will help drummers dramatically improve focuses on a modern approach to playing jazz with a strong
their time, feel, independence and sound. Through weekly emphasis on bebop vocabulary and developing a musical
coordination drills (as applied to contemporary musical styles) flow of ideas. Topics discussed include: advanced comping
students will learn to sync and control all limbs when playing and ride cymbal approach, advanced hi-hat techniques,
beats. One lecture/lab hour per week for one quarter. development of motifs over standard song forms, polyrhythmic
overlap, and metric modulation. One lecture hour per week for
DRUM-117E | DEVELOPING YOUR GROOVE: one quarter.
ADVANCED (1)
Prerequisites: DRUM-025E Developing Your Groove 2. A DRUM-162E-01 | ESSENTIAL REPERTOIRE (1)
continuation of Develop Your Groove with an emphasis on Prerequisites: DRUM-012 Drum Reading 012. This
learning and applying “ghost note” patterns to grooves in a intermediate course presents a study of crucial musical
variety of styles along with variations of previously-learned repertoire for drummers. Through lectures, audio/video
patterns. One lecture-ensemble hour per week for one quarter. presentations and in class performances students learn
mandatory, “must know”, fills, grooves and solos from all
DRUM-052E | THE DRUMMERS OF JAMES BROWN (1) relevant genres and eras of music.
Prerequisites: DRUM-022 Drum Reading 022. Students will
dissect and learn the specific drum parts to classic James DRUM-165E | DRUM SET SOLOING & ARTISTIC
Brown tunes. Students will perform each week to either a DEVELOPMENT (1)
metronome or prerecorded tracks. One lecture hour per week Prerequisite: DRUM-110 Drum Technique 110. This
for one quarter. intermediate class is designed to present students techniques
in which they can develop ideas in order to construct a
DRUM-152E | FUNK DRUMS - CLASSIC (1) cohesive drum solo. Students build a repertoire of drumming
Prerequisites: DRUM-022 Drum Reading 022. Students data by detailed listening to (and crucial analysis of) classic

187 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
drum solos from drumming pioneers. In addition to audio and settings, use of open tunings, Travis picking, performing rhythm
transcription analysis, students perform and explore conceptual parts which include effects, plus introduction to styles such as
soloing exercises over loops and sans accompaniment. Abstract reggae, punk rock, thrash metal, and classic metal. This course
concepts designed to assist the student to move away from the coordinates with Guitar Technique 021 and Guitar Reading
technical side by thinking outside the box are also presented 022 topics. Two lecture/ensemble hours per week for one
and practiced. One lecture/lab hour per week for one quarter. quarter.

DRUM-170E | BRIDGING THE GAPS (1) GUIT-130 | GUITAR PERFORMANCE 130 (2)
Prerequisites: DRUM-022 Drum Reading 022. This course Prerequisites: GUIT-023 Guitar Performance 023. This
covers the application of essential drum rudiments, including course covers fundamental technical approaches to a variety
single strokes, double strokes, triplets, flams, ruffs, 5-strokes, of popular styles are presented and students will perform live
6-strokes, 7-strokes, single paradiddle, double paradiddle, and on a weekly basis. Emphasis is placed on handling variations
triple paradiddle to grooves and fills utilizing the entire drum set. in typical song form, improving chart-reading skills, taking a
One lecture hour per week for one quarter. leadership role within the group, plus introduction to a variety
of styles such as classic and modern urban blues, classic
DRUM-303E | DRUM PERFORMANCE: STUDIO EDITION (1) R&B and Motown, contemporary R&B and neo-soul, the early
Prerequisite: DRUM-230 Drum Performance 230. This course rock styles of Bo Diddley and Chuck Berry, surf/rockabilly,
takes all Drum Performance (DRUM-013, 023, 130, 230) charts
contemporary musical theater, classic and modern country,
and gives the students the opportunity to track their drum part
country-rock, and southern rock. This course coordinates with
in a professional recording studio. This intermediate-advanced
Guitar Technique 110 and Guitar Reading 120 topics. Two
class allows students to perform material they have previously
lecture/ensemble hours per week for one quarter.
performed over the previous 3-12 months. By minimizing
prep time, students will be able to focus on professional drum
recording techniques; such techniques include drum tuning, GUIT-230 | GUITAR PERFORMANCE 230 (2)
sound production, time/feel, playing to a click and/or track, drum Prerequisites: GUIT-130 Guitar Performance 130. This course
set orchestration and parts creation. One lecture/lab hour per covers fundamental technical approaches to a variety of
week for one quarter. popular styles are presented and students will perform live on
a weekly basis. Emphasis will be on advanced chart reading,
stage craft, playing in various meters such as 3/4, 6/8 and odd

COURSES
GUITAR meters, plus introduction to styles such as jam- band, Delta
blues, urban/Chicago blues, Gypsy jazz, minor blues, American
MAJOR AREA // GUITAR Songbook, Latin, bossa nova, Big Band comping and modern
jazz. This course coordinates with Guitar Technique 210 and
GUIT-PL | PRIVATE LESSON (2) Guitar Reading 220 topics. Two lecture/ensemble hours per
A weekly individual instrument lesson that supports core week for one quarter.
curriculum goals and, time permitting, also focuses on student’s
personal musical development goals. An instructor guides the GUIT-011 | GUITAR TECHNIQUE 011 (2)
student in developing technique, musicianship and style. One This course is an introduction to the basic fretting and picking
hour per week per quarter. Twelve credit units required (two per techniques, the layout of the guitar fretboard, basic chords,
quarter). chord progressions, and a general introduction to the most
common solo and rhythm guitar approaches. One lecture hour
CC-013G-CC-403G | LIVE PERFORMANCE and two lab hours per week for one quarter.
WORKSHOPS 013-403 (1)
Students perform in a variety of styles and settings (see section GUIT-021 | GUITAR TECHNIQUE 021 (2)
on Live Performance Workshops for overview of workshop Prerequisites: GUIT-011 Guitar Technique 011. General
offerings). Minimum requirement of ten performances with an musicianship is developed through learning the five-patterns of
average grade of 70% or higher per quarter. One ensemble hour the minor scales, applying rhythms to scales, how to structure
per week per quarter. Six credit units required (one per quarter). a solo, fingerstyle technique, acquiring knowledge of chord
voicings, and essential performance techniques commonly
GUIT-013 | GUITAR PERFORMANCE 013(2) used in contemporary music. One lecture hour and two lab
Students develop fundamental technical approaches to a hours per week for one quarter.
variety of popular styles through weekly live performance.
Concentration is placed on getting good lead and rhythm tones, GUIT-110 | GUITAR TECHNIQUE 110 (2)
stage etiquette, dynamics, and basic chart reading and writing. Prerequisites: GUIT-021 Guitar Technique 021. Emphasis
This course coordinates with Guitar Technique 011 and Guitar in this course will be on scales such as Major and Minor
Reading 012 topics. Two lecture/ensemble hours per week for
Pentatonic, Blues, Dorian, Mixolydian, and Lydian, plus
one quarter. introduction to drop voicings, chord progressions, Roman
numeral harmony, extended and altered chords, motive
GUIT-023 | GUITAR PERFORMANCE 023 (2) development, shuffle feel, and Blues tonalities. One lecture
Prerequisites: GUIT-13 Guitar Performance 013. This course hour and two lab hours per week for one quarter.
covers fundamental technical approaches to a variety of popular
styles are presented and students will perform live on a weekly GUIT-210 | GUITAR TECHNIQUE 210 (2)
basis. Emphasis will be on playing acoustic guitar in ensemble Prerequisites: GUIT-110 Guitar Technique 110. Emphasis in

188
 MI HOLLYWOOD COURSE DESCRIPTIONS
this course is placed on advanced concepts such as 16th GUIT-450 | ADVANCED MUSICIANSHIP CONCEPTS (FOR
note strum technique, scales such as Phrygian, Harmonic and THE GUITARIST) 2 (2)
Melodic minor, modal interchange and common approaches Prerequisites: GUIT-350 Advanced Musicianship Concepts
for playing over dominant chords. One lecture hour and two lab (For The Guitarist) 1. Topics to be covered include: advanced
hours per week for one quarter. improvisational concepts, deeper harmonic understanding, and
more sophisticated aspects of musicianship. Two lecture hours
GUIT-012 | GUITAR READING 012 (2) per week for one quarter.
This course introduces the fundamentals of music reading and
the basic terminology used in written notation. The emphasis GUIT-360 | PROJECT RECORDING 1: GUITAR (2)
will be placed on how to read single-note lines in open position, Prerequisites: GUIT-220 Guitar Reading 220, GUIT-210
key signatures and accidentals, how to navigate a basic chart, Guitar Technique 210, GUIT-230 Guitar Performance 230.
plus the chromatic note names and their position on the neck. This course will introduce the student to the basic knowledge
The course will also introduce basic music topics such as required to be able to record, engineer and produce their own
motives, phrases, melodies, and form. This course coordinates music. Topics include: basic studio etiquette, signal path,
with Guitar Technique 011 and Guitar Performance 013 topics. creating guitar parts and tracking tactics. The student will finish
Two lecture hours per week for one quarter. 1-3 songs/pieces for the purposes of a “demo reel” for his/her
website. Two lecture hours per week for one quarter.
GUIT-022 | GUITAR READING 022 (2)
Prerequisites: GUIT-012 Guitar Reading 012. Emphasis in this GUIT-460 | PROJECT RECORDING 2: GUITAR (2)
course is placed on reading in 5th position, various key centers, Prerequisite: GUIT-360 Project Recording 1. A continuation
real-world charts, plus symbols and terms commonly found in of the studio techniques and approaches covered in Project
written notation. This course coordinates with Guitar Technique Recording 1. Emphasis is on more advanced styles and soloing
021 and Guitar Performance 023 topics. Two lecture hours per and sophisticated post-production techniques such as effects
week for one quarter. processing and editing is covered. Each student receives an
HD video of his or her final performance. One lecture hour per
GUIT-120 | GUITAR READING 120 (2) week for one quarter.
Prerequisites: GUIT-022 Guitar Reading 022. Emphasis in this
course is placed on reading in 2nd and 7th position, reading
harmonies, duo and trio performances, and advanced real- PROFESSIONAL DEVELOPMENT // GUITAR
COURSES

world charts. This course coordinates with Guitar Technique

110 and Guitar Performance 130 topics. Two lecture hours per MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1
week for one quarter. (1.5)
The first in a two-quarter course sequence, designed to
GUIT-220 | GUITAR READING 220 (2) provide students with an understanding of the entertainment
Prerequisites: GUIT-120 Guitar Reading 120. Emphasis industry, as it exists today, and essential knowledge for
in this course is placed on reading in multiple positions, sustaining a career in the digital era. In Business Practices for
reading polyphonic music, trio and quartet performances and, Musicians 1, topics include an overview of industry structure,
advanced real-world charts. This course coordinates with the artist’s team (manager, attorney, agent, etc.), copyrights
Guitar Technique 210 and Guitar Performance 230 topics. Two and music publishing, band partnerships and solo artists,
lecture hours per week for one quarter. employment agreements, work-for-hire, unions and more. One
lecture hour per week for one quarter.
GUIT-015 | GUITAR GEAR MAINTENANCE & MASTERY (1)
This course will cover important design elements of guitars,
amps, and effects, with emphasis placed on helping the
MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2
student to achieve contemporary and time-honored guitar (1.5)
tones. Additionally, students will learn how to set up, perform Prerequisites: MUBUS-0360 Business Practices for Musicians
basic maintenance, and adjust intonation on guitars. Basic gig 1. This course is a continuation of Business Practices for
survival tactics as they apply to guitars and amplifiers will also Musicians 1, further covering the most important areas and
be presented. One lecture hour per week for one quarter. aspects of the entertainment industry. Topics include: record
labels (major and indie), types of deals, the DIY market,
GUIT-350 | ADVANCED MUSICIANSHIP CONCEPTS (FOR THE distribution, touring, merchandising, and more. S.M.A.R.T.
GUITARIST) 1 (2) goal setting is also covered to support students in creating
Prerequisites: GUIT-210 Guitar Technique 210, GUIT-230 a path to career success. One lecture hour per week for one
Guitar Performance 230. This course will introduce the student quarter.
to essential aspects of musicianship as needed for becoming
a skilled improvising instrumentalist and a complete musician. MUBUS-0202 | MEDIA RELATIONS (2)
The basic principles covered in Guitar Technique 011-210 will Students learn the difference between publicity and public
be applied towards larger musical goals and more advanced relations, how to create and implement media campaigns, and
improvisational concepts, and the class will cover topics such how to write artist bios, press releases, news releases, and
as playing over changes, chromaticism, harmonic relationships eye-catching headlines. Skills apply to independent artists as
and chord substitutions. Two lecture hours per week for one well as those aspiring to work in the industry. Two lecture hours
quarter.
per week for one quarter.

189 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2) CC-021 | HARMONY & THEORY 021 (1.5)
Students learn to use Adobe Photoshop to design original CD Prerequisites: CC-011 Harmony & Theory 011. This course is
artwork, flyers, promotional tools, and other visual materials a continuation of Harmony & Theory 011. This is accomplished
vital to modern artists. Emphasis is on creating exciting and through the further study of musical notation, diatonic
expressive designs that directly support music marketing structures, rhythmic values, time signatures, natural minor
campaigns. Topics covered in this class include: typography, scales (and variations), minor key signatures, harmonized minor
flyer design, album artwork design, image manipulation, scales, chord inversions, diatonic seventh chords, triad analysis,
merchandise design, and more. Two lecture hours per week for chord progressions, and key centers. One video lecture hour
one quarter. and one lab hour per week for one quarter.

CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2) CC-101 | HARMONY & THEORY 101 (1.5)
Prerequisites: CC-307 Graphic Design for Artists 1. The Prerequisites: CC-021 Harmony & Theory 021. This course
Internet has opened up an enormous opportunity for musicians presents variations on diatonic structures from Harmony
to promote themselves directly to music fans. This course & Theory 021. Highlights include: pentatonic and blues
focuses on the technical skills needed to promote music online. scales, inverted, extended and non-standard chord types,
Topics include: building a strong online presence, creation chord symbols and modes, and voice leading and chord
of a content-rich artist website, online marketing tools and progressions. One video lecture hour and one lab hour per
strategies, video editing basics, and social media. Two lecture week for one quarter.
hours per week for one quarter.
CC-201 | HARMONY & THEORY 201 (1.5)
MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2) Prerequisites: CC-101 Harmony & Theory 101. This course
This course reveals basic marketing concepts applicable to presents non-diatonic melodic and harmonic concepts.
any professional business venture and focuses on the creation Highlights include: minor key harmony and melody, modal
of a fully customized, low-budget marketing plan of attack. interchange, secondary dominants, diatonic substitution and
At a time when new technologies make it more possible than modulation, chromatic modulations, Roman numeral analysis,
ever for artists to leverage their own careers, there has never altered and symmetrical scales. One video lecture hour and one
been a greater need for practical, independent marketing lab hour per week for one quarter.
advice. After identifying a business vision, students conduct

COURSES
research, set short-term goals, and create an integrated mix of CC-012 | EAR TRAINING 012 (1.5)
marketing strategies to achieve their objective. Students create This course is an introduction to ear training techniques,
a complete marketing plan utilizing handy templates included in which can be used within popular music. This is accomplished
the course resource, and receive useful feedback during three through the technique of matching specific pitches, major
one-hour lab. Two lecture hours per week for one quarter. scale melodies, and melodic intervals. Melodic and harmonic
intervals, chromaticism, triads, diatonic harmony, rhythm are
also studied. One video lecture hour and one lab hour per week
MUSICIANSHIP // GUITAR for one quarter.
CC-015 | RHYTHM READING WORKOUT 1 (1) CC-022 | EAR TRAINING 022 (1.5)
This course is designed to give Performance Program students
Prerequisites: CC-12 Ear Training 012. This course is a
a solid foundation in reading rhythms. Students will focus
continuation of Ear Training 012, through the further study
solely on understanding rhythmic notation and subdividing
of meter and rhythm, eighth-note phrases, sight-singing,
basics. Topics covered include: notation basics (bar lines,
time signatures) notes and rests (ranging from whole note transcribing melody and rhythm, melodic and harmonic
to sixteenth note values), note value relationships, counting, intervals, triad qualities, and diatonic major chord progressions.
triplets and syncopation. One lecture/lab hour per week for one One video lecture hour and one lab hour per week for one
quarter. quarter.

CC-025 | RHYTHM READING WORKOUT 2 (1) CC-102 | EAR TRAINING 102 (1.5)
Prerequisites: CC-015 Rhythm Reading Workout 1. This Prerequisites: CC-022 Ear Training 022. This course is an
class is designed to give Performance Program students an application- based continuation of Ear Training 022 that
understanding of intermediate rhythm concepts. Topics covered focuses on the recognition and transcription of pentatonic
include: dotted notes, tied notes, swung eighth and sixteenth scales, simple major and minor pentatonic melodies, triplet
notes, advanced time signatures (cut time, 3/4, 6/8) and mixed rhythms, blues scales, natural minor scale and its variations,
meters. One lecture/lab hour per week for one quarter. chord progressions utilizing inversions, diatonic minor key
chord progressions, chord progressions in Roman numerals,
CC-011 | HARMONY & THEORY 011 (1.5) seventh chords. One video lecture hour and one lab hour per
This course is an introduction to the harmony and theory week for one quarter.
used within popular music. This is accomplished through the
application of music notation (for pitch), major scales, major key CC-202 | EAR TRAINING 202 (1.5)
signatures, intervals, triads, and major scale harmonies. One Prerequisites: CC-202 Ear Training 102. This course is an
video lecture hour and one lab hour per week for one quarter. application- based continuation of Ear Training 102 that

190
 MI HOLLYWOOD COURSE DESCRIPTIONS
focuses on the recognition and transcription of sixteenth-note See current course offering for options.
rhythmic phrases, standard variations in minor-key melody and
harmony, and seventh chord major and minor diatonic harmony. ENTRY-LEVEL ELECTIVES // GUITAR
One video lecture hour and one lab hour per week for one
quarter. GUIT-061E | CLASSICAL GUITAR (1)
This course covers the fundamental right-hand classical guitar
CC-108 | KEYBOARD PROFICIENCY 1 (1) techniques for arpeggios, scales, tremolo, harmonics, and
Keyboard Proficiency 1 serves as an introduction to rasgueado and apply them to classical guitar literature. One
contemporary keyboard technique. Through the study of lecture hour per week for one quarter.
physical posture, finger technique, diatonic scales & chord
progressions, this course will enable students to develop the GUIT-082E | BLUES LISTENING (1)
necessary motor skills required for using the keyboard both as a This course is designed to expose guitarists to the most
performing instrument and compositional tool. One lecture hour influential players in the development of modern electric styles
and one lab hour per week for one quarter. and techniques. Recordings by such icons as T-Bone Walker
and the “Three Kings” (B.B., Albert and Freddie), among
CC-208 | KEYBOARD PROFICIENCY 2 (1) others, will be analyzed and their influence traced through
Prerequisites: CC-108 Keyboard Proficiency 1. This course later generations of players. One lecture hour per week for one
further develops the technical skills required for successful quarter.
keyboard performance and musical comprehension. Pop and
Classical repertoire performance serves as the main focus of GUIT-086E | JAZZ LISTENING (1)
this course, in addition to further study of chord progressions A survey of jazz styles spanning classic through contemporary
and scales. One lecture hour and one lab hour per week for one jazz. The works of Charlie Parker, Wes Montgomery, John
quarter. Coltrane, and other jazz legends are explored using video and
audio excerpts to demonstrate how they have influenced the
CC-107 | SONGWRITING FOR ARTISTS 1 (1.5) playing of modern jazz guitar icons such as John Scofield, Pat
This course is a hands-on introduction to the methods Metheny, Allan Holdsworth, and Adam Rogers. One lecture
and practices of modern songwriting for the contemporary hour per week for one quarter.
independent music artist. Topics covered include: genre-based
COURSES

song structure studies, lyric writing, reverse-engineering, and

effective chord progressions, melody, and groove. Students will GUITAR-SPECIFIC ELECTIVES
examine and work with multiple songwriting styles, structures, AVAILABLE ONLY TO GUITAR MAJORS
and examples, analyzing both classic and current hit songs.
Students will develop their skills as independent songwriters GUIT-046E | ALTERNATIVE GUITAR HEROES (1.5)
through weekly writing exercises, and apply what they have Analysis and performance of contemporary rock guitar solos,
learned by creating and presenting a fully-finished song at the including those of Kurt Cobain, Jerry Cantrell, Tom Morello,
end of the course. One lecture hour and one lab hour per week, Billy Corgan, Kim Thayil, John Frusciante, Dave Navarro, The
per quarter. Edge, and Lenny Kravitz. One lecture hour and one lab hour per
week for one quarter.
CC-207 | SONGWRITING FOR ARTISTS 2 (1.5)
Prerequisite: CC-107 Songwriting for Artists1 or SONG-101 GUIT-047E | DJANGO JAZZ WORKSHOP (1.5)
Songwriting 1. Building on the concepts and methods from Prerequisite: GUIT-021 (Guitar Technique 021), GUIT-022
level 1, this course further explores the art and application of (Guitar Reading 022), and GUIT-023 (Guitar Performance
songwriting for modern independent music artists. Students 023). An introduction to the basic concepts of Gypsy Jazz,
will dig deeper into detailed analysis of various genres of based on the style of the French guitarist Django Reinhardt.
songwriting styles, practice more advanced lyric writing Students will study and perform the basic chord voicings,
techniques, and produce more complex melodies, chord chord progressions, stylistic signatures, repertoire and a
progressions, and rhythm/groove. In addition, students will learn general introduction to the most common solo and rhythm
crucial knowledge about navigating the business of songwriting guitar approaches used in this style. One lecture hour and one
with respect to publishing, performance rights organizations lab hour per week for one quarter.
(PROs), and copyright. Students will work both independently
and collaboratively on various creative songwriting exercises, GUIT-060E | ACOUSTIC GUITAR (1)
which will culminate in a final presentation of one or more This course covers the basic techniques and guitar gear used
completed songs at the end of the quarter. One lecture hour in popular steel-string acoustic performance, from flatpicking
and one lab hour per week, per quarter. to fingerpicking, strumming to plucking. One lecture hour per
week for one quarter.

ELECTIVES // GUITAR GUIT-062E | METAL GUITAR (1.5)

Guitar students may fulfill their elective credit requirements by This course analyzes and examines the role of the guitar in
choosing from program-specific electives, Common Course metal’s heaviest and most successful bands throughout
electives, or entry-level electives offered by other programs. the ‘80s and ‘90s, including Metallica, Slayer, Pantera, and

191 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Megadeth. The curriculum will break down each riff and solo, this course is designed for guitarists who wish to learn the ins
laying the groundwork for proper rock/metal technique while and outs of a full-size studio featuring a professional mixing
also providing historical perspective. One lecture hour and one console. Topics include: signal flow, microphone selection and
lab hour per week for one quarter; each student is required to placement, EQ, dynamic processing, and effects. Students will
perform in class three times. learn techniques used to capture and define the tone of some
of the world’s greatest guitar players. One lecture hour per
GUIT-063E | RUMBA WORKOUT (1) week for one quarter.
This course focuses on the strumming-hand rhythms of the
rumba and other Latin guitar grooves to generate a rhythm- GUIT-173E | GUITAR WORKOUT (1)
guitar intensive workout experience. Recommended for any This course offers a one-hour weekly “training session” that
guitar student who wants to gain a new rhythmic vocabulary exposes guitarists to exercises, licks, and concepts that can
and break out of the alternating up/down strum approach that be adapted and added to their personal practice routines. One
dominates mainstream guitar music. One lecture hour per week lecture-workshop hour per week for one quarter.
for one quarter.
GUIT-174E | PLAYING TECHNIQUES FOR GUITAR (1)
GUIT-064E | SLIDE GUITAR (1) Students learn to apply classical guitar vocabulary and
This course covers the fundamentals of slide guitar and its techniques to the electric guitar. One lecture hour per week for
application to various styles. Topics include: achieving proper one quarter.
touch and good tone, essential rock and blues vocabulary,
open tunings, and more. One lecture hour for one quarter.
GUIT-175E | GUITAR EFX (1)
This course is an overview of the most popular guitar effect
devices. Topics such as gain and tone shaping, modulation,
GUIT-065E | SURF/SPY GUITAR (1) delay, and reverb are covered through audio examples and
This course explores classic guitar instrumentals in the “surf/
live demonstrations. Additional topics include: building a
spy” genre. Students learn timeless songs and riffs from
pedalboard, guitar synthesizers, and using effects loops. One
artists, including the Ventures, Duane Eddy, and Dick Dale, and lecture hour per week for one quarter.
perform them with a rhythm section. One half-hour lecture and
one-and- one-half hour lab per week for one quarter.
ADVANCED ELECTIVES // GUITAR

COURSES
GUIT-066E | BLUES GUITAR (1.5) Note: For full details, refer to the course description for each
This course covers the fundamentals of the blues style, prerequisite named in your elective of interest.
including rhythm techniques for shuffles, slow blues, jump
blues, and other blues-related rhythms, as well as such soloing
concepts as chord/scale relationships, and stylistic phrasing. GUIT-051E | CHORD MELODY 1 (1)
One hour lecture plus one lab hour per week for one quarter. Prerequisites: GUIT-210 Guitar Technique 4. An introduction
to the art of interweaving melody, chords, and bass lines into
GUIT-166E | BLUES GUITAR 2 (1.5) compelling song arrangements for solo guitar. Lead sheet
Prerequisites: GUIT-110 Guitar Technique 110, GUIT-066E interpretation and jazz improvisation techniques are also
Blues Guitar. This course explores expanded jazz-blues covered. One lecture hour per week for one quarter.
harmony, soloing techniques, and the relationship between
blues and other musical styles, including jazz, rock & roll, and GUIT-151E | CHORD MELODY 2 (1)
R&B. Students gain a deeper understanding and appreciation Prerequisites GUIT-051E Chord Melody 1. The application of
of the blues tradition and related technical skills. One lecture chord melody techniques taught in Chord Melody 1. Emphasis
hour and one lab hour per week for one quarter. is on incorporating techniques and expanding repertoire. One
lecture hour per week for one quarter.
GUIT-070E | APPLIED METAL GUITAR (1.5)
This course examines influential metal bands and iconic metal GUIT-067E | JAZZ GUITAR IMPROVISATION (1.5)
guitar styles with an emphasis on harmonic analysis and Prerequisites: GUIT-210 Guitar Technique 210. This course
applied metal techniques. Students will learn solos riff-by- covers the vocabulary used in jazz improvisation of all eras, from
riff as they develop skills that are essential to the genre. Each swing and bebop to the present, including the use of scales,
student is required to perform three times during the quarter. modes, idioms, and typical bebop phrases. One lecture hour
One lecture hour and one lab hour per week for one quarter. and one lab hour per week for one quarter.

GUIT-088E | ACID JAZZ GUITAR 1 (1) GUIT-167E | MODERN JAZZ CONCEPTS (1.5)
This course covers the instrumental funk style of Maceo Parker, Prerequisites: GUIT-210 Guitar Technique 210. This
Ronny Jordan, Greyboy Allstars, Herbie Hancock, and others. course explores inside and outside playing, symmetrical
Particular emphasis is placed on rhythm guitar playing, rhythmic scales, polychords, and pentatonics as tools for jazz guitar
soloing, and chart reading. Some weekly preparation work is improvisation. One lecture hour and one lab hour per week for
required. Two workshop hours per week for one quarter. one quarter.

GUIT-170E | RECORDING GUITAR (1) GUIT-068E | SLAP, POP, and BEYOND (1.5)
Uniting the art of guitar playing with the skills of engineering, Prerequisites: GUIT-021 Guitar Technique 021. This course

192
 MI HOLLYWOOD COURSE DESCRIPTIONS
explores and details a variety of modern full-contact funk and 1 (1)
Prerequisites: GUIT-210 Guitar Technique 210. This course
rock approaches, with special emphasis on “bass-style” guitar
was developed by contrapuntal jazz pioneer and longtime
slapping and popping. Also explored are slapped harmonics,
MI Instructor, Jimmy Wyble., and provides step-by-step
tapped harmonics, and various two-hands-on-the-neck rhythm
development of the harmonic awareness, right- and left-hand
and lead techniques. Playing approaches from Van Halen, Jeff
techniques, and intervallic designs necessary for contrapuntal
Beck, Marcus Miller, and Michael Hedges, to Rage Against the
improvisation. Emphasis is placed on development of intervals,
Machine, Primus, and Bumblefoot are analyzed, along with the chord structures, vocabulary, and phrases that exemplify two-
use of guitar effects that complement full-contact styles. One line artistry. One lecture hour and one lab hour per week for one
lecture hour and one lab hour per week for one quarter. quarter.

GUIT-085E | JAZZ WORKSHOP 1 (1) GUIT-156E | MELODIC SOLOING (1)

Prerequisites: CC-021 Harmony & Theory 021, GUIT-021 Prerequisites: GUIT-021 Guitar Technique 021. Students will
Guitar Technique 021. This course is designed for the guitarist learn how to solo over basic-to-complex chord progressions
with little or no jazz experience or the guitarist who would like with an emphasis on the elements of melodic playing including
to fill in the holes in his or her jazz playing. Topics include: chord tones, phrasing, sound, and technique. Additional
playing through chord changes and developing a vocabulary topics include: rhythm section accompaniment and critiqued
for standard jazz progressions. This course also covers duo performances. One lecture- workshop hour per week for one
accompaniment techniques, such as walking bass lines with quarter.
chords and bossa nova bass/chord comping styles. One
lecture hour per week for one quarter. GUIT-157E | FUSION MASTERS (1.5)
Prerequisites: GUIT-110 Guitar Technique 110, GUIT-120
GUIT-185E | JAZZ WORKSHOP 2 (1) Guitar Reading 120. This course covers intermediate- to-
Prerequisites: GUIT-085E Jazz Workshop 1. This course advanced topics in fusion performance and their application
covers an in-depth study of the modes of melodic minor and to the guitar, including chord voicings, re-harmonization,
their application in jazz improvisation. Emphasis is placed on transcription, and improvising over changes. One lecture hour
developing lines for standard jazz progressions. Also covered and one lab hour per week for one quarter.
are practice techniques for jazz development. One lecture hour
per week for one quarter. GUIT-158E | ADVANCED ELECTRIC GUITAR STYLES (1.5)
COURSES

Prerequisites: GUIT-210 Guitar Technique 210. Students

GUIT-145E | GUITAR HEROES OF The ’80S (1.5) will learn how to make the leap into becoming a professional
Prerequisites: GUIT-021 Guitar Technique 021. Students will guitarist through a comprehensive study of the interplay
analyze and perform the solos of modern rock players, such as between the picking and strumming hands as it pertains to
Eddie Van Halen, Steve Vai, Randy Rhoads, Nuno Bettencourt, great tone, sterling melodic, execution, accurate string muting,
John Petrucci, Marty Friedman, and Yngwie Malmsteen as a and punchy rhythm playing. Additional topics include: three-
way of improving rock soloing skills. One lecture hour and one octave major and minor scales, chord-tone and approach-note
lab hour per week for one quarter. improvisation, use of pentatonic, “synthetic,” and other scales.
Practical ear training is also explored and students perform
GUIT-150E | GUITAR TRACKING TACTICS (1) with a rhythm section every week. One lecture hour and one lab
Prerequisites: GUIT-210 Guitar Technique 210. In weekly hour per week for one quarter.
one- on-one recording sessions with a professional guitarist/
instructor, students gain studio performance skills mandatory GUIT-159E | FUNK GUITAR 2: ADVANCED GROOVE
for the modern session guitarist. Techniques range from CONCEPTS (1.5)
dialing in appropriate tones, effective vibrato and bends, Prerequisites: GUIT-164E Funk Guitar. This course covers both
technical and practical approaches to groove- based styles.
and playing “in-the-pocket” to using capos, slides, EBows,
Techniques of time discipline, odd-meter studies, and playing
timed delays, pre- and post-input effects, open tunings, and
over shifts in feel and meter will be explored. Stylistic
other creative devices and applications. Students complete studies include early R&B, Motown, reggae, contemporary
a multi-song demo recording under the guidance of a guitar African styles and New Orleans grooves. One lecture hour and
instructor-producer, creating and recording rhythm patterns, one lab hour per week for one quarter.
fills, melodies, and solos over prerecorded rhythm tracks. One
private session hour per week for one quarter. GUIT-160E | AFRO-CUBAN GUITAR (1)
Prerequisites: GUIT-021 Guitar Technique 021. This course
GUIT-154E | BEATLES FOR SOLO GUITAR (1) is an introduction to the role of the guitar in the Afro-Cuban
Prerequisites: GUIT-021 Guitar Technique 021. The rhythm section. Students will learn how to create authentic-
Beatles are the most successful pop songwriters of all sounding parts. One lecture hour per week for one quarter.
time and their music remains popular with every new
generation. Learning solo guitar chord-melody arrangements GUIT-161E | BRAZILIAN GUITAR (1)
of The Beatles’ songs provides a deeper understanding of Prerequisites: GUIT-021 Guitar Technique 021. This course is
effective songwriting as well as an introduction to chord- an introduction to the role of the guitar in the Brazilian rhythm
melody technique. One lecture hour per week for one quarter. section, including bossa nova and samba. Students will learn
how to create authentic-sounding parts. One lecture hour per
GUIT-155E | THE ART OF TWO-LINE IMPROVISATION PART week for one quarter.

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 MI HOLLYWOOD COURSE DESCRIPTIONS
Some sight-reading involved. One ensemble hour per week for
GUIT-162E | COUNTRY GUITAR (1.5) one quarter.
Prerequisites: GUIT-021 Guitar Technique 021. Students will
learn typical progressions involving rhythm guitar and soloing GUIT-181E | CLASSICAL GUITAR READING
techniques applicable to contemporary country music. This ENSEMBLE (1)
course begins with the essentials and moves into specialized Prerequisites: GUIT-022 Guitar Reading 022. This course
techniques, including banjo rolls, open-string licks, and pedal covers an In-depth development of small (four- and five-part)
steel effects. One lecture hour and one lab hour per week for electric guitar ensemble performance skills based on guitar
one quarter. reading curriculum. Students refine and enhance all aspects of
their musicianship in the context of guitar ensemble rehearsal
GUIT-163E | ECLECTIC ELECTRIC GUITAR (1.5) and performance. Some sight-reading involved. One lecture-
Prerequisites: GUIT-021 Guitar Technique 021. Students learn
ensemble hour per week for one quarter.
how to play lines and solos in the style of Larry Carlton, Robben
Ford, Lee Ritenour, and others. One lecture hour and one lab
hour per week for one quarter. GUIT-187E | JAZZ GUITAR READING ENSEMBLE (1)
Prerequisites: GUIT-022 Guitar Reading 022. This course
GUIT-164E | FUNK GUITAR (1.5) covers an in-depth development of small (4- and 5-part)
Prerequisites: GUIT-021 Guitar Technique 021. Students electric guitar ensemble reading skills based on jazz repertoire.
will learn the essential techniques of funk rhythm guitar from Students refine and enhance all aspects of their musicianship in
fundamental to advanced, as well as tools to improve the context of rehearsal and performance. Some sight-reading
overall rhythm skills. The curriculum is based on traditional and involved. One ensemble hour per week for one quarter.
contemporary funk, inspired by artists such as James Brown,
Earth, Wind & Fire, Prince, the Red Hot Chili Peppers, Michael GUIT-188E | ACID JAZZ GUITAR 2 (1)
Jackson, Maroon 5, and beyond. One lecture hour and one lab Prerequisites: GUIT-088E Acid Jazz Guitar 1. Some weekly
hour per week for one quarter. preparation work is required. Students will be given charts and
a CD to prepare for the course. Two workshop hours per week
GUIT-165E | SHRED GUITAR (1) for one quarter.
Prerequisites: GUIT-210 Guitar Technique 210. This course
focuses on improvisation with advanced shred concepts and GUIT-255E | THE ART OF TWO-LINE (1.5)

COURSES
techniques, including speed picking, sweep picking, tapping, Prerequisites: GUIT-155E The Art of Two-Line Improvisation
string skipping, as well as applying three- and four-note- Part 1. The etudes from Jimmy Wyble’s seminal books
per-string scale patterns. One lecture hour per week for one are vehicles for solo guitar pieces as well as lessons in
quarter. contrapuntal techniques, and serve as a bridge between
classical guitar technique and jazz harmony. This course
GUIT-168E | ROCK RHYTHM GUITAR (1.5) intends to examine the harmonic material found in several of the
Prerequisites: GUIT-021 Guitar Technique 021. This course etudes, and by isolating some of the moves and transposing
covers the application of chord and riff techniques integral them to different keys, the material will be made applicable to
to contemporary rock styles. Students will learn specific students’ own arrangements and improvisations. One lecture
contemporary examples from various rock subgenres. One hour and one lab hour per week for one quarter.
lecture hour and one lab hour per week for one quarter.

GUIT-169E | ROCK LEAD GUITAR (1) KEYBOARD TECHNOLOGY

Prerequisites: GUIT-021 Guitar Technique 021. This course MAJOR AREA // KEYBOARD TECHNOLOGY
covers the melodic application of techniques and concepts
taught in core coures to rock guitar styles. Topics include: KEYBD-PL | PRIVATE LESSON (2)
hammer-ons, pull-offs, string bending, two-handed fretting A weekly individual instrument lesson that supports core
techniques, and other stylistic nuances of rock soloing. One curriculum goals. An instructor guides the student in developing
lecture hour per week for one quarter. technique, musicianship and style. Twelve credit units required
(two per quarter).
GUIT-172E | APPLIED TECHNIQUE (1)
Prerequisites: GUIT-021 Guitar Technique 021. This course CC-013K-CC-403K | LIVE PERFORMANCE WORKSHOPS
is designed to increase playing speed through chord changes 013-403 (1)
over the entire fretboard, and combine all the techniques Students perform in a variety of styles and settings (see section
learned in Guitar Technique courses. One lecture hour per on Live Performance Workshops for overview of workshop
week for one quarter. This course may be repeated for credit. offerings). Minimum requirement of ten performances with an
average grade of 70% or higher per quarter. One ensemble
GUIT-180E | CLASSIC ROCK READING ENSEMBLE (1) hour per week per quarter. Six credit units required (one per
quarter).
Prerequisites: GUIT-022 Guitar Reading 022. This course
covers an in-depth development of small (4- and 5-part)
electric guitar ensemble reading skills based on pop music KEYBD-013 | KEYBOARD PERFORMANCE 013 (2)
A performance course that utilizes both technical and popular
repertoire. Students refine and enhance all aspects of their
music approaches. Concentration is placed on listening,
musicianship in the context of rehearsal and performance. dynamics, awareness of song form, and basic chart reading.

194
 MI HOLLYWOOD COURSE DESCRIPTIONS
This course coordinates with Keyboard Technique 011 and first & second inversion triads, root-position seventh chords,
Keyboard Reading 012 topics. Two lecture/ensemble hours per triad-based arpeggios and modal interchange using the I-IV-
week for one quarter. V-I, I-VI-II-V-I & I-VI- iv-iidim-V-viidim-I progressions, complete
with preferred voicings. Two lecture hours per week for one
KEYBD-023 | KEYBOARD PERFORMANCE 023 (2) quarter.
Prerequisites: KEYBD-013 Keyboard Performance 013. A
performance course that utilizes both technical and popular KEYBD-110 | KEYBOARD TECHNIQUE 110 (2)
music approaches. Intermediate-level chart reading also aids Prerequisites: KEYBD-021 Keyboard Technique 021. Weekly
in the further development of giving and following cues, group study centers on the development and subsequent
keyboard patch programming, and stylistic improvisation.
mastery of the performance skills necessary for becoming
This course coordinates with Keyboard Technique 021 and
a successful keyboardist. Students will gain a thorough
Keyboard Reading 022 topics. Two lecture/ensemble hours
per week for one quarter. understanding of both the mental and physical components that
contribute to proper technique. Subsequent curricular topics
KEYBD-130 | KEYBOARD PERFORMANCE 130 (2) include: pentatonic & blues scales, the Mixolydian & Dorian
Prerequisites: KEYBD-023 Keyboard Performance 023. A modes, chromatic interval-based extensions, first, second &
performance course that utilizes both technical and popular third inversion seventh chords, ii7-V7-Ima7, iimi7(b5)-V7-Ima7/
music approaches, with an emphasis on atypical song forms, i7 progressions, major & dominant cycles, add9 & sus4 chords
stylistic embellishments, volume swells, use of the modulation and seventh chord-based arpeggios. Two lecture hours per
wheel, keyboard splits and sonic layering. Each topic is applied week for one quarter.
to a particular groove, comping pattern and musical form.
Leadership within a group is also discussed. This course KEYBD-210 | KEYBOARD TECHNIQUE 210 (2)
coordinates with Keyboard Technique 110 and Keyboard Prerequisites: KEYBD-110 Keyboard Technique 110. Weekly
Reading 120 topics. Two lecture/ensemble hours per week for group study centers on the development and subsequent
one quarter. mastery of the performance skills necessary for becoming
a successful keyboardist. Students will gain a thorough
KEYBD-230 | KEYBOARD PERFORMANCE 230 (2) understanding of both the mental and physical components
Prerequisites: KEYBD-130 Keyboard Performance 130. A that contribute to proper technique. Subsequent curricular
performance- based course that utilizes practical techniques topics include: Locrian & Lydian modes, altered scales, ii7-V7-
COURSES

and advanced concepts, such as dual keyboard playing, Ima7 & iimi7(b5)-V7- Ima7/i7 progressions utilizing chromatic
multiple keyboard splits, key transposition and detailed extensions & tri-tone substitutions and lead-sheet interpretation,
improvisation. Each topic is applied to a particular groove, complete with three & four-note voicings. Two lecture hours per
style and song form. Further leadership within a group is also week for one quarter.
discussed. This course coordinates with Keyboard Technique
210 and Keyboard Reading 220 topics. Two lecture/ensemble KEYBD-012 | KEYBOARD READING 012 (2)
hours per week for one quarter. Students learn basic single-line note reading, symbols for
notating melody, rhythm and harmony. Highlights include: Clefs,
KEYBD-011 | KEYBOARD TECHNIQUE 011 (2) Grand Staff, Ledger Lines, Key Signatures, fingering, and song
This course serves as an introduction to contemporary forms. This course coordinates with Keyboard Technique 011
keyboard technique. Weekly group study centers on the and Keyboard Performance 013 topics. Two lecture hours per
development and subsequent mastery of the performance skills week for one quarter.
necessary for becoming a successful keyboardist. Students
will gain a thorough understanding of both the mental and KEYBD-022 | KEYBOARD READING 022 (2)
physical components that contribute to proper technique. Prerequisites: KEYBD-012 Keyboard Reading 012. Topics
Subsequent curricular topics include: performance posture, include: time signature studies, note-value relationships,
warm-up/practice routine development, major & melodic minor counting and subdivision exercises as applied to particular
scale performance & memorization, finger dexterity, interval & grooves, articulations and ornaments, syncopated rhythms,
triad construction based on the major scale, as well as chord chart reading, part independence, comping patterns and
progressions, complete with preferred voicings. Two lecture musical forms. This course coordinates with Keyboard
hours per week for one quarter. Technique 021 and Keyboard Performance 023 topics. Two
lecture hours per week for one quarter.
KEYBD-021 | KEYBOARD TECHNIQUE 021 (2)
Prerequisites: KEYBD-011 Keyboard Technique 011. This KEYBD-120 | KEYBOARD READING 120 (2)
course serves as a continuation of Keyboard Technique Prerequisites: KEYBD-022 Keyboard Reading 022. Topics
011. Weekly group study centers on the development and include: interpreting rhythmic, harmonic and melodic patterns
subsequent mastery of the performance skills necessary within a particular groove, and song form. This course
for becoming a successful keyboardist. Students will gain coordinates with Keyboard Technique 110 and Keyboard
a thorough understanding of both the mental and physical Performance 130 topics. Two lecture hours per week for one
components that contribute to proper technique. Subsequent quarter.
curricular topics include: harmonic & natural minor scales,
diatonic & chromatic interval alterations, triad construction KEYBD-220 | KEYBOARD READING 220 (2)
based on minor scales (major, minor, diminished & augmented),

195 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisites: KEYBD-120 Keyboard Reading 120. Topics utility. One lecture hour per week for one quarter.
include: reading compound time signatures, meter changes,
harmonic and melodic patterns within a particular groove, KEYBD-140 | DIGITAL MUSIC 1 (2)
keyboard patch, and song form. This course coordinates with This course is an introduction to digital audio technology as an
Keyboard Technique 210 and Keyboard Performance 230 essential tool for the creation of computer-based recordings.
topics. Two lecture hours per week for one quarter. Students learn intuitive set-up procedures and use of
controllers and DAWs.
KEYBD-024 | KEYBOARD GEAR MASTERY (1)
This course is an introduction to the modern keyboard rig KEYBD-240 | DIGITAL MUSIC 2 (2)
and its use in live performance and/or recording. This is Prerequisite: KEYBD-140 Digital Music 1. Building from the
accomplished through an introduction to the basic functions foundation set in Digital Music 1, this class continues with the
and controls of popular hardware electric keyboards and development of using digital audio technology as a tool for
their soft-synth counterparts, the basics of analog synthesis, creating computer-based recordings.
an overview of sound selection techniques, and the ancillary
components to keyboard live performance and recording. One
lecture/lab hour per week for one quarter.
KEYBD-340 | DIGITAL MUSIC 3 (2)
Prerequisite: KEYBD-240 Digital Music 2. This course is the
study and application of mixing techniques with emphasis
KEYBD-350 | COMMERCIAL COMPOSITION 1 (2) on audio processing using effects plug-ins. Prerequisite:
Prerequisites: DAW 2. This course is an introduction to
KEYBD-240 Digital Music 2.
composing musical background scores, in order to enhance
the emotional qualities of video images. This course includes
both the creative and technical aspects of scoring for KEYBD-330 | PRODUCER PROJECT 1 (2)
commercials, T.V. and film. One lecture hour and one lab hour Prerequisite: KEYBD-2240 Digital Music 2. In this class,
per week for one quarter. students will work collaboratively in teams to produce original
material for a “client” played by the instructor. Students will be
KEYBD-450 | COMMERCIAL COMPOSITION 2 (2) required to produce a number of drafts and revisions of the
Prerequisites: KEYBD-350 Commercial Composition 1. project to meet the requirements of the client.
This intermediate level course delves deeper into the popular
compositional and music production devices used in TV, KEYBD-430 | PRODUCER PROJECT 2 (2)

COURSES
film and video music creation. Topics include: combining live A continuation of Producer Project 1. Students will work
instruments with software, editing MIDI instruments for a more collaboratively in teams to produce original material for a “client”
“realistic” sound, mixing and basic mastering. One lecture hour played by the instructor. Students will be required to produce
and one lab hour per week for one quarter. a number of drafts and revisions of the project to meet the
requirements of the client.
KEYBD-360 | PROJECT RECORDING 1: KEYBOARDS (2)
Prerequisites: KEYBD-220 Keyboard Reading 220,
KEYBD-210 Keyboard Technique 210, KEYBD-230 Keyboard
PROFESSIONAL DEVELOPMENT // KEYBOARD
Performance 230. Students will begin planning and creating TECHNOLOGY
their final keyboard recording project, including two or more
original songs. Digital recording, home studios, writing and MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1 (1.5)
arranging, programming MIDI and some business discussions The first in a two-quarter course sequence, designed to
are all covered. Initial assignments include producing song provide students with an understanding of the entertainment
demos and creating a production schedule. Two lecture hours industry, as it exists today, and essential knowledge for
per week for one quarter. sustaining a career in the digital era. In Business Practices for
Musicians 1, topics include an overview of industry structure,
KEYBD-460 | PROJECT RECORDING 2: KEYBOARDS (2) the artist’s team (manager, attorney, agent, etc.), copyrights
Prerequisites: KEYBD-360 Project Recording 1: Keyboards. and music publishing, band partnerships and solo artists,
Students will complete and submit all elements of their final employment agreements, work-for-hire, unions and more. One
project, including final mixes, to the faculty panel for review lecture hour per week for one quarter.
and evaluation. Have a basic understanding of analog signal
flow and how it translates to the digital domain. Understand MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2
what’s involved in a live studio session including creating (1.5)
charts and how to stay organized and efficient. Understand and
Prerequisites: MUBUS-0360 Business Practices for Musicians
identify different Microphone types and recording techniques.
1. This course is a continuation of Business Practices for
Understand the concept of signal processing and basic mixing
Musicians 1, further covering the most important areas and
and mastering methods.
aspects of the entertainment industry. Topics include: record
labels (major and indie), types of deals, the DIY market,
KEYBD-150 | SYNTHESIS AND SAMPLING (1) distribution, touring, merchandising, and more. S.M.A.R.T.
This course covers the history of synthesizers, fundamentals
goal setting is also covered to support students in creating
of subtractive synthesis, sampling techniques and their
a path to career success. One lecture hour per week for one
application using Apple Logic software. Includes practical
application of theory using the ES-1, ES-2 and Sculpture quarter.
synthesizers as well as the EXS-24 sampler and Apple Loops

196
 MI HOLLYWOOD COURSE DESCRIPTIONS
MUBUS-0202 | MEDIA RELATIONS (2) meters. One lecture/lab hour per week for one quarter.
Students learn the difference between publicity and public
relations, how to create and implement media campaigns, and CC-011 | HARMONY & THEORY 011 (1.5)
how to write artist bios, press releases, news releases, and This course is an introduction to the harmony and theory
eye-catching headlines. Skills apply to independent artists as used within popular music. This is accomplished through the
well as those aspiring to work in the industry. Two lecture hours application of music notation (for pitch), major scales, major key
per week for one quarter. signatures, intervals, triads, and major scale harmonies. One
video lecture hour and one lab hour per week for one quarter.
CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2)
Students learn to use Adobe Photoshop to design original CD CC-021 | HARMONY & THEORY 021 (1.5)
artwork, flyers, promotional tools, and other visual materials Prerequisites: CC-011 Harmony & Theory 011. This course is
vital to modern artists. Emphasis is on creating exciting and a continuation of Harmony & Theory 011. This is accomplished
expressive designs that directly support music marketing through the further study of musical notation, diatonic
campaigns. Topics covered in this class include: typography, structures, rhythmic values, time signatures, natural minor
flyer design, album artwork design, image manipulation, scales (and variations), minor key signatures, harmonized minor
merchandise design, and more. Two lecture hours per week for scales, chord inversions, diatonic seventh chords, triad analysis,
one quarter. chord progressions, and key centers. One video lecture hour
and one lab hour per week for one quarter.
CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2)
Prerequisites: CC-307 Graphic Design for Artists 1. The CC-101 | HARMONY & THEORY 101 (1.5)
Internet has opened up an enormous opportunity for Prerequisites: CC-021 Harmony & Theory 021. This course
musicians to promote themselves directly to music fans. This presents variations on diatonic structures from Harmony
course focuses on the technical skills needed to promote & Theory 021. Highlights include: pentatonic and blues
music online. Topics include: building a strong online presence, scales, inverted, extended and non-standard chord types,
creation of a content-rich artist website, online marketing tools chord symbols and modes, and voice leading and chord
and strategies, video editing basics, and social media. Two progressions. One video lecture hour and one lab hour per
lecture hours per week for one quarter. week for one quarter.
COURSES

MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2) CC-201 | HARMONY & THEORY 201 (1.5)
This course reveals basic marketing concepts applicable to Prerequisites: CC-101 Harmony & Theory 101. This course
any professional business venture and focuses on the creation presents non-diatonic melodic and harmonic concepts.
of a fully customized, low-budget marketing plan of attack. Highlights include: minor key harmony and melody, modal
At a time when new technologies make it more possible than interchange, secondary dominants, diatonic substitution and
ever for artists to leverage their own careers, there has never modulation, chromatic modulations, Roman numeral analysis,
been a greater need for practical, independent marketing altered and symmetrical scales. One video lecture hour and one
advice. After identifying a business vision, students conduct lab hour per week for one quarter.
research, set short-term goals, and create an integrated mix of
marketing strategies to achieve their objective. Students create CC-012 | EAR TRAINING 012 (1.5)
a complete marketing plan utilizing handy templates included in This course is an introduction to ear training techniques,
the course resource, and receive useful feedback during three which can be used within popular music. This is accomplished
one-hour lab. Two lecture hours per week for one quarter. through the technique of matching specific pitches, major
scale melodies, and melodic intervals. Melodic and harmonic
intervals, chromaticism, triads, diatonic harmony, rhythm are
MUSICIANSHIP // KEYBOARD TECHNOLOGY also studied. One video lecture hour and one lab hour per week
for one quarter.
CC-015 | RHYTHM READING WORKOUT 1 (1)
This course is designed to give Performance Program students CC-022 | EAR TRAINING 022 (1.5)
a solid foundation in reading rhythms. Students will focus Prerequisites: CC-12 Ear Training 012. This course is a
solely on understanding rhythmic notation and subdividing continuation of Ear Training 012, through the further study
basics. Topics covered include: notation basics (bar lines, of meter and rhythm, eighth-note phrases, sight-singing,
time signatures) notes and rests (ranging from whole note transcribing melody and rhythm, melodic and harmonic
to sixteenth note values), note value relationships, counting, intervals, triad qualities, and diatonic major chord progressions.
triplets and syncopation. One lecture/lab hour per week for one One video lecture hour and one lab hour per week for one
quarter. quarter.

CC-025 | RHYTHM READING WORKOUT 2 (1) CC-102 | EAR TRAINING 102 (1.5)
Prerequisites: CC-015 Rhythm Reading Workout 1. This Prerequisites: CC-022 Ear Training 022. This course is an
class is designed to give Performance Program students an application- based continuation of Ear Training 022 that
understanding of intermediate rhythm concepts. Topics covered focuses on the recognition and transcription of pentatonic
include: dotted notes, tied notes, swung eighth and sixteenth scales, simple major and minor pentatonic melodies, triplet
notes, advanced time signatures (cut time, 3/4, 6/8) and mixed rhythms, blues scales, natural minor scale and its variations,

197 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
chord progressions utilizing inversions, diatonic minor key and developing stylistic rhythm patterns and phrasing. Includes
chord progressions, chord progressions in Roman numerals, analysis of major jazz artists and their approaches. One lecture
seventh chords. One video lecture hour and one lab hour per hour per week for one quarter.
week for one quarter.
KEYBD-108E | KEYBOARD VOICING (1)
CC-202 | EAR TRAINING 202 (1.5) Prerequisite: KEYBD-011 Keyboard Technique 011. Students
Prerequisites: CC-202 Ear Training 102. This course is an will study and utilize Keyboard chord voicings and progressions
application- based continuation of Ear Training 102 that from simple triads to complicated 7th chords. This course will
focuses on the recognition and transcription of sixteenth-note complete current Keyboard technique curriculum and support
rhythmic phrases, standard variations in minor-key melody and Keyboard performance series. Students will be able to practice
harmony, and seventh chord major and minor diatonic harmony. all triads with cycle of 4th and voice leading of each triads.
One video lecture hour and one lab hour per week for one Students will apply triads voicing to Rootless voicings of 7th
quarter. chords. One lecture hour per week for one quarter.

CC-107 | SONGWRITING FOR ARTISTS 1 (1.5) KEYBD-250E | ADVANCED ABLETON LIVE WORKSHOP (1)
This course is a hands-on introduction to the methods Prerequisites: KEYBD-150E Ableton Live Workshop. Students
and practices of modern songwriting for the contemporary will learn advanced applications for Ableton Live. Students will
independent music artist. Topics covered include: genre-based focus on gaining a deeper understanding of Ableton’s software
song structure studies, lyric writing, reverse-engineering, and synths, controller mapping, MIDI implementation, mix setup, and
effective chord progressions, melody, and groove. Students will audio warping. Students will also learn the techniques used
examine and work with multiple songwriting styles, structures, to create custom live performance and touring setups using
and examples, analyzing both classic and current hit songs. Ableton. One lecture hour per week for one quarter.
Students will develop their skills as independent songwriters
through weekly writing exercises, and apply what they have KEYBD-251E | KEYBOARD DUET ENSEMBLE (1)
learned by creating and presenting a fully-finished song at the Prerequisite: CC-101 Harmony & Theory 101 and KEYBD-110
end of the course. One lecture hour and one lab hour per week, Keyboard Technique 110. This course focuses on real-world
per quarter. skills and requirements for a professional performing keyboard
player-including musicianship, critical listening, pianistic

COURSES
CC-207 | SONGWRITING FOR ARTISTS 2 (1.5) approach, comping, and improvisation. Students perform
Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101 with other keyboard player(s) in a duet structure throughout
Songwriting 1. Building on the concepts and methods from the quarter. Upon successful completion of the course,
level 1, this course further explores the art and application of students will have advanced capacities in groove, comping
songwriting for modern independent music artists. Students style, musicianship, stylistic improvisation, and collaborative
will dig deeper into detailed analysis of various genres of performance. One ensemble hour per week for one quarter.
songwriting styles, practice more advanced lyric writing
techniques, and produce more complex melodies, chord KEYBD-151E | AFRO-CUBAN KEYBOARDS (1)
progressions, and rhythm/groove. In addition, students will learn Prerequisites: KEYBD-210 Keyboard Technique 210. Students
crucial knowledge about navigating the business of songwriting will learn techniques and repertoire used in Afro-Cuban music
with respect to publishing, performance rights organizations with an emphasis on stylistic rhythms and melodic patterns.
(PROs), and copyright. Students will work both independently One lecture hour per week for one quarter.
and collaboratively on various creative songwriting exercises,
which will culminate in a final presentation of one or more KEYBD-152E | BRAZILIAN KEYBOARDS (1)
completed songs at the end of the quarter. One lecture hour Prerequisites: KEYBD-210 Keyboard Technique 210. Students
and one lab hour per week, per quarter. will learn the techniques and repertoire used in Brazilian music
with an emphasis on stylistic rhythms and melodic patterns.
One lecture hour per week for one quarter.
ELECTIVES // KEYBOARD TECHNOLOGY
Keyboard students may fulfill their elective credit requirements KEYBD-154E | JAZZ KEYBOARDS 2 (1)
by choosing from program-specific electives, Common Course Prerequisites: KEYBD-054E Jazz Keyboards 1. This course
electives, or entry-level electives offered by other programs; covers the advanced study of jazz improvisation, chord and key
see course offerings for options. changes, chord- scale relationships, rhythmic patterns, and
phrasing. One lecture hour per week for one quarter.
KEYBOARD-SPECIFIC ELECTIVES KEYBD-156E | COMPOSITION FOR KEYBOARDS (1)
AVAILABLE ONLY TO KEYBOARD MAJORS Prerequisites: KEYBD-021 Keyboard Technique 021. Students
will learn how to compose melodies based on simple chord
KEYBD-054E | JAZZ KEYBOARDS 1 (1) progressions in a variety of styles through the analysis of Top
Prerequisites: KEYBD-021 Keyboard Technique 021. This 40 tunes and widely used diatonic chord progressions. One
course covers the development of professional concepts and lecture hour per week for one quarter.
techniques for jazz improvisation, including handling rapid
chord and key changes, analyzing chord/scale relationships,

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 MI HOLLYWOOD COURSE DESCRIPTIONS
ENTRY-LEVEL ELECTIVES KEYBD-150E | ABLETON LIVE WORKSHOP (1)
Students learn how to use Ableton Live software as a tool for
AVAILABLE TO NON- KEYBOARD MAJORS
creating, producing and performing music. Students will be
shown how to create a live set, record and manipulate audio,
KEYBD-061E | ROLAND GAIA SYNTH PROGRAMMING (1)
edit and record MIDI, use softsynths and plug-ins, and how
This course covers programming techniques for Roland Gaia
to incorporate it all into spontaneous live performances. One
synthesizers. Topics include: oscillators, waveforms, envelopes,
lecture hour per week for one quarter.
filters, effects, real-time parameter changes, and more. One
lecture hour per week for one quarter.
VOCAL
KEYBD-070E | ACCOMPANY THYSELF (1) MAJOR AREA // VOCAL
This course is designed for singer/keyboard players who want
to learn performing skills and keyboard arranging techniques in VOCAL-PL | PRIVATE LESSON (2)
order to improve the quality of their self-accompaniment. One A weekly individual instrument lesson that supports core
lecture hour per week for one quarter. May be repeated for curriculum goals. An instructor guides the student in developing
credit. technique, musicianship and style. Twelve credit units required
(two per quarter).
KEYBD-071E | BLUES KEYBOARDS (1)
This course focuses on technique, groove, scales, and CC-013V-CC-403V | LIVE PERFORMANCE WORKSHOPS
progressions used in authentic blues and R&B playing. This 013-403 (1)
course will trace the evolution of the blues through recordings Students perform in a variety of styles and settings (see section
and transcribed solos. One lecture hour per week for one on Live Performance Workshops for overview of workshop
quarter. offerings). Minimum requirement of ten performances with an
average grade of 70% or higher per quarter. One ensemble
KEYBD-073E | FUNK KEYBOARDS (1) hour per week per quarter. Six credit units required (one per
This course covers the analysis of contemporary funk players quarter).
with an emphasis on understanding the subtle differences in
their approach to groove playing. Students will learn two- VOCAL-013 | VOCAL PERFORMANCE 013 (2)
COURSES

handed rhythm parts, which is common to most funk music. Students develop fundamental technical approaches to vocal
One lecture hour per week for one quarter. performance via twice-weekly performances in a number of
popular genres with a live, three-piece backing band, assisted
KEYBD-074E | HIP-HOP KEYBOARDS (1) by extensive curricular materials, including performance notes,
This course covers the technical, stylistic and historic look vocal charts, and reference audio. Two ensemble hours per
at hip-hop from the keyboard perspective. Students analyze week for one quarter.
influential artists and styles, learn to compose genre-specific
grooves and melodic phrases, and use synthesizers and
VOCAL-023 | VOCAL PERFORMANCE 023 (2)
Prerequisites: VOCAL-013 Vocal Performance 023. Continued
samplers to create classic and contemporary sounds. In-depth,
live-ensemble performing experience, featuring progressively
hands-on instruction provides students with a genuine hip-hop
more complex material and additional musical genres. Two
experience. One lecture hour per week for one quarter.
ensemble hours per week for one quarter.
KEYBD-077E | R&B/SOUL KEYBOARDS (1) VOCAL-130 | VOCAL PERFORMANCE 130 (2)
Students will learn how to develop grooves, rhythms, and Prerequisites: VOCAL-023 Vocal Performance 023. Prepares
harmonic structure of R&B/ soul keyboard arrangements from students for live ensemble and background vocals. Students
the classic era of the ‘60s and ‘70s. This course also covers are placed into sections and assigned vocal parts. Emphasis
chord voicings, techniques, independence drills, and sounds on harmony, blending, individual parts, sight reading and group
associated with the styles of masters such as Richard Tee, Billy sound. Two ensemble hours per week for one quarter.
Preston, Earl Van Dyke, and others. One lecture hour per week
for one quarter. VOCAL-230 | VOCAL PERFORMANCE 230 (2)
Prerequisites: VOCAL-130 Vocal Performance 130. Additional
KEYBD-078E | ROCK KEYBOARDS (1) live ensemble performing experience featuring progressively
Students will learn classic and modern rock keyboard more complex material, additional musical genres, and the
techniques as applied to performance repertoire. One lecture ability for students to perform their own material at set points
hour per week for one quarter. within the course. Two ensemble hours per week for one
quarter.
KEYBD-079E | ROLAND FANTOM WORKSTATION
WORKSHOP (1) VOCAL-011 | VOCAL TECHNIQUE 011 (2)
This course covers advanced instruction on Roland’s Fantom This course is an introduction to the anatomy, the physiology
workstations, including sequencing, sampling, recording, and and production of the voice. Topics include: vocal physiological
live performance functionality. One lecture hour per week for terminologies, breathing techniques, breath management and
one quarter. its’ impact, effective practice habits, registers and efficient
phonation techniques. Two lecture/lab hours per week for one

199 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
quarter. This course provides students with an analytical overview
of styles, chart reading and critical listening as they relate to
VOCAL-021 | VOCAL TECHNIQUE 021 (2) repertoire requirements. Styles covered include: rock, rhythm
Prerequisites: VOCAL-011 Vocal Technique 011. This course & blues, jazz, and Latin. One lecture hour per week for one
focuses on understanding the nature of vocal production. quarter.
Topics include: assessing and increasing vocal range, study of
the Passaggio (the break), expansion of listening techniques, VOCAL-024 | STYLES SURVEY 2 (1)
formation of speech sounds, vowel placement, exploration of Prerequisites: VOCAL-014 Styles Survey 1. This course is a
resonance, vibrato, agility, ad-libbing, tonal colors, singing in continuation of style exploration through chart reading and
harmony, endurance and factors that affect vocal health. Two critical listening as they relate to advanced repertoire. Styles
lecture/lab hours per week for one quarter. covered include: rock, rhythm & blues, jazz, and Latin. One
lecture hour per week for one quarter.
VOCAL-110 | VOCAL TECHNIQUE 110 (2)
Prerequisites: VOCAL-021 Vocal Technique 021. Topics VOCAL-350 | CONTEMPORARY VOCAL ENSEMBLE (2)
include: The International Phonetic Alphabet (IPA) will be Students will learn the essentials of backing vocals with an
introduced, the American Standard Pronunciation will be emphasis on blending, singing unison, counterpoint, mic
discussed, addresses the formation and placement of vowels techniques, and sightsinging while in a small or large group and
and consonants, diphthongs and triphthongs with exercises and as individuals. Two ensemble hours per week for one quarter.
resources to improve diction, exploring your speaking range. This course may be repeated for credit.
Two lecture/lab hours per week for one quarter.
VOCAL-450 | ADVANCED CONTEMPORARY VOCAL
VOCAL-210 | VOCAL TECHNIQUE 210 (2) ENSEMBLE (2) Prerequisites: VOCAL-350 Contemporary
Prerequisites: VOCAL-110 Vocal Technique 110. This Vocal Ensemble. This course covers backing vocals for
course continues the development and execution of melodic advanced students. Topics include: containing intricate
ornamentation (vocabulary embellishment, improvisation, vocals, jazz harmonies, cluster chords, plus 4-part and 6-part
inflection) through the study of jazz, gospel, soul, R&B and harmony song structures, along with soloing and backup
pop vocal performance techniques. Therefore, these genres’ singing within the same song.
harmonic subtleties and melodic vocabulary will be presented in
great detail. Two lecture/lab hours per week for one quarter. VOCAL-360 | PROJECT RECORDING 1: VOCAL (2)

COURSES
Prerequisites: VOCAL-220 Sightsinging 220, VOCAL-210
VOCAL-012 | SIGHTSINGING 012 (2) Vocal Technique 210, VOCAL-230 Vocal Performance 230.
This course is an introduction to sight-reading and sightsinging Students will learn the art and practical skills of creating their
for the vocalist. Topics include: an overview of music notation, own professional-quality vocal reel in the recording studio
the basic elements of written music, major scales, intervals, ties, using industry-standard audio equipment. Topics include:
dotted notes, warm-ups, simple diatonic melodies with whole, pre-production, microphone techniques, equipment choice,
half, quarter, eighth, and sixteenth-note rhythmic patterns. Two essential recording studio terminology, pre- amplification, EQ
lecture/lab hours per week for one quarter. and effects for lead vocals, as well as other equipment and
techniques essential to creating and capturing the best vocal
VOCAL-022 | SIGHTSINGING 022 (2) performance. Two lecture/lab ensemble hours per week for one
Prerequisites: VOCAL-012 Sightsinging 012. Continued quarter.
development of sightsinging skills with emphasis on combining
notes and values, an introduction to the bass clef, triplet VOCAL-460 | PROJECT RECORDING 2: VOCAL (2)
rhythms, cadences and 6/8 time signature. Two lecture/lab Prerequisites: VOCAL-360 Studio Recording 1: Building on
hours per week for one quarter. the knowledge and techniques learned in Project Recording 1:
Students will further experience recording with both a Producer
VOCAL-120 | SIGHTSINGING 120 (2) and an Engineer, using industry-standard recording equipment.
Prerequisites: VOCAL-022 Sightsinging 022. This course This course sees students arranging and recording a cover
expands sightsinging skills to include the introduction of major version or original song, including overdubs, backing vocals,
and minor diatonic melodies, mixed rhythms and complex final EQ and effects. as a means to understand studio vocal
harmonies. Topics include: intervals, major and minor triad performances. Two lecture/lab ensemble hours per week for
inversions, minor scales, modes, extended chords, and minor one quarter.
key chord progressions. Two lecture/lab hours per week for one
quarter.
PROFESSIONAL DEVELOPMENT // VOCAL
VOCAL-220 | SIGHTSINGING 220 (2)
Prerequisites: VOCAL-120 Sighsinging 120. This course MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1 (1.5)
includes: tension/resolution and chord/scale relationships, The first in a two-quarter course sequence, designed to
review of the modes, eighth note grooves, introduction to swing, provide students with an understanding of the entertainment
jazz transcription, advanced blues reading, and advanced two- industry, as it exists today, and essential knowledge for
part reading. Two lecture/lab hours per week for one quarter. sustaining a career in the digital era. In Business Practices for
Musicians 1, topics include an overview of industry structure,
VOCAL-014 | STYLES SURVEY 1 (1) the artist’s team (manager, attorney, agent, etc.), copyrights

200
 MI HOLLYWOOD COURSE DESCRIPTIONS
and music publishing, band partnerships and solo artists, per week for one quarter.
employment agreements, work-for-hire, unions and more. One
lecture hour per week for one quarter. MUSICIANSHIP // VOCAL
MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2 CC-015 | RHYTHM READING WORKOUT 1 (1)
(1.5) This course is designed to give Performance Program students
Prerequisites: MUBUS-0360 Business Practices for Musicians a solid foundation in reading rhythms. Students will focus
1. This course is a continuation of Business Practices for solely on understanding rhythmic notation and subdividing
Musicians 1, further covering the most important areas and basics. Topics covered include: notation basics (bar lines,
aspects of the entertainment industry. Topics include: record time signatures) notes and rests (ranging from whole note
labels (major and indie), types of deals, the DIY market, to sixteenth note values), note value relationships, counting,
distribution, touring, merchandising, and more. S.M.A.R.T. goal triplets and syncopation. One lecture/lab hour per week for one
setting is also covered to support students in creating a path to quarter.
career success. One lecture hour per week for one quarter.
CC-025 | RHYTHM READING WORKOUT 2 (1)
MUBUS-0202 | MEDIA RELATIONS (2) Prerequisites: CC-015 Rhythm Reading Workout 1. This
Students learn the difference between publicity and public class is designed to give Performance Program students an
relations, how to create and implement media campaigns, and understanding of intermediate rhythm concepts. Topics covered
how to write artist bios, press releases, news releases, and include: dotted notes, tied notes, swung eighth and sixteenth
eye-catching headlines. Skills apply to independent artists as notes, advanced time signatures (cut time, 3/4, 6/8) and mixed
well as those aspiring to work in the industry. Two lecture hours meters. One lecture/lab hour per week for one quarter.
per week for one quarter.
CC-011 | HARMONY & THEORY 011 (1.5)
CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2) This course is an introduction to the harmony and theory
Students learn how to use Adobe Photoshop to design original used within popular music. This is accomplished through the
CD artwork, flyers, promotional tools, and other visual materials application of music notation (for pitch), major scales, major key
vital to modern artists. Emphasis is on creating exciting and signatures, intervals, triads, and major scale harmonies. One
expressive designs that directly support music marketing
COURSES

video lecture hour and one lab hour per week for one quarter.
campaigns. Topics covered in this class include: typography,
flyer design, album artwork design, image manipulation, CC-021 | HARMONY & THEORY 021 (1.5)
merchandise design, and more. Two lecture hours per week for Prerequisites: CC-011 Harmony & Theory 011. This course is
one quarter. a continuation of Harmony & Theory 011. This is accomplished
through the further study of musical notation, diatonic
CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2) structures, rhythmic values, time signatures, natural minor
Prerequisites: CC-307 Graphic Design for Artists 1. The scales (and variations), minor key signatures, harmonized minor
Internet has opened up an enormous opportunity for musicians scales, chord inversions, diatonic seventh chords, triad analysis,
to promote themselves directly to music fans. This course chord progressions, and key centers. One video lecture hour
focuses on the technical skills needed to promote music online. and one lab hour per week for one quarter.
Topics include: building a strong online presence, creation
of a content-rich artist website, online marketing tools and CC-101 | HARMONY & THEORY 101 (1.5)
strategies, video editing basics, and social media. Two lecture Prerequisites: CC-021 Harmony & Theory 021. This course
hours per week for one quarter. presents variations on diatonic structures from Harmony
& Theory 021. Highlights include: pentatonic and blues
MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2) scales, inverted, extended and non-standard chord types,
This course reveals basic marketing concepts applicable to chord symbols and modes, and voice leading and chord
any professional business venture and focuses on the creation progressions. One video lecture hour and one lab hour per
of a fully customized, low-budget marketing plan of attack. week for one quarter.
Furthermore, at a time when new technologies make it more
possible than ever for artists to leverage their own careers, CC-201 | HARMONY & THEORY 201 (1.5)
there has never been a greater need for practical, independent Prerequisites: CC-101 Harmony & Theory 101. This course
marketing advice. After identifying a business vision, students presents non-diatonic melodic and harmonic concepts.
conduct research, set short-term goals, and create an Highlights include: minor key harmony and melody, modal
integrated mix of marketing strategies to achieve their objective, interchange, secondary dominants, diatonic substitution and
including defining an image, brand, position, and format, modulation, chromatic modulations, Roman numeral analysis,
identifying the target audience, gaining access to radio, as altered and symmetrical scales. One video lecture hour and one
well as effectively utilizing live shows, the Internet, press, video lab hour per week for one quarter.
promotion, advertising and sponsorships, sales and licensing.
Students create a complete marketing plan utilizing handy CC-012 | EAR TRAINING 012 (1.5)
templates included in the course resource, and receive useful This course is an introduction to ear training techniques,
feedback during three in-class work hours. Two lecture hours which can be used within popular music. This is accomplished

201 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
through the technique of matching specific pitches, major and examples, analyzing both classic and current hit songs.
scale melodies, and melodic intervals. Melodic and harmonic Students will develop their skills as independent songwriters
intervals, chromaticism, triads, diatonic harmony, rhythm are through weekly writing exercises, and apply what they have
also studied. One video lecture hour and one lab hour per week learned by creating and presenting a fully-finished song at the
for one quarter. end of the course. One lecture hour and one lab hour per week,
per quarter.
CC-022 | EAR TRAINING 022 (1.5)
Prerequisites: CC-12 Ear Training 012. This course is a CC-207 | SONGWRITING FOR ARTISTS 2 (1.5)
continuation of Ear Training 012, through the further study Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101
of meter and rhythm, eighth-note phrases, sight-singing, Songwriting 1. Building on the concepts and methods from
transcribing melody and rhythm, melodic and harmonic level 1, this course further explores the art and application of
intervals, triad qualities, and diatonic major chord progressions. songwriting for modern independent music artists. Students
One video lecture hour and one lab hour per week for one will dig deeper into detailed analysis of various genres of
quarter. songwriting styles, practice more advanced lyric writing
techniques, and produce more complex melodies, chord
CC-102 | EAR TRAINING 102 (1.5) progressions, and rhythm/groove. In addition, students will learn
Prerequisites: CC-022 Ear Training 022. This course is an crucial knowledge about navigating the business of songwriting
application- based continuation of Ear Training 022 that with respect to publishing, performance rights organizations
focuses on the recognition and transcription of pentatonic (PROs), and copyright. Students will work both independently
scales, simple major and minor pentatonic melodies, triplet and collaboratively on various creative songwriting exercises,
rhythms, blues scales, natural minor scale and its variations, which will culminate in a final presentation of one or more
chord progressions utilizing inversions, diatonic minor key completed songs at the end of the quarter. One lecture hour
chord progressions, chord progressions in Roman numerals, and one lab hour per week, per quarter.
seventh chords. One video lecture hour and one lab hour per
week for one quarter.
ELECTIVES // VOCAL
CC-202 | EAR TRAINING 202 (1.5) Voice students may fulfill their elective credit requirements by
Prerequisites: CC-202 Ear Training 102. This course is an choosing from program-specific electives, Common Course

COURSES
application- based continuation of Ear Training 102 that electives, or entry-level electives offered by other programs; see
focuses on the recognition and transcription of sixteenth-note course offerings for options.
rhythmic phrases, standard variations in minor-key melody and
harmony, and seventh chord major and minor diatonic harmony. VOCAL-SPECIFIC ELECTIVES
One video lecture hour and one lab hour per week for one AVAILABLE ONLY TO VOCAL MAJORS
quarter.
VOCAL-010E | BRAZILIAN VOCALS (1.5)
CC-108 | KEYBOARD PROFICIENCY 1 (1) This course examines Brazilian music from the 1950s to
Keyboard Proficiency 1 serves as an introduction to the present. The emphasis of this course will be on vocal
contemporary keyboard technique. Through the study of performance. Weekly lectures, readings, and performances
physical posture, finger technique, diatonic scales & chord will explore four approaches to the music—bossa nova, samba
progressions, this course will enable students to develop the song, MPB (Brazilian pop music) and contemporary Brazilian
necessary motor skills required for using the keyboard both as jazz. Contemporary international crossover artist approaches
a performing instrument and compositional tool. One lecture will also be explored to highlight the relevance of these vocal
hour and one lab hour per week for one quarter. styles for present-day jazz and pop vocalists in the U.S. and
other countries. Two lecture/lab hours per week for one quarter.
CC-208 | KEYBOARD PROFICIENCY 2 (1)
Prerequisites: CC-108 Keyboard Proficiency 1. This course VOCAL-011E | BLUES VOCALS (1.5)
further develops the technical skills required for successful A study of the African Diaspora and the development of the
keyboard performance and musical comprehension. Pop and blues genre, scale, and form, including a study of vocalists
Classical repertoire performance serves as the main focus of in the blues genre. It provides students with an insight into
this course, in addition to further study of chord progressions blues phrasing and emotional delivery in order to create more
and scales. One lecture hour and one lab hour per week for one authentic and convincing blues performances. One lecture- lab
quarter. hour per week for one quarter.

CC-107 | SONGWRITING FOR ARTISTS 1 (1.5) VOCAL-012E | EXTREME VOCALS 1 (1)

Vocalists performing in an extreme style who maintain long
This course is a hands-on introduction to the methods
careers do so because they apply effective vocal techniques
and practices of modern songwriting for the contemporary
that prevent damage to their voices. Techniques taught include:
independent music artist. Topics covered include: genre-based “The Gravel” (James Hetfield/Metallica), “The Bobcat” (Phil
song structure studies, lyric writing, reverse-engineering, and Anselmo/Pantera), “The Drill Sergeant” (Slayer, Godsmack),
effective chord progressions, melody, and groove. Students will and “The White Scream” (Roger Daltrey/The Who). Note: Due
examine and work with multiple songwriting styles, structures, to the nature of the techniques taught, students enrolling in this

202
 MI HOLLYWOOD COURSE DESCRIPTIONS
class must sign an Extreme Vocal Release Form. Two lecture/ on the charts, learning chart-writing by hand, and utilizing the
lab hours per week for one quarter. professional digital notation software, Sibelius. Students will
acquire the skill to create easy-to-understand and easy-to-
VOCAL-014E | JAZZ VOCALS (1.5) edit charts and lead sheets, along with some basic arranging
Students learn how to communicate with a band and work in exercises. One lecture hour per week for one quarter.
a jazz ensemble. Emphasis is placed on learning the standard
repertoire and developing a personal stylistic interpretation. VOCAL-036E | VOICEOVER ESSENTIALS WORKSHOP (1)
One lecture/ ensemble hour per week for one quarter. This This course provides students with skills to build an in-home
course may be repeated for credit. studio and a portable studio for voiceover work to create
characters, utilizing copy for multiple voiceover submissions,
VOCAL-015E | ROCK VOCAL STYLES (1.5) such as narration, animation, video games, commercials, audio
Students learn the unique styles of influential classic books, using authentic accents, etc. The class will implement
and modern rock vocalists through listening, analysis, improvisations to develop voice concepts that expand their
demonstrations of technique, class discussion, and weekly presentations beyond their normal speaking voices and
in-class performances. Two lecture/lab hours per week for one showcase vocal versatility in their final exam demo recording.
quarter. Two workshop hours per week for one quarter.

VOCAL-016E | CONTEMPORARY VOCAL ENSEMBLE (1) VOCAL-131E | DIGITAL NOTATION & ARRANGING 2 (1)
Ensemble class designed to teach entry-level vocal students Prerequisite: VOCAL-031E Digital Notation & Arranging 1.
the essentials of backing vocals with an emphasis on blending A continuation of Digital Notation & Arranging 1. This course
during live performance. Topics include: harmonizing and explores the art of musical notation as applied to contemporary
holding parts in a large or small ensemble. Two ensemble hours chart-writing. Focus is on evaluating music information, then
per week for one quarter. This course may be repeated for determining what details need to be contained on the charts,
credit. learning chart-writing by hand, and utilizing the professional
digital notation software, Sibelius. Students will increase their
VOCAL-020E | RAP TECHNIQUES (1.5) skills in creating easy-to-understand and easy-to-edit charts
This course prepares the student to become a versatile rap and lead sheets, along with arranging exercises. One lecture
singer as well as a background rap singer (a.k.a. “hypeman”) hour per week for one quarter.
COURSES

and gives an overview of rap history. Emphasis is placed on

articulation, syncopation, independence on individual parts, VOCAL-106E | THE ART OF SUCCESS 1 (1)
breathing technique, microphone technique, cadence, timing, This course offers real-world advice about how to define
flow, delivery, vocal timbres, dynamics, animation, and group success, how to realistically create the next step to evolve as a
sound. Two lecture/lab hours per week for one quarter. performer, and how to keep moving up the industry ladder. Two
workshop hours per week for one quarter.
VOCAL-022E | COUNTRY VOCALS (1.5)
This course examines the development of country music
from its inception to the present. The emphasis of this course ENTRY-LEVEL ELECTIVES
will be on vocal performance. Weekly lectures, readings,
and performances will explore approaches to the music and AVAILABLE TO NON-VOCAL MAJORS
its subgenres (bluegrass, western swing, rockabilly, honky
tonk, country-influenced 1950’s rock,, 1960’s country-folk , VOCAL-013E | GOSPEL CHOIR (1)
An ensemble course in which students perform traditional
1970’s Southern rock, pop-country, and alternative country).
and contemporary Gospel songs. Students rotate lead vocal
Contemporary crossover artist approaches will also be
performances with the class acting as choir/background.
explored to highlight the relevance of these styles for present-
Topics include: constructing lead vocals, learning and arranging
day country and pop vocalists. This course will also explore harmonies by ear, and group vocal blending and dynamics. Two
the business of country music and how it compares to other ensemble hours per week for one quarter. This course may be
popular genres. Two lecture/lab hours per week for one quarter. repeated for credit.

VOCAL-026E | R&B VOCALS (1.5) VOCAL-018E | ACCENT REDUCTION (1)

A study of the African Diaspora and the development of the This course enables non-native English speaking students
R&B genre, including a study of vocalists in the R&B genre, to develop an American English accent for effective English-
providing students with an insight into R&B phrasing and vocal language vocals. Students learn to break words into their
timbre delivery in order to create more authentic and convincing phonetic elements and identify and concentrate on specific
R&B performances. One lecture, and one lab hour per week for problem sounds. One lecture/lab hour per week for one quarter.
one quarter.

VOCAL-031E | DIGITAL NOTATION & ARRANGING 1 (1) ADVANCED ELECTIVES // VOCAL

This course explores the art of musical notation as applied Note: For full details, refer to the course description for each
to contemporary chart-writing. Focus is on evaluating music prerequisite named in your elective of interest.
information, then determining what details need to be contained
VOCAL-040E | VOCAL TEACHER TRAINING 1 (1)

203 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisites: VOCAL-210 Vocal Technique 210. This course is how to engage vocal effects and operate presets that result in
an introduction to building a private vocal studio, keeping track vocal versatility while [Link] lecture/ensemble hours per
of assignments and students, and vocal training techniques, week for one quarter.
including: techniques for evaluating the throat; establishing a
viable starting-point for the student; correcting interferences; VOCAL-206E | THE ART OF SUCCESS 2 (1)
increasing range; applying scale exercises; and effective Prerequisites: VOCAL-106E The Art of Success 1. Students
communication of the science of vocal technique. One lecture expand their perception of the entertainment industry —
hour per week for one quarter. and their definitions of success within it — while engaging
in activities designed to hone the skills necessary to be
VOCAL-112E | EXTREME VOCALS 2 (1) professional musicians and artists. Two workshop hours per
Prerequisites: VOCAL-012E Extreme Vocals 1. A review of week for one quarter.
various extreme vocal styles followed by extreme-style-specific
vocal exercises. Each student is required to prepare a number BACH-V 320 | VOCAL CREATIVITY 320 (2)
of different performances, including a final performance, for Prerequisite: VOCAL-230 Vocal Performance 230 and
class critique and instructor evaluation. Two lecture/lab hours permission via Audition. This course prepares students
per week for one quarter. to expand their creativity by learning to ad lib, utilize vocal
improvisation, recognizing musical phrases and instrumental
VOCAL-114E | JAZZ VOCALS 2 (1.5) elements by interacting with a rhythm section in numerous
Prerequisites: VOCAL-014E Jazz Vocals. This course analyzes genres, various music styles and grooves. Chart-writing by
vocal interpretation of jazz language and form. Through guided hand will be taught utilizing the whiteboard in class. Lead
listening, the class will compare written melodies to recorded sheets will be brought to class, interpreted in a style different
performances by genre-defining vocalists. Every class will than its original, and performed with a full rhythm section. Two
include guided listening, as well as practical application through lecture/ensemble hours per week for one quarter.
performances. Chord/scale relationships, as they relate to
improvisation, and transcription analysis and performance, will VOCAL-321E | A CAPELLA VOCALS (2)
also be presented in detail. Two lecture/lab hours per week for Prerequisites: Sight Singing 220, Harmony & Theory or
one quarter. permission via Audition. Contact the Vocal Chair to schedule
an audition at dbyrd@[Link]. Students explore vocal harmony

COURSES
VOCAL-116E | ADVANCED CONTEMPORARY VOCAL and contemporary a capella singing as showcased in Universal
ENSEMBLE (1.5) Studio’s “Pitch Perfect” and NBC-TV’s “The Sing Off.”
Prerequisites: Enrollment by audition only. This course prepares Emphasis on vocal arranging, rehearsing as a group, preparing
the student to become a versatile ensemble member and for live performances and utilizing mic amplification. Two
background singer. Students will be placed into sections and lecture/ensemble hours per week for one quarter.
will be assigned parts. Emphasis is placed on sight-reading,
independence on individual parts, inter-section blending, HORNS
microphone technique, and group sound. Two lecture/lab hours
per week for one quarter. MAJOR AREA // HORNS

VOCAL-125E | VOCAL AUDITION FUNDAMENTALS (2) [Link] | PRIVATE LESSON (2)

Vocal Technique 021, VOCAL-022 Sightsinging 022, A weekly individual saxophone lesson that supports core
VOCAL-023 Vocal Performance 023, or audition via Program curriculum goals and, time permitting, also focuses on student’s
Chair. Enrollment is contingent upon approval of three personal musical development goals. An instructor guides the
student in developing technique, musicianship and style. One
submitted talent-videos. This course exposes students to the
private lesson hour per week per quarter.
skills necessary to audition in diverse musical situations. The
class will cover: the importance of song choice in audition
settings; the requirements and expectations of multiple
[Link] | PRIVATE LESSON (2)
A weekly individual trombone lesson that supports core
audition-style situations including live auditions; a singing
curriculum goals and, time permitting, also focuses on student’s
competition; a musical theater audition; fronting a band;
personal musical development goals. An instructor guides the
becoming a backup vocalist; and auditioning while playing an student in developing technique, musicianship and style. One
instrument. Submitted videos will be discussed in class. Two private lesson hour per week per quarter.
lecture/ ensemble hours per week for one quarter.
[Link] | PRIVATE LESSON (2)
VOCAL-205E | TC HELICON FOR VOCALISTS 1 (1) A weekly individual trumpet lesson that supports core
Prerequisite: VOCAL-120 Sightsinging 120 and VOCAL-130 curriculum goals and, time permitting, also focuses on student’s
Vocal Performance 130. This course provides students with personal musical development goals. An instructor guides the
skills to record, loop and design vocals in live performance student in developing technique, musicianship and style. One
situations. The class will create vocal improvisations and private lesson hour per week per quarter.
harmonies with diverse effects that expand a vocalist’s
presentation utilizing TC Helicon’s VoiceLive Touch 2, a vocal CC-013XXX – CC-403XXX | LIVE PERFORMANCE
effects processor and looping device. The class will discover WORKSHOPS 013-403 (1)

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 MI HOLLYWOOD COURSE DESCRIPTIONS
Students perform in a variety of styles and settings. Minimum lecture/ensemble hours per week for one quarter..
requirement of ten performances with an average grade of 70%
or higher per quarter. One ensemble hour per week per quarter. HORN-210 | HORN SECTION TECHNIQUE 210 (2)
Prerequisite: HORN-110 Horn Section Technique 110. This
HORN-011S | SAXOPHONE TECHNIQUE 011 (2) course focuses on advanced technical concepts specific to
This course is an introduction to the saxophone, focusing improvisation. Course topics will include voice leading in natural
on the fundamentals of the instrument. Proper embouchure, minor and variations of minor; chord progressions featuring
breathing, posture, hand position, and tone production will be elements of modal interchange; secondary dominants, diatonic
examined. Beginning technical exercises will be introduced, as chord substitution, and modulation; tri-tone substitution; the
well as major scale and chromatic scale exercises. Two lecture/ modes of melodic minor; and symmetrical scales (chromatic,
ensemble hours per week for one quarter. whole-tone, diminished). Two lecture/ensemble hours per week
for one quarter.
HORN-021S | SAXOPHONE TECHNIQUE 021 (2)
Prerequisite: HORN-011S Saxophone Technique 011. This HORN-012 | HORN SECTION READING 012 (2)
course further examines the fundamentals of saxophone Students meet as a wind ensemble of traditional contemporary
performance. Tone production and the expansion of the horn section instruments (trumpet, trombone, and saxophone).
player’s range will be explored, along with major, natural minor, The fundamentals of reading music are introduced as students
and variations of natural minor scale exercises. Two lecture/ perform exercises written to develop proper tone production,
ensemble hours per week for one quarter. pitch, blend, and intonation. Additional repertoire will include
major scale exercises and etudes. Two lecture/ensemble hours
HORN-011TB | TROMBONE TECHNIQUE 011 (2) per week for one quarter.
This course is an introduction to the trombone, focusing on
the fundamentals of the instrument. Proper embouchure, HORN-022 | HORN SECTION READING 022 (2)
breathing, posture, hand position, and tone production will be Prerequisite: HORN-012 Horn Section Reading 012. Students
examined. Beginning technical exercises will be introduced, as meet as a wind ensemble of traditional contemporary horn
well as major scale and chromatic scale exercises. Two lecture/ section instruments (trumpet, trombone, and saxophone).
ensemble hours per week for one quarter. The fundamentals of reading music are explored as students
perform exercises written to develop proper tone production,
COURSES

HORN-021TB | TROMBONE TECHNIQUE 021 (2) pitch, blend, and intonation. Additional repertoire will include
Prerequisite: HORN-011TB Trombone Technique 011. This exercises in rhythmic study and etudes in natural minor and the
course further examines the fundamentals of trombone variations thereof. Two lecture/ensemble hours per week for
performance. Tone production and the expansion of the one quarter.
player’s range will be explored, along with major, natural minor,
and variations of natural minor scale exercises. Two lecture/ HORN-120 | HORN SECTION READING 120 (2)
ensemble hours per week for one quarter. Prerequisite: HORN-022 Horn Section Reading 022. Students
meet as a contemporary music ensemble, with a rhythm section
HORN-011T | TRUMPET TECHNIQUE 011 (2) consisting of drums and bass. Advanced skills in music reading
This course is an introduction to the trumpet, focusing on the will be developed as students read charts featuring pentatonic
fundamentals of the instrument. Proper embouchure, breathing, scales, extended chords, altered chords, and the modes of
posture, hand position, and tone production will be examined. the major scale. Ensemble skills will also be emphasized,
Beginning technical exercises will be introduced, as well with special attention paid to accents, dynamics, time feel,
as major scale and chromatic scale exercises. Two lecture/ intonation, breathing, and blend. Two lecture/ensemble hours
ensemble hours per week for one quarter. per week for one quarter.

HORN-021T | TRUMPET TECHNIQUE 021 (2) HORN-220 | HORN SECTION READING 220 (2)
Prerequisite: HORN-011T Trumpet Technique 011. This course Prerequisite: HORN-120 Horn Section Reading 120. Students
further examines the fundamentals of trumpet performance. meet as a contemporary music ensemble, with a rhythm section
Tone production and the expansion of the player’s range will consisting of drums and bass. Advanced skills in music reading
be explored, along with major, natural minor, and variations of will be developed as students read charts featuring sixteenth
natural minor scale exercises. Two lecture/ensemble hours per note rhythms, odd time signatures, modes of melodic minor,
week for one quarter. modal interchange, secondary dominants, modulation, and
symmetrical scales. Ensemble skills will also be emphasized,
HORN-110 | HORN SECTION TECHNIQUE 110 (2) with special attention paid to accents, dynamics, time feel,
Prerequisite: HORN-021S Saxophone Technique 021, HORN- intonation, breathing, and blend. Two lecture/ensemble hours
021T Trumpet Technique 021, or HORN-021TB Trombone per week for one quarter.
Technique 021. This course focuses on the fundamentals of
technique specific to improvisation. Course topics will include HORN-013 | HORN SECTION PERFORMANCE 013 (2)
scales such as the major pentatonic, minor pentatonic, and Students meet as a contemporary music ensemble with
the blues scale. Additional topics include extended chords rhythm section and will perform repertoire based in traditional
and the modes of the major scale. Voice leading and building jazz, blues, and early New Orleans music. Melodic unison
vocabulary for improvisation will also be discussed. Two

205 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
performance and diatonic improvisation will be emphasized. Two lecture hours per week for one quarter.
Two lecture/ensemble hours per week for one quarter.
HORN-360 | PROJECT RECORDING 360 (2)
HORN-023 | HORN SECTION PERFORMANCE 023 (2) Working in the studio as a solo trombone, trumpet, or
Prerequisite: HORN-013 Horn Section Performance 013. saxophone instrumentalist is the focus of Project Recording
Students meet as a contemporary music ensemble with 1. Technical studio considerations such as microphone
rhythm section and will perform repertoire drawn from the and microphone pre-amps will be addressed. Studio skills
Great American Songbook, Bossa Nova, and the Beatles. concerning microphone technique, developing solos and parts,
Melodic unison performance and diatonic improvisation will and layering instruments will be presented. Studio etiquette, be
be emphasized. Two lecture/ensemble hours per week for one it at an outside facility or in one’s personal space, will also be
quarter. discussed. Two lecture/lab hours per week for one quarter.

HORN-130 | HORN SECTION PERFORMANCE 130 (2) HORN-460 | PROJECT RECORDING 460 (2)
Prerequisite: HORN-023 Horn Section Performance 023. Prerequisite: HORN-360 Project Recording 360. A
Students meet as a contemporary music ensemble with rhythm continuation of Project Recording 1. Working in the studio as
section and will perform repertoire drawn from the Stax catalog, a contemporary horn section is the focus of Project Recording
Bossa Nova, Be-Bop, Hard Bop, and James Brown. Section 2. Technical studio considerations such as microphone
playing and improvisation will be emphasized. Two lecture/ and microphone pre-amps will be addressed. Studio skills
ensemble hours per week for one quarter. concerning microphone technique and set-up, developing
solos and parts, written versus “on-the-spot” arrangements,
HORN-230 | HORN SECTION PERFORMANCE 230 (2) and working together as a section will be presented. Studio
Prerequisite: HORN-130 Horn Section Performance 130. etiquette, be it at an outside facility or in one’s personal space,
Students meet as a contemporary music ensemble with rhythm will also be discussed. Two lecture/lab hours per week for one
section and will perform repertoire drawn from modal jazz quarter.
standards, fusion, and pop instrumentals. Modern rock and funk
horn section repertoire will also be performed. Section playing AUDIO-052 | LOGIC 1 (1)
and improvisation will be emphasized. Two lecture/ensemble This course introduces students to the primary features and
hours per week for one quarter. basic user interface of Logic Pro X. The class explores the

COURSES
process of creating an actual song, from start to finish. Pre-
HORN-140 | SKILLS IN SPONTANEITY FOR THE production using Apple Loops, recording/editing audio and
CONTEMPORARY HORN PLAYER (1) midi, arranging of tracks, producing drum beats with a virtual
Prerequisite: HORN-021S Saxophone Technique 021, HORN- drummer, as well as basic mixing and automation techniques
021T Trumpet Technique 021, or HORN-021TB Trombone are explored. This course addresses the requirements needed
Technique 021. In order to succeed in the modern music (Part 1 of 2) to take the “Apple Certified Pro” exam in Logic Pro
industry, the ability for a horn player to hear a melodic line and X 10.4. Two lab hours per week for one quarter.
immediately play it is essential, whether they’re on the gig or in
the studio. The ability to create a solo or arrangement without AUDIO-152 | LOGIC 2 (1)
music--spot soloing or spot arranging--is equally as important. Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1.
In “Skills in Spontaneity for the Contemporary Horn Player”, This course is a continuation of the Logic Pro X 10.4.x user
the skills of soloing “by ear,” and creating impromptu horn interface for songwriters, composers, producers, and sound
arrangements in the studio and on stage will be studied. One engineers. Upon completion, students will understand how to
lecture hour per week for one quarter. use Logic Pro’s comprehensive array of software instruments,
arranging of MIDI sequences, as well as editing with Flex Time
HORN-240 | TRANSPOSITION SKILLS (1) & Pitch, Keep Tempo, Smart Controls, Advanced Audio & MIDI
Prerequisite: HORN-120 Horn Section Reading 120. The Recording/Editing Techniques, and trouble-shooting. This
contemporary horn player is routinely asked to play music not course addresses the requirements needed (Part 2 of 2) to take
written specifically for their particular transposing instrument. the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab
The ability to read charts written in concert (such as music hours per week for one quarter.
written for piano or guitar) or for another transposing instrument
is a skill that sets the professional apart from less experienced AUDIO-057 | PROTOOLS 101 (2)
musicians. Reasons why a horn player should be able to This course introduces fundamental Pro Tools concepts and
transpose on sight and how they can master such skills will be principles, covering everything an individual needs to know
discussed. One lecture hour per week for one quarter. to complete a basic Pro Tools project, from initial setup to
final mixdown. Students learn to build sessions that include
HORN-350 | THE HORN SECTION (2) multitrack recordings of live audio, MIDI sequences, and virtual
Everyone is a fan of the excitement a horn section brings to the instruments. Hands-on exercises and projects introduce
stage. The Horn Section is a study of the horns’ (saxophone, essential techniques for creating sessions, recording, and
trumpet, and trombone) role in contemporary music, from the importing audio and MIDI, editing session media, navigating
early days of jazz to the jam bands of today. The big players, the sessions, arranging media on tracks, as well as using basic
instruments, and the arranging techniques will be discussed. processing and mixing techniques to finalize a production.

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 MI HOLLYWOOD COURSE DESCRIPTIONS
Together with the second course in the series, this course common grooves such as 8th note-based rock, 16th note-
provides the foundation training required to prepare for the Avid based funk, 8th note-based jazz and shuffles, and bossa nova.
101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1 Finally, the basics of brushes and rods will be covered with
of 2). Two lecture hours per week for one quarter. students performing grooves typical to the use of brushes and
rods. Not available to Drum Program students. One lecture
AUDIO-157 | PROTOOLS 110 (2) hour per week for one quarter.
Prerequisite: AUDIO-057 Pro Tools 101. This second Pro
Tools course builds on the foundation laid out in Pro Tools 101 CC-026E | HAND PERCUSSION (1)
as it explores the industry standard Pro Tools Digital Audio An introduction to percussion techniques including hand
Workstation (DAW) in greater detail. Students reinforce the coordination and rhythm as they relate to various types of Latin
core concepts and techniques needed to competently operate hand percussion instruments with application to Latin and pop
a Pro Tools system running mid-sized sessions, helping to music. One hour per week for one quarter.
prepare them for entry-level positions in virtually any aspect of
the audio industry. Completion of the course prepares students CC-068 | INDIVIDUAL DJ WORKSHOP (2)
for the Avid 110 Pro Tools (User) Certified Specialist Exam v. Computer-based weekly one-on-one workshop with an
2023 (Part 2 of 2). Two lecture hours per week for one quarter. instructor who guides the student in developing technique,
musicianship, and style in a support of DJ skills. Students learn
AUDIO-058 | ABLETON LIVE 1 (1) how to enhance their basic DJ knowledge into dynamic and
A practical application of digital recording techniques using professional quality performance. Topics include beat matching,
Ableton Live, this course provides an overview for songwriters set-building, remixing, turntablism, and more. One private
and artists on the fundamentals of the recording process, lesson hour per week for one quarter.
including file and session setup, tracking, arranging, editing,
and mixing. Upon successful completion of the course, [Link] | BASS SECONDARY PRIVATE LESSON (2)
students will be able to compose, record, and produce music Weekly instrument lesson with an instructor who guides the
using Ableton Live. Two lab hours per week for one quarter. student in developing technique, musicianship and style in
support of core curricular goals. The instructor and student
AUDIO-158 | ABLETON LIVE 2 (1) jointly determine a specific course of study depending on
Prerequisite: AUDIO-058 Ableton Live 1. Building on student needs, strengths and experience. One private lesson
COURSES

Ableton Live 1, this course provides a more in-depth practical hour per week per quarter.
application of digital recording techniques using Ableton Live,
including synthesis, building racks, advanced audio effects, [Link] | DRUM SECONDARY PRIVATE LESSON (2)
dummy clips, remixing, and live performance. Upon successful Weekly instrument lesson with an instructor who guides the
completion of this course, students will have tools to create student in developing technique, musicianship and style in
their own sounds and effects as well as have building blocks to support of core curricular goals. The instructor and student
perform live. Two lab hours per week for one quarter. jointly determine a specific course of study depending on
student needs, strengths and experience. One private lesson
CC-021E | INTRO TO GUITAR (1) hour per week per quarter.
Non-guitar majors learn simple note reading, fingerings and
accompaniment patterns. Great tool for singer-songwriters. Not [Link] | GUITAR SECONDARY PRIVATE LESSON (2)
available to Guitar students. One hour per week for one quarter. Weekly instrument lesson with an instructor who guides the
student in developing technique, musicianship and style in
CC-023E | INTRO TO VOICE (1) support of core curricular goals. The instructor and student
Non-vocal majors learn to develop techniques for proper jointly determine a specific course of study depending on
breathing, pitch accuracy, and improving range while protecting student needs, strengths and experience. One private lesson
their vocal instrument with application to popular styles in both hour per week per quarter.
lead and backup vocal roles. Not available to Vocal students.
One lecture hour per week for one quarter. [Link] | VOCAL SECONDARY PRIVATE LESSON (2)
Weekly instrument lesson with an instructor who guides the
CC-025E | INTRO TO BASS (1) student in developing technique, musicianship and style in
Non-bass majors learn how to play appropriate basslines using support of core curricular goals. The instructor and student
correct playing techniques and understanding the role of the jointly determine a specific course of study depending on
bassist in a band. Covers all essentials of the bass for the non- student needs, strengths and experience. One private lesson
bassist. Not available to Bass students. One hour per week for hour per week per quarter.
one quarter.
[Link] | DJ SECONDARY PRIVATE LESSON (2)
CC-027E | INTRODUCTION TO DRUMSET (1) In a one-on-one setting, students are guided by faculty to hone
An introduction to the fundamentals of the drum set for non- certain technical and artistic aspects of their live set. Technical
Drum Program performance students. This course covers attention is paid to achieving convincing transitions and
drum set components, counting techniques, basic grips, and effective use of equipment (hardware, controllers and effects
simple reading and notation. Additionally, students will perform “FX”). Artistic attention is paid to artistic choices, such as:

207 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
songs, creative and musical use of filters, EQ and effects; and Students learn how to use Adobe Photoshop to design original
on-the-fly artistic decision-making. One private lesson hour per CD artwork, flyers, promotional tools, and other visual materials
week for one quarter. vital to modern artists. Emphasis is on creating exciting and
expressive designs that directly support music marketing
[Link] | TROMBONE SECONDARY PRIVATE campaigns. Topics covered in this class include: typography,
LESSON (2) flyer design, album artwork design, image manipulation,
A weekly individual trombone lesson that supports core merchandise design, and more. Two lecture hours per week for
curriculum goals and, time permitting, also focuses on student’s one quarter.
personal musical development goals. An instructor guides the
student in developing technique, musicianship and style. One CC-407 | GRAPHIC DESIGN FOR ARTISTS 2 (2)
private lesson hour per week per quarter. Prerequisite: CC-307 Graphic Design for Artists 1. The
Internet has opened up an enormous opportunity for musicians
[Link] | TRUMPET SECONDARY PRIVATE LESSON (2) to promote themselves directly to music fans. This course
A weekly individual trumpet lesson that supports core focuses on the technical skills needed to promote music online.
curriculum goals and, time permitting, also focuses on student’s Topics include: building a strong online presence, creation
personal musical development goals. An instructor guides the of a content-rich artist website, online marketing tools and
student in developing technique, musicianship and style. One strategies, video editing basics, and social media. Two lecture
private lesson hour per week per quarter. hours per week for one quarter.

[Link] | SAXOPHONE SECONDARY PRIVATE MUBUS-0307 | INDEPENDENT ARTIST MARKETING (2)

LESSON (2) Learn do-it-yourself grass-roots marketing strategies designed
A weekly individual saxophone lesson that supports core for limited budgets. Each student guides an independent
curriculum goals and, time permitting, also focuses on student’s artist’s album through the entire marketing process, including
personal musical development goals. An instructor guides the defining an image, brand, position, and format, identifying the
student in developing technique, musicianship and style. One target audience, creating practical plans for booking live shows,
private lesson hour per week per quarter. gaining access to radio, Internet, press, and video promotion,
advertising and sponsorships, sales and distribution, film and
TV licensing, and development and distribution of press kits.

COURSES
PROFESSIONAL DEVELOPMENT // HORNS As the final project, students track, compile, and report on
marketing results. This is the real thing! Two lecture hours per
MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1 (1.5) week for one quarter.
The first in a two-quarter course sequence, designed to provide
students with an understanding of the entertainment industry,
as it exists today, and essential knowledge for sustaining a
MUSICIANSHIP // HORNS
career in the digital era. In Business Practices for Musicians
1, topics include an overview of industry structure, the artist’s CC-015 | RHYTHM READING WORKOUT 1 (1)
team (manager, attorney, agent, etc.), copyrights and music This class is designed to give performance program students
publishing, band partnerships and solo artists, employment a solid foundation in reading rhythms. Students will focus
agreements, work-for-hire, unions and more. One lecture hour solely on understanding rhythmic notation and subdividing
per week for one quarter. basics. Topics covered include notation basics (bar lines,
time signatures) notes and rests (ranging from whole note to
sixteenth note values), subdividing, note value relationships,
MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2
counting, triplets and syncopation. One lecture/lab hour per
(1.5)
week for one quarter.
Prerequisite: MUBUS-0360 Business Practices for Musicians
1. This course is a continuation of Business Practices for
Musicians 1, further covering the most important areas and
CC-025 | RHYTHM READING WORKOUT 2 (1)
Prerequisite: CC-015 Rhythm Reading Workout 1. This
aspects of the entertainment industry. Topics include: record
class is designed to give performance program students an
labels (major and indie), types of deals, the DIY market,
understanding of intermediate rhythm concepts. Topics covered
distribution, touring, merchandising, and more. S.M.A.R.T. goal
include dotted notes, tied notes, swung eighth and sixteenth
setting is also covered to support students in creating a path to
notes, advanced time signatures (cut time, 3/4, 6/8) and mixed
career success. One lecture hour per week for one quarter.
meters. One lecture/lab hour per week for one quarter.
MUBUS-0202 | MEDIA RELATIONS (2)
The Internet has forever changed the music industry. This
CC-011 | HARMONY & THEORY 011 (1.5)
This course is an introduction to the harmony and theory
course covers all aspects of how the Internet has impacted
used within popular music. This is accomplished through the
music industry distribution, promotion, marketing and retail
application of music notation (for pitch), major scales, key
practices. Topics include: blogging, podcasts, widgets and
signatures, intervals, triads, and major scale harmonies. One
online retail. Students engage in real-time research. Two lecture
video lecture hour and one lab hour per week for one quarter.
hours per week for one quarter.

CC-307 | GRAPHIC DESIGN FOR ARTISTS 1 (2) CC-021 | HARMONY & THEORY 021 (1.5)

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 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisite: CC-011 Harmony and Theory 011. This course is rhythmic phrases, standard variations in minor-key melody and
a continuation of Harmony and Theory 1. This is accomplished harmony, and seventh chord major and minor diatonic harmony.
through the further study of musical notation, diatonic One video lecture hour and one lab hour per week for one
structures, rhythmic values, time signatures, natural minor quarter.
scales (and variations), minor key signatures, harmonized minor
scales, chord inversions, diatonic seventh chords, triad analysis, CC-108 | KEYBOARD PROFICIENCY 1 (1)
chord progressions, and key centers. One video lecture hour Keyboard Proficiency 1 serves as an introduction to
and one lab hour per week for one quarter. contemporary keyboard technique. Through the study of
physical posture, finger technique, diatonic scales & chord
CC-101 | HARMONY & THEORY 101 (1.5) progressions, this course will enable students to develop the
Prerequisite: CC-021 Harmony and Theory 021. This course necessary motor-skills required for using the keyboard both as
presents variations on diatonic structures from Harmony a performing instrument and compositional tool. One lecture
and Theory 2. Highlights include pentatonic and blues hour and one lab hour per week for one quarter.
scales, inverted, extended and non-standard chord types,
chord symbols and modes, and voice leading and chord CC-208 | KEYBOARD PROFICIENCY 2 (1)
progressions. One video lecture hour and one lab hour per Prerequisite: CC-108 Keyboard Proficiency 1. This course
week for one quarter. further develops the technical skills required for successful
keyboard performance and musical comprehension. Pop and
CC-201 | HARMONY & THEORY 201 (1.5) Classical repertoire performance serves as the main focus of
Prerequisite: CC-101 Harmony and Theory 101. This course this course, in addition to further study of chord progressions
presents non-diatonic melodic and harmonic concepts. and scales. One lecture hour and one lab hour per week for one
Highlights include minor key harmony and melody, modal quarter.
interchange, secondary dominants, diatonic substitution and
modulation, chromatic modulations, Roman numeral analysis, CC-107 | SONGWRITING FOR ARTISTS 1 (1.5)
altered and symmetrical scales. One video lecture hour and one This course is a hands-on introduction to the methods
lab hour per week for one quarter. and practices of modern songwriting for the contemporary
independent music artist. Topics covered include: genre-based
CC-012 | EAR TRAINING 012 (1.5) song structure studies, lyric writing, reverse-engineering, and
COURSES

This course is an introduction to ear training techniques, effective chord progressions, melody, and groove. Students will
which can be used within popular music. This is accomplished examine and work with multiple songwriting styles, structures,
through the technique of matching specific pitches, major and examples, analyzing both classic and current hit songs.
scale melodies, and melodic intervals. Melodic and harmonic Students will develop their skills as independent songwriters
intervals, chromaticism, triads, diatonic harmony, rhythm are through weekly writing exercises, and apply what they have
also studied. One video lecture hour and one lab hour per week learned by creating and presenting a fully-finished song at the
for one quarter. end of the course. One lecture hour and one lab hour per week,
per quarter.
CC-022 | EAR TRAINING 022 (1.5)
Prerequisite: CC-012 Ear Training 012. This course is a CC-207 | SONGWRITING FOR ARTISTS 2 (1.5)
continuation of Ear Training 012, through the further study Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101
of meter and rhythm, eighth-note phrases, sight singing, Songwriting 1. Building on the concepts and methods from
transcribing melody and rhythm, melodic and harmonic level 1, this course further explores the art and application of
intervals, triad qualities, and diatonic major chord progressions. songwriting for modern independent music artists. Students
One video lecture hour and one lab hour per week for one will dig deeper into detailed analysis of various genres of
quarter. songwriting styles, practice more advanced lyric writing
techniques, and produce more complex melodies, chord
CC-102 | EAR TRAINING 102 (1.5) progressions, and rhythm/groove. In addition, students will learn
Prerequisite: CC-022 Ear Training 022. This course is an crucial knowledge about navigating the business of songwriting
application- based continuation of Ear Training 022 that with respect to publishing, performance rights organizations
focuses on the recognition and transcription of pentatonic (PROs), and copyright. Students will work both independently
scales, simple major and minor pentatonic melodies, triplet and collaboratively on various creative songwriting exercises,
rhythms, blues scales, natural minor scale and its variations, which will culminate in a final presentation of one or more
chord progressions utilizing inversions, diatonic minor key chord completed songs at the end of the quarter. One lecture hour
progressions, chord progressions in Roman numerals, seventh and one lab hour per week, per quarter.
chords. One video lecture hour and one lab hour per week for
one quarter. ELECTIVES // HORNS
Horn students may fulfill their elective credit requirements by
CC-202 | EAR TRAINING 202 (1.5) choosing from Common Course electives; see common course
Prerequisite: CC-102 Ear Training 102. This course is an offerings for options.
application- based continuation of Ear Training 102 that
focuses on the recognition and transcription of sixteenth-note
BACHELOR OF MUSIC DEGREES
209 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
GENERAL EDUCATION REQUIREMENTS
BACHELOR GENERAL EDUCATION
Bachelor of Music Degree requirements include completion
of 30 semester-units or 45 quarter-units of coursework ART-103 | ART HISTORY 103 (4.5)
in General Studies. For general reference, the required This course explores art as human expression from its earliest
distribution of units is shown below along with representative forms through the Medieval Period, and up to the Early Modern
areas of coursework. Please refer to the General Education Period. Students are introduced to historical periods through
Transfer Agreement between Los Angeles City College and monuments, paintings, sculptures, and architecture. There is
Musicians Institute for specific course titles and numbers that an emphasis on the cultural, religious, political, and economic
meet the requirements. Units completed at other institutions will context of each society and time period under study. Three
be evaluated to determine their equivalency; see Admissions: lecture hours per week for one quarter.
Transfer of Credit for more information.
COMM-121 | COMMUNICATION 121: INTERPERSONAL
Language and Rationality: minimum of 12 semester-units or 18 COMMUNICATION (4.5)
quarter-units in: This course allows students to delve into their personal
1. English Composition (English, Journalism): 3 communication knowledge and skills. It will challenge students
semester-units or 4.5 quarter-units to critically analyze and consciously examine their own personal
2a. Communication and Analytical Thinking style of communication. This course will introduce the principles
(Mathematics): 3 semester-units or 4.5 quarter-units and practices of interpersonal social communication and
2b. Communication and Analytical Thinking (Computer interactions in both dyadic and group settings. Students will
Science, Computer Technology, English, Philosophy, explore the significance of perception, emotional expression,
Psychology, Speech): 3 semester-units or 4.5 quarter- effective listening, verbal and nonverbal communication,
units the influence of culture and gender roles in regards to
3. A minimum of 3 additional semester-units or 4.5 communication, conflict management, and it will also generate
quarter-units from 1, 2a, or 2b above. students to be self-aware on how to build better relationships in
Natural Sciences: minimum of 3 semester-units or 4.5 everyday living based on effective communication skills in both
quarter-units in: personal and professional environments. Three lecture hours
1. Physical Universe (Astronomy, Chemistry, Earth

COURSES
per week for one quarter.
Science, Environmental Science, Geography,
Geology, Meteorology, Mineralogy, Oceanography, ENGL-10 | FUNDAMENTALS OF ENGLISH GRAMMAR (4.5)
Physical Science, Physics) or: English 10 focuses on an intensive review and discussion of
2. Life Forms (Anatomy, Anthropology, Biology, English grammatical structures including but not limited to:
Microbiology, Physiology) simple and progressive past, future and future tenses, present
and past perfect, conditionals, model, phrasal verbs, and
Humanities: minimum of 6 semester-units or 9 quarter-units* in: gerunds and infinitives. The course also emphasizes correct use
1. The Arts (Architecture, Cinema, Photography, of targeted grammatical topics in writing. Three lecture hours
Theater) or: per week for one quarter.V
2. The Humanities (Foreign Language, Humanities,
Linguistics, Speech, Literature, Philosophy) ENGL-25 | GRAMMAR AND READING REVIEW (4.5)
Prerequisite: ENGL-20 College Reading Skills or Students
*Students with a concentration in Vocals are required to must complete a placement test prior to enrollment. Please
complete 3 semester hours/4.5 quarter hours of language contact your Program Chair for additional information. This
courses in French, German, or Italian as part of their minimum class reviews fundamental writing elements such as grammar,
Humanities course requirements. punctuation, and vocabulary usage. Students develop their
skills through writing and reading exercises. Three lecture hours
Social and Behavioral Sciences: minimum of 9 semester-units per week for one quarter.
or 13.5 quarter-units, including:
1. American Institutions and Government (African-
American Studies, Chicano Studies, History, Political ENGL-28 | INTERMEDIATE READING AND COMPOSITION
Science): 3 semester-units or 4.5 quarter-units (4.5)
in American Institutions and Government Prerequisite: ENGL-25 Grammar and Reading Review or
2a. Social and Behavioral Sciences Students must complete a placement test prior to enrollment.
(Anthropology, Family & Consumer Studies, Please contact your Program Chair for additional information.
Geography, History, Linguistics, Psychology, This class focuses on the skills students need to write effective
Sociology) or: essays, including grammar, lexicon, and essay structure.
2b. Economics and Politics (Business, Economics, Students learn essential writing approaches and increase their
Journalism, Law, Political Science): reading level by analyzing literary texts. Three lecture hours per
3 semester-units or 4.5 quarter-units week for one quarter.
3. A minimum of 3 additional semester-units or 4.5
quarter-units from 1, 2a, or 2b above.
ENGL-101 | COLLEGE READING AND COMPOSITION (4.5)

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 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisite: ENGL-28 Intermediate Reading and Composition HIST-001 | INTRODUCTION TO WESTERN CIVILIZATION 1 (4.5)
or Students must complete a placement test prior to enrollment. This course introduces Western Civilization from pre-history
Please contact your Program Chair for additional information. to the early modern era. Topics include ancient Greece,
This class teaches students how to write college-level essays Rome, and Christian institutions of the Middle Ages up to the
that provide academic documentation. Fiction and non-fiction Reformation. Three lecture hours per week for one quarter.
texts are analyzed at the appropriate level. Three lecture hours
per week for one quarter. HIST-002 | WESTERN CIVILIZATION 2 (4.5)
This course will cover developments from the early 1800s
ENGL-245 | MUSIC CRITICISM (4.5) through the recent past. Topics include the factors that
Prerequisite: ENGL-101 College Reading and Composition. contributed to the causes of WWI and WWII as well as the
This course offers a fundamental understanding on how to write results of these World Wars. Three lecture hours per week for
well-researched critical pieces about contemporary music. one quarter.
Students will analyze and deconstruct outstanding works of
musical criticism, hailing mostly from the popular press during LING-1 | INTRODUCTION TO THE STUDY OF LANGUAGE
the second half of the 20th century, to understand what makes (4.5)
an insightful, readable piece of criticism. From this, students Linguistics 1 provides an introduction to the academic study
will create their own written area of inquiry to be evaluated on of language. The course employs examples from diverse
multiple levels, some of which include historical awareness of languages and linguistic communities in order to determine
the genre, various modes of contextualization (analyzing the the fundamental nature of human languages and the extent
artists’ biography, for instance), technical and non-technical to which languages may differ. Linguistic concepts are
musical appraisal, and the development - as well as the introduced and discussed to encourage personal growth
awareness of personal taste. Three lecture hours per week for and critical thinking as a way to understand language as a
one quarter. biological and social phenomenon. Areas of study include but
are not limited to phonetics, phonology, syntax, morphology,
pragmatics, semantics, first and second language acquisition,
FREN-1 | FRENCH 1 (4.5) sociolinguistics and, neurolinguistics. Course is taught in an
This course serves as an introduction to the French language.
on-site traditional lecture format. Three lecture hours per week
The primary focus and goal is for students to gain fundamental
for one quarter.
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skills in speaking, reading, and writing in French, which includes

spelling and grammar. Special emphasis will be given to the
MATH-100 | FUNDAMENTALS OF MATHEMATICS (4.5)
development of basic communication skills. In addition, the
This course covers fundamental topics of algebra in order to
course will provide the student with basic information on French
prepare students for future general education requirement
culture and the Francophone world. The course will make use
courses. Topics covered are the real number system, percent,
of text materials, written assignments, quizzes, music, videos,
absolute value, linear equations and inequalities in one variable,
and web sources. The course also includes a midterm and a
linear equations and inequalities in two variables, systems
final exam. Three lecture hours per week for one quarter.
of linear equations and inequalities, quadratic equations and
inequalities, rules of exponents, functions (including exponential
ANTH-101 | ANTHROPOLOGY 101 (4.5) and logarithmic), and formulas. Through lectures and in class
This course introduces students to the discipline of activities students are expected to become familiar with
Anthropology. It explores its four subfields: biological, mathematical analysis and problem solving. An emphasis in
archaeological, linguistic, and cultural. There is a focus on studying techniques is also given. One contact hour per week
social and cultural factors. Students will analyze ethnographic for one quarter.
examples as evidence. There is an emphasis on exploring the
holistic nature of culture. Two lecture hours per week for one MATH-125 | INTERMEDIATE ALGEBRA 125 (4.5)
quarter. Prerequisite: MATH-100 Fundamentals of Mathematics. This
course is intended to prepare students for non-statistic math
GEOG-2 | INTRODUCTION OF CULTURAL GEOGRAPHY (4.5) courses. Topics covered are real number system, absolute
Geography 2 introduces students to the diversity of value, solving equations and inequalities (linear, quadratic,
human populations worldwide and explores topics such as radical, rational, exponential and logarithmic), simplifying
demography, language, political geography, ethnicity, resource expressions, polynomial operations, factoring, functions and
usage, agriculture, industrial and post-industrial economic their graphs, conic sections, systems of equations (linear
development, urban and rural areas, migration, and folk and and nonlinear), sequences and series, binomial theorem, and
popular culture. The course will present topics with a view formulas. Through lectures and in class activities students are
toward globalization and the impact that human populations expected to become familiar with mathematical analysis and
have on the natural environment. Students will also engage problem solving. One contact hour per week for one quarter.
in basic map reading and learn rudimentary geographic
vocabulary and literacy. Course is taught in an on-site MATH-190 | PRE-STATISTICS (4.5)
traditional lecture format. Three lecture hours per week for one Prerequisite: MATH-100 Fundamentals of Mathematics. This
quarter. course is intended to prepare students for statistics. Topics
covered are statistical vocabulary, methods of collecting data,
measures of center and spread, the empirical rule, graphical

211 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
and tabular displays of data, formulas, functions, regression,
the normal distribution, introductory set theory, and introductory BACHELOR OF MUSIC IN
probability. Through lecture and in class activities students COMPOSITION (SCORING
are expected to become familiar with the statistical process
of collecting, organizing, summarizing and analyzing data. FOR VISUAL MEDIA)
Presenting statistical results will also be covered. One contact MAJOR AREA // COMPOSITION
hour per week for one quarter.
[Link] | PRIVATE MEDIA SCORING COMPOSITION
PHYS-101 | INTRODUCTION TO PHYSICS (4.5) LESSON (2)
This course is an introduction and examination of the Weekly private lesson focused on developing and applying
groundwork and structure of some of the fundamental areas of traditional and contemporary compositional techniques and
physics. Through demonstrations, lectures, and group activities, skills. Includes analysis and critique of compositions as well
the course will explore areas such as heat, sound, classical as preparation for scoring assignments plus Sophomore and
Newtonian mechanics, magnetism, and radiation. Students will Senior projects. One private lesson hour per week per quarter.
also develop their skills with respect to proportional reasoning,
estimation, scientific notation, and graphing. While advanced BACH-P103 | CONTEMPORARY ARRANGING 1 (2)
mathematical skills such as calculus are not required for this Prerequisite: CC-201 Harmony and Theory 201 and
course, basic math and some simple trigonometry and algebra BACH-P127 Sibelius Notation. This course is an introduction
will be used. By taking this course, students will develop to instrumentation, arranging techniques, and notation practices
problem solving and reasoning skills, improve their scientific for a live rhythm section. Emphasis is placed on score and parts
literacy, and further their appreciation for the physical universe. preparation and notation in selected contemporary styles. The
Three lecture hours per week for one quarter. objective is to learn the characteristic usage of each instrument
in the rhythm section, and to prepare an arrangement step-by-
POSC-001 | INTRODUCTION TO AMERICAN GOVERNMENT step using a verbal outline, sketch score, and master score. As
AND INSTITUTIONS (4.5) a final project, each student completes a studio recording of
This course is an introduction to the principles, institutions, an arrangement for piano, guitar, bass and drums. Two lecture
policies, and politics of government in the United States. Topics hours per week for one quarter. Required lab fee: $200.
studied and discussed include but are not limited to: origins and

COURSES
evolution of the American political system, important feature BACH-P203 | CONTEMPORARY ARRANGING 2 (2)
of the U.S. Constitution, separation of powers, interaction Prerequisites: BACH-P103 Contemporary Arranging 1. This
between interest groups, bipartisanship and the presidency. course is a continuation of Contemporary Arranging 1, with
Three lecture hours per week for one quarter. the addition of brass and woodwind instruments. Topics will
include transposition, range, and idiomatic usage of the trumpet
SOCI-001 | INTRODUCTION TO SOCIOLOGY (4.5) and tenor saxophone in popular styles. The objective is to
The students learn the major principles of sociology as they are study the brass and reed family with emphasis on two-part
applied to contemporary social issues. With the use of several soli writing and background lines. Students analyze and learn
theoretical perspectives it examines social structures within to build arrangements for rhythm section and two horns. As a
American society and other cultures from macro and micro final project, each student completes a studio recording of an
perspectives. There are extensive references to contemporary arrangement for trumpet, tenor sax, guitar, piano, bass, and
research findings on social structure, group dynamics, social drums. Two lecture hours per week for one quarter. Required
stratification, and social institutions. Three lecture hours per lab fee: $200.
week for one quarter.
BACH-P303 | CONTEMPORARY ARRANGING 3 (2)
SPAN-1 | ELEMENTARY SPANISH I (4.5) Prerequisites: BACH-P203 Contemporary Arranging 2. This
This class teaches students the basics of the Spanish course is a continuation of Contemporary Arranging 2, with
language. Essential grammar, vocabulary, and pronunciation additional brass and woodwind instruments. Topics will include
skills are developed by way of in-class exercises and homework. transposition, range, and idiomatic usage of the trombone, alto
Key information about Hispanic culture and geography is saxophone, flute and clarinet. Students will learn arranging
presented in class. Three lecture hours per week for one techniques for standard 4-horn ensembles with “doubling”
quarter. instruments. The objective is to study the brass and woodwind
family with emphasis on four-part harmonization. As a final
SPAN-9 | INTRODUCTION TO THE CIVILIZATION OF SPAIN project, each student completes a studio recording of an
(4.5) arrangement for trumpet, alto saxophone, tenor saxophone,
Spanish 9 introduces the student to the origins and evolution of trombone, piano, bass, and drums. Two lecture hours per week
Spanish civilization. It emphasizes Spain’s cultural history and for one quarter. Required lab fee: $200.00
achievements including the visual arts, literature, architecture,
and music from antiquity to the beginnings of the 21st Century. BACH-P403 | CONTEMPORARY ARRANGING 4 (2)
This course is taught entirely in English. Course is taught in an Prerequisites: BACH-P303 Contemporary Arranging 3. This
on-site traditional lecture format. Three lecture hours per week course focuses on chord progressions and reharmonization,
for one quarter. and scoring for strings. Topics include harmonic rhythm, chord

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 MI HOLLYWOOD COURSE DESCRIPTIONS
substitution, dominant and substitute dominant resolution, Scoring for Animation. This course is a survey of historical
modal interchange, basic contrapuntal arranging and voice and contemporary animation styles and scoring approaches.
leading. Extensive score analysis of string arrangements is Students will do takedown exercises with the instructor,
included. The objective is to gain an understanding of effective emphasizing complex rhythm and melody, as well as addressing
chord progressions and reharmonization, and to learn the animation conventions in traditional and modern film. Students
ranges and characteristic usage of the violin, viola, cello and will complete a variety of animated film scores as part of this
contrabass. As a final project, each student completes a studio class. Two lecture hours per week for one quarter. Additional
recording of an arrangement for string quintet. Two lecture lab fee required.
hours per week for one quarter. Required lab fee: $200.
BACH-M338 | SCORING 5 (2)
BACH-P503 | CONTEMPORARY ARRANGING 5 (2) Prerequisites: BACH-M337 Scoring 4. This course features
Prerequisites: BACH-P403 Contemporary Arranging 4. This an exploration of the use of music in the comedy genre and
course combines all previous course materials. Introduces associated subgenres. There will be in-depth analysis of
additional concepts of sweetening and overdubbing for scoring approaches, both historical and contemporary, used for
recording. Students learn to combine techniques to build comedy. Applying the techniques of these scoring approaches,
intermediate level arrangements. As a final project, each students will complete a variety of film scoring assignments.
student completes a studio recording of an arrangement for 5 Two lecture hours per week for one quarter. Additional lab fee
horns (trumpet, trombone, alto saxophone, tenor saxophone, required.
and baritone saxophone), guitar, piano, bass, drums, and
“sampled” strings. Two lecture hours per week for one quarter. BACH-M339 | SCORING 6 (2)
Required lab fee: $200.00. Prerequisites: BACH-M338 Scoring 5. This course features an
exploration of the use of music in horror, thriller, and other film
genres that involve suspense. There will be in-depth analysis
BACH-M603 | CONTEMPORARY ARRANGING 6 (2)
of a wide variety of compositional styles and techniques often
Prerequisites: BACH-P503 Contemporary Arranging and
used for these genres – including expressionism, set theory,
Scoring 5. This course covers arranging techniques for the
serialism, aleatory, micropolyphony, and minimalism. Applying
large jazz ensemble. Students will study the techniques
these styles and techniques, students will complete a variety of
and conventions common to big band writing. Homework film scoring assignments. Two lecture hours per week for one
assignments applying these techniques and conventions will be
COURSES

quarter. Additional lab fee required.

assigned. The final project will be a full-length arrangement for
large jazz ensemble. BACH-M340 | SCORING 7 (2)
Prerequisites: BACH-M339 Scoring 6. This course covers
BACH-M334 | SCORING 1 (2) fundamental game scoring concepts and techniques,
Corequisite requirement: Students must be concurrently along with an introduction of interactive paradigm and a
enrolled in a Composition Private Lesson in order to enroll into survey of prevailing styles. The emphasis is on common cue
Scoring 1. This course covers basic scoring practices and types, including loops, stingers, and cinematics. Students
concepts, including the difference between score and source complete multiple scoring assignments and learn basic audio
cues, diegetic versus non-diegetic music, and underscore. implementation. Two lecture hours per week for one quarter.
Research covers the functions of media music, the role of the Additional lab fee required.
media music professional and his or her employers, and the
scoring process pipeline. Two lecture hours per week for one BACH-M341 | SCORING 8 (2)
quarter. Advanced Applied Thematic Scoring Techniques I in
Drama, Epic Drama, Historical/Period Drama, Romance (2).
BACH-M335 | SCORING 2 (2) Prerequisites: BACH-M340 Scoring 7. This course features
Prerequisites: BACH-M334 Scoring 1. This course gives an analysis of different types of drama from relationship/family
students an understanding of how emotion is communicated drama and political drama to larger epic works considering
through instrumentation choices. Students will also study the geographical, social and time period settings. Students learn
process of scoring with or against picture. Two lecture hours about the subtle considerations needed when building a sound
per week for one quarter. palette for storytelling. Two lecture hours per week for one
quarter. Additional lab fee required.
BACH-M336 | SCORING 3 (2)
Prerequisites: BACH-M335 Scoring 2. This course features BACH-M342 | SCORING 9 (2)
in-depth melodic and harmonic analysis, along with instruction Prerequisites: BACH-M341 Scoring 8. This course features
in applied sequencer skills and rudimentary mixing techniques. an exploration of approaches to scoring feature-length films.
This class will address “genre” in film scores, with an emphasis With a focus on the Western genre, the class will examine
on accepted musical tropes. Students will complete a variety a variety of methods for spotting a film and plotting the path
of scoring assignments focused on writing a good motif and of a film score. The course-long project will require students
motor as well as orchestration and transcription. Two lecture to compose the music for a substantial section of a given
hours per week for one quarter. feature-length film. Two lecture hours per week for one quarter.
Additional lab fee required.
BACH-M337 | SCORING 4 (2)
Prerequisites: BACH-M336 Scoring 3: Introduction to BACH-M343 | SCORING 10 (2)

213 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisite: BACH-M342 Scoring 9. Corequisite an examination of the founding figures and major influences.
requirements: BACH-M435 Orchestration 2 and BACH-M409 Two lecture hours per week for one quarter.
Mechanics of Score Production 2. Subgenres: World Music
and applied scoring techniques using ethnic elements in relation BACH-P122 | MUSIC HISTORY II – WORLD MUSIC (2)
to all dramatic genres. Covering music for documentaries, this Prerequisites: BACH-P121 Music History I – Roots of Rock
course features an analysis of documentaries about various and Roll. A study of music in the context of selected cultures
subjects. Students will be required to compose for music around the world, aka World Music. Ways in which music and
libraries, trailers, reality TV challenges, jingles and commercials. lyrics function in these cultures are explored through listening
At the end of the quarter, students will have a recording session and transcriptions. Two lecture hours per week for one quarter.
with full orchestra. Two lecture hours per week for one quarter.
Additional lab fee required. BACH-P123 | MUSIC HISTORY III – WESTERN ART MUSIC I
600-1820 (2)
BACH-M434 | ORCHESTRATION 1 (2) Prerequisites: BACH-P122 Music History II – World Music. A
Prerequisite: BACH-P403 Contemporary Arranging 4. survey of Western art music from the Middle Ages through the
Chronological analysis of the orchestra as used in chamber and end of the 18th century. The course will include discussion of
symphonic styles, including instrumentation and common rules. major styles and forms in historical context, supplemented by
representative listening. Two lecture hours per week for one
Orchestration techniques will be studied through score study
quarter.
and through the application of writing skills. Two lecture hours
per week for one quarter.
BACH-P222 | MUSIC HISTORY IV - WESTERN ART MUSIC
BACH-M435 | ORCHESTRATION 2 (2) II 1820-21ST CENTURY (2)
Prerequisites: BACH-P123 Music History III – Western
Prerequisite: BACH-M435 Orchestration 1. Corequisite
Art Music I 600-1820. The history of musical styles from
requirements: BACH-M343 Scoring 10 and BACH-M409
the Romantic period through the 20th century including
Mechanics of Score Production 2. In-depth study of the
cultural contexts and social meaning. Composers and
orchestration techniques used in contemporary media scoring,
musical developments in European and American Art Music,
including style, instrumentation in relation to picture, combining
orchestral, choral, band, chamber music and solo repertoire
with other ensemble types, and synth tracks. Projects will
are combined with the influences of music from other world
demonstrate orchestration skills. Two lecture hours per week for
cultures. Compositional techniques, style characteristics,

COURSES
one quarter.
and relationships will be emphasized. In addition to a midterm
and final examination, the course requires one critical concert
BACH-M230 | SOPHOMORE PROJECT (2) report, workbook assignments, and presentation. Two lecture
Prerequisite: BACH-M337 Scoring 4 and BACH-C501 hours per week for one quarter.
Harmony & Theory 501. Student will give lecture about a Media
Composer and one detailed score analysis along with refined
scoring clips from previous quarters.
BACH-M254 | HISTORY OF SCORING (1)
Survey and analysis of scoring from its roots in photography
through silent films, “talkies,” television, animation and current
BACH-M430 | SENIOR PROJECT (2) digital formats, including the roles and influences of musical
Prerequisites: BACH-M342 Scoring 9, BACH-M230
styles on this global art form. One lecture hour per week for one
Sophomore Project. Each student will compose a complete
quarter.
musical score for a short film. The final project bundle will
include spotting notes, a cue sheet, stems, and a full mix of the
score.
BACH-M255 | CONTEMPORARY VANGUARD (1)
This course will survey the leading edge of current innovators
in mainstream film, independent film, games and television
SUPPORTIVE MUSIC // COMPOSITION composition. A focused study of current innovators will energize
students’ creative thinking. Graduates from this program will be
BACH-C105 | MUSIC INFORMATION LITERACY (0) entering a crowded and competitive marketplace. Among the
The Music Information Literacy curriculum is designed to be most valuable skills a composer can cultivate in order to rise
a comprehensive introduction to both basic and advanced through all the noise is innovation. One lecture hour per week
concepts of music information literacy. This course will teach for one quarter.
students how to think about, organize, and create information
throughout their music studies and will prepare them for writing BACH-M297 | COUNTERPOINT (1)
program notes, research projects, and graduate work. Topics Prerequisite: BACH-C401 Harmony & Theory 401. The study
covered include using library resources, searching music of two, three, and four-part writing as it applies to species
databases, evaluating trustworthiness online, copyright and counterpoint. Areas of concentration include: creating lines in
plagiarism, and creating citations. Six lecture hours for one diatonic, modal, and serial writing. One lecture hour per week
quarter. for one quarter.

BACH-P121 | MUSIC HISTORY I – ROOTS OF ROCK AND BACH-P125 | DIRECTING AND CONDUCTING 1 (2)
ROLL (2) Fundamentals of conducting including: beat patterns, posture,
A survey of rock’s roots including rhythm & blues, rockabilly, arm and hand position, articulations, dynamics, left hand
New Orleans, vocal groups, doo-wop, and early 60’s pop, plus functions, incomplete beats, fermatas, basic score reading

214
 MI HOLLYWOOD COURSE DESCRIPTIONS
and application of skills to contemporary music. Students will Tools course builds on the foundation laid out in Pro Tools 101
be videotaped for study. Two lecture hours per week for one as it explores the industry standard Pro Tools Digital Audio
quarter. Workstation (DAW) in greater detail. Students reinforce the
core concepts and techniques needed to competently operate
BACH-P126 | DIRECTING AND CONDUCTING 2 (2) a Pro Tools system running mid-sized sessions, helping to
Prerequisites: BACH-P125 Directing and Conducting 1. prepare them for entry-level positions in virtually any aspect of
This course is a continuation of Directing and Conducting 1, the audio industry. Completion of the course prepares students
focusing on longer scores and various musical styles. Emphasis to the Avid 110 Pro Tools (User) Certified Specialist Exam v.
is placed on conducting for film/video soundtrack recording. 2023 (Part 2 of 2). Two lecture hours per week for one quarter.
Topics include conducting to click track, variable click, meter
changes, odd meters, and use of visual aids on the soundstage: BACH-M309 | MECHANICS OF SCORE PRODUCTION 1 (2)
punches, streamers and flutters. Two lecture hours per week for Prerequisites: AUDIO-157 Pro Tools 110. Students will
one quarter. gain knowledge of and practical experience in performing
each duty required of a film music editor. Through course
BACH-P127 | SIBELIUS NOTATION (1) lectures, exercises, critiques and collaborative projects
Using Sibelius notation software to create lead sheets, master encompassing film score recording sessions, students will gain
rhythm scores and individual parts formatted in a way similar an understanding of the music editor’s position, artistic scope,
to those students will need to create for Arranging 1-5 and
responsibilities, and techniques in the post-production process
Sophomore and Senior Juries. One lecture hour per week for
of a film. Includes Pro Tools session setup for film scoring,
one quarter.
spotting sessions and documentation for film music production.
AUDIO-052 | LOGIC 1 (1) Two lecture hours per week for one quarter.
This course introduces students to the primary features and
basic user interface of Logic Pro X. The class explores the BACH-M409 | MECHANICS OF SCORE PRODUCTION 2 (2)
process of creating an actual song, from start to finish. Pre- Prerequisite: BACH-M309 Mechanics of Score Production
production using Apple Loops, recording/editing audio and 1. Corequisite requirements: BACH-M343 Scoring 10
midi, arranging of tracks, producing drum beats with a virtual and BACH-M435 Orchestration 2. This course covers
drummer, as well as basic mixing and automation techniques fundamentals of subtractive synthesis, sampling techniques
are explored. This course addresses the requirements needed and their application using Apple Logic software. Includes
COURSES

(Part 1 of 2) to take the “Apple Certified Pro” exam in Logic Pro practical application of theory using the ES-1, ES-2 and
X 10.4. Two lab hours per week for one quarter. Sculpture synthesizers as well as the EXS-24 sampler and
Apple Loops utility. The class also covers midi mockup
AUDIO-152 | LOGIC 2 (1) process using the vast catalog of virtual instruments included
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1. with Logic Audio and Native Instruments Komplete. Students
This course is a continuation of the Logic Pro X 10.4.x user will learn about editing and programming of various instrument
interface for songwriters, composers, producers, and sound and effects combinations in a variety of practical applications.
engineers. Upon completion, students will understand how to One lecture hour and one lab hour per week for one quarter.
use Logic Pro’s comprehensive array of software instruments,
arranging of MIDI sequences, as well as editing with Flex Time BACH-M350 | COMPOSERS ENSEMBLE 1 (1)
& Pitch, Keep Tempo, Smart Controls, Advanced Audio & MIDI Prerequisites: BACH-M351 Composers Ensemble 1. This
Recording/Editing Techniques, and trouble-shooting. This is a continuation of Composers Ensemble 1. In this course,
course addresses the requirements needed (Part 2 of 2) to take students will work together as a team. Students will perform
the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab various roles within a composing team that includes a lead
hours per week for one quarter. composer, a MIDI programmer, and an orchestrator. As they
work on projects, students will learn how to make effective
AUDIO-057 | PRO TOOLS 101 (2) changes to a track or cue at various stages of the process. One
This course introduces fundamental Pro Tools concepts and lecture hour per week for one quarter.
principles, covering everything an individual needs to know
to complete a basic Pro Tools project, from initial setup to BACH-M351 | COMPOSERS ENSEMBLE 2 (1)
final mixdown. Students learn to build sessions that include Prerequisites: BACH-M351 Composers Ensemble 2. This
multitrack recordings of live audio, MIDI sequences, and virtual is a continuation of Composers Ensemble II. In this course,
instruments. Hands-on exercises and projects introduce
students will work together as a team. Students will perform
essential techniques for creating sessions, recording and
various roles within a composing team that includes a lead
importing audio and MIDI, editing session media, navigating
composer, a MIDI programmer, and an orchestrator. As they
sessions, arranging media on tracks, as well as using basic
work on projects, students will learn how to make effective
processing and mixing techniques to finalize a production.
Together with the second course in the series, this course changes to a track or cue at various stages of the process. One
provides the foundation training required to prepare for the Avid lecture hour per week for one quarter.
101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1
of 2). BACH-M499 | COMPOSERS COLLABORATIVE (1)
Prerequisite: BACH-M351 Composers Ensemble 2 and
AUDIO-157 | PRO TOOLS 110 (2) BACH-M434 Orchestration 1. This is a continuation of
Prerequisite: AUDIO-057 Pro Tools 101. This second Pro Composers Ensemble II and preparatory course for Senior

215 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Project. Each group of students will work together towards Prerequisite: BACH-C301 Harmony & Theory 301. This course
completing a comprehensive portfolio, discovering individual provides students with detailed instruction in the principles of
styles and refining scoring clips from previous courses. modulation, tonicization, and reharmonization. Students learn
Students will be given roles as part of a Music Team, to how different types of diminished 7th chords resolve within
complete their portfolio during the quarter. Roles may include: chord progressions in music of the common practice period.
Engineer/Mixer, Recordist, Music Editor, Music Supervisor, The course also teaches students about second inversion
Studio Manager, Music Contractor, Conductor, Orchestrator, triads, melodic elements, smaller formal structures, sequences,
Copyist, and Assistant. One lecture hour per week for one and irregular resolution.
quarter.
BACH-C501 | HARMONY & THEORY 501 (2)
BACH-M486 | THE BUSINESS OF COMPOSING 1 (1) Prerequisite: BACH-C401 Harmony & Theory 401. This course
Prerequisites: None. This course explores the world of music provides students with detailed instruction in the construction,
publishing and the how-to of owning and exploiting musical analysis, resolution, and use of the Neapolitan and augmented
copyrights. Topics include: Copyright law and terminology, sixth chords. Students learn how composers have employed
the online eCO process, publishing rights and how to set up a the enharmonic properties of diminished 7th chords and
music publishing company, US PROs and public performance augmented sixth chords in order to create modulations
royalties, how to affiliate with a PRO, cue sheet preparation, between distant keys. The course also teaches students about
songwriter contracts and co-publishing agreements, the analysis of smaller-scale forms, including binary and ternary
administration agreements, sub-publishing, joint works, royalty form.
splits, mechanical and synchronization licenses, works made-
for-hire, sampling, industry organizations and resources for BACH-C601 | HARMONY & THEORY 601 (2)
further study. One lecture hour per week for one quarter. Prerequisite: BACH-C501 Harmony & Theory 501. This course
provides students with detailed instruction on the construction,
BACH-M487 | THE BUSINESS OF COMPOSING 2 (1) analysis, and use of chord extensions, chord alterations, added
Prerequisite: BACH-M486 Business of Composing 1. note chords, suspended chords, and slash chords. Students
A practical application of all topics covered in BACH-M486, learn how composers have employed the modes and various
this course examines music licensing and the process types of modulations. The course also teaches students about
of placing music and songs into Film, TV, video games, the typical formal structures found in jazz and popular music.
commercials and other productions. Music licensing

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terminology, composer co-administration agreements, sources BACH-C701 | HARMONY & THEORY 701 (2)
of musical content for producers, music production libraries, Prerequisite: BACH-C601 Harmony & Theory 601. This course
the role of the music supervisor, source cues, spotting provides students with detailed instruction on the elements
sessions, how to negotiate synchronization and master use within and use of larger formal structures in classical music.
licenses, composer package deals, music production and Students study and apply various techniques of motivic and
sound recordings. One lecture hour per week for one quarter. rhythmic transformation. The course also teaches students
about the use of motive and rhythmic transformation techniques
CC-101 | HARMONY & THEORY 101 (1.5) by classical and popular composers.
Prerequisites: CC-021 Harmony & Theory 021 or Bachelor
Program Entrance Exam. This course presents variations on
diatonic structures from Harmony and Theory 2. Highlights
BACH-C801 | HARMONY & THEORY 801 (2)
Prerequisites: BACH-C701 Harmony & Theory 701. This
include: pentatonic and blues scales; inverted, extended and
non-standard chord types, chord symbols and modes; voice course covers the analysis of late 19th and early 20th century
leading; and chord progressions. One video lecture hour and scores. Discussions include: pandiatonicism, serial writing,
one lab hour per week for one quarter. polytonality, parallel harmony, and use of symmetrical scales.
Two lecture hours per week for one quarter.
CC-201 | HARMONY & THEORY 201 (1.5)
Prerequisites: CC-101 Harmony & Theory 101. This course CC-102 | EAR TRAINING 102 (1.5)
presents non-diatonic melodic and harmonic concepts. Prerequisites: CC-022 Ear Training 022 or Bachelor Program
Highlights include: minor key harmony and melody, modal Entrance Exam or Bachelor Program Entrance Exam. This
interchange, secondary dominants, diatonic substitution and course is an application-based continuation of Ear Training 022
modulation, chromatic modulations, Roman numeral analysis, that focuses on the recognition and transcription of pentatonic
altered and symmetrical scales. One video lecture hour and one scales, simple major and minor pentatonic melodies, triplet
lab hour per week for one quarter. rhythms, blues scales, natural minor scale and its variations,
chord progressions utilizing inversions, diatonic minor key
BACH-C301 | HARMONY & THEORY 301 (2) chord progressions, chord progressions in Roman numerals,
Prerequisites: CC-201 Harmony & Theory 201. This course seventh chords. One video lecture hour and one lab hour per
focuses on topics including: musical textures, irregular week for one quarter.
resolutions, use of melodic and harmonic sequences, and
diminished seventh chords. Two lecture hours per week for one CC-202 | EAR TRAINING 202 (1.5)
quarter. Prerequisites: CC-102 Ear Training 102. This course is an
application-based continuation of Ear Training 102 that focuses
BACH-C401 | HARMONY & THEORY 401 (2) on the recognition and transcription of sixteenth-note rhythmic

216
 MI HOLLYWOOD COURSE DESCRIPTIONS
phrases, standard variations in minor-key melody and harmony,
and seventh chord major and minor diatonic harmony. One CC-308 | KEYBOARD PROFICIENCY 3 (1)
video lecture hour and one lab hour per week for one quarter. Prerequisites: CC-208 Keyboard Proficiency 2. Degree-
specific requirement for non-keyboard majors. Emphasizes
BACH-C302 | TRAINING 302 (2) using the keyboard as an arranging tool, lead sheet
Prerequisites: CC-202 Ear Training 202. Development of interpretation, basic score reading and outlining an
advanced musical reflexes through the use of “movable do arrangement. One lecture hour per week for one quarter.
solfege.” Topics include diatonic major scale harmony in all
twelve keys. Techniques include note recognition, intervallic BACH-P413 | KEYBOARD PROFICIENCY 4 (1)
structures, melodic patterns, identification and arpeggiation of Prerequisites: CC-308 Keyboard Proficiency 3. A survey
harmonic forms in all inversions, dictation, transcription, and of score reading techniques and practices as applied to
sightsinging while conducting. Two lecture hours per week for the keyboard, including: “C” clefs, transposing and non-
one quarter. transposing instruments, as well as scores of different sizes
and instrumentations. One lecture hour per week for one
BACH-C402 | EAR TRAINING 402 (2) quarter.
Prerequisites: BACH-C302 Ear Training 302. Continued
development of advanced musical reflexes through the use BACH-P513 | KEYBOARD PROFICIENCY 5 (1)
of “movable do solfege.” Topics include parallel minor scale Prerequisites: BACH-P413 Keyboard Proficiency 4. A
harmony in its three basic forms: natural minor, harmonic “keyboard orchestra” performance class. Students play written
minor, and melodic minor in all twelve keys. Techniques scores and improvised parts based on repertoire in a variety of
include: note recognition, intervallic structures, melodic styles. One lecture hour per week for one quarter.
patterns, identification and arpeggiation of harmonic forms in
all inversions, dictation, transcription, and sightsinging while BACH-M613 | PRO READING ENSEMBLE 1 (1)
conducting. Two lecture hours per week for one quarter. Prerequisites: BACH-P513 Keyboard Proficiency 5. A
keyboard-based performance class developing sight-
BACH-C502 | EAR TRAINING 502 (2) reading skills with various instrumentations and ensemble
Prerequisites: BACH-C402 Ear Training 402. Continued configurations. Reading selections will include multiple styles
development of advanced musical reflexes through the use and degrees of difficulty. One lecture hour per week for one
of “movable do solfege.” Topics include modal harmony quarter.
COURSES

that is nondiatonic to the major or parallel minor scales in all

twelve keys. Techniques include: note recognition, intervallic BACH-M713 | PRO READING ENSEMBLE 2 (1)
structures, melodic patterns, identification and arpeggiation of Prerequisites: BACH-M613 Pro Reading Ensemble 1.
harmonic forms in all inversions, dictation, transcription, and
This course is a continuation of advanced sight-reading
sightsinging while conducting. Two lecture hours per week for
performance. One ensemble hour per week for one quarter.
one quarter.

BACH-C602 | EAR TRAINING 602 (2) BACHELOR OF MUSIC

Prerequisites: BACH-C502 Ear Training 502. Continued
development of advanced musical reflexes through the use of SPECIFIC ELECTIVE COURSES
“movable do solfege.” Topics include advanced modes, altered Baccalaureate elective requirements may be fulfilled through
and symmetrical scale harmony in all twelve keys. Techniques any combination of the courses listed below as well as General
include: note recognition, intervallic structures, melodic Electives and Instrument-Specific electives listed under
patterns, identification and arpeggiation of harmonic forms in Associate of Arts Degree programs.
all inversions, dictation, transcription, and sightsinging while
conducting. Two lecture hours per week for one quarter. BACH-P015 | SPECIAL TOPICS IN JAZZ (2)
Topics vary and may focus on a theme, genre, a historical
CC-108 | KEYBOARD PROFICIENCY 1 (1) period, composers, or an influential group. Consult with course
This course serves as an introduction to contemporary instructor or Program Dean for information. Two lecture hours
keyboard technique. Through the study of physical posture, per week for one quarter.
finger technique, diatonic scales & chord progressions, this
course will enable students to develop the necessary motor-
BACH-P010 | INDEPENDENT STUDY (2)
skills required for using the keyboard both as a performing
Provides students with an opportunity to explore a specific
instrument and compositional tool. One lecture hour and one
lab hour per week for one quarter. subject area in depth through independent course work with
faculty supervision. A maximum of six credits may be applied
CC-208 | KEYBOARD PROFICIENCY 2 (1) toward BM requirements. Weekly hours vary.
Prerequisites: CC-108 Keyboard Proficiency 1. This course
further develops the technical skills required for successful BACH-C213E | ADVANCED CHART WRITING (1)
keyboard performance and musical comprehension. Pop and Prerequisite: BACH-P127 Sibelius Notation. This advanced
Classical repertoire performance serves as the main focus of music notation class is designed for songwriters to enhance
this course, in addition to further study of chord progressions their ability to write their compositions more clearly and
and scales. One lecture hour and one lab hour per week for one accurately. This course follows BACH-P127 Sibelius notation
quarter. and delves into more advanced concepts and techniques.

217 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Throughout the course, students will explore advanced Weekly critiqued performances of selected repertoire. One
topics in music notation, including expressions of vocal ensemble hour per week for one quarter. Each program has a
technique, dynamics, articulations, phrasing, performance 4.0 - 6.0 credit requirement depending on instrument of study;
instructions, playing techniques for different instruments, please defer to your program requirements for exact credits
unconventional rhythmic patterns, etc. They will learn industry- required. One ensemble hour per week for one quarter. This
standard formatting principles for lyrics, scores, and parts course may be repeated for credit.
for a wide variety of ensembles and genres. Students will
have opportunities to analyze and transcribe musical pieces BACH-P118 | SOPHOMORE JURY PREP (1)
from various genres, ranging from classical compositions to Individual preparation for the Sophomore Jury including song
contemporary works. They will refine their skills in deciphering selection (see Sophomore Jury course below), lead sheet
complex musical scores and translating them into accurate and preparation and requirements for master scores under the
readable notation. They will be able to effectively communicate guidance of jury advisors and student’s private instructor.
their musical ideas to performers, publishers, and other Songs must be approved by a formal committee and students
musicians within the industry. One lecture hour per week for should submit one of their Jury selections by Week 8. Five bi-
one quarter. weekly mentoring sessions with a jury advisor for one quarter.

BACH-C314E | ELECTRONIC MUSIC TCHNIQUES (2) BACH-P108 | SOPHOMORE JURY (1)

Prerequisites: AUDIO-152 Logic 2 and AUDIO-157 Pro Tools Prerequisite: BACH-P118 Sophomore Jury Prep. Co-requisite:
110. Prerequisites for MI Online students: AUDIO-262 Logic Students enrolled in this course must also be enrolled in
Fundamentals 2 and AUDIO-259 Pro Tools 2. This course a Private Lesson concurrently- regardless of whether the
is designed for students to learn how to utilize electronic student has fulfilled other BACH-PL requirements. A judged
music techniques in their music. Throughout the course, performance (including rhythm section) takes place at the
students will study, explore, and experiment with fundamental end of the quarter. Student performance is evaluated by
electronic music principles and techniques, including analyzing a panel consisting of members of the Bachelor Program
sounds, shaping sounds, creating sounds, modulation, filters, faculty. Students must demonstrate significant skills in the
subtractive synthesis, and additive synthesis. As this course following areas: solo performance, solo transcription, stylistic
follows successful completion of AUDIO-152, students will competency in ensemble repertoire (R&B, funk, rock, Latin,
also learn to utilize software synthesizers specific to Logic Pro. swing), rhythm section scoring /arranging, band leadership

COURSES
Two lecture hours per week for one quarter. Additional Lab Fee / musical direction, and sight-reading. Preparation includes
required. biweekly meetings with a jury advisor to review arrangements,
rehearsal progress and related issues. Five bi- weekly
BACHELOR OF MUSIC IN mentoring sessions with a jury advisor for one quarter, and a
PERFORMANCE jury performance at the end of the quarter. Additional lab fee
required.
(CONTEMPORARY STYLES)
MAJOR AREA // ALL INSTRUMENTS BACH-P218 | SENIOR JURY PREP (1)
Prerequisites: BACH-P108 Sophomore Jury. Individual
BACH-PL | PRIVATE LESSON 1-12 (2) preparation for the Senior Jury including song selection
Weekly private lessons on student’s primary instrument. Topics (see Senior Jury course below), lead sheet preparation and
vary based on the needs of the individual – from fundamentals requirements for master scores under the guidance of a
to advanced techniques; as well as personal topics of interest jury advisor and student’s private instructor. Songs must
and preparation for juries and final projects. One private lesson be approved by a formal committee and students should
hour per week per quarter. submit one of their Jury selections by Week 8. Five bi-weekly
mentoring sessions with a jury advisor for one quarter.
BACH-P151–P453 | BACHELOR ENSEMBLES 1-12 (1)
Co-requisites: Performance 130 (BASS-130, DRUM-130, BACH-P208 | SENIOR JURY (1)
BACH-G130, KEYBD-130, or VOCAL-130). In addition, Prerequisite: BACH-P218 Senior Jury Prep. Co-requisite:
students enrolled in this course must also be enrolled in a Students enrolled in this course must also be enrolled in
Bachelor Private Lesson concurrently. Weekly live performance a Private Lesson concurrently- regardless of whether the
workshops providing development of ensemble techniques, student has fulfilled other BACH-PL requirements. A judged
improvisational skills and building repertoire in various styles. performance (with rhythm section and horns) takes place at
One ensemble hour per week per quarter. the end of the quarter. Student performance must demonstrate
ability to meet final graduation requirements. Performance is
BACH-PXX4-PXX4 | PERFORMANCE 1-14 (1) evaluated by a panel consisting of members of the Bachelor
An in-depth study of a variety of contemporary and commercial Program faculty. Students must demonstrate advanced
performance-related subjects, including: prototypical technical skill, stylistic awareness, arranging abilities using a
characteristics of influential styles, repertoire, improvisation, small horn section, overall musicianship in contrasting styles,
and interpretation. Students will need to complete at least one and stylistic identity as a performer. Preparation includes bi-
style from each of the four key styles: Rock, Jazz, R&B and weekly meetings with a jury advisor to review arrangements
[Link] sections for instrumentalists and vocalists. and/or original compositions, rehearsal progress and related

218
 MI HOLLYWOOD COURSE DESCRIPTIONS
issues. Five bi-weekly mentoring sessions with a jury advisor for The history of musical styles from the Romantic period
one quarter, and a jury performance at the end of the quarter. through the 20th century including cultural contexts and social
Additional lab fee required. meaning. Composers and musical developments in European
and American Art Music, orchestral, choral, band, chamber
SUPPORTIVE MUSIC // ALL INSTRUMENTS music and solo repertoire are combined with the influences of
music from other world cultures. Compositional techniques,
BACH-C105 | MUSIC INFORMATION LITERACY (0) style characteristics, and relationships will be emphasized. In
The Music Information Literacy curriculum is designed to be addition to a midterm and final examination, the course requires
a comprehensive introduction to both basic and advanced one critical concert report, workbook assignments, and
concepts of music information literacy. This course will teach presentation. Two lecture hours per week for one quarter.
students how to think about, organize, and create information
throughout their music studies and will prepare them for writing BACH-P103 | CONTEMPORARY ARRANGING 1 (2)
program notes, research projects, and graduate work. Topics Prerequisite: CC-201 Harmony and Theory 201 and
covered include using library resources, searching music BACH-P127 Sibelius Notation. This course is an introduction
databases, evaluating trustworthiness online, copyright and to instrumentation, arranging techniques, and notation practices
plagiarism, and creating citations. Six lecture hours for one for a live rhythm section. Emphasis is placed on score and parts
quarter. preparation and notation in selected contemporary styles. The
objective is to learn the characteristic usage of each instrument
BACH-P127 | SIBELIUS NOTATION (1) in the rhythm section, and to prepare an arrangement step-by-
Using Sibelius notation software to create lead sheets, master step using a verbal outline, sketch score, and master score. As
rhythm scores and individual parts formatted in a way similar a final project, each student completes a studio recording of
to those students will need to create for Arranging 1-5 and an arrangement for piano, guitar, bass and drums. Two lecture
Sophomore and Senior Juries. One lecture hour per week for hours per week for one quarter. Required lab fee: $200.
one quarter.
BACH-P203 | CONTEMPORARY ARRANGING 2 (2)
BACH-P107 | STYLES SURVEY (1) Prerequisites: BACH-P103 Contemporary Arranging 1. This
Provides students with an analytical overview of styles, chart course is a continuation of Contemporary Arranging 1, with
reading and critical listening as they relate to repertoire the addition of brass and woodwind instruments. Topics will
COURSES

requirements. Styles covered include rock, rhythm & blues, jazz include transposition, range, and idiomatic usage of the trumpet
and Latin. One lecture hour per week for one quarter. and tenor saxophone in popular styles. The objective is to
study the brass and reed family with emphasis on two-part
BACH-P151–P453 | BACHELOR ENSEMBLES 1-12 (1) soli writing and background lines. Students analyze and learn
Co-requisites: Performance 130 (BASS-130, DRUM-130, to build arrangements for rhythm section and two horns. As a
BACH-G130, KEYBD-130, or VOCAL-130). In addition, final project, each student completes a studio recording of an
students enrolled in this course must also be enrolled in a arrangement for trumpet, tenor sax, guitar, piano, bass, and
Bachelor Private Lesson concurrently. Weekly live performance drums. Two lecture hours per week for one quarter. Required
workshops providing development of ensemble techniques, lab fee: $200.
improvisational skills and building repertoire in various styles.
One ensemble hour per week per quarter. BACH-P303 | CONTEMPORARY ARRANGING 3 (2)
Prerequisites: BACH-P203 Contemporary Arranging 2. This
BACH-P121 | MUSIC HISTORY I – ROOTS OF ROCK & ROLL course is a continuation of Contemporary Arranging 2, with
(2) A survey of rock’s roots including rhythm & blues, rockabilly, additional brass and woodwind instruments. Topics will include
New Orleans, vocal groups, doo-wop, and early 60’s pop, plus transposition, range, and idiomatic usage of the trombone, alto
an examination of the founding figures and major influences. saxophone, flute and clarinet. Students will learn arranging
Two lecture hours per week for one quarter. techniques for standard 4-horn ensembles with “doubling”
instruments. The objective is to study the brass and woodwind
BACH-P122 | MUSIC HISTORY II –WORLD MUSIC (2) family with emphasis on four-part harmonization. As a final
A study of music in the context of selected cultures around project, each student completes a studio recording of an
the world, aka World Music. Ways in which music and lyrics arrangement for trumpet, alto saxophone, tenor saxophone,
function in these cultures are explored through listening and trombone, piano, bass, and drums. Two lecture hours per week
transcriptions. Two lecture hours per week for one quarter. for one quarter. Required lab fee: $200.00

BACH-P123 | MUSIC HISTORY III – WESTERN ART MUSIC I BACH-P403 | CONTEMPORARY ARRANGING 4 (2)
600-1820 (2) A survey of Western art music from the Middle Prerequisites: BACH-P303 Contemporary Arranging 3. This
Ages through the end of the 18th century. The course will course focuses on chord progressions and reharmonization,
include discussion of major styles and forms in historical and scoring for strings. Topics include harmonic rhythm, chord
context, supplemented by representative listening. Two lecture substitution, dominant and substitute dominant resolution,
hours per week for one quarter. modal interchange, basic contrapuntal arranging and voice
leading. Extensive score analysis of string arrangements is
BACH-P222 | MUSIC HISTORY IV - WESTERN ART MUSIC included. The objective is to gain an understanding of effective
II 1820-21ST CENTURY (2)
219 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
chord progressions and reharmonization, and to learn the to complete a basic Pro Tools project, from initial setup to
ranges and characteristic usage of the violin, viola, cello and final mixdown. Students learn to build sessions that include
contrabass. As a final project, each student completes a studio multitrack recordings of live audio, MIDI sequences, and virtual
recording of an arrangement for string quintet. Two lecture instruments. Hands-on exercises and projects introduce
hours per week for one quarter. Required lab fee: $200. essential techniques for creating sessions, recording and
importing audio and MIDI, editing session media, navigating
BACH-P503 | CONTEMPORARY ARRANGING 5 (2) sessions, arranging media on tracks, as well as using basic
Prerequisites: BACH-P403 Contemporary Arranging 4. This processing and mixing techniques to finalize a production.
course combines all previous course materials. Introduces Together with the second course in the series, this course
additional concepts of sweetening and overdubbing for provides the foundation training required to prepare for the Avid
recording. Students learn to combine techniques to build 101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1
intermediate level arrangements. As a final project, each of 2).
student completes a studio recording of an arrangement for 5
horns (trumpet, trombone, alto saxophone, tenor saxophone, AUDIO-157 | PRO TOOLS 110 (2)
and baritone saxophone), guitar, piano, bass, drums, and Prerequisite: AUDIO-057 Pro Tools 101. This second Pro
“sampled” strings. Two lecture hours per week for one quarter. Tools course builds on the foundation laid out in Pro Tools 101
Required lab fee: $200.00. as it explores the industry standard Pro Tools Digital Audio
Workstation (DAW) in greater detail. Students reinforce the
BACH-P125 | DIRECTING AND CONDUCTING (2) core concepts and techniques needed to competently operate
Fundamentals of conducting including: beat patterns, posture, a Pro Tools system running mid-sized sessions, helping to
arm and hand position, articulations, dynamics, left hand prepare them for entry-level positions in virtually any aspect of
functions, incomplete beats, fermatas as well as basic score the audio industry. Completion of the course prepares students
reading and application of skills to contemporary music. to the Avid 110 Pro Tools (User) Certified Specialist Exam v.
Students will be videotaped for study. Two lecture hours per 2023 (Part 2 of 2). Two lecture hours per week for one quarter.
week for one quarter.

BACH-P120 | CONTEMPORARY MUSIC INSTRUCTION (1) PROFESSIONAL DEVELOPMENT // ALL INSTRUMENTS

The skill and art of teaching contemporary music to students

COURSES
of all ages in various settings, including group classes, private
MUBUS-0360 | BUSINESS PRACTICES FOR MUSICIANS 1 (1.5)
The first in a two-quarter course sequence, designed to provide
lessons, rehearsals, lectures, and master classes. Covers
students with an understanding of the entertainment industry,
modern educational philosophies and techniques. One lecture
as it exists today, and essential knowledge for sustaining a
hour per week for one quarter.
career in the digital era. In Business Practices for Musicians
1, topics include an overview of industry structure, the artist’s
AUDIO-052 | LOGIC 1 (1)
team (manager, attorney, agent, etc.), copyrights and music
This course introduces students to the primary features and
publishing, band partnerships and solo artists, employment
basic user interface of Logic Pro X. The class explores the
agreements, work-for-hire, unions and more. One lecture hour
process of creating an actual song, from start to finish. Pre-
per week for one quarter.
production using Apple Loops, recording/editing audio and
midi, arranging of tracks, producing drum beats with a virtual
drummer, as well as basic mixing and automation techniques
MUBUS-0460 | BUSINESS PRACTICES FOR MUSICIANS 2
are explored. This course addresses the requirements needed (1.5)
(Part 1 of 2) to take the “Apple Certified Pro” exam in Logic Pro Prerequisites: MUBUS-0360 Business Practices for Musicians
X 10.4. Two lab hours per week for one quarter. 1. This course is a continuation of Business Practices for
Musicians 1, further covering the most important areas and
aspects of the entertainment industry. Topics include: record
AUDIO-152 | LOGIC 2 (1)
labels (major and indie), types of deals, the DIY market,
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1.
distribution, touring, merchandising, and more. S.M.A.R.T. goal
This course is a continuation of the Logic Pro X 10.4.x user
setting is also covered to support students in creating a path to
interface for songwriters, composers, producers, and sound
career success. One lecture hour per week for one quarter.
engineers. Upon completion, students will understand how to
use Logic Pro’s comprehensive array of software instruments,
arranging of MIDI sequences, as well as editing with Flex Time MUBUS-0202 | MEDIA RELATIONS (2)
& Pitch, Keep Tempo, Smart Controls, Advanced Audio & MIDI Students learn the difference between publicity and public
Recording/Editing Techniques, and trouble-shooting. This relations, how to create and implement media campaigns, and
course addresses the requirements needed (Part 2 of 2) to take how to write artist bios, press releases, news releases, and
the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab eye-catching headlines. Skills apply to independent artists as
hours per week for one quarter. well as those aspiring to work in the industry. Two lecture hours
per week for one quarter.
AUDIO-057 | PRO TOOLS 101 (2)
This course introduces fundamental Pro Tools concepts and MUSICIANSHIP // ALL INSTRUMENTS
principles, covering everything an individual needs to know
CC-101 | HARMONY & THEORY 101 (1.5)

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 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisites: CC-021 Harmony & Theory 021 or Bachelor Two lecture hours per week for one quarter.
Program Entrance Exam. This course presents variations on
diatonic structures from Harmony & Theory 021. Highlights CC-102 | EAR TRAINING 102 (1.5)
include: pentatonic and blues scales; inverted, extended and Prerequisites: CC-022 Ear Training 022 or Bachelor
non-standard chord types, chord symbols and modes; voice Program Entrance Exam. This course is an application-based
leading; and chord progressions. One video lecture hour and continuation of Ear Training 022 that focuses on the recognition
one lab hour per week for one quarter. and transcription of pentatonic scales, simple major and minor
pentatonic melodies, triplet rhythms, blues scales, natural minor
CC-201 | HARMONY & THEORY 201 (1.5) scale and its variations, chord progressions utilizing inversions,
Prerequisites: BACH-C201 Harmony & Theory 201. This diatonic minor key chord progressions, chord progressions in
course presents non-diatonic melodic and harmonic concepts. Roman numerals, seventh chords. One video lecture hour and
Highlights include: minor key harmony and melody, modal one lab hour per week for one quarter.
interchange, secondary dominants, diatonic substitution and
modulation, chromatic modulations, Roman numeral analysis, CC-202 | EAR TRAINING 202 (1.5)
altered and symmetrical scales. One video lecture hour and one Prerequisites: CC-102 Ear Training 102. This course is an
lab hour per week for one quarter. application-based continuation of Ear Training 102 that focuses
on the recognition and transcription of sixteenth-note rhythmic
BACH-C301 | HARMONY & THEORY 301 (2) phrases, standard variations in minor-key melody and harmony,
Prerequisites: BACH-C201 Harmony & Theory 201. This and seventh chord major and minor diatonic harmony. One
course focuses on topics including: musical textures, irregular video lecture hour and one lab hour per week for one quarter.
resolutions, use of melodic and harmonic sequences and
diminished seventh chords. Two lecture hours per week for one
BACH-C302 | EAR TRAINING 302 (2)
quarter.
Prerequisites: BACH-C202 Ear Training 202. Development
of advanced musical reflexes through the use of “movable do
BACH-C401 | HARMONY & THEORY 401 (2) solfege.” Topics include: diatonic major scale harmony in all
Prerequisites: BACH-C301 Harmony & Theory 301. This twelve keys. Techniques include note recognition, intervallic
course covers the analysis and application of the incomplete structures, melodic patterns, identification and arpeggiation of
major ninth chord, seventh chords in non-dominant harmonic harmonic forms in all inversions, dictation, transcription, and
COURSES

function, neighbor chord harmony, ninth, eleventh, thirteen

sightsinging while conducting. Two lecture hours per week for
and appoggiatura chords. Two lecture hours per week for one
one quarter.
quarter.
BACH-C402 | EAR TRAINING 402 (2)
BACH-C501 | HARMONY & THEORY 501 (2) Prerequisites: BACH-C302 Ear Training 302. Continued
Prerequisites: BACH-C401 Harmony & Theory 401. This development of advanced musical reflexes through the use
course covers the analysis and application of chromatic of “movable do solfege.” Topics include: parallel minor scale
altered chords including the +II7 and +VI7, Neapolitan, harmony in its three basic forms: natural minor, harmonic
augmented sixth chords and chords with lowered and raised minor, and melodic minor in all twelve keys. Techniques
fifths. Two lecture hours per week for one quarter. include note recognition, intervallic structures, melodic
patterns, identification and arpeggiation of harmonic forms in
BACH-C601 | HARMONY & THEORY 601 (2) all inversions, dictation, transcription, and sightsinging while
Prerequisites: BACH-C501 Harmony & Theory 501. This conducting. Two lecture hours per week for one quarter.
course covers the analysis and application of the incomplete
major ninth chord, seventh chords in non- dominant harmonic
BACH-C502 | EAR TRAINING 502 (2)
function, neighbor-chord harmony, ninth, eleventh, thirteenth,
Prerequisites: BACH-C402 Ear Training 402. Continued
and appoggiatura chords. Continued focus on four-part writing,
development of advanced musical reflexes through the use of
figured bass and harmonization. Two lecture hours per week for
“movable do solfege.” Topics include: modal harmony that is
one quarter.
nondiatonic to the major or parallel minor scales in all twelve
keys. Techniques include note recognition, intervallic structures,
BACH-C701 | HARMONY & THEORY 701 (2) melodic patterns, identification and arpeggiation of harmonic
Prerequisites: BACH-C601 Harmony & Theory 601. This forms in all inversions, dictation, transcription, and sightsinging
course covers the analysis and application of chromatic while conducting. Two lecture hours per week for one quarter.
altered chords, including the +II7 and +VI7, Neapolitan chords,
augmented sixth chords and chords with lowered and raised
BACH-C602 | EAR TRAINING 602 (2)
fifths. Continued focus on four-part writing, figured bass and Prerequisites: BACH-C502 Ear Training 502. Continued
harmonization. Two lecture hours per week for one quarter. development of advanced musical reflexes through the use of
“movable do solfege.” Topics include advanced modes, altered
BACH-C801 | HARMONY & THEORY 801 (2) and symmetrical scale harmony in all twelve keys. Techniques
Prerequisites: BACH-C701 Harmony & Theory 701. This include: note recognition, intervallic structures, melodic
course covers the analysis of late 19th and early 20th century patterns, identification and arpeggiation of harmonic forms in
scores. Discussions include: pandiatonicism, serial writing, all inversions, dictation, transcription, and sightsinging while
polytonality, parallel harmony and, use of symmetrical scales. conducting. Two lecture hours per week for one quarter.

221 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
process pipeline. Two lecture hours per week for one quarter.
CC-108 | KEYBOARD PROFICIENCY 1 (1) The credit will be transferred to core credits of Bachelor
Keyboard Proficiency 1 serves as an introduction to Program’s Scoring for Visual Media if students decide to
contemporary keyboard technique. Through the study of change their major. Two lecture hours per week for one quarter.
physical posture, finger technique, diatonic scales & chord Additional lab fee required.
progressions, this course will enable students to develop the
necessary motor skills required for using the keyboard both as a BACH-M336 / CC-M336E | SCORING 3 (2)
performing instrument and compositional tool. One lecture hour Prerequisites: BACH-M335 / CC-M335E: Scoring 2. In-
and one lab hour per week for one quarter. depth melodic and harmonic analysis and transcription of film
scores as well as other modern media scores, including non-
traditional form, score reading and orchestration techniques. At
CC-208 | KEYBOARD PROFICIENCY 2 (1) the end of the quarter, students will have a recording session
Prerequisites: CC-108 Keyboard Proficiency 1. This course
with string quartet. Two lecture hours per week for one quarter.
further develops the technical skills required for successful
Additional lab fee required.
keyboard performance and musical comprehension. Pop and
Classical repertoire performance serves as the main focus of
this course, in addition to further study of chord progressions BACH-M337 / CC-M337E | SCORING 4 (2)
and scales. One lecture hour and one lab hour per week for one Prerequisites: BACH-M336 / CC-M336E: Scoring 3. Applied
quarter. Scoring Techniques: Introduction to Scoring for Animation.
Survey of historical and contemporary animation styles
CC-308 | KEYBOARD PROFICIENCY 3 (1) and scoring approaches. Utilizing the tools and techniques
Prerequisites: Keyboard Proficiency 2. Degree-specific previously taught, students complete take-down of animation
requirement for non-keyboard majors. Emphasizes using the scenes, recreating the scores virtually to match picture. Scoring
keyboard as an arranging tool, lead sheet interpretation, basic projects are assigned in cartoon and science fiction styles.
score reading and outlining an arrangement. One lecture hour Two lecture hours per week for one quarter. Additional lab fee
per week for one quarter. required. Additional lab fee required.

BACHELOR OF MUSIC [Link] / [Link] | PRIVATE MEDIA SCORING

COMPOSITION LESSON (2)
SPECIFIC ELECTIVE COURSES Weekly private lesson focused on developing and applying

COURSES
Baccalaureate elective requirements may be fulfilled through traditional and contemporary compositional techniques and
any combination of the courses listed below as well as General skills. Includes analysis and critique of compositions as well
Electives and Instrument-Specific electives listed under as preparation for scoring assignments plus Sophomore and
Associate Degree Programs.
Senior projects. One private lesson hour per week per quarter.
The credit will be transferred to core credits of Bachelor
BACH-P015E | SPECIAL TOPICS IN JAZZ (2) Program’s Scoring for Visual Media major if students decide to
Topics vary and may focus on a theme, genre, historical period,
change their major. One lecture hour per week for one quarter.
composers, or an influential group. Consult with course
instructor or Program Dean for information. Two ensemble
hours per week for one quarter. BACHELOR OF MUSIC IN
PERFORMANCE (CONTEMPORARY
BACH-P010E | INDEPENDENT STUDY (2) STYLES) // BASS
Prerequisites: minimum GPA of 3.25 or above in core
courses and permission of Dean. Provides students with an
opportunity to explore a specific subject area in depth through
BASS-PL | PRIVATE LESSON (2)
independent course work with faculty supervision. One lecture A weekly individual instrument lesson that supports core
hour per week for one quarter. curriculum goals. An instructor guides the student in developing
technique, musicianship and style.
BACH-M334 / CC-334E | SCORING 1 (2)
Course requirement: Placement test required, please contact BASS-110 | BASS TECHNIQUE 110 (2)
rachel@[Link] to schedule a placement test for access Prerequisites: Bachelor placement test. Continued study of
to enroll into the course. This course covers basic scoring techniques, with a concentration of versatile approaches to
practices and concepts, including the difference between standard rhythms, grooves and feels, including eighth-note and
score and source cues, diegetic versus non-diegetic music, sixteenth-note grooves, straight and swung. Fretboard harmony
and underscore. Research covers the functions of media will cover chords and scales, including pentatonics, blues
music, the role of the media music professional and his or her harmony, minor scale variations, and extended chords. Two
employers, and the scoring process pipeline. Two lecture hours lecture hours per week for one quarter.
per week for one quarter. Additional lab fee required.
BASS-210 | BASS TECHNIQUE 210 (2)
BACH-M335 / CC-M335E | SCORING 2 (2) Prerequisites: BASS-110 Bass Technique 110. A continuation
Prerequisites: BACH-M334 / CC-M334E Scoring 1. Basic of Bass Technique 110 with concentration on grooves,
scoring information, including difference between score and additional striking hand techniques and approaches to soloing.
source, diegetic versus non-diegetic music, and underscore. Fretboard harmony will examine continue with minor scale
Research about functions of Media Music, the roles of Media variations, modes and improvisation.
Music professionals and their employers, and the scoring

222
 MI HOLLYWOOD COURSE DESCRIPTIONS
BACH-B310 | BASS TECHNIQUE 310 (2) curriculum goals. An instructor guides the student in developing
Prerequisites: BASS-210 Bass Technique 210. This course technique, musicianship and style. Twelve credit units required
applies both finger and slap-style electric bass techniques to a (two per quarter).
variety of contemporary grooves, including: Latin, jazz, odd-
meter, funk, swing, shuffles, hip-hop, and others. One lecture DRUM-130 | DRUM PERFORMANCE 130 (2)
hour and two lab hours per week for one quarter. Prerequisites: Bachelor placement test. Covers ensemble
performance emphasizing stylistic rhythm section textures and
BACH-B410 | BASS TECHNIQUE 410 (2) applied techniques. Emphasis is placed on handling variations
Prerequisites: BACH-B310 BASS TECHNIQUE 310. in typical song form, advanced chart-reading skills, and taking
Continued application of finger and slap-style electric bass a leadership role within the group. This class coordinates with
techniques to a variety of contemporary grooves, including Drum Technique 110 and Drum Reading 120 topics. Two
Afro- Cuban, jazz ballad, 4/4 swing, blues, cut-time Latin, and lecture/ensemble hours per week for one quarter.
funk. One lecture hour and two lab hours per week for one
quarter. DRUM-230 | DRUM PERFORMANCE 230 (2)
Prerequisites: DRUM-130 Drum Performance 130. Ensemble
BASS-120 | BASS READING 120 (2) performance emphasizing applied techniques and advanced
Prerequisites: Bachelor placement test. In addition to concepts, such as odd meters and metric modulation.
continued position and specified key reading, this course Emphasis is also placed on handling variations in typical
preps the student to read longer forms through bass clef song form, improving odd-meter chart-reading skills, metric
notation transcriptions, chord charts. Interpreting melodies and modulations and developing time feel. This class coordinates
rhythms in different styles are also presented in detail. Position with Drum Technique 210 and Drum Reading 220 topics. Two
playing has the student revisiting the lower register but with lecture/ensemble hours per week for one quarter.
concentrated focus of the middle register of the neck. Sight
reading concepts will be introduced. This class coordinates DRUM-110 | DRUM TECHNIQUE 110 (2)
with Bass Technique 110 and Bass Performance 130 topics. Prerequisites: Bachelor placement test. This course presents
One lecture hour and one lab hour per week for one quarter. intermediate to advanced hand technique concepts as applied
to the drum set. Including rudimental advancement and
limb independence. Intermediate drummers need to further
BASS-220 | BASS READING 220 (2) develop their ability and understanding of stick control and
COURSES

Prerequisites: BASS-120 Bass Reading 120. The Bass

the subtleties included. This class coordinates with Drum
Reading 220 curriculum continues with position and specific
Performance 130 and Drum Reading 120 topics. Two lecture/
key(s) reading in the upper register of the neck. Continuing with ensemble hours per week for one quarter.
sight-reading concepts and exercises, this course will introduce
and exercise odd- meter concepts, reading treble clef notation,
DRUM-210 | DRUM TECHNIQUE 210 (2)
compound meter as well as metric modulation, jazz chart Prerequisites: DRUM-110 Drum Technique 110. This course
reading, lead sheets and transcribing. This class coordinates presents advanced hand technique concepts as applied to
with Bass Technique 210 and Bass Performance 230 topics. the drum set, including rudimental drum set application and
One lecture hour and one lab hour per week for one quarter creative development. This class coordinates with Drum
Performance 230 and Drum Reading 220 topics. Two lecture/
BACH-B320 | BASS READING 320 (2) ensemble hours per week for one quarter.
Prerequisites: BASS-220 Bass Reading 220. Students learn
contemporary chart-reading skills through the extensive use of BACH-D310 | DRUM TECHNIQUE 310 (2)
transcriptions and professionally written arrangements. Focus Prerequisites: DRUM-210 Drum Technique 210. The lecture
is placed on sight-reading, pitch, rhythm pattern recognition, section of this course focuses on the stylistic adaptation
position playing, and creating a cohesive sound. Course of techniques introduced in previous levels of performance
materials correlate with the Common Course Real World Live classes. Subsequent curricular topics include balance of
Performance Workshop. One lecture hour and one lab hour per sound, four-way independence, comping, Soul-Jazz, Bossa
week for one quarter. Nova, Afro-Cuban, Funk, Shuffles, 3/4 Jazz time-keeping and
group interplay. Lecture classes will include instrument-specific
BACH-B420 | BASS READING 420 (2) analyses of weekly performance pieces. In order to further
Prerequisites: BACH-B20 BASS READING 320(2) develop musicality, authenticity of style and improvisational
Students will learn various styles of reading with and without ability, the lab section of this course will consist of weekly group
rhythm sections. One lecture hour and one lab hour per week performances across a variety of musical genres. Groups will
for one quarter. be comprised of students at the same level of performance
technique.
BACHELOR OF MUSIC IN BACH-D410 | DRUM TECHNIQUE 410 (2)
PERFORMANCE (CONTEMPORARY Prerequisites: BACH-D310 DRUM TECHNIQUE 310.
STYLES) // DRUMS The lecture section of this course focuses on the stylistic
adaptation of techniques introduced in previous levels of
performance classes. Subsequent curricular topics include
DRUM-PL | PRIVATE LESSON 1-12 (2) balance of sound, four-way independence, double-time vs.
A weekly individual instrument lesson that supports core “double-time feel”, one, two & three-voice Jazz comping,

223 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
“broken ride-cymbal phrasing”, left-foot hi-hat technique, chart-reading skills, taking a leadership role within the group,
brushes, Funk, Samba, Afro-Cuban music, odd-meter study, and interacting with other musicians in an ensemble. Emphasis
left-foot clave and group interplay. Lecture classes will include is also placed on interpreting written parts and improvising with
instrument-specific analyses of weekly performance pieces. stylistic authenticity. Styles covered include rhythm and blues,
In order to further develop musicality, authenticity of style and Motown soul, surf guitar, along with several variations each
improvisational ability, the lab section of this course will consist of blues, rock, and country. Ensemble performance within a
of weekly group performances across a variety of musical musical theater pit band is also covered. This class coordinates
genres. Groups will be comprised of students at the same level with Guitar Technique 110 and Guitar Reading 120 topics. Two
of performance technique.
lecture/ensemble hours per week for one quarter.
BACH-D320 | DRUM READING 120 (2) BACH-G230 | GUITAR PERFORMANCE 230 (2)
Prerequisites: Bachelor placement test. This course
Prerequisite: BACH-G130 Guitar Performance 130. The
presents the essential reading fundamentals needed by
fundamental technical approaches to guitar performance in a
professional-level drummers: lead sheet interpretation, drum
set orchestration, sight-reading and ensemble figure set- variety of popular styles are presented in Guitar Performance
up fill development. One and two-bar ensemble figures are 230. Students will perform live on a weekly basis. Emphasis is
presented in varying styles accompanied by orchestration and placed on understanding variations in song forms, improving
fill suggestions. This class coordinates with Drum Technique chart-reading skills, taking a leadership role within the group,
210 and Drum Performance 230 topics. One lecture hour and and interacting with other musicians in an ensemble. Emphasis
one lab hour per week for one quarter. is placed on interpreting written parts and improvising with
stylistic authenticity. Styles covered include progressive rock,
DRUM-220 | DRUM READING 220 (2) progressive metal, odd meters, gypsy jazz, minor blues, jazz-
Prerequisites: DRUM-120 Drum Reading 120. This course blues, funk, American Songbook standards, Latin/Bossa Nova,
presents the advanced reading concepts needed by big band, bebop and modal jazz. This class coordinates with
professional-level drummers: lead sheet interpretation, drum Guitar Technique 210 and Guitar Reading 220 topics. Two
set orchestration, sight-reading and ensemble figure set-up fill lecture/ensemble hours per week for one quarter.
development. Advanced concepts such as metric modulations
and cut time will also be presented. This class coordinates with BACH-G110 | GUITAR TECHNIQUE 110 (2)
Drum Technique 210 and Drum Performance 230 topics. One Prerequisites: Bachelor placement test. This course introduces

COURSES
lecture hour and one lab hour per week for one quarter. Major and Minor Pentatonic scales, as well as Blues, Dorian,
Mixolydian and Lydian. Five fingering patterns will be learned for
BACH-D320 | DRUM READING 320 (2) each scale. Appropriate usage for each scale will be covered,
Prerequisites: DRUM-220 Drum Reading 220. Interpretation along with basic concepts for improvisation. The course also
of sixteenth-note figures, snare drum reading, and etudes includes an introduction to “drop” voicings, chord progressions,
in changing meters in preparation for studio recording. One Roman numeral harmonic analysis, extended and altered
lecture hour and one lab hour per week for one quarter. chords, motivic development, shuffle feel and blues tonalities.
One lecture hour and two lab hours per week for one quarter.
BACH-D420 | DRUM READING 420 (2)
Prerequisites: BACH-D320 DRUM READING 320. Advanced BACH-G210 | GUITAR TECHNIQUE 210 (2)
reading skills include orchestral snare drum etudes, reading Prerequisite: BACH-G110 Guitar Technique 110. This course
drum set charts with style and meter changes, and multi-tom continues scale studies with Phrygian, Locrian, Harmonic
reading in preparation for studio recording. One lecture hour Minor, Phrygian Dominant, Melodic Minor, Lydian Dominant,
and one lab hour per week for one quarter. Altered, Whole Tone, Chromatic, Dominant Diminished, and
Diminished. Also covered are 16th note strum patterns and
technique, odd meters, modal interchange and common
BACHELOR OF MUSIC IN approaches for improvising over dominant chords and non-
PERFORMANCE (CONTEMPORARY diatonic chords. One lecture hour and two lab hours per week
STYLES) // GUITAR for one quarter.
[Link] | GUITAR-PL PRIVATE LESSON 1-12 (2)
Twelve credit units required (two per quarter). A weekly BACH-G310 | GUITAR TECHNIQUE 310 (2)
individual instrument lesson that supports core curriculum Prerequisite: BACH-G210 Bachelor Guitar Technique 210.
goals, and time permitting, also focuses on student’s personal The emphasis in the lecture section will be the application of
musical development goals. An instructor guides the student techniques learned in previous levels of guitar performance
in developing technique, musicianship and style. One hour per classes and the advanced concepts of modified pentatonic
week per quarter. scales, thumb-index fingerstyle, simultaneous scale
construction, diatonic II-V-I improvisation ideas, stylistic rhythm
BACH-G130 | GUITAR PERFORMANCE 130 (2) exercises, bossa nova comping ,and open voiced triads.
Prerequisites: Bachelor placement test. The fundamental Fingerings, harmonic concepts, and rhythmic approaches will
technical approaches to guitar performance in a variety of be discussed for a weekly performance piece. Two lecture
popular styles are presented in Guitar Performance 130. hours and one lab hour per week for one quarter.
Students will perform live on a weekly basis. Emphasis is
placed on understanding variations in song forms, improving BACH-G410 | GUITAR TECHNIQUE 410 (2)
Prerequisite: BACH-G310 Bachelor Guitar Technique 310.

224
 MI HOLLYWOOD COURSE DESCRIPTIONS
The emphasis in the lecture section will be the application of technique, musicianship and style. Twelve credit units required
techniques learned in previous levels of guitar performance (two per quarter).
classes and the advanced concepts of advanced bending
techniques, index-middle fIngerstyle, alternate uses for common KEYBD-130 | KEYBOARD PERFORMANCE 130 (2)
harmony, chord construction across the neck, melodic solo Prerequisites: Bachelor placement test. A performance class
creation, afro-cuban guitar, and odd meter rhythms. Fingerings, that utilizes both technical and popular music approaches, with
harmonic concepts, and rhythmic approaches will be discussed an emphasis on atypical song forms, stylistic embellishments,
for a weekly performance piece. Two lecture hours and one lab volume swells, use of the modulation wheel, keyboard splits
hour per week for one quarter. and sonic layering. Each topic is applied to a particular groove,
comping pattern and musical form. Leadership within a group
BACH-G120 | GUITAR READING 120 (2) is also discussed. This class coordinates with Keyboard
Course requirements: Students must complete a placement Technique 110 and Keyboard Reading 120 topics. Two lecture/
test prior to enrollment. Please contact Program Chair. This ensemble hours per week for one quarter.
course will focus on developing note recognition accuracy and
speed in neck positions I-V. Students will learn to identify single KEYBD-230 | KEYBOARD PERFORMANCE 230 (2)
notes and double stops in positions II and V. The course will Prerequisites: KEYBD-130 Keyboard Performance 130. A
also focus on reading rhythms at the 1/8th note level, applying performance- based class that utilizes practical techniques and
syncopation drills to melodic and chord slash reading. Students advanced concepts, such as dual keyboard playing, multiple
will learn how to read guitar specific articulation markings as keyboard splits, key transposition and detailed improvisation.
well. Two lecture hours per week for one quarter. Each topic is applied to a particular groove, style and song
form. Further leadership within a group is also discussed. This
BACH-G220 | GUITAR READING 220 (2) class coordinates with Keyboard Technique 210 and Keyboard
Prerequisite: BACH-G120 Guitar Reading 120. This course will Reading 220 topics. Two lecture/ensemble hours per week for
focus on developing note recognition accuracy and speed in one quarter.
neck positions I-VII. Students will learn to identify single notes,
double stops and counter point in positions I,II, and V. The KEYBD-110 | KEYBOARD TECHNIQUE 110 (2)
course will also focus on reading rhythms at the 1/16th note Prerequisites: Bachelor placement test. Weekly group study
level, applying syncopation drills to melodic and chord slash centers on the development and subsequent mastery of the
COURSES

reading. Students will learn how to read intermediate guitar performance skills necessary for becoming a successful
specific articulation markings as well. Two lecture hours per keyboardist. Students will gain a thorough understanding
week for one quarter. of both the mental and physical components that contribute
to proper technique. Subsequent curricular topics include
BACH-G320 | GUITAR READING 320 (2) pentatonic & blues scales, the Mixolydian & Dorian modes,
Prerequisite: BACH-G220 Bachelor Guitar Reading 220. chromatic interval- based extensions, first, second & third
This course builds on the skills developed in Guitar Reading inversion seventh chords, ii7-V7-Ima7, iimi7(b5)-V7-Ima7/i7
120 and Guitar Reading 220. Each class is divided into three progressions, major & dominant cycles, add9 & sus4 chords
parts; etude study, sight reading and reading exercises that and seventh chord- based arpeggios. Two lecture hours per
address common weaknesses. Topics covered include chord week for one quarter.
nomenclature, odd time signatures, mixed meter music, big
band charts, studio situations and transposition. One lecture KEYBD-210 | KEYBOARD TECHNIQUE 210 (2)
hour and one lab hour per week for one quarter. Prerequisites: KEYBD-110 Keyboard Technique 110. Weekly
group study centers on the development and subsequent
BACH-G420 | GUITAR READING 420 (2) mastery of the performance skills necessary for becoming
Prerequisite: BACH-G320 Guitar Reading 320. This course a successful keyboardist. Students will gain a thorough
builds on the skills developed in Guitar Reading 120, Guitar understanding of both the mental and physical components
Reading 220 and Guitar Reading 320. Each class is divided that contribute to proper technique. Subsequent curricular
into three parts; etude study, sight reading and reading topics include Locrian & Lydian modes, altered scales,
exercises that address common weaknesses. Topics covered ii7-V7-Ima7 & iimi7(b5)-V7- Ima7/i7 progressions utilizing
include designing a reading practice routine, a review of key chromatic extensions & tri-tone substitutions and lead-sheet
signatures, a review of common reading positions, odd time interpretation, complete with three & four-note voicings. Two
signatures, mixed meter music, bass clef, triplet subdivisions, lecture hours per week for one quarter.
and common sight-reading situations and techniques. One
lecture hour and one lab hour per week for one quarter. BACH-K310 | KEYBOARD TECHNIQUE 310 (2)
Prerequisites: KEYBD-210 Keyboard Technique 210.
BACHELOR OF MUSIC IN Application of concepts of chord-scale harmony to voicings
PERFORMANCE (CONTEMPORARY and chord progressions. Students explore the techniques
STYLES) // KEYBOARD of “tension substitution” and use it to create voicings while
composing and performing their own progressions. One lecture
KEYBD-PL | KEYBOARD-PL PRIVATE LESSON 1-12 (2) hour and two lab hours per week for one quarter.
A weekly individual instrument lesson that supports core
curriculum goals. An instructor guides the student in developing BACH-K410 | KEYBOARD TECHNIQUE 410 (2)

225 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Prerequisites: BACH-K310 KEYBOARD TECHNIQUE 310. Prerequisites: VOCAL-130 Vocal Performance 130. Additional
A continuation of chord construction based on chord-scale live ensemble performing experience featuring progressively
harmony. Students learn how to create their own voicings and more complex material, additional musical genres, and the
make effective musical choices. One lecture hour and two lab ability for students to perform their own material at set points
hours per week for one quarter. within the course. One ensemble hours per week for one
quarter.
KEYBD-120 | KEYBOARD READING 120 (2)
Prerequisites: Placement test. Topics include: interpreting BACH-V330 | VOCAL PERFORMANCE 330 (2)
rhythmic, harmonic and melodic patterns within a particular Prerequisites: VOCAL-230 Vocal Performance 230 and
groove and song form. This class coordinates with Keyboard BACH-P127 Sibelius Notation. Emphasis is placed on taking
a leadership role within the group along with all aspects of
Technique 110 and Keyboard Performance 130 topics. Two
being a polished professional performer, such as phrasing,
lecture hours per week for one quarter.
stylistic interpretation, use of props, stage presence, image,
communication with the band, and creation and explanation of
KEYBD-220 | KEYBOARD READING 220 (2) quality charts. One ensemble hour with full band per week for
Prerequisites: KEYBD-120 Keyboard Reading 120. Topics one quarter.
include: reading compound time signatures, meter changes,
harmonic and melodic patterns within a particular groove, BACH-V430 | VOCAL PERFORMANCE 430 (2)
keyboard patch and song form. This class coordinates with Prerequisites: BACH-V330 VOCAL PERFORMANCE 330.
Keyboard Technique 210 and Keyboard Performance 230 In addition to master class vocal technique coaching from the
topics. Two lecture hours per week for one quarter. instructor, students prepare themselves for their final showcase
(a professional performance with the assistance of a full
BACH-K320 | KEYBOARD READING 320 (2) rhythm section). Objectives include: rehearsal techniques,
Prerequisite: KEYBD-220 Keyboard Reading 220. Focuses development of press package, a gig booked with professional
on reading difficult charts with lead lines and chord symbols. quality charts, as well as polishing performance skills (including
Rhythmic syncopation and fully extended chords are explored. pre-production, rhythm section communication, crowd
Students play complex charts drawn from contemporary interaction, stage presence, and stylistic interpretation). The
arrangements in a lab/ensemble setting. One lecture hour plus final performance will be open to the public. One ensemble
one lab hour per week for one quarter. hour with full band per week for one quarter.

COURSES
BACH-K420 | KEYBOARD READING 320 (2) VOCAL-011 | VOCAL TECHNIQUE 011(2)
Prerequisites: KEYBD-220 Keyboard Reading [Link] An introduction to the anatomy and physiology of the voice.
course focuses on reading difficult charts with lead lines and Topics include: vocal physiological terminologies, breathing
chord symbols. Rhythmic syncopation and fully extended and breath management (and how it affects the act of singing),
effective practice habits, registers and efficient phonation
chords are explored. Students play complex charts drawn from
techniques. Two lecture/lab hours per week for one quarter.
contemporary arrangements in a lab/ensemble setting. One
lecture hour and one lab hour per week for one quarter.
VOCAL-021 | VOCAL TECHNIQUE 021 (2)
Prerequisites: Vocal-011 Vocal Technique 011. This course
BACH-K463 | BACH KEYBOARD READING 6 (2) focuses on understanding the nature of human voice
Prerequisites: BACH-K353 BACH Keyboard Reading 5. production. Topics include: formation of speech sounds,
Continuation of advanced reading techniques. One lecture hour improving range, factors that affect vocal health and an
and one lab hour per week for one quarter. exploration of the physical mechanics of producing sound for
various styles. Learning to recognize different vocal functions
BACHELOR OF MUSIC IN through analysis and review. Two lecture/lab hours per week for
PERFORMANCE (CONTEMPORARY one quarter.
STYLES) // VOCAL VOCAL-110 | VOCAL TECHNIQUE 110 (2)
Prerequisites: Vocal-021 Vocal Technique 021. This course
VOCAL-PL | PRIVATE LESSON 1-12 (2) is focused on “bridging” the voice into a continuous register
A weekly individual instrument lesson that supports core without breaks. Vocal exercises to strengthen the voice and
curriculum goals. An instructor guides the student in developing allow singing at full power are discussed and practiced. Two
technique, musicianship and style. Twelve credit units required lecture/lab hours per week for one quarter.
(two per quarter).
VOCAL-210 | VOCAL TECHNIQUE 210 (2)
VOCAL-130 | VOCAL PERFORMANCE 130 (2) Prerequisites: Vocal-110 Vocal Technique 110. The final
Prerequisites: Bachelor placement test. Additional live Vocal Technique course addresses the formation of vowels
ensemble performing experience featuring progressively more and consonants, techniques for connecting with the lyrics
complex material, additional musical genres and the ability for and associated emotions of songs, the application of vocal
students to perform their own material at set points within the technique to assist in learning songs, and the analysis and
course. Two ensemble hours per week for one quarter. imitation of contemporary artists; voices as a means to develop
a deeper awareness and understanding of the vocal instrument.
VOCAL-230 | VOCAL PERFORMANCE 230 (2) Two lecture/lab hours per week for one quarter.

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 MI HOLLYWOOD COURSE DESCRIPTIONS
Course topics will include scales such as the major pentatonic,
VOCAL-120 | SIGHTSINGING 120 (2) minor pentatonic, and the blues scale. Additional topics include
Prerequisites: Bachelor Placement test. This course expands extended chords and the modes of the major scale. Voice
sightsinging skills to include the introduction of major and minor leading and building vocabulary for improvisation will also
diatonic melodies, mixed rhythms and complex harmonies. be discussed. Two lecture/ensemble hours per week for one
Topics include: intervals, inversions, major and minor thirds, quarter.
major melodies, triads, arpeggios and quarter-note triplets. Two
lecture/lab hours per week for one quarter. HORN-210 | HORN SECTION TECHNIQUE 210 (2)
Prerequisite: HORN-110 Horn Section Technique 110. This
VOCAL-220 | SIGHTSINGING 220 (2) course focuses on advanced technical concepts specific to
Prerequisites: VOCAL-120 Sightsinging 120. Continued improvisation. Course topics will include voice leading in natural
exploration of major and minor melodies and mixed rhythms. minor and variations of minor; chord progressions featuring
This course includes an introduction to minor scales, seventh elements of modal interchange; secondary dominants, diatonic
chords and changing meters. Two lecture/lab hours per week chord substitution, and modulation; tri-tone substitution; the
for one quarter. modes of melodic minor; and symmetrical scales (chromatic,
whole-tone, diminished). Two lecture/ensemble hours per week
BACH-V320 | SIGHTSINGING 320 (2) for one quarter.
Prerequisite: Vocal-220 Sightsinging 220. In this course, more
complicated sight singing materials will be studied. Topics BACH-H310 | HORN SECTION TECHNIQUE 310 (2)
will include tension/resolution with stylistic approaches, Prerequisite: HORN-210 Horn Section Technique 210. This
modulations, mixed rhythms, mixed grooves, etc. Two lecture/ course focuses on advanced technical concepts specific to
lab hours per week for one quarter. improvisation. Course topics are repertoire based and include
units on II V I progressions in major and minor, variations of the
BACH-V420 | VOCAL CREATIVITY 420 (2) blues form, rhythm changes, Coltrane changes, and modal
Prerequisite: BACH-V320 Vocal Creativity 320. This course improvisation. Two lecture hours per week for one quarter.
will be focused on the application of sight singing in real
world performance situations. Various stylistic examples will HORN-120 | HORN SECTION READING 120 (2)
be suggested as hypothetical set programs and students will Prerequisite: Bachelor Placement Test. Students meet as a
COURSES

sing the song selections. The various practical methods will contemporary music ensemble, with a rhythm section consisting
be suggested. At the same time, various practice strategies of drums and bass. Advanced skills in music reading will be
to equip singers will be introduced. Two lecture/lab hours per developed as students read charts featuring pentatonic scales,
week for one quarter. extended chords, altered chords, and the modes of the major
scale. Ensemble skills will also be emphasized, with special
BACHELOR OF MUSIC IN attention paid to accents, dynamics, time feel, intonation,
breathing, and blend. Two lecture/ensemble hours per week for
PERFORMANCE (CONTEMPORARY one quarter.
STYLES) // HORNS
HORN-220 | HORN SECTION READING 220 (2)
[Link] | BACHELOR SAXOPHONE PRIVATE LESSON (2) Prerequisite: HORN-120 Horn Section Reading 120. Students
Weekly private lessons on student’s primary instrument. Topics meet as a contemporary music ensemble, with a rhythm section
vary based on the needs of the individual - from fundamentals consisting of drums and bass. Advanced skills in music reading
to advanced techniques, as well as personal topics of interest will be developed as students read charts featuring sixteenth
and preparation for juries and final projects. One private lesson note rhythms, odd time signatures, modes of melodic minor,
hour per week per quarter. modal interchange, secondary dominants, modulation, and
symmetrical scales. Ensemble skills will also be emphasized,
[Link] | BACHELOR TRUMPET PRIVATE LESSON (2) with special attention paid to accents, dynamics, time feel,
Weekly private lessons on student’s primary instrument. Topics intonation, breathing, and blend. Two lecture/ensemble hours
vary based on the needs of the individual - from fundamentals per week for one quarter.
to advanced techniques, as well as personal topics of interest
and preparation for juries and final projects. One private lesson BACH-H320 | HORN SECTION READING 320 (2)
hour per week per quarter. Prerequisite: HORN-220 Horn Section Reading 220. Students
meet as a contemporary music ensemble, with a rhythm section
[Link] | BACHELOR TROMBONE PRIVATE LESSON (2) consisting of drums and bass. Advanced skills in music reading
Weekly private lessons on student’s primary instrument. Topics will be developed as students read charts and etudes featuring
vary based on the needs of the individual - from fundamentals swing and straight note rhythms, II V I progressions, blues forms
to advanced techniques, as well as personal topics of interest and variations, and rhythm changes. Ensemble skills will also be
and preparation for juries and final projects. One private lesson emphasized, with special attention paid to accents, dynamics,
hour per week per quarter. time feel, intonation, breathing, and blend. Two lecture hours per
week for one quarter.
HORN-110 | HORN SECTION TECHNIQUE 110 (2)
Prerequisite: Bachelor Placement Test. This course focuses BACH-H420 | HORN SECTION READING 420 (2)
on the fundamentals of technique specific to improvisation. Prerequisite: BACH-H320 Horn Section Reading 320.

227 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
Students meet as a contemporary music ensemble, with a jointly determine a specific course of study depending on
rhythm section consisting of drums and bass. Advanced skills student needs, strengths, and experience. One private lesson
in music reading will be developed as students read charts hour per week per quarter.
and etudes featuring swing and straight note rhythms, II V I
progressions, Bird blues, Coltrane chord changes, and modal [Link] | DJ SECONDARY PRIVATE LESSON (2)
harmony. Ensemble skills will also be emphasized, with special In a one-on-one setting, students are guided by faculty to hone
attention paid to accents, dynamics, time feel, intonation, certain technical and artistic aspects of their live set. Technical
breathing, and blend. Two lecture hours per week for one attention is paid to achieving convincing transitions and
quarter. effective use of equipment (hardware, controllers, and effects
“FX”). Artistic attention is paid to artistic choices, such as:
HORN-130 | HORN SECTION PERFORMANCE 130 (2) songs, creative and musical use of filters, EQ and effects; and
Prerequisite: Bachelor Placement Test. Students meet as a on-the-fly artistic decision-making. One private lesson hour per
contemporary music ensemble with rhythm section and will week for one quarter.
perform repertoire drawn from the Stax catalog, Bossa Nova,
Be-Bop, Hard Bop, and James Brown. Section playing and [Link] | SAXOPHONE SECONDARY PRIVATE
improvisation will be emphasized. Two lecture/ensemble hours LESSON (2)
per week for one quarter. A weekly individual saxophone lesson that supports core
curriculum goals and, time permitting, also focuses on student’s
HORN-230 | HORN SECTION PERFORMANCE 230 (2) personal musical development goals. An instructor guides the
Prerequisite: HORN-130 Horn Section Performance 130. student in developing technique, musicianship, and style. One
Students meet as a contemporary music ensemble with rhythm private lesson hour per week per quarter.
section and will perform repertoire drawn from modal jazz
standards, fusion, and pop instrumentals. Modern rock and funk [Link] | TROMBONE SECONDARY PRIVATE LESSON
horn section repertoire will also be performed. Section playing (2)
and improvisation will be emphasized. Two lecture/ensemble A weekly individual trombone lesson that supports core
hours per week for one quarter. curriculum goals and, time permitting, also focuses on student’s
personal musical development goals. An instructor guides the
SUPPORTIVE MUSIC // SAXOPHONE, TROMBONE, student in developing technique, musicianship, and style. One

COURSES
private lesson hour per week per quarter.
TRUMPET
[Link] | TRUMPET SECONDARY PRIVATE LESSON (2)
CONTEMPORARY DOUBLES A weekly individual trumpet lesson that supports core
curriculum goals and, time permitting, also focuses on student’s
[Link] | BASS SECONDARY PRIVATE LESSON (2) personal musical development goals. An instructor guides the
Weekly instrument lesson with an instructor who guides the student in developing technique, musicianship, and style. One
student in developing technique, musicianship, and style in private lesson hour per week per quarter.
support of core curricular goals. The instructor and student
jointly determine a specific course of study depending on BACHELOR OF MUSIC IN
student needs, strengths, and experience. One private lesson
hour per week per quarter.
SONGWRITING & PRODUCTION
MAJOR AREA
[Link] | DRUM SECONDARY PRIVATE LESSON (2)
Weekly instrument lesson with an instructor who guides the [Link] | SONGWRITING PRIVATE LESSON 1-12 (2)
student in developing technique, musicianship, and style in Fostering the development of students “compositional voices”
support of core curricular goals. The instructor and student serves as the main objective within the Songwriting and
jointly determine a specific course of study depending on Production lesson program. One private lesson hour per week
student needs, strengths, and experience. One private lesson per quarter.
hour per week per quarter.
BACH-S101 | SONGWRITING 1: INTRODUCTION TO POP
[Link] | GUITAR SECONDARY PRIVATE LESSON (2)
Weekly instrument lesson with an instructor who guides the SONGWRITING (1.5)
student in developing technique, musicianship, and style in This course enables students to develop the analytical,
support of core curricular goals. The instructor and student compositional and performance skills necessary for
jointly determine a specific course of study depending on successfully navigating contemporary music’s ever changing
student needs, strengths, and experience. One private lesson stylistic landscape. Group study of the compositional and
hour per week per quarter. production components that contribute to authenticity
pertaining to key genres and repertoire serves as the curricular
[Link] | VOCAL SECONDARY PRIVATE LESSON (2) foundation of these classes. One lecture hour and one lab hour
Weekly instrument lesson with an instructor who guides the per week for one quarter.
student in developing technique, musicianship, and style in
support of core curricular goals. The instructor and student BACH-S201 | SONGWRITING 2: POP AND COUNTRY

228
 MI HOLLYWOOD COURSE DESCRIPTIONS
SONGWRITING (1.5) that even non-vocal songwriters will be able to sing competent
Prerequisites: BACH-S101: Songwriting 1: Introduction to Pop demo versions of their songs. The course will feature breathing,
Songwriting and BACH-S125: Lyric Writing 1: Introduction placement, tone, and pitch control. Students will learn vocal
to Lyric Writing. This course enables students to develop the characteristics across a myriad of different styles. Two lab
skills necessary to create, analyze, critique, and revise song hours per week for one quarter.
lyrics in the contemporary songwriting market. Students will
learn important concepts relating to lyrics, including finding BACH-S406 | GUITAR HARMONY FOR SONGWRITERS(1)
inspiration, mastering tools of the craft, and tailoring lyrics This course will instruct students on basic guitar technique in
to different styles and situations. One lecture hour and one order for them to be able to write appropriate guitar parts for
lab hour per week for one quarter. Additional production fee their music. The course will focus on open chord shapes (and
required. transpositions through use of Capos), strum and fingerstyle
accompaniment patterns, and barre chord shapes. Students
BACH-S301 | SONGWRITING 3: FOLK, BLUES, REGGAE, AND will lean stylistic guitar accompaniment across a variety of
EARLY ROCK SONGWRITING (2) genres. Two lab hours per week for one quarter.
Prerequisites: BACH-S201: Songwriting 2: Pop and Country
Songwriting and BACH-S225: Lyric Writing 2. This course BACH-P103 | CONTEMPORARY ARRANGING 1 (2)
enables students to develop the analytical, compositional Prerequisite: CC-201 Harmony and Theory 201 and
and performance skills necessary for successfully navigating BACH-P127 Sibelius Notation. This course is an introduction
contemporary music’s ever changing stylistic landscape. to instrumentation, arranging techniques, and notation practices
Group study of the compositional and production components for a live rhythm section. Emphasis is placed on score and parts
that contribute to authenticity pertaining to key genres and preparation and notation in selected contemporary styles. The
repertoire serves as the curricular foundation of these classes. objective is to learn the characteristic usage of each instrument
Two lecture hours per week for one quarter. Additional in the rhythm section, and to prepare an arrangement step-by-
production fee required. step using a verbal outline, sketch score, and master score. As
a final project, each student completes a studio recording of
BACH-S401 | SONGWRITING 4: ROCK AND FUSION an arrangement for piano, guitar, bass and drums. Two lecture
SONGWRITING (2) hours per week for one quarter. Required lab fee: $200.
COURSES

Prerequisite: BACH-S301: Songwriting 3: Folk, Blues, Reggae,

and Early Rock Songwriting. This course enables students BACH-P203 | CONTEMPORARY ARRANGING 2 (2)
to develop the analytical, compositional and performance Prerequisite: BACH-P103 Contemporary Arranging 1. A
skills necessary for successfully navigating contemporary continuation of rhythm section arranging with the addition of
music’s ever changing stylistic landscape. Group study of the brass instruments (trumpet and trombone). Discussion will
compositional and production components that contribute to include transposition, range and idiomatic usage of these
authenticity pertaining to key genres and repertoire serves as instruments in popular styles. The objective is to study the
the curricular foundation of these classes. Two lecture hours brass family with emphasis on two-part and guide-tone writing.
per week for one quarter. Additional production fee required. Students conduct analysis and learn to build arrangements for
a core rhythm section (beat, bass line, chord accompaniment)
BACH-S125 | LYRIC WRITING 1: INTRODUCTION TO LYRIC and solo voice in four styles- Rap, Rock, Folk, and Reggae. As
WRITING (2) This course enables students to develop the a final project, each student completes a studio recording of an
skills necessary to create, analyze, critique, and revise song arrangement for trumpet, trombone, piano, bass, and drums.
lyrics in the contemporary songwriting market. Students will Two lecture hours per week for one quarter. Required lab fee:
learn important concepts relating to lyrics, including finding $200.00
inspiration, mastering tools of the craft, and tailoring lyrics to
different styles and situations. Two lecture hours per week for BACH-P303 | CONTEMPORARY ARRANGING 3 (2)
one quarter. Additional production fee required. Prerequisite: BACH-P203 Contemporary Arranging 2.
Arranging techniques for ensembles including woodwind
BACH-S225 | LYRIC WRITING 2 (2) instruments (saxophone, flute and clarinet). Discussion includes
Prerequisites: BACH-S101: Songwriting 1: Introduction to Pop transposition, range and idiomatic usage of these instruments
Songwriting and BACH-S125: Lyric Writing 1: Introduction in popular styles. The objective is to study the woodwind
to Lyric Writing. This course enables students to develop the family with emphasis on four-part harmonization. Builds on
skills necessary to create, analyze, critique, and revise song core rhythm section by adding instrumental riffs, accents,
lyrics in the contemporary songwriting market. Students will counter melody and additional harmony. Stylistic analysis
learn important concepts relating to lyrics, including finding and arrangement projects in Pop, Hip Hop, Country, and
inspiration, mastering tools of the craft, and tailoring lyrics Electronica. As a final project, each student completes a studio
to different styles and situations. This course will introduce recording of an arrangement for trumpet, alto or clarinet, tenor
advanced story-telling techniques. Two lecture hours per week or flute, trombone, guitar, bass and drums. Two lecture hours
for one quarter. per week for one quarter. Required lab fee:$200.00.

BACH-S306 | VOCAL TECHNIQUE FOR SONGWRITERS (1) BACH-P403 | CONTEMPORARY ARRANGING 4 (2)
This course will instruct students on proper vocal technique so Prerequisite: BACH-M303 Contemporary Arranging 3. Course

229 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
focuses on string section writing as it applies to contemporary and 3-part harmonies. Students will learn how to choose
production, with an emphasis on re-harmonization. Basic appropriate textures and voicings when vocally arranging
contrapuntal arranging with voice leading and understanding a song. The students will learn how to use vocal arranging
of ranges and color/timbre blending. As a final project, each techniques to add production value to their original songs. Two
student completes a studio recording of an arrangement for lecture hours per week for one quarter.
string quintet and drums. Two lecture hours per week for one
quarter. Required lab fee: $200.00. BACH-S211 | VOCAL ARRANGING 2 (2)
Prerequisite: BACH-S111 Vocal Arranging [Link] course
BACH-P503 | CONTEMPORARY ARRANGING 5 (2) enables students to create effective vocal arrangements for a
Prerequisite: BACH-P403 Contemporary Arranging 4. Course wide variety of textures and voicings. Students will learn how to
focuses on combined rhythm section, woodwind, brass and create effective homophonic and decorated homophonic SATB
string writing as it applies to contemporary productions. As vocal arrangements. Students will learn how to create effective
a secondary objective, students learn to analyze scores of a cappella vocal Jazz arrangements. Students will learn how
contemporary arrangements that include all instruments. As a to approach creating a career as a vocal arranger. Two lecture
final project, each student completes a studio recording of an hours per week for one quarter. Additional production fee
arrangement for rhythm section, woodwinds, brass and strings required.
including overdubs. Two lecture hours per week for one quarter.
Required lab fee: $200.00. BACH-S910 | SENIOR PORTFOLIO PROJECT (2)
Prerequisite: CC-801: Harmony & Theory 801, BACH-P503:
BACH-S710 | SOPHOMORE RECITAL (2) Contemporary Arranging 5, BACH-S211: Vocal Arranging 2,
BACH-C601: Harmony & Theory 601, BACH-P203: and BACH-S710: Sophomore Recital. Corequisite: BACH-S.
Contemporary Arranging 2. Corequisite: [Link] PL Songwriting Private Lesson. The senior portfolio serves as
Songwriting Private Lesson. The sophomore recital is designed the final project for all candidates pursuing a Bachelor of Music
to assess the performance and compositional abilities degree in Songwriting & Production at Musicians Institute.
of all candidates pursuing a Bachelor of Music degree in All portfolios must include: 1. One ensemble transcription of
Songwriting & Production at Musicians Institute. Original music a representative contemporary work, complete with score,
and arrangements will be displayed through solo & ensemble ensemble charts and new studio recording, 2. One ensemble
performance across a wide range of contemporary styles to arrangement of a representative contemporary work, complete

COURSES
serve as the primary method for judging proficiency. Students with score, ensemble charts and studio recording, 3. Two
are responsible for selecting their own personnel, scheduling student compositions complete with score, ensemble charts
rehearsals and writing arrangements (complete with score and studio recordings (one recording using live instrumentation,
and ensemble parts) for all performance selections. One hour the other utilizing “virtual instrumentation”). Candidates are
lecture per week for one quarter, and a final performance at the responsible for selecting their own personnel and scheduling
end of the quarter. Additional production fee required. rehearsals and studio time. One lecture hour per week for one
quarter, and a final studio recording project requirement due
BACH-S801 | COMPOSITIONAL STYLE & ANALYSIS 1 (2) at the end of the quarter. Additional production fee required.
Corequisite: [Link] Songwriting Private Lesson. Additional production fee required.
This course begins with a review of the tools necessary to
completing a song analysis, including transcription methods, MUSICIANSHIP // SONGWRITING & PRODUCTION
song arranging, creating charts and musicianship basics. In the
second half of the course, students begin to put those tools to
use in their analysis of songs in the musical genres of Blues, CC-101 | HARMONY & THEORY 101 (1.5)
Country, Rock, Reggae, and Hip-Hop. Two lecture hours per Prerequisite: CC-021 Harmony and Theory 021. This course
week for one quarter. presents variations on diatonic structures from Harmony
and Theory 2. Highlights include pentatonic and blues
BACH-S901 | COMPOSITIONAL STYLE & ANALYSIS 2 (2) scales, inverted, extended and non-standard chord types,
Prerequisite: BACH-S801: Compositional Style & Analysis 1. chord symbols and modes, and voice leading and chord
This course serves as a continuation of Compositional Style progressions. One video lecture hour and one lab hour per
& Analysis 1. Students continue developing their transcription, week for one quarter.
chart design, arranging and analytical skills through the study of
songs in the musical genres of Pop, Film Music, Broadway and CC-201 | HARMONY & THEORY 201 (1.5)
Jazz. One lecture hour per week for one quarter. Prerequisite: CC-101 Harmony and Theory 101. Non-diatonic
melody and harmony. Topics include variations in minor-key
BACH-S111 | VOCAL ARRANGING 1 (2) harmony and melody, modal interchange, secondary dominants,
Prerequisites: BACH-C601 Harmony Theory 601, diatonic substitution and modulation. One video lecture hour
BACH-P303 Contemporary Arranging 3, and BACH-S710 and one lab hour per week for one quarter.
Sophomore Recital. This course enables students to create
effective vocal arrangements for a wide variety of textures and BACH-C301 | HARMONY & THEORY 301 (2)
voicings. This course introduces students to the foundations Prerequisites: CC-201 Harmony & Theory 201. This course
of vocal arranging for various voice types in unison, 2-part, focuses on topics including: musical textures, irregular
resolutions, use of melodic and harmonic sequences and

230
 MI HOLLYWOOD COURSE DESCRIPTIONS
diminished seventh chords. Two lecture hours per week for one twelve keys. Techniques include note recognition, intervallic
quarter. structures, melodic patterns, identification and
arpeggiation of harmonic forms in all inversions, dictation,
BACH-C401 | HARMONY & THEORY 401 (2) transcription, and sightsinging while conducting. Two lecture
Prerequisites: BACH-C301 Harmony & Theory 301. This hours per week for one quarter.
course covers the analysis and application of the incomplete
major ninth chord, seventh chords in non-dominant harmonic BACH-C402 | EAR TRAINING 402 (2)
function, neighbor chord harmony, ninth, eleventh, thirteen Prerequisite: BACH-C302 Ear Training 302. Continued
and appoggiatura chords. Two lecture hours per week for one development of advanced musical reflexes through the use
quarter. of “movable do solfege”. Topics include: parallel minor scale
harmony in its three basic forms: natural minor, harmonic
BACH-C501 | HARMONY & THEORY 501 (2) minor, and melodic minor in all twelve keys. Techniques
Prerequisite: BACH-C401 Harmony and Theory 401. This include note recognition, intervallic structures, melodic
course covers the analysis and application of chromatic altered patterns, identification and arpeggiation of harmonic forms in
chords including the +II7 and +VI7, Neapolitan, augmented all inversions, dictation, transcription, and sightsinging while
sixth chords and chords with lowered and raised fifths. Two conducting. Two lecture hours per week for one quarter.
lecture hours per week for one quarter.
BACH-C502 | EAR TRAINING 502 (2)
BACH-C601 | HARMONY THEORY 601 (2) Prerequisites: BACH-C402 Ear Training 402. Continued
Prerequisites: BACH-C501 Harmony & Theory 501. This development of advanced musical reflexes through the use of
course covers the analysis and application of the incomplete “movable do solfege.”Topics include: modal harmony that is
major ninth chord, seventh chords in non-dominant harmonic nondiatonic to the major or parallel minor scales in all twelve
function, neighbor-chord harmony, ninth, eleventh, thirteenth, keys. Techniques include note recognition, intervallic structures,
and appoggiatura chords. Continued focus on four-part writing, melodic patterns, identification and arpeggiation of harmonic
figured bass and harmonization. Two lecture hours per week for forms in all inversions, dictation, transcription, and sightsinging
one quarter. while conducting. Two lecture hours per week for one quarter.

BACH-C701 | HARMONY THEORY 701 (2) Prerequisites: BACH-C602 | EAR TRAINING 602 (2)
COURSES

BACH-C601 Harmony & Theory 601. This course covers the Prerequisites: BACH-C502 Ear Training 502. Continued
analysis and application of chromatic altered chords, including development of advanced musical reflexes through the
the +II7 and +VI7, Neapolitan chords, augmented sixth chords use of “movable do solfege.” Topics include: altered and
and chords with lowered and raised fifths. Continued focus on symmetrical scale harmony in all twelve keys. Techniques
four-part writing, figured bass and include note recognition, intervallic structures, melodic
harmonization. Two lecture hours per week for one quarter. patterns, identification and arpeggiation of harmonic forms in
all inversions, dictation, transcription, and sightsinging while
BACH-C801 | HARMONY & THEORY 801 (2) Prerequisites: conducting. Two lecture hours per week for one quarter.
BACH-C-701 Harmony & Theory 701. This course covers the
analysis of late 19th and early 20th century scores. Discussions CC-108 | KEYBOARD PROFICIENCY 1 (1)
include: pandiatonicism, serial writing, polytonality, parallel Keyboard Proficiency 1 serves as an introduction to
harmony and, use of symmetrical scales. Two lecture hours per contemporary keyboard technique. Through the study of
week for one quarter physical posture, finger technique, diatonic scales & chord
progressions, this course will enable students to develop the
CC-102 | EAR TRAINING 102 (1.5) necessary motor-skills required for using the keyboard both as
Prerequisite: CC-022 Ear Training 022. Concentrates on the a performing instrument and compositional tool. One lecture
recognition and transcription of diatonic minor-key melodies hour and one lab hour per week for one quarter. This course is
and chord progressions. One video lecture hour and one lab not available to Keyboard Program students.
hour per week for one quarter.
CC-208 | KEYBOARD PROFICIENCY 2 (1)
CC-202 | EAR TRAINING 202 (1.5) Prerequisite: CC-108 Keyboard Proficiency 1. This course
Prerequisite: CC-102 Ear Training 102. Concentrates on further develops the technical skills required for successful
the recognition and transcription of diatonic major and minor keyboard performance and musical comprehension. Pop and
melody and harmony, and rhythmic figures including sixteen Classical repertoire performance serves as the main focus of
notes. Includes specific examples drawn from contemporary this course, in addition to further study of chord progressions
popular music. One video lecture hour and one lab hour per and scales. One lecture hour and one lab hour per week for
week for one quarter. one quarter.

BACH-C302 | EAR TRAINING 302 (2) BACH-P313 | KEYBOARD PROFICIENCY 3 (1)

Prerequisites: CC-202 Ear Training 202. Development of Prerequisite: BACH-P313 Keyboard Proficiency 2. Degree-
advanced musical reflexes through the use of “movable do specific course for non-keyboard majors. This course
solfege”. Topics include: diatonic major scale harmony in all will address very practical skills that should be a part

231 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
of every professional musician’s toolbox including lead BACH-PSL ([Link], [Link], [Link],
sheet interpretation, basic score reading and outlining an [Link], [Link]) | SECONDARY APPLIED
arrangement. One lecture hour per week for one quarter. LESSON (2)
Prerequisite: BACH-P303 Contemporary Arranging 3. This
SUPPORTIVE MUSIC // SONGWRITING & PRODUCTION course allows students to study privately with an instructor
on an additional instrument of their choosing. Students may
BACH-C105 | MUSIC INFORMATION LITERACY (0) choose from the following: vocals, guitar, keyboard, bass or
The Music Information Literacy curriculum is designed to be drums. One private lesson hour per week per quarter.
a comprehensive introduction to both basic and advanced
concepts of music information literacy. This course will teach AUDIO-057 | PRO TOOLS 101 (2)
students how to think about, organize, and create information This course introduces fundamental Pro Tools concepts and
throughout their music studies and will prepare them for writing principles, covering everything an individual needs to know
program notes, research projects, and graduate work. Topics to complete a basic Pro Tools project, from initial setup to
covered include using library resources, searching music final mixdown. Students learn to build sessions that include
databases, evaluating trustworthiness online, copyright and multitrack recordings of live audio, MIDI sequences, and virtual
plagiarism, and creating citations. Six lecture hours for one instruments. Hands-on exercises and projects introduce
quarter. essential techniques for creating sessions, recording and
importing audio and MIDI, editing session media, navigating
BACH-P127 | SIBELIUS NOTATION (1) sessions, arranging media on tracks, as well as using basic
Using Sibelius notation software to create lead sheets, master processing and mixing techniques to finalize a production.
rhythm scores and individual parts formatted in a way similar Together with the second course in the series, this course
to those students will need to create for Arranging 1-5 and provides the foundation training required to prepare for the Avid
Sophomore and Senior juries. One lecture hour per week for 101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1
one quarter. of 2).

AUDIO-052 | LOGIC 1 (1) AUDIO-157 | PRO TOOLS 110 (2)

This course introduces students to the primary features and Prerequisite: AUDIO-057 Pro Tools 101. This second Pro
Tools course builds on the foundation laid out in Pro Tools 101

COURSES
basic user interface of Logic Pro X. The class explores the
process of creating an actual song, from start to finish. Pre- as it explores the industry standard Pro Tools Digital Audio
production using Apple Loops, recording/editing audio and Workstation (DAW) in greater detail. Students reinforce the
midi, arranging of tracks, producing drum beats with a virtual core concepts and techniques needed to competently operate
drummer, as well as basic mixing and automation techniques a Pro Tools system running mid-sized sessions, helping to
are explored. This course addresses the requirements needed prepare them for entry-level positions in virtually any aspect of
(Part 1 of 2) to take the “Apple Certified Pro” exam in Logic Pro the audio industry. Completion of the course prepares students
X 10.4. Two lab hours per week for one quarter. to the Avid 110 Pro Tools (User) Certified Specialist Exam v.
2023 (Part 2 of 2). Two lecture hours per week for one quarter.
AUDIO-152 | LOGIC 2 (1)
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1. BACH-P121 | MH I: ROOTS OF ROCK & ROLL (2)
This course is a continuation of the Logic Pro X 10.4.x user A survey of Rock’s roots, including Rhythm & Blues, Rockabilly,
interface for songwriters, composers, producers, and sound New Orleans, vocal groups, doo-wop, and early 60s pop,
engineers. Upon completion, students will understand how to including an examination of the major artists and regional
use Logic Pro’s comprehensive array of software instruments, influences. Weekly discussion, analysis and listening examples
arranging of MIDI sequences, as well as editing with Flex Time related to each topic. Two lecture hours per week for one
& Pitch, Keep Tempo, Smart Controls, Advanced Audio & MIDI quarter.
Recording/Editing Techniques, and trouble-shooting. This
course addresses the requirements needed (Part 2 of 2) to BACH-P122 | MH II: WORLD MUSIC (2)
take the “Apple Certified Pro” exam in Logic Pro X 10.4. Two A study of music in the context of selected cultures and regions
lab hours per week for one quarter. around the world. The many ways in which music and lyrics
function in reflecting these cultures are explored through
BACH-S407 | KEYBOARD AND HARMONY FOR listening, analysis and transcriptions. Two lecture hours per
SONGWRITING (2) week for one quarter.
Prerequisite: BACH-P313: Keyboard Proficiency 3. This course
explores practical techniques and strategies for successfully BACH-P123 | MH III-1: WESTERN MUSIC: 600-1820 (2)
using the keyboard as a tool for songwriting. Independent and A survey of Western art music from the Middle Ages through
group analysis of form, phrasing, chordal voicings and voice the Classical period. The course will include discussion of
leading approaches employed by many of popular music’s most major styles and forms in historical context, supplemented
prolific songwriters and arrangers will serve as the primary by representative listening and score analysis. In addition
focus of this course. Two lecture hours per week for one to workbook assignments, midterm, and final examinations,
quarter. students must attend and write a report on a relevant concert
performance as well as make a separate presentation to the

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 MI HOLLYWOOD COURSE DESCRIPTIONS
class on a related topic of student’s choice. Two lecture hours and headphone mixes, EQ considerations and general session
per week for one quarter. preparation. Two lecture hours per week for one quarter.
Additional production fee required.
BACH-P222 | MH IV WESTERN ART: 1820-21ST CENT (2)
The history of musical styles from Romantic period to the BACH-S210 | STUDIO PRODUCTION AND MIXING 2 (2)
present, including cultural contexts and social meaning. Prerequisite: BACH-S110 Studio Production and Mixing 1.
Composers and musical developments in European and This course prepares students for successfully navigating the
American Art Music, orchestral, chord, band, chamber music recording studio and mixing process as vocalist, instrumentalist,
and solo repertoire are combined with the influences of music arranger, producer and mixer. Production II focuses on mixing
from other world cultures. Compositional techniques, style specifics including: signal processing, blending and tuning.
characteristics, and relationships are emphasized. In addition, This course will also inform students how to master and
to workbook assignments, midterm and final examinations, distribute completed tracks. Two lecture hours per week for one
students must attend and write a report on a relevant concert quarter. Additional production fee required.
performance as well as make a separate presentation to the
class on a related topic of student’s choice. Two lecture hours BACH-S213 | ADVANCED CHART READING (1)
per week for one quarter. Prerequisite: BACH-P127 Sibelius Notation. This advanced
music notation class is designed for songwriters to enhance
BACH-M486 | THE BUSINESS OF COMPOSING 1 (1) their ability to write their compositions more clearly and
This course explores of the world of music publishing and the accurately. This course follows BACH-P127 Sibelius notation
how-to of owning and exploiting musical copyrights. Topics and delves into more advanced concepts and techniques.
include: copyright law and terminology, the online electronic Throughout the course, students will explore advanced
Copyright Office (eCO) process, publishing rights, how to set topics in music notation, including expressions of vocal
up a music publishing company, US PROs, public performance technique, dynamics, articulations, phrasing, performance
royalties, how to affiliate with a PRO, cue sheets, songwriter instructions, playing techniques for different instruments,
contracts and co-publishing agreements, administration unconventional rhythmic patterns, etc. They will learn industry-
agreements, sub publishing, joint works, royalty splits, standard formatting principles for lyrics, scores, and parts
mechanical and synchronization licenses, works made for hire, for a wide variety of ensembles and genres. Students will
sampling, industry organizations and resources for further have opportunities to analyze and transcribe musical pieces
COURSES

study. One lecture hour per week for one quarter. Whenever from various genres, ranging from classical compositions to
possible, visiting artists are invited to participate in the group contemporary works. They will refine their skills in deciphering
discussion and professional critique that serves as the complex musical scores and translating them into accurate and
intellectual foundation of Composers Ensemble I-II. Two lecture readable notation. They will be able to effectively communicate
hours per week for one quarter. their musical ideas to performers, publishers, and other
musicians within the industry. One lecture hour per week for
BACH-M487 | THE BUSINESS OF COMPOSING 2 (1) one quarter.
Prerequisite: BACH-M486 The Business of Composing 1. This
course examines music licensing and the process of placing BACH-S314 | ELECTRONIC MUSIC TECHNIQUES (2)
music and songs into film, television, video games, commercials Prerequisites: AUDIO-152 Logic 2 and AUDIO-157 Pro Tools
and other productions. Topics include: music licensing 110. Prerequisites for MI Online students: AUDIO-262 Logic
terminology, songwriter co-administration agreements, the Fundamentals 2 and AUDIO-259 Pro Tools 2. This course
importance of music and songs in the film and television is designed for students to learn how to utilize electronic
production process, sources of musical content for producers, music techniques in their music. Throughout the course,
the “Two Sides” music production libraries and one-stop students will study, explore, and experiment with fundamental
shopping, the role of the music supervisor, source cues, music electronic music principles and techniques, including analyzing
clearance, spotting sessions and a composer’s timing notes, sounds, shaping sounds, creating sounds, modulation, filters,
temp music, how to negotiate synchronization and master use subtractive synthesis, and additive synthesis. As this course
licenses, composer package deals, music production and follows successful completion of AUDIO-152, students will
sound recordings, union contracts, and how to fill out a cue also learn to utilize software synthesizers specific to Logic Pro.
sheet. One lecture hour per week for one quarter. Two lecture hours per week for one quarter. Additional Lab Fee
required.
BACH-S110 | STUDIO PRODUCTION AND MIXING 1 (2)
Prerequisites: AUDIO-152 Logic 2 and AUDIO-157 Pro Tools ELECTIVES // SONGWRITING & PRODUCTION
110. Prerequisites for MI Online sections: AUDIO-262 Logic
Fundamentals 2 and AUDIO-259 Pro Tools 2. This course BACH-P010E | INDEPENDENT STUDY (2)
prepares students for successfully navigating the recording Prerequisites: Minimum GPA of 3.25 or above in core courses
studio environment as a Vocalist, Instrumentalist, Arranger, and permission of program Dean. Provides students with an
Producer and Mixer. Studio Production & Mixing 1 focuses opportunity to explore a specific subject area in depth through
on recording theory and pre-production techniques including independent course work with faculty supervision. One lecture
microphone types and proper placement, timbral ear-training, hour per week for one quarter. May be repeated for credit.
rehearsal and recording techniques, microphone, pre-amp

233 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
BACH-S120E | MUSIC TECHNOLOGY IN LIVE PERFORMANCE a wide range of contemporary styles. See catalog section on
(1) Live Performance Workshops for general descriptions; refer to
This course explores the role of music technology as a tool current course offering for specific LPW is available at time of
for enhancing live performance. Curricular topics include registration. Minimum of ten performances per quarter. May be
click track programming, backing track production, sound repeated for credit.
replacement techniques, triggers, samples and equalization
along with additional approaches to timbre modification. One CC-068E | INDIVIDUAL DJ WORKSHOP (2)
lecture hour per week for one quarter. Computer-based weekly one-on-one workshop with an
instructor who guides the student in developing technique,
BACH-S121E | WEBSITE DESIGN (1) musicianship, and style in a support of DJ skills. Students
This course serves as an introduction to web design and self- learn how to enhance their basic DJ knowledge into dynamic
promotion, the primary focus being to teach students how to and professional quality performance. Topics include beat
build and maintain a fully functional and self-owned professional matching, set-building, remixing, turntablism, and more. One
website, complete with E-commerce capability. One lecture private lesson hour per week for one quarter. May be repeated
hour per week for one quarter. for credit.

BACH-S122E | WESTERN SONGWRITING TRADITIONS (1) CC-P010E | INDEPENDENT STUDY (2)

This undergraduate level course presents a survey of Western Independent study courses are intended to allow specific study
songwriting traditions from the Medieval of areas that may not be covered by core MI curricular offerings.
era through present day, with emphasis on the social, political In some instances, Independent Study courses may be used to
and economic conditions affecting them. substitute for a required course. The content and expectations
Genres to be discussed include sacred & secular European for each independent study course or program or degree must
traditions, Art songs, American spirituals & Folk music, County be approved by the Director of Performance Studies and clearly
& Western, Blues, Bluegrass, Tin Pan Alley, Broadway, stated to the student in writing before each independent study
Jazz, Rock & Roll, R&B/Soul and Pop. One lecture hour per begins. When independent study is used to substitute for a
week for one quarter. required course, the institution must ensure that the content,
scope, depth, and learning expectations of the required course
are fulfilled by the independent study. One lecture hour per

COURSES
COMMON COURSE ELECTIVES week for one quarter. May be repeated for credit.
Except where students are required to choose electives from
a program-specific list, students may also fulfill their elective
CREATIVE DEVELOPMENT // COMMON COURSE
requirements with the “Common Course Electives” listed
here. See program descriptions for specific elective credit
requirements and program-specific elective offerings. CC-014E | MUSIC PRODUCTION ANALYSIS (1)
Group-based course in which students and instructor listen to
Note: Most electives are not offered every quarter and and discuss music of different styles and genres. Discussions
electives may be added or canceled without prior notice. Refer center on what production techniques are being employed
musically and sonically.
to the current course offering for specific courses available at
time of registration.
CC-116E | ADVANCED MUSIC PRODUCTION (1)
Prerequisites: Successful completion of one of the following
CC-034E | STARTING YOUR MUSIC CAREER (1)
Starting Your Music Career will introduce the performance DAW courses: AUDIO-057 Pro Tools 101, AUDIO-052
student to the essential business skills necessary to make Logic 1, AUDIO-058 Ableton Live 1, AUDIO-159 Pro
the transition from student to professional musician and/ Tools 1, AUDIO-162 Logic Fundamentals 1, or AUDIO-164
or recording artist. These skills include generating income Ableton Live Online 1. Along with Successful completion of
playing live gigs, securing recording contracts with major AUDIO-106 Musicianship for Industry Professionals or CC-011
or independent labels, landing endorsement deals, using Harmony and Theory 011. Building on the material presented
social media for promotion and networking, and securing and in the Modern Music Producer course, the class focuses on
succeeding at auditions. Examples of different musical careers concepts of music production and what it takes to create a
will be studied, allowing students to decide on a career path final deliverable product to clients. Students analyze previously
that is best suited for them individually. Students will also recorded projects spanning multiple genres of music. The class
discover many of the inner secrets of the music business from is encouraged to take a closer look at their favorite songs in an
the instructor’s first-hand knowledge and experience. Audition effort to discover the elements that make up the productions.
skills will be evaluated with immediate instructor feedback. Two This course also surveys professional studio session
workshop hours per week for one quarter. preparation, DAW preparation, session editing, session tuning
and timing adjustments, backups, mix delivery preparation, and
mastering delivery preparation. One lecture hour per week for
CC-032E | LIVE PERFORMANCE WORKSHOPS (1)
one quarter.
LPWs are required for all AA and Certificate in
Performance programs. This is an elective version of the core
performance course. Students gain performing experience in CC-160E | ARTIST DEVELOPMENT: THE SONGS (2)
Success as a contemporary performing artist/songwriter

234
 MI HOLLYWOOD COURSE DESCRIPTIONS
relies on two main ingredients: the quality of the songs and the of material with a focus on lyrical content. This course is
quality of the live performance. Artist Development: The Songs not equivalent to SONG-101 (Songwriting 1). Two lecture/
focuses entirely on the development of the student’s original workshop hours per week for one quarter.
material, the quality of their songs. For ten weeks the instructor
and student work intensively on developing original songs from CC-018E | FUNDAMENTALS OF LYRIC WRITING (2)
ideas (at least three) to finished arrangements (at least two), Lyrics are the language of music, and often have as much
emphasizing the most effective combination of lyrics, melody or more to do with the success of a song than the music.
and structure. One private lesson-rehearsal hour per week for This course focuses on developing a basic knowledge of
one quarter. May be repeatable for credit. lyric writing, including discussion and analysis of the form,
structure, and content of popular hit songs. This course is
CC-161E | ARTIST DEVELOPMENT: THE SHOW (2) not equivalent to SONG-101 (Songwriting 1). Two lecture
Prerequisite: CC-160E Artist Development: The Songs. hours a week for one quarter.
Success as a contemporary performing artist/songwriter
relies on two main ingredients: the quality of the songs and CC-M334E | SCORING 1 (2)
the quality of the live performance. Artist Development: The Corequisite requirement: Students must be concurrently
Show focuses on the live performance of the student’s original enrolled in a Composition Private Lesson in order to enroll
songs. Instructor and student develop a live performance set
into Scoring 1. This course covers basic scoring practices
of three original songs, most often those written for Artist
and concepts, including the difference between score
Development: The Songs (CC-160E). Concentration is given
and source cues, diegetic versus non-diegetic music, and
to overall stage presence and movement, audience rapport,
underscore. Research covers the functions of media music,
image, song sequence, entertainment value, and other aspects
the role of the media music professional and his or her
of live performance. Students are responsible for forming
their own bands consisting of currently enrolled MI students. employers, and the scoring process pipeline. Two lecture
Each quarter culminates in a live concert judged by a panel of hours per week for one quarter.
industry experts in which each student artist can perform the
set they’ve developed during the duration of the course. One CC-M335E | SCORING 2 (2)
private lesson-rehearsal hour per week for one quarter. May be Prerequisites: CC-M334E Scoring 1. Analysis and
repeatable for credit. transcription of well-known media music scores.
Understanding musical concepts: instrumentation choices,
COURSES

CC-163E | CREATIVITY WORKSHOP (1) stylistic considerations, and “behind-the-scenes” material

Based on the book The Artist’s Way, this workshop is intended from well-known scores. Students will also study about
to help students tap into a deeper sense of creativity in both scoring with or against picture. This course is transferable
music and life. The goal is to create more dialogue among as core credit to the Bachelor of Music Degree in
students, developing a community of artists who learn to open Composition. Two lecture hours per week for one quarter.
up and relate to each other while exchanging ideas about
the creative process. Two workshop hours per week for one [Link] | PRIVATE MEDIA SCORING COMPOSITION (2)
quarter. This course may be repeated for credit. Weekly private lesson focused on developing and applying
traditional and contemporary compositional techniques and
CC-164E | COLLABORATIVE SONGWRITING (1.5) skills. Includes analysis and critique of compositions as well
Prerequisite: SONG-101 Songwriting 1 or CC-306 or as preparation for scoring assignments plus Sophomore
permission from instructor. Collaborative Songwriting focuses and Senior projects. One private lesson hour per week per
on advanced songwriting tips and techniques, including the quarter. Private lesson should be enrolled with Scoring
study of lyrical development, melody, groove, chords and chord courses. This course is transferable as core credit to the
progressions; as well as analytical study of contemporary Bachelor of Music Degree in Composition. One lecture hour
songs. Student apply these advanced tips and techniques in per week for one quarter.
collaborative songwriting projects. One lecture hour and one
workshop hour per week for one quarter. CC-131E | VISUAL MEDIA: ALBUM COVER DESIGN (1)
Prerequisite: CC-307 Graphic Design for Artists 1. Building
CC-011E | SONGWRITERS LAB (1) on the foundation of Graphic Design for Artists 1, students
This course is designed to foster open discussion, idea sharing, will study a selection of advanced techniques utilized in
performance, and relationship-building for songwriters. Student modern album and single artworks while learning how to
songwriters perform their songs and share the writing process create intricate text effects, post effects, digital collages,
followed by open discussion of alternative writing techniques vintage-inspired graphics and more. Topics include how
and the creative process. This course is not equivalent to to remove artist (or band) photo backgrounds and how
SONG-101 (Songwriting 1). Two workshop hours per week for to create professional composite artwork. The skills and
one quarter. This course may be repeated for credit. techniques covered in this course are utilized by artists
such as Muse, Anderson Paak, Halsey, The Beatles and
CC-016E | ORIGINAL LYRIC WRITING (2) more. Ideal for students looking to expand upon Adobe
Prerequisites: CC-018E Fundamentals of Lyric Writing. Photoshop’s graphic design possibilities. One lecture hour
Application of lyric writing fundamentals to students’ original per week for one quarter.
work, including extensive writing assignments and evaluation

235 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
CC-132E | VISUAL MEDIA: ALBUM PACKAGE DESIGN (1) quarter.
Prerequisite: CC-307 Graphic Design for Artists 1. In this
course, students will learn how to design print-ready album CC-051E | DOING BUSINESS AS A BAND (1)
packages for popular physical music formats. Students will An overview of how bands and band members should conduct
gain a deeper understanding of the album artwork creation business. Topics include band membership agreements,
process from initial conceptualizing to the final printed product business entities, band names and trademarks, the business
through a variety of projects and formats such as vinyl, of songs, rehearsal tips, promotional tools, booking and
cassette, download cards and CDs. In-class projects will performing, and a survey of record deals. One lecture hour per
focus on creating cohesive designs and the technical precision week for one quarter.
fundamental to the creation of any professional quality album (or
EP) package. One lecture hour per week for one quarter. CC-053E | MUSIC VIDEO BOOT CAMP (1.5)
Essential self-marketing and promotional techniques used
by modern artists to spread audio-visual materials across the
MUSIC BUSINESS-ORIENTED COMMON COURSE marketplace. Topics include creating a presence on online
ELECTIVES music portals, DIY marketing strategies and techniques,
identifying the target demographic, live show booking, and an
overview of current marketing tools. One lecture hour and one
CC-063E | MUSIC LAW FOR PERFORMERS (2) lab hour per week for one quarter.
This course explores the legal foundations making the business
of music possible. The class examines the intellectual property CC-054E | BUSINESS OF WORKING MUSICIANS (1)
areas that allow songwriters, performers, and producers Students learn to manage a career as a working musician.
to make a living. As students view the do’s and don’ts from Topics include: managing life on the road, negotiating an
the legal lens, the course reveals a world of music business employment contract, calculating per diems, key-man clauses,
opportunities focusing on recent entertainment curiosities in equipment endorsements, working with unions (AFM and
the news relevant to music law. Two Lecture hours per week for AFTRA), band membership agreements, and more. One lecture
one quarter. hour per week for one quarter.

CC-030E | START YOUR OWN RECORD LABEL (2) CC-055E | MAKING MONEY AS A MUSICIAN (1)
This course details what is needed to start your own label from Students explore ways to make money with music through

COURSES
the creative perspective. Topics discussed include defining learning the particulars of discovering larger audiences and
the label’s genre, finding and signing artists, setting recording entering new music careers. The class will conduct an in-depth
budgets, selecting producers and studios, and choosing a analysis of the musical and technical skills needed to enter
distributor. Two lecture hours per week for one quarter. the industry, as well as several other money-making roles that
require specialized musical skills. One lecture hour per week for
CC-033E | INTRO TO MUSIC PUBLISHING (1) one quarter.
An overview of music publishing from the artist’s perspective.
Topics include copyright basics, how co-writers divide CC-015E | THE WORKING SONGWRITER (1)
percentages in a composition, when the producer gets This course will dive deep into the realm of current industry hit
credit, protecting your compositions (PA and SR forms), what songwriting and help students learn what it takes to become
publishing companies can do for your career (song-plugging, a working songwriter plus practice current forms of industry
advances, administration, marketing funds), and more. One songwriting techniques. One lecture hour per week for one
lecture hour per week for one quarter. quarter.

CC-035E | SHOWCASE PROMOTION (2) CC-060E | MUSIC INTERNSHIP (1)

Students evaluate and select five Los Angeles-area Prerequisites: completion of one quarter of study in residence.
independent Artist Marketing classes, then promote and Students gain practical experience working with a music
produce a live industry showcase concert at a local venue. industry-related company in the Los Angeles area. The student
Students carry out all aspects of promotion, marketing and will assist in daily operation of a music company working
publicity under instructor supervision. Two lecture hours per with records labels, publishing companies, booking agents
week for one quarter. & venues, marketing and publicity companies, or other music
related companies. Music students can take this elective during
CC-037E | TOUR PLANNING 101 (1) any quarter. They MUST complete at least 30 internship hours
Students will learn how to plan tours; topics include: planning per enrolled quarter. This course may be repeated for credit.
the itinerary, creating a budget, and establishing anchor dates.
Additionally, students will learn how to make the most of sales CC-104E | THE BUSINESS OF AUDIO (1)
and promotional activities through planning a tour scenario for
In this course, students gain a comprehensive overview
a musician or band of your choice. Students will learn how to
of operating a business as an audio engineer or producer.
assess a touring act’s local career progress, research specific
Topics include: music budgets, invoicing, finances, and basic
money-making touring markets, and estimate tour costs for a
one-week tour. Student projects will include them completing accounting methods to legally setting up their own business.
a mileage touring sheet, advancing date details, and creating Students also discuss the challenges of the new business
a detailed tour itinerary. One lecture hour per week for one model as well as industry definitions and roles. This course is

236
 MI HOLLYWOOD COURSE DESCRIPTIONS
equivalent to AUDIO-104 (The Business of Audio). One lecture Two workshop hours per week for one quarter.
hour per week for one quarter.
CC-042E | CREATING RADIO SHOWS & PODCASTS (1)
CC-314E | SPONSORSHIPS & ENDORSEMENTS (1) With the emergence of online radio stations and music
This course examines how artists and music entrepreneurs platforms, current technology allows both professionals
can acquire sponsorships and endorsements. Students learn and amateurs alike to host their own radio show or Podcast
how to determine ideal sponsorships and endorsements for from the comfort of their home or studio. Students will learn
specific artists, what is needed to obtain a sponsorship and/or appropriate methods for designing, producing, and executing
endorsement, the requirements for both parties in sponsorship their own radio show or podcast. Topics include understanding
and endorsement agreements, successful strategies for the history and differences between radio and podcasts,
authoring proposals, as well as how to negotiate sponsorship microphone selection, and DAW and speaking skills to
and endorsement deals. Students will research current conduct an effective and engaging interview. Whether a new
endorsements and sponsorships, culminating in a proposal or experienced DJ, producer, or content creator, this course
presentation in both areas. One lecture hour per week for one covers the ins-and-outs of creating and executing an effective
quarter. show for broadcast. One lecture hour per week for one quarter.

CC-043E | INTRO TO iMOVIE & CREATING SHOWREELS (1.5)

ADVANCED MUSICIANSHIP // COMMON COURSE An introduction to basic/intermediate view showreel editing
techniques and grassroots marketing and self-promotion,
CC-170E | ADVANCED ENSEMBLE SKILLS (1) utilizing Apple’s iLife apps. One lecture hour and one lab hour
Prerequisite: Technique 210 (BASS-210, DRUM-210, GUIT- per week for one quarter. This course may be repeated for
210, or KEYBD- 210). An introduction to the skills necessary credit.
to function as an advanced, professional level rhythm section.
Instructor will act a musical director for a funk, fusion, jazz- CC-053E | MUSIC VIDEO BOOT CAMP (1.5)
rock oriented rehearsal band. Emphasis will be placed on An introductory course in creating simple, single-camera-style
groove, timing, and feel. Each instrument chair (bass, drums, music videos. Students, sourcing their own bands or artists,
percussion, keyboard) will be open to a maximum of three will create a music video under the guidance of the instructor
students. The guitar chair will support four guitar students. in a series of seminar-style workshops. Topics covered will be:
COURSES

Improvisation, lead sheet, and notation skills will be required. the basics of directing performance, camera operation and
Not available to Vocal students. Two ensemble hours per week video editing. One lecture hour and one lab hour per week for
for one quarter. May be repeated for credit. one quarter.

CC-075E | HISTORY OF RECORDED POPULAR MUSIC 2:

NON-INSTRUMENT SKILLS // COMMON COURSE ELECTRONIC MUSIC
Prerequisite: DJ-105 History and Analysis of Recorded Popular
CC-013E | FINAL CUT PRO X (1.5) Music 1, or approval from a DJ faculty member via the DJ
A course designed to familiarize beginning to seasoned film Program Director. This course is an intensive exploration of
editors on the variety of features available in Final Cut Pro X. the main genres and subgenres of electronic music. Students
Topics will include: transforming clips, manipulating audio, color will become familiar with each genre’s history and originators,
correcting, and multi-camera editing. One lecture hour and one identify its unique sound characteristics, and develop a general
lab hour per week for one quarter. May be repeated for credit. understanding of how each style is created, using critical
listening examples and research via the provided exhaustive
CC-036E | VOICEOVER ESSENTIALS WORKSHOP (1) list of example artists for each sub-genre. Under the guidance
This course provides students with skills to build an in-home of faculty, students select a sub-genre in keeping with their
studio and a portable studio for voiceover work to create stylistic identity and conduct independent research to identify
characters, utilizing copy for multiple voiceover submissions, the core elements thereof. One lecture hour per week for one
such as narration, animation, video games, commercials, audio quarter.
books, using authentic accents, etc. The class will implement
improvisations to develop voice concepts that expand their CC-080E | COMPUTER NOTATION (2)
presentations beyond their normal speaking voices and An important, practical, and contemporary survey of
showcase vocal versatility in their final exam demo recording. computer notational techniques using Sibelius notation
Two workshop hours per week for one quarter. software. Recommended for all students, this course has
wide application for theory, arranging, songwriting, and other
CC-038E | LIVE SOUND BOOTCAMP (1) assignments requiring notation. Two hours per week for one
This course introduces live sound engineering to the quarter.
performing musician with a focus on students with no previous
audio experience. Students learn the fundamentals of audio CC-118E ACCENT REDUCTION (1)
in preparation for hands-on sound reinforcement engineering This course enables non-native English speaking students
with live music acts in class. The class works as a group to to develop an American English accent for effective English-
set up and tear down live music shows, place microphones, language vocals. Students learn to break words into their
engineer shows, all while using industry-relevant equipment. phonetic elements and identify and concentrate on specific

237 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
problem sounds. One lecture-lab hour per week for one quarter. Prerequisite: AUDIO-057 Pro Tools 101. This second Pro
Tools course builds on the foundation laid out in Pro Tools 101
CC-133E | SERATO (1) as it explores the industry standard Pro Tools Digital Audio
An introduction to one of the industry-standard vinyl emulation Workstation (DAW) in greater detail. Students reinforce the
computer applications: Serato DJ. The course focuses on the core concepts and techniques needed to competently operate
functionality of the Serato DJ platform, including: playback a Pro Tools system running mid-sized sessions, helping to
control, beat matching; absolute, relative and internal modes; the prepare them for entry-level positions in virtually any aspect of
use of cue points, loops, effects (“FX”), plugins, using “crates”, the audio industry. Completion of the course prepares students
playlists and recording. Two lab hours per week for one quarter. to the Avid 110 Pro Tools (User) Certified Specialist Exam v.
2023 (Part 2 of 2). Two lecture hours per week for one quarter.
CC-134E | TRAKTOR (1)
To ensure a well-rounded familiarity with industry-standard
vinyl emulation software, this course explores one of the most
NON-MAJOR INSTRUMENT STUDY // COMMON
popular platforms in the world: Traktor Pro. The course focuses COURSE
on the functionality of the software, including: loading and
mixing tracks; synching tracks by beat, bar and/or phrase; See instrument program course offerings for additional entry-
cue points and “hot” cues, loops, samples and remix decks, level instrument electives.
equalization (“EQ”), filters, harmonic mixing, effects (“FX”),
macros, and recording. Two lab hours per week for one quarter. CC-021E | INTRODUCTION TO GUITAR (1)
Non-guitar majors learn simple note reading, fingerings, and
AUDIO-052 | LOGIC 1 (1) accompaniment patterns. Great tool for singer-songwriters.
This course introduces students to the primary features and Not available to Guitar Program students. One hour per week
basic user interface of Logic Pro X. The class explores the for one quarter.
process of creating an actual song, from start to finish. Pre-
production using Apple Loops, recording/editing audio and CC-023E | INTRODUCTION TO VOICE (1)
midi, arranging of tracks, producing drumbeats with a virtual Non-vocal majors learn to develop techniques for proper
drummer, as well as basic mixing and automation techniques are breathing, pitch accuracy, and improving range while protecting
explored. This course addresses the requirements needed (Part their vocal instrument with application to popular styles in both

COURSES
1 of 2) to take the “Apple Certified Pro” exam in Logic Pro X lead and backup vocal roles. Not available to Vocal Program
10.4. Two lab hours per week for one quarter. students. One lecture hour per week for one quarter.

AUDIO-057 | PRO TOOLS 101 (2) CC-025E | INTRODUCTION TO BASS (1)

This course introduces fundamental Pro Tools concepts and Non-bass majors learn how to play appropriate basslines
principles, covering everything an individual needs to know using correct playing techniques and understanding the role of
to complete a basic Pro Tools project, from initial setup to the bassist in a band. Covers all essentials of the bass for the
final mixdown. Students learn to build sessions that include non-bassist. Not available to Bass Program students. One hour
multitrack recordings of live audio, MIDI sequences, and virtual per week for one quarter.
instruments. Hands-on exercises and projects introduce
essential techniques for creating sessions, recording and CC-026E | HAND PERCUSSION (1)
importing audio and MIDI, editing session media, navigating An introduction to percussion techniques, including hand
sessions, arranging media on tracks, as well as using basic coordination and rhythm as they relate to various types of Latin
processing and mixing techniques to finalize a production. hand percussion instruments with application to Latin and pop
Together with the second course in the series, this course music. Not available to Drum Program students. One hour per
provides the foundation training required to prepare for the Avid week for one quarter.
101 Pro Tools (User) Certified Specialist Exam v. 2023 (Part 1
of 2). CC-027E | INTRODUCTION TO DRUMSET (1)
An introduction to the fundamentals of the drum set for non-
AUDIO-152 | LOGIC 2 (1) Drum Program performance students. This course covers
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1. drum set components, counting techniques, basic grips, and
This course is a continuation of the Logic Pro X 10.4.x user simple reading and notation. Additionally, students will perform
interface for songwriters, composers, producers, and sound common grooves such as 8th note-based rock, 16th note-
engineers. Upon completion, students will understand how to based funk, 8th note-based jazz and shuffles, and bossa nova.
use Logic Pro’s comprehensive array of software instruments, Finally, the basics of brushes and rods will be covered with
arranging of MIDI sequences, as well as editing with Flex Time students performing grooves typical to the use of brushes and
& Pitch, Keep Tempo, Smart Controls, Advanced Audio & MIDI rods. Not available to Drum Program students. One lecture
Recording/Editing Techniques, and trouble-shooting. This hour per week for one quarter.
course addresses the requirements needed (Part 2 of 2) to take
the “Apple Certified Pro” exam in Logic Pro X 10.4. Two lab CC-140E | SKILLS IN SPONTANEITY FOR THE
hours per week for one quarter.
CONTEMPORARY HORN PLAYER (1)
Prerequisites: BASS-021 Bass Technique 021, DRUM-
AUDIO-157 | PRO TOOLS 110 (2)

238
 MI HOLLYWOOD COURSE DESCRIPTIONS
021 Drum Technique 021, GUIT-021 Guitar Technique 021,
KEYBD-021 Keyboard Technique 021, VOCAL-021 Vocal MM-P102 | GRADUATE PERFORMANCE SEMINAR 1 (1)
Technique 021, or obtain permission from the instructor. In This class allows students to present both research and solo/
order to succeed in the modern music industry, the ability for group performances relating to compositions and artists
a horn player to hear a melodic line and immediately play it is represented in contemporary music. Whenever possible,
essential, whether they’re on the gig or in the studio. The ability visiting artists are invited to participate in the group discourse
to create a solo or arrangement without music--spot soloing or and professional critique that serves as the intellectual
spot arranging--is equally as important. In “Skills in Spontaneity foundation of Seminar I. In addition, this course functions as
for the Contemporary Horn Player”, the skills of soloing “by a primer for graduate thesis and recital presentation. Two
ear,” and creating impromptu horn arrangements in the studio ensemble hours per week for one quarter.
and on stage will be studied. One lecture hour per week for
one quarter. MM-P202 | GRADUATE PERFORMANCE SEMINAR 2 (1)
Prerequisite: MM-P102: Graduate Performance Seminar 1.
CC-240E | TRANSPOSITION SKILLS (1) This class is a continuation of the topics covered in Graduate
Prerequisites: BASS-120 Bass Reading 120, DRUM- Performance Seminar I, but with an emphasis on original
120 Drum Reading 120, GUIT-120 Guitar Reading 120, student composition. Students will present both research
KEYBD-120 Keyboard Reading 120, VOCAL-120 Vocal and solo/group performances relating to their compositions.
Sightsinging 120, or obtain permission from the instructor. The Whenever possible, visiting artists are invited to participate
contemporary horn player is routinely asked to play music not in the group discourse and professional critique that serves
written specifically for their particular transposing instrument. as the intellectual foundation of Seminar II. In addition, this
The ability to read charts written in concert (such as music course functions as a primer for graduate thesis and recital
written for piano or guitar) or for another transposing instrument presentation. Two ensemble hours per week for one quarter.
is a skill that sets the professional apart from less experienced
musicians. Reasons why a horn player should be able to MM-P210 | GRADUATE THESIS (3)
transpose on sight and how they can master such skills will be Concurrent Enrollment of MM-P202: Graduate Performance
discussed. One lecture hour per week for one quarter. Seminar 2 and MM-P205: Research Methods for the
Contemporary Musician 2. The graduate thesis presents
students with the opportunity to synthesize everything they
MASTER OF MUSIC IN PERFORMANCE
COURSES

have studied leading up to and during graduate study and in

(CONTEMPORARY STYLES) turn “give back” to the academic community through individual
research. Ten-weekly mentoring sessions with a project advisor
for one quarter, and a final presentation before graduation.
MAJOR AREA // PERFORMANCE
MM-P307 | 21ST CENTURY MUSIC EDUCATION (2)
MM-PL ([Link], [Link], [Link], [Link], [Link]) Prerequisites: MM-P202: Graduate Performance Seminar
| APPLIED PRIVATE LESSON (2) 2 and MM-P205: Research Methods for the Contemporary
Fostering the development of all students”individual voices”
Musician 2. This course serves as an introduction to
serves as the main objective within the graduate applied
contemporary music performance education, the primary
instrumental lesson program. One private lesson hour per week
focus and goal being to equip advanced students with the
per quarter.
tools necessary to become successful private teachers, small
ensemble directors, and clinicians. Students and senior faculty
MM-P101 | ADVANCED STUDIO ENSEMBLE 1 (2) will frequently work together helping to educate one another
Comprised of both graduate students and senior faculty, these through mock-lesson environments established in class. Two
courses will enable students to develop the performance skills lecture hours per week for one quarter.
necessary for successfully navigating through contemporary
music’s ever changing stylistic landscape. Group study of
MM-P410 | GRADUATE RECITAL (6)
the physical & mental components that contribute to proper
Prerequisite: MM-P205: Research Methods for the
ensemble technique, sight-reading reading ability, improvisation
Contemporary Musician 2. Co-requisite: Students enrolled
and stylistic authenticity pertaining to key genres and repertoire
in this course must also be enrolled in a Private Lesson
serves as the curricular foundation for these performance-
concurrently- regardless of whether the student has fulfilled
based classes. Two ensemble hours per week for one quarter.
other MM-PL requirements. The graduate recital serves as
the culminating performance event for all candidates pursuing
MM-P201 | ADVANCED STUDIO ENSEMBLE 2 (2) a Master of Music degree in Performance from Musicians
Prerequisite: MM-P101: Advanced Studio Ensemble 1. Institute. Students are responsible for selecting their own
Continuation of Advanced Studio Ensemble I. Group study personnel and scheduling rehearsals. A complete repertoire list
of the physical & mental components that contribute to must be presented to both private instructor and Program Chair
proper ensemble technique, sight- reading reading ability, for approval by Week 4 of the quarter in which they expect
improvisation and stylistic authenticity pertaining to key genres to graduate. In addition, Program Notes giving background
and repertoire serves as the curricular foundation for these information about each composition to be performed must be
performance based classes. Two ensemble hours per week for written by the candidate and submitted to the Program Chair
one quarter.

239 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
for approval no later than Week 8 of the quarter in which they and hard deadlines. Students will learn the ins and outs of
expect to graduate. Ten-weekly mentoring sessions with a the recording studio, including the major types of processors,
project advisor for one quarter, and a final performance at the microphones, bussing, consoles, and current, industry
end of the quarter. standard DAW’s. Students will participate in the recordings
done in class. Each Student will do a mix of one of the songs
SUPPORTIVE MUSIC // PERFORMANCE recorded in the class to be turned in as an Individual Student
Project. Two lecture hours per week for one quarter. Additional
MM-P103 | ADVANCED HISTORY: POPULAR MUSIC OF THE lab fee required.
UNITED STATES (2)
This graduate level course presents a survey of popular music MM-P306 | RECORDING PROJECT 2 (2)
genres and trends occurring in the United Prerequisite: MM-P206 Recording Project 1: Recording Arts.
States from the post-civil war era through present day, with Recording Project 2: Production Arts is a class participation
emphasis on the social, political and economic conditions course that builds on Recording Project 1: Recording Arts.
affecting them. Genres to be discussed include Art songs, Students will take a very active, hands-on role in the sessions
Spirituals & Folk music, County & Western, Blues, Bluegrass, and the production. Students will work in a group, and
Tin Pan Alley, Broadway, Jazz, Rock & Roll, R&B, Pop and each group will select, arrange, produce, record, mix and
Electronica/EDM. Additional study will center around American master a song using the members of the class as musicians.
music’s influence on the music of other countries throughout Some recording work may need to be completed outside of
the world. Two lecture hours per week for one quarter. class hours. TA’s will be available during class time to cover
instruments not covered by students. Two lecture hours per
MM-P104 | CONTEMPORARY PERFORMANCE STYLES & week for one quarter. Additional lab fee required.
ANALYSIS 1 (2)
These performance courses examine the musical contributions MM-P308 | GLOBAL ECONOMICS & THE PERFORMING
of various artists in shaping the genres of MUSICIAN (2)
Blues, Jazz, Rock and Funk/R&B. Classes will focus primarily Prerequisites: MM-P102: Graduate Performance Seminar
on researching, analyzing and interpreting the compositions of 1 and MM-P105: Research Methods for the Contemporary
representative artists. Specific attention will be paid to forging Musician 1. This course provides an overview of the music
industry and its future prospects within the realm of global

COURSES
successful group dynamics and musical interplay between
class-members. Weekly performance serves as a primary entertainment. Students will study and critique the varying
component of this course. Two lecture hours per week for one dynamics at work pertaining to the production of “musical
quarter. May be repeated for credit. culture” between trans-national media conglomerates,
independent companies, artists and the public. Additional
MM-P105 | RESEARCH METHODS FOR THE focus will center on the role of music in the age of computers
CONTEMPORARY MUSICIAN 1 (2) and the Internet and how the aforementioned technologies
Corequisite: MM-P102: Graduate Performance Seminar 1. have altered the course and overall identity of the industry as a
Research Methods I introduces students to the analytical whole. Two lecture hours per week for one quarter.
methodologies and bibliographic tools necessary for advanced
study, writing and academic research in music. Along with MM-P404 | CONTEMPORARY PERFORMANCE STYLES &
analyzing and critiquing written works and sources, students ANALYSIS 2 (2)
will gain greater insight into the important role scholarly Prerequisite: MM-P104: Contemporary Performance Styles
research plays in contributing to both the preservation and & Analysis 1. This is the continuation of Contemporary
subsequent evolution of music as an art form. Level I places Performance Styles & Analysis I. Students will analyze
primary emphasis on the development of student research- Brazilian, Folk, Afro-Cuban & Pop performance genres. Weekly
skills. Two lecture hours per week for one quarter. May be performances and group analysis serve as the primary focus
repeated for credit. of these courses. Two lecture hours per week for one quarter.
May be repeated for credit.
MM-P205 | RESEARCH METHODS FOR THE
CONTEMPORARY MUSICIAN 2 (2) ELECTIVES // PERFORMANCE
Prerequisite: MM-P105: Research Methods for the
Contemporary Musician 1. Research Methods II places primary MM-P010E | INDEPENDENT STUDY (2)
emphasis on the development of reading & writing-skills Independent study courses are intended to allow specific
necessary for successfully completing the graduate thesis study of areas that may not be covered by core MI curricular
requirement, among other future academic endeavors. Two offerings. In some instances, Independent Study courses
lecture hours per week for one quarter. may be used to substitute for a required course. The content
and expectations for each independent study course for the
MM-P206 | RECORDING PROJECT 1 (2) Master of Music in Performance degree must be approved by
Recording Project 1: Recording Arts is an in-depth study of the Chief Academic Officer and clearly stated to the student
the recording process designed to give the student real world in writing before each independent study begins. When
experience working in the studio, as a team, to create a market independent study is used to substitute for a required course,
ready, multi-song project, with strict delivery requirements the institution must ensure that the content, scope, depth, and

240
 MI HOLLYWOOD COURSE DESCRIPTIONS
learning expectations of the required course are fulfilled by the This course enables students to develop the skills necessary
independent study. One lecture hour per week for one quarter. to create, analyze, critique, and revise song lyrics in the
May be repeated for credit. contemporary songwriting market. Students will learn important
concepts relating to lyrics, including finding inspiration,
MM-P014E | SPECIAL TOPICS IN MUSIC: ADVANCED mastering tools of the craft, and tailoring lyrics to different styles
PERFORMANCE (2) and situations. Two lecture hours per week for one quarter.
An introduction to the skills necessary to function as an
advanced, professional level ensemble. Instructor will act MM-P225E | LYRIC WRITING 2 (2)
as musical director for Funk, Fusion, “Jazz-Rock” oriented Prerequisite: MM-P125E: Lyric Writing 1: Introduction to
rehearsal band. Emphasis will be placed on groove, timing, and Lyric Writing. This course enables students to develop the
feel. Each instrument chair (bass, drums, percussion, guitar, skills necessary to create, analyze, critique, and revise song
vocal, keyboard) will be open to a maximum of three students. lyrics in the contemporary songwriting market. Students will
The guitar chair will support six students. Improvisation, lead learn important concepts relating to lyrics, including finding
sheet, and notation skills will be required. This course is an inspiration, mastering tools of the craft, and tailoring lyrics
opportunity to work under the direction and critique of a world to different styles and situations. This course will introduce
class performer. Two ensemble hours per week for one quarter. advanced story-telling techniques. Two lecture hours per week
MM-P015E | ADVANCED JAZZ HARMONY (2) for one quarter.
This class will cover the application and uses for advanced jazz
harmony. We will both transcribe and analyze jazz arrangements MM-P126E | THE PERFORMING MUSIC DIRECTOR (2)
in various styles to discover how the great arrangers utilized Prerequisite: MM-P101: Advanced Studio Ensemble 1 &
chord extension and alteration to enhance harmonic richness. Approval of Program chair. This course explores the practical
We will also gain experience in reharmonization, where a given techniques and strategies used by producers, composer/
song’s character is transformed by reassigning a new chord performers, arrangers and music directors in successfully
structure. This course stresses the fundamentals of harmony assembling performance personnel for recording and
and chord construction and emphasizes proper notation to live situations. Critical listening and research along with
prepare students for a professional career in arranging. Two compositional analysis of requisite artists and performances
lecture hours per week for one quarter. spanning a wide array of musical genres serves as the
primary focus of this course. In addition, students will develop
COURSES

MM-P120E | MUSIC TECHNOLOGY IN LIVE PERFORMANCE arrangements and write compositions inspired by the various
(2) skill-sets possessed by fellow classmates.
This course explores the role of music technology as a tool Whenever possible, visiting artists and industry professionals
for enhancing live performance. Curricular topics include will be invited to participate in class discussion and
click track programming, backing track production, sound presentations. Two lecture hours per week for one quarter.
replacement techniques, triggers, samples and equalization
along with additional approaches to timbre modification. Two MM-P131E | SPECIAL TOPICS IN MUSIC THEORY: ADVANCED
lecture hours per week for one quarter. COUNTERPOINT (2)
This comprehensive music theory course explores the
MM-P121E | WEBSITE DESIGN FOR MUSICIANS (2) This compositional practice of multiple independent melodic line
course serves as an introduction to web design and self- construction through the various eras of western music history
promotion, the primary focus being to teach students how to (Medieval through 21st Century). Analysis of the contrapuntal
build and maintain a fully functional and self-owned professional techniques employed by many of popular music’s most prolific
website, complete with E-commerce capability. Two lecture songwriters serves as the primary focus of this course. Two
hours per week for one quarter. lecture hours per week for one quarter. May be repeated for
credit with offering of new topic.
MM-P122E | SOCIAL MEDIA & ONLINE BRAND
MANAGEMENT(2) MM-P132E | SPECIAL TOPICS IN MUSIC BUSINESS:
This course serves as an introduction to the study of both INTELLECTUAL PROPERTY LAW (2)
physical and online media management systems and marketing This course explores the area of law that deals with protecting
techniques employed by successful solo artists, groups, the rights of those who create original works. Analysis of
companies and labels. Partial curricular topics include image/ copyright, patents and trademarks, the three main instruments
brand theory & psychology, online marketing techniques & used for protecting intellectual property, will serve as the
research, press release construction, email, mailing list & primary focus of this course. Additional curricular topics include
general etiquette considerations, funding & revenue stream recording, publishing, artist management & merchandising
generation and business plan development. Whenever agreements, legal precedent, licensing, negotiation, “points”
possible, visiting artists and industry professionals will be royalties and brand management considerations. Whenever
invited to participate in class discussion and presentations. Two possible, visiting artists and industry professionals will be
lecture hours per week for one quarter. invited to participate in class discussion and presentations. Two
lecture hours per week for one quarter. May be repeated for
MM-P125E | LYRIC WRITING 1: INTRODUCTION TO LYRIC credit with offering of new topic.
WRITING (2)

241 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI HOLLYWOOD COURSE DESCRIPTIONS
MM-P133E | SPECIAL TOPICS IN MUSIC HISTORY: MUSIC,
CULTURE, IDEAS (2)
Prerequisites: MM-P102: Graduate Performance Seminar
1 and MM-P105: Research Methods for the Contemporary
Musician 1. This advanced survey course examines the complex
relationships between music and religion, politics, economics,
race relations, history & gender and their subsequent influences
in shaping various forms of cultural identity throughout the
world. An examination of musical performance practices by
traditionally underrepresented populations will serve as the
primary focus of this course. Whenever possible, visiting
artists will be invited to participate in class discussion and
presentations. Two lecture hours per week for one quarter. May
be repeated for credit with offering of new topic.

MM-P134E | SPECIAL TOPICS IN MUSIC IMPROVISATION:

1959 (2)
Prerequisite: MM-P101: Advanced Studio Ensemble 1 &
Approval of Program chair. This course examines the recorded
musical contributions of Jazz artists Miles Davis (“Kind of
Blue”), Charles Mingus (“Mingus Ah Um”), John Coltrane
(“Giant Steps”, Dave Brubeck (“Time Out’) Ornette Coleman
(“The Shape of Jazz to Come”), whose seminal albums were
each released in 1959. Analysis of various compositions and
improvisational techniques employed by the aforementioned
artists along with their subsequent cultural contributions will
serve as the primary focus of this course. Specific attention
will be paid to forging successful group dynamics and interplay

COURSES
between class members. Two lecture hours per week for one
quarter. May be repeated for credit with offering of new topic.

MM-PSL ([Link], [Link], [Link], [Link],

[Link]) SECONDARY APPLIED PRIVATE
LESSON (2)
This is a course for students who wish to study privately with
an instructor on an additional instrument of their choosing.
Students may choose from the following instruments: vocals,
guitar, keyboard, bass or drums. Two lecture hours per week for
one quarter. May be repeated for credit.

242
 ADMISSIONS
ELIGIBILITY FOR ADMISSION TO alter the program in a substantive manner);
• Sufficient dexterity to perform manual skills related to
MUSICIANS INSTITUTE music performance, instrument and gear manipulation,
In addition to the eligibility requirements listed for each program
offered by the college, Musicians Institute admits only those and related activities;
individuals who, in the opinion of the college, have the capacity • Sufficient physical capacity to lift, hold, carry items of
and ability to function and comport themselves appropriately in differing weights and sizes;
a college learning environment, and to benefit from, successfully • Ability to demonstrate and maintain organizational skills,
meet, and/or perform to all of the requisites and standards time management and professional respect and conduct
required to complete a program as outlined in this catalog. as a human service student, either at practicum site, or in
the community;
• Computer and device literacy sufficient to allow for
TECHNICAL AND PERFORMANCE REQUIREMENTS interaction with MI curricula, communications, and
As noted above, Musicians Institute may only admit individuals
learning management systems;
who, in the estimation of the College, have a reasonable
• Other capacities and skills as related to specific
prospect of benefiting from and completing the programs as
requirements of the discipline, field, profession
they are structured. In relation to this condition of admission,
• Questions about Technical and Performance
and to ensure that all students who are admitted are capable of
Requirements may be submitted to the Office of
meeting the requirements of the programs, the College considers
Admissions.
technical and performance capacities as relevant to ethical and
appropriate admissions standards. This standard is not intended
to be exclusive; rather it is designed to ensure that all students WRITTEN SCHOLASTIC LEVEL EXAM
admitted to the programs are able to advance through and (SLE)
receive benefits from the programs as they are designed. Certain Industry programs require SLE testing, an online
scholastic test available through third party provider Wonderlic.
Technical and Performance Requirements vary by program based The exam will be administered by the Director of the respective
on the requirements of the discipline/field of study/profession. program.
Adaptive equipment and reasonable accommodations are
acceptable insofar as these do not substantively alter the
INDUSTRY PROGRAM SLE POLICY
GENERAL

program. Technical and Performance Requirements may include

Programs Requiring SLE:
(but are not limited to):
• Audio Engineering (includes Certificate and Associate of
• A working command of the English language;
Science programs)
• Reading comprehension skills sufficient to read and
• Music Business (includes Certificate and Associate of
comprehend curriculum, literature, communications, etc.;
Science programs)
• Sufficient verbal and language skills to support
communication and collaboration with student, faculty,
staff and others at the College; CONDITIONS FOR WHICH A STUDENT MUST TAKE THE
• Communication skills sufficient to perform and engage in SLE
required tasks and assignments; 1. All new students enrolling in one of the listed programs must
• Ability to understand and follow both written and oral successfully pass the SLE.
instructions; 2. Students matriculating from a Performance Studies program
• Ability to complete requirements for college level classes; into any of the listed Industry Studies programs will need to
• Ability to sustain cognitive integrity in areas of short and pass the SLE to enroll.
long-term memory, areas of written documentation, and 3. Students graduating from a GCAN, EMP, IAP, or A/P/E
follow through of responsibilities (adaptive equipment and program into any of the listed Industry Studies programs will
reasonable accommodations are acceptable insofar as need to pass the SLE to enroll.
these do not alter the program in a substantive manner); 4. Bachelor graduates do not have to take the SLE.
• Visual acuity sufficient to ensure the safe and appropriate
performance of all tasks and requirements of the program CONDITIONS FOR WHICH A STUDENT DOES NOT HAVE
to standards (adaptive equipment and reasonable TO TAKE THE SLE
accommodations are acceptable insofar as these do not 1. Students adding one of the listed industry programs as an
alter the program in a substantive manner); emphasis or changing their program with one of the listed
• Aural/auditory acuity sufficient to distinguish various industry programs will not need to take the SLE if the
sounds and noises to ensure safe and appropriate following conditions are met:
performance of all tasks and requirements of the program • Student has completed at least one quarter of the original
to standards (adaptive equipment and reasonable program
accommodations are acceptable insofar as these do not • Student has a cumulative GPA greater than a 2.0.
alter the program in a substantive manner); 2. GCAN, EMP, IAP, and A/P/E certificates require an audition
• Vocal capacity sufficient to ensure safe and appropriate for admittance, they do not require the SLE.
performance of all tasks and requirements of the program
to standards (adaptive equipment and reasonable INDUSTRY PROGRAM SLE PROCEDURE
accommodations are acceptable insofar as these do not The SLE can be taken three times prior to the start of the term for

243 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS
which the student would like to enroll, for a total of four attempts ENTERTAINMENT INDUSTRY STUDIES
before non-acceptance into any industry program which requires • Audio Engineering
the SLE. Once the “Send SLE” status has been added to the • Electronic Music Production
Audition review box and sent to the respective Director, the • Independent Artist Development
Director will then send the student an SLE invitation via email
• Music Business
from the SLE site, typically within 24 business hours or less. The
• Songwriting
attempts process is defined below:
• If the 1st attempt failed, then the applicant must wait • Artist/Producer/Entrepreneur
1 calendar day before taking another attempt. • Live Music Event Production
• If the 2nd attempt failed, then the applicant must wait • Studio Recording
3 calendar days before taking another attempt.
• If the 3rd attempt failed, then the applicant must wait PERFORMANCE STUDIES
7 calendar days before taking another attempt. • Bass
• If the 4th attempt failed, then the applicant must wait • Drum
1 quarter before restarting attempts. • Guitar
• Keyboard Technology/Performance Track
• Saxophone
VERIFICATION OF HIGH SCHOOL COMPLETION • Trombone
An important part of the application process is the submission of
• Trumpet
the high school diploma or its equivalent. All proof of high school
• Vocal
completion must adhere to the following guidelines.
• High school diploma or proof of high school equivalency ELIGIBILITY REQUIREMENTS
G.E.D. and HiSET submissions must be official state- All eligibility, application, registration, placement and orientation
issued high school equivalency credentials.
requirements for the four-quarter/60 credit-unit Certificate in
• If the diploma is in a language other than English, an
Performance are identical to those described for Associate of
English translation of the high school diploma completed
Arts Degree in Performance.
by an education evaluation service such as [Link].
org, [Link], or any member of [Link] must be
provided. AWARD OF CREDIT FOR PRIOR EXPERIENTIAL LEARNING.

GENERAL
• If proof of high school completion is from a foreign Musicians Institute does not award program credit for prior
country, a translation completed by an education experiential learning.
evaluation service must be provided.
• Official, state accredited high school transcripts must be
provided by home-schooled high school graduates. APPLICATION PROCESS: CERTIFICATE
• Proof of high school graduation via acceptance to other Send all of the following items together by mail along with any
institutions of higher learning is not accepted. additional items required by the program to which you are
• An associate degree from an institutionally accredited applying (see below):
college or university can be submitted in lieu of a high • Completed application form.
school diploma. • $100.00 USD application fee.
• A bachelor’s degree from an institutionally accredited • High school diploma or proof of high school equivalency
college or university can be submitted in lieu of a high
school diploma.
• Should proof of high school graduation be deemed TRANSFERRING FROM AN AA DEGREE PROGRAM TO A
insufficient or possibly untrustworthy, the high school PERFORMANCE CERTIFICATE PROGRAM
in question will be contacted via phone and/or email by Currently enrolled students seeking to transfer from an Associate
Musicians Institute admissions officials, along with the of Arts Degree Program to a Performance Certificate Program
school’s state department of education. with the same instrument major must complete and submit a
• Should associate and bachelor’s diplomas and Petition for Transfer to the Registrar’s office.
transcripts be deemed insufficient or possibly
untrustworthy, the college or university in question will Students who have withdrawn or been terminated from an
be contacted via phone and/or email by Musicians Associate of Arts Degree Program and are seeking to transfer to
Institute admissions officials, along with the school’s state
a Performance Certificate Program within the same instrument
department of education and/or accreditor.
major must contact the Student Records office for instructions.
• High School Transcripts - Applicants must request
For information on transferring to a different instrument major,
their high school or institution to submit final official
contact the Admissions Office.
transcripts, General Educational Development (GED)
scores, or High School Equivalency Test (HiSET) scores. Note: See the Notice Concerning Transferability of Credits and Credentials
If the applicant is currently in their final year of high school Earned at Musicians Institute under Additional Information.
and has not yet graduated, they can submit an unofficial
copy or scanned copy of their transcripts. They will still CERTIFICATE PROGRAMS - SPECIFIC REQUIREMENTS
need to submit the Final Official Transcript.

CERTIFICATES AUDIO ENGINEERING AND STUDIO

244
 ADMISSIONS
The Associate of Arts Degree in Performance is a terminal/
RECORDING occupational degree. Credits earned in this type of program may
Application: not transfer to all baccalaureate programs. Policies regarding
In addition to the items listed above under All Programs, you must the transfer of occupational degrees or acceptance of transfer
pass a written Scholastic Level Exam (see application form for course credit vary by institution. MI cannot guarantee the
details).
transferability of credit except between its own degree programs
(See Transfer credits from MI Associate of Arts to Bachelor of
Placement:
Music Program).
If you are admitted into an Audio Engineering Certificate
Program, you will be given a placement evaluation as part of the
registration process. The evaluation will measure your current ASSOCIATE OF SCIENCE IN MUSIC BUSINESS - SPECIFIC
level of knowledge and experience in several fundamental areas. REQUIREMENTS
Placement evaluations will take place during registration week You must pass a written Scholastic Level Exam (see application
and you will not be scheduled for classes until your evaluation is form for details).
complete. In some cases, a student may be recommended for
advanced placement in classes in which he or she may already
be proficient. ASSOCIATE OF SCIENCE IN STUDIO RECORDING -
SPECIFIC REQUIREMENTS
You must pass a written Scholastic Level Exam (see application
MUSIC BUSINESS form for details).
In addition to the items listed above under All Programs, you must
pass a written Scholastic Level Exam (see application form for
details). INDUSTRY ASSOCIATE OF SCIENCE
DEGREES
The Associate of Science in MI’s Industry Degrees (Music
INDEPENDENT ARTIST DEVELOPMENT Business, Studio Recording) are terminal/occupational degrees.
In addition to the items listed above under All Programs, you must Credits earned in this type of program may not transfer to all
also submit an original recording (see application form for details). baccalaureate programs. Policies regarding the transfer of
occupational degrees or acceptance of transfer course credit
GENERAL

SONGWRITING vary by institution. MI cannot guarantee the transferability of

A. Submit two original pieces that best represent your styles as credit to other institutions.
stream-able links or [Link] submit charts for your songs
(Handwritten charts are accepted, charts created using a ELIGIBILITY REQUIREMENTS
notation software program are preferred). The admissions procedure is selective and based on factors
B. Speaking Voice: Record your own speaking voice with a short including:
narrative explaining why you wish to attend Musicians Institute. • Recorded audition or written test (where applicable)
• Written application
ASSOCIATE DEGREES • Prior experience
ASSOCIATE OF ARTS IN PERFORMANCE • Evidence of desire for career advancement and
• Bass commitment to an intensive educational program
• Drum
• Guitar Each applicant is individually reviewed, taking into consideration
• Keyboard Technology his or her experience, achievements, aptitude, attitude, and
• Saxophone potential for growth. Prospective students still enrolled in
• Trumpet high school are encouraged to follow a college preparatory
• Trombone curriculum and to take as many music and music-related courses
• Vocal as are practical prior to attending MI.

ASSOCIATE OF SCIENCE IN INDUSTRY Students applying for admission to an Associate of Arts Degree
• Music Business Program (Combined Emphasis) must meet the eligibility
• Studio Recording requirements of both the instrument study portion (see AA
Degree requirements) and the additional emphasis portion
ASSOCIATE OF ARTS PERFORMANCE // (see Entertainment Industry Certificates). All other application,
registration, placement, and orientation requirements are
COMBINED EMPHASIS identical to those described for the Associate of Arts Degree in
Combined Emphasis in Primary Instrument Plus One Non-
Performance Emphasis: Performance.
• Audio Engineering
• Electronic Music Production
• Independent Artist Development
APPLICATION PROCESS: ASSOCIATE DEGREES
Please send all of the following items together by mail or email
• Music Business
(additional items are also required; check below under the
• Songwriting

245 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS
specific program to which you are applying): classes. During this time, you will learn about school policy and
• Completed application form. procedures, Student Affairs, LPW sign-ups and other school-
• $100.00 USD application fee. related topics.
• High school diploma or proof of high school equivalency
• One Letter of Recommendation
BACHELOR OF MUSIC DEGREES
• Must come from a music teacher or music industry
professional BACHELOR OF MUSIC IN COMPOSITION
• Include in body of email or as attachments (Word or (Scoring For Visual Media Program)
PDF)
• Not required for Songwriting, Music Business and BACHELOR OF MUSIC IN
Studio Recording
• An audio recording of yourself playing or singing (see
PERFORMANCE
application for details, does not apply to Associate of Science in Music (Contemporary Styles)
Business and Associate of Science in Studio Recording). Bass, Drum, Guitar, Keyboard, Vocal

APPLICATION REVIEW AND NOTIFICATION BACHELOR OF MUSIC IN SONGWRITING

Class sizes are limited and placement priority is given to students & PRODUCTION
in the order of acceptance. Fully completed applications are
ELIGIBILITY REQUIREMENTS
reviewed for acceptance on an ongoing basis. Accepted
1. Satisfactory completion of an accredited secondary school
applicants will be notified by mail and/or telephone. Applicants
program (high school) or its equivalent. Students are
who are not accepted will be notified by mail.
advised to follow a college preparatory curriculum with four
years of English, three years of Social Sciences and as
TUITION DEPOSIT many music courses as are practical.
Upon acceptance to all degree and certificate programs, 2. At least three years of study on the primary instrument
admitted students are required to submit a refundable deposit (Bass, Guitar, Keyboard, Drums, or Vocal).
in the amount of $300.00 USD to secure their placement (see 3. Music reading ability in both treble and bass clef.
Letter of Acceptance for details). The deposit is applied toward 4. Knowledge of and interest in contemporary styles.

GENERAL
the first quarter’s tuition and is completely refundable in the event 5. Working knowledge of keyboard harmony.
of cancellation of enrollment (students are encouraged to submit
the deposit along with the application fee). APPLICATION PROCESS: BACHELOR OF MUSIC
The admissions procedure for Bachelor of Music consists of
REGISTRATION three parts:
• Students are expected to arrive for registration and 1. Completed application with all required documents
orientation during the two-week period prior to the 2. Theory and Ear training tests: You will receive the test link
start of classes. Students who fail to register at their via your email address used for application.
assigned registration appointment will be assessed a late Music Theory
registration fee of $100.00 USD. Applicants may register Notating all major and minor scales (bass and treble clefs)
after the first week of classes only with permission from Key signatures, time signatures (simple and compound)
the program director. Intervals, triads, and seventh chord construction
• Students who need housing/roommate assistance should Basic harmonic analysis using both treble clef and grand
arrive at least four weeks prior to the start of classes. Daily staff
housing meetings and new student tours will take place
Ear Training
during registration week. Hearing and identifying diatonic scale members and
intervals
Hearing basic chord qualities
PLACEMENT EVALUATION Hearing and notating basic rhythms
After you are admitted to the Associate of Arts Degree Program,
Hearing and notating basic chord progressions
you will be given a placement evaluation that will measure your
current level of knowledge and experience in several fundamental
3. Complete the following for the program to which you are
musical areas. Placement evaluations take place during
applying:
registration week and you will not be scheduled for classes until
a. Bachelor of Music in Performance Applicants: Please
your evaluation is complete. In some cases, a student may be
submit the performance video as required the test
recommended for advanced placement in courses in which he
- performing Chords, Scales, Reading, and three
or she may already be proficient. Does not apply to Associate of
performace videos (one unaccompaniment piece)
Science Degree.
b. Bachelor of Music in Composition Applicants: Audio
recording (digital format) of three examples of
NEW STUDENT ORIENTATION music in any style written by the applicant (solo or
Orientation will be held on the Thursday prior to the start of ensemble, instrumental or vocal) accompanied by

246
 ADMISSIONS
notation (lead sheet, score or piano reduction). • Transcripts - Applicants must request their high school
If your audio recording submission is produced with or institution to submit final official transcripts, General
a DAW, please follow this instruction: Educational Development (GED) scores, or High School
Submit your compositions as stream-able links Equivalency Test (HiSET) scores. If the applicant is
or MP3s emphasizing composition techniques, currently in their final year of high school and has not yet
accompanied by screenshots of your DAW. The graduated, they can submit an unofficial copy or scanned
demo must be recorded in your DAW (no voice copy of their transcripts. They will still need to submit the
memos). You will be graded on structure, melody, Final Official Transcript.
harmony, melodic development, and fluidity. The • Transfer credit information from prior college or university
bounces should be the proper length with sufficient (if applicable).
rough mix levels. Each composition should be at
least 2.5 minutes long.
c. Bachelor of Music in Songwriting & Production
INTERNATIONAL APPLICATION PROCESS:
Applicants: Audio Recording (digital format) of three BACHELOR OF MUSIC
examples of music in any style with lyrics written by • The $100.00 USD application fee, which must be
the applicant accompanied by notation (leadsheet, submitted as an International Money Order, Postal Money
score or piano reduction). If the lyrics are not in Order, Bank Wire Transfer, or Credit Card for U.S. funds.
English, please submit them with the phonetics and • If a student’s principal language is not English, he or she
translation into English. must present verification of English language proficiency
If your submission is produced with a DAW, please through a Test of English as a Foreign Language (TOEFL),
follow this instruction: International English Language Testing System (IELTS),
Submit your songs as streamable links or MP3s Pearson Test of English Academic (PTEA), or Duolingo.
emphasizing songwriting techniques, accompanied The minimum TOEFL acceptance score is 61 (Internet-
by screenshots of your DAW. Song submissions based), 500 (paperbased) or 173 (computer-based).
should be full demos with lyrics and music. The The minimum test score on the IELTS is a score of 6.
demo must be recorded in your DAW (no voice The minimum acceptance score on the PTEA is 51. The
memos). You will be graded on structure, chords, minimum test score for Duolingo is 100.
melody & lyrics. The bounces should be the proper ◦ TOEFL/IELTS/PTEA/Duolingo test scores are not
GENERAL

length with sufficient rough mix levels. required of international applicants if either of the
All songs should contain vocals, have complete following conditions are met:
structures, and be at least 2.5 minutes long. All • Student has graduated from an MI AA Program
content - melody, background, and lyrics - must be • Student is a Foreign National.
original and written by the applicant alone. • Resident Foreign National applicants must take either
ESL or SAT/ACT tests for admittance to the college.
After your written application is received, reviewed, and • A non-immigrant student F-1 Visa is required for all
approved, you will receive a written Bachelor of Music entrance degree programs (see International Student Information
test by email. This must be completed and returned along with for details).
an unedited video recording of yourself performing specific For more information, see the International Student Information
instrumental playing requirements (details provided with entrance section.
test).
APPLICATION PROCESS:
Please send all of the following items together by email:
• Completed application form.
MASTER OF MUSIC IN PERFORMANCE
1. Document Review
• High school diploma or equivalent from an accredited
• Resume: Please include a copy of your most recent
institution. Please provide an official English translation if
resume.
the original is not in English
Previous academic study (college institutions, dates,
• $100.00 USD application fee.
degree(s) awarded), Private study (subjects, instructor(s),
• A 250-word written essay describing why you want to
dates), Relevant performance experience, awards, and
attend Musicians Institute.
participation in festivals and/or Summer programs, if
• Two Letters of Recommendation
applicable.
• One Academic Letter of Recommendation and one
• Personal Statement: The personal statement (two to three
Music Letter of Recommendation
type-written pages, in English docx or pdf format) provides
• Include in body of email or as attachments (Word or
applicants with the opportunity to introduce themselves
PDF)
to both the admissions committee and graduate faculty. In
• Domestic students: SAT/ACT Scores - Due to disruptions
addition to music, what are you passionate about? Hobbies?
in testing schedules caused by COVID-19, prospective
Other interests? How has your background influenced your
first-year students may apply to Musicians Institute for
musical endeavors? What are your professional plans for
the 2021-2022 academic year without submitting SAT or
the future? How does obtaining a graduate degree play in to
ACT scores, though students may still choose to submit
your plans?
SAT or ACT scores if they wish.
• Transcripts: Please include a scanned copy of all official

247 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS
college transcripts (“unofficial” or “student copies” English speakers from countries such as the United
permitted). Grades and the names of both student and Kingdom, Australia, New Zealand, and Canada (except
institution must all be legible. If your transcript is not in Quebec), where English is both the only official language of
English, the country and the language of instruction.
please provide a translated copy. 2: Performance Review
• Letters of Recommendation: Please provide two letters of Please Submit Four Pre-screening Videos (MP4 format)
recommendation, one being from your most recent private • Please prepare four contrasting, un-edited selections
instructor. Please include recommender’s phone number(s) that highlight your performance & improvisational abilities
and email address at the end your resume. across a range of styles (i.e.: Rock, Jazz, Fusion, R&B,
• English Proficiency Requirement: Please provide official Funk, Country, Latin, World, etc.). Live performance utilizing
scores to either TOEFL (Test of English to Speakers of instrumentation of your choosing is required for all pre-
Other Languages), IELTS (International English Language screening materials. Play-along tracks are not permitted.
Testing System), PTE-Academic (Pearson Test of English), Be sure to label selections: Your name & instrument, song
or Duolingo if: title, composer/arranger, style. Recordings need not be
• English is NOT your native language. professional quality.
• You received an undergraduate degree from a college • Please include one arrangement OR original composition,
or university OUTSIDE the United States where English is complete with pdf score & mp3 audio-file (Sibelius score
NOT the primary language. preferred, if possible).
• Musicians Institute does not offer conditional admission for **Vocal Candidates submitting sonically enhanced videos
applicants who have not earned a passing TOEFL/IELTS/ (compression, auto-tune, rhythm alignment, EQ, punch-ins, edits,
Duolingo score. etc.) will not be considered for admission. **
• The score report is required before application processing
can be completed. 3: Result Notification
TOEFL: The minimum overall TOEFL score required for Prospective students will be notified by email of Performance
admission to graduate study at Musicians Institute is a 75 on review results within two weeks of their completed document
the TOEFL internet-based test (iBT). TOEFL scores expire (Step 1) & performance review submissions (Step 2). Candidates
after two years. Scores that are older than two years will not who successfully pass the audition process (Steps 1 & 2) will
be accepted by Musicians Institute. be invited to Musicians Institute to meet the faculty and tour the

GENERAL
IELTS Scores: As an alternative to the TOEFL, you school, along with completing required performance and written
may submit scores from the Academic Modules of placement tests. Upon email notification of your acceptance,
the International English Language Testing System please contact your advisor to reserve a Placement Testing Day
(IELTS) designed by the University of Cambridge Local & time-slot. Students must respond to offers of acceptance
Examinations Syndicate and administered by the British within one week (7 business days) to guarantee placement for
Council worldwide. Their website address is [Link] the upcoming quarter.
[Link]. The minimum overall band score required for
admission to graduate study at Musicians Institute is 6.5. 4: Placement Testing Days
IELTS scores expire after two years. Scores that are older During Placement Testing Days, admitted students will perform
than two years will not be accepted by Musicians Institute. together in various ensemble formats, take meetings with
PTE (Pearson Test of English) Academic: Musicians Institute faculty, tour the campus and complete performance and written
accepts PTE Academic scores. The university is still in placement tests (music theory, history, ear-training and keyboard
the process of determining minimum scores for ISE Exam proficiency). As outlined in Interview Day email notifications,
exemption, so these test scores will be reviewed on a case- prospective students will be expected to spend the full day on
by-case basis. campus.
DUOLINGO is also accepted with the minimum score of
100. Fully completed applications will be reviewed with placement
*English-Language Test Waiver: International applicants are priority given to students in the order of accepted application.
exempt from submitting English-proficiency scores under Accepted applicants will be notified by mail and telephone.
the following circumstances: Applicants who are not accepted will receive notification by mail
You hold a bachelor’s degree completed in its entirety in the only, along with the specific reasons for non-acceptance.
United States or another Anglophone (English speaking)
country.
The bachelor’s degree should be earned at a regionally
GENERAL EDUCATION
accredited university located in the United States, or at an GENERAL EDUCATION TRANSFER AGREEMENT
officially recognized university in another country where The two main components of the Bachelor of Music Degree are
English is both the language of instruction and the only the music coursework and the general education requirements.
officially recognized language of the country. Please note To fulfill the general education degree requirements, students
that the entire program needs to have been completed must complete 45-quarter units or 30 semester-units in liberal
in the qualifying country. Note: Dual-degree holders who arts subjects. Musicians Institute offers general elective courses
completed part of their degree in the U.S. do not qualify for selectively throughout the year. At the same time, Musicians
this waiver. Institute has a partnership with Los Angeles City College
Your native language is English. This applies to native (LACC). Students can take all required general education

248
 ADMISSIONS
courses, including a wide selection of subjects in English, Ensembles, Harmony & Theory, Ear Training, and Reading. In no
mathematics, natural science, social science and humanities from case may the total number of transfer credits (music and general
nearby LACC campus or other colleges. See Bachelor of Music education combined) exceed the maximum allowed under the
Degree requirements in this catalog for a summary of required Residency/Transfer of Credit Requirement (see Policies).
general education credit distribution.

Students may also transfer up to the maximum number of required APPLYING FOR TRANSFER CREDIT
general education units from other colleges and the credits will be Provide official transcripts and course catalogs of all college
reviewed by MI Registrar department and the Dean. Acceptance studies that are relevant to the desired transfer credits to:
of coursework will be based on standards set by the National Musicians Institute Office of Admissions
Association of Schools of Music and Musicians Institute. 6752 Hollywood Boulevard
Hollywood, CA 90028
LATE REGISTRATION POLICY FOR GENERAL EDUCATION
Transfer students who enter Musicians Institute with missing
COURSES:
official transcripts or classes in progress must meet with the
Students may enroll into MI’s general education courses after the
Dean of Baccalaureate Programs during their first quarter to
first day of the scheduled class only after receiving permission
confirm the transfer of those credits. The Admissions Office must
from the instructor and Chief Academic Officer (CAO). Students
receive all transcripts before the end of the student’s first quarter
should contact the Chief Academic Officer after the first day of
of enrollment at Musicians Institute.
the quarter. Enrollment into the course after the first day the class
has met is not guaranteed and subject to review by instructor and Note: see the Notice Concerning Transferability of Credits and Credentials
Chief Academic Officer. Consideration for late registration into Earned at Musicians Institute under Additional Information.
general education courses will conclude at the end of Thursday
of Week 2.
The process to enroll after the first day of the scheduled class is ABILITY TO BENEFIT NOTICE
as follows: Musicians Institute does not participate in Ability to Benefit
1. Student contacts instructor and CAO, Dr. Rachel Programs. As such, all students must meet minimum admissions
Yoon at rachel@[Link] for permission to enroll. requirements.
GENERAL

2. If instructor and CAO approve, student will be

notified of approval via email. REQUIREMENTS FOR MI ASSOCIATE DEGREE STUDENTS
3. Dr. Yoon will enter permission into student account.
4. After receiving permission, student visits Registrar APPLYING TO THE BM PROGRAM
Services. Registrar will review permission and enroll Applicants who complete an Associate of Arts in Performance
student. in Bass, Guitar, Drums, Keyboard Technology, or Vocals at
5. Student is now registered for the General Education Musicians Institute with a minimum cumulative GPA of 3.30, while
course. meeting all other Bachelor of Music admission requirements, will
6. Student is responsible to contact the instructor to be admitted to the Bachelor of Music Program. Each admitted
obtain notes or information from any missed student will be given a placement test in Harmony, Theory and
class session(s). Ear Training and placed at the appropriate level in those subjects
(in some cases, remedial coursework may be required).

ATTENDANCE POLICY FOR GENERAL EDUCATION Students who complete an Associate of Arts Degree at MI with a
COURSES: GPA lower than 3.30, or students who complete an Associate of
Given the high credit weight and length of each meeting for Arts Degree (Combined Emphasis), will be required to complete
general education courses, students may be excluded or dropped additional tests as part of the Bachelor of Music application
by the instructor if they have enrolled for a general education class process. Acceptance for admission will be subject to meeting
and do not attend or are absent from the first meeting. minimum test requirements.

If you know you will not be able to attend the first meeting, TRANSFER CREDITS FROM MI ASSOCIATE TO BM
please contact your instructor and Chief Academic Officer
as soon as possible so that you are not excluded or dropped PROGRAM
from the general education course. Students are expected Applicants who have completed MI’s Associate of Arts Degree
to attend every class for which they are registered. In rare in Performance (Bass, Guitar, Keyboard Technology, Drum,
cases, an absence may be excused. Please also see to the or Vocal), and have been accepted to the Bachelor of Music
Excused Absence Policy, located inside the College Catalog for Program, may transfer the following credits (for passed courses)
information on excused absences. toward their Bachelor of Music Degree completion requirements:
• Instrument Study: 12 credits
Additional credits from upper-level Associate classes may be
MUSIC TRANSFER CREDITS transferred based on results of Bachelor of Music entrance
The maximum number of transfer credits that may be applied
evaluation. These credits may include:
to satisfy music coursework requirements varies according to
• Private Lesson: up to 8 credits
the student’s initial placement in the areas of Private Lessons,

249 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS
• Ensembles: up to 4 credits are reviewed for acceptance on an ongoing basis. Accepted
• Electives: up to 9 credits applicants will be notified by mail or telephone. Applicants who
Transfer credits for students who are admitted to the Bachelor are not accepted will be notified by mail or telephone.
of Music Program after completing the Associate of Arts
Performance Degree will be evaluated on a course-by-course
basis.
SCHEDULING/REGISTRATION/ORIENTATION
MI Select students are expected to arrive prior to the start of
NON-CERTIFICATE PROGRAMS classes for Scheduling, Registration, and Orientation. Students
SUMMER SHOT MUSIC CAMP who need housing and/or roommate assistance should arrive at
One-Week Courses in Performance Studies (Bass, Drums, MI as early as possible prior to the start of classes.
Guitar, Keyboard Technology or Vocal) and Entertainment
Industry Studies (Independent Artist, Recording, Guitar Building
and more). PRO TOOLS CERTIFICATION
When offered, the Avid Pro Tools® certification courses are
non-accredited courses designed for those who wish to acquire
ELIGIBILITY: their Avid User and/or Operator Certification through weekend
There are no specific academic entrance requirements for classes at Musicians Institute in Hollywood, CA.
Summer Shot. Please visit [Link] for more
information. ELIGIBILITY:
The following prerequisites apply to those applying for the Pro
Tools Certification courses:
HOW TO APPLY TO SUMMER SHOT • Minimum Age: 16 (High School diploma/GED is not
Please send the following items together by mail or email: required)
• Completed application form • Basic computer knowledge including the ability to use
• $50.00 USD application fee a keyboard, mouse and an Apple or Windows based
operating system.
• Stereo Headphones (Student will need to bring to the first
SUMMER SHOT SCHEDULING/REGISTRATION/ day of class)

GENERAL
ORIENTATION:
Summer Shot students are expected to arrive prior to the start of
classes for Scheduling, Registration, and Orientation. Students HOW TO APPLY
who need housing and/or roommate assistance should arrive at Please visit: Pro [Link]
MI as early as possible prior to the start of classes. For updated 1. Complete the application form under the “Sign Up” Tab.
information, visit [Link].
2. $100.00 (USD) application fee is required.

MI SELECT
PRO TOOLS SCHEDULING/REGISTRATION/ORIENTATION:
(Non-certificate training in music) Pro Tools students are expected to arrive prior to the start of
Bass, Drum, Guitar, Keyboard, Vocal, Saxophone, classes for Scheduling, Registration, and Orientation. Students
Trombone, Trumpet who need housing and/or roommate assistance should arrive at
MI as early as possible prior to the start of classes. For updated
information, visit Pro [Link].
ELIGIBILITY
There are no specific academic entrance requirements for the INTERNATIONAL STUDENT
MI Select & MI Select Programs. Each applicant is individually INFORMATION
reviewed, taking into consideration his or her experience, past Musicians Institute is authorized under Federal law to enroll non-
achievements, aptitude and potential for growth. immigrant Foreign National students. Musicians Institute follows
a policy of equal opportunity in all of its educational activities,
admissions and employment; and does not discriminate because
of race, color, national origin, religion, sex, sexual orientation, age,
APPLICATION PROCESS: MI SELECT physical handicap, or marital status.
Please send the following items together by mail or email:
• Completed application form. MI’s International Student Office assists international students in
• $100.00 USD application fee. immigration and personal matters. A few important regulations
applying to all international students include:

APPLICATION REVIEW AND NOTIFICATION

Class sizes are limited and placement priority is given to students APPLICATION FEES
in the order of accepted application. Fully completed applications Any application fees must be submitted as an International

250
 ADMISSIONS
Money Order, Postal Money Order, Bank Wire Transfer, or Credit
Card for U.S. funds. Make and setup your payment on [Link].
FULL-TIME STATUS
All international students must maintain “full-time” status in order
com.
to satisfy student visa requirements.

SUFFICIENT FUNDS
All international students must submit an official letter from the ADDITIONAL INFORMATION
student’s, parent’s or sponsor’s bank certifying that there are NOTICE CONCERNING TRANSFERABILITY OF CREDITS
enough funds available for payment of tuition and living expenses AND CREDENTIALS EARNED AT MUSICIANS INSTITUTE
during the study period. All funds sent to MI must be in U.S. The transferability of credits you earn at Musicians Institute is at
dollars. the complete discretion of an institution to which you may seek
to transfer. Acceptance of the degree or certificate you earn in
your program is also at the complete discretion of the institution
ENGLISH LANGUAGE FLUENCY to which you may seek to transfer. If the credits, degree, or
Notice to students for whom English is a second or other certificate that you earn at this institution are not accepted at the
language: Musicians Institute does not provide English Language institution to which you seek to transfer, you may be required to
courses or support. All courses and correspondence takes place repeat some or all of your coursework at that institution. For this
in English. As such, a general fluency in English is necessary in reason, you should make certain that your attendance at this
order to benefit from your time at MI. institution will meet your educational goals. This may include
contacting an institution to which you may seek to transfer after
attending Musicians Institute to determine if your credits, degree,
TRANSLATED AND EVALUATED DOCUMENTS or certificate will transfer.
All documents must be in English or accompanied by a certified
English translation of the document.
DEFERRALS
Starting in the winter 2024 quarter, Bachelor of Music students
Accepted students may request a deferment of enrollment up to
must first have their transcripts evaluated and translated by a
one year beyond the date when they were scheduled to begin
third party company such as ([Link], [Link] or www.
their program. If the one-year time period is exceeded, the student
GENERAL

[Link]). After the transcript has been evaluated the student

must submit a new application, application fee and possible
may send the completed version to us via a secure emailed link
admissions requirements. The deferral must be requested in
or via postal mail in a sealed envelope.
writing before the start of the quarter for which the student was
originally accepted.
Starting in the spring 2024 quarter, Master of Music students
must first have their transcripts evaluated and translated by a
A request for deferring admission may be considered on a case-
third party company such as ([Link], [Link] or www.
by-case basis.
[Link]). After the transcript has been evaluated the student
may send the completed version to us via a secure emailed link Please note requests for deferments are granted solely at
or via postal mail in a sealed envelope. the discretion of the Director of Admissions, and relevant
documentation may be required. Scholarships awarded by the
Scholarship committee will be deferred for a maximum of one
ENGLISH LANGUAGE PROFICIENCY year, if the deferment request is approved.
English Language Proficiency tests (TOEFL, IELTS, PTEA,
Duolingo) are only required for admission to our Bachelor
Program and Masters Program; however, all classes are taught
in English and students must have a working competence in the
DISCLAIMER
While Musicians Institute provides no guarantee that employment
English language in both spoken and written communication
will result from attending or completing any program offered by
at the level of a Graduate of an American high school as
the institution, we are dedicated to assisting students in finding
demonstrated by the possession of a high school diploma or its
professional opportunities. For more information on the Artist &
equivalent, GED, or passage of a high school proficiency exam.
Industry Services department in the Artist & Career Services, visit
[Link].
STUDENT VISAS
A non-immigrant F-1 student visa is required for all programs
except MI Select Programs. Musicians Institute will assist APPROVED PROGRAMS NOT OFFERED FOR THIS
students in obtaining such visas and will confirm student status CATALOG YEAR
with inquiring agencies. An I-20 immigration form will be issued to • Associate of Science in Guitar Electronics,
the student upon meeting all entrance and financial requirements. Amplification and Effects
The student must take the I-20 form to the U.S. Embassy or • Associate of Science in Live Music Event Production
Consulate in his or her country of residence to obtain a student • Certificate in Guitar Craft (Acoustic Guitar Design, Set
visa in order to enter the United States. Neck Design) (MI Hollywood Campus)
• Certificate in Music Video, Film and Television Production

251 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS
• Certificate in Performance (Keyboard Technology / the Escuela de Música de Buenos Aires (EMBA) of Buenos
Production Track) Aires, Argentina, with EMBA also serving as an educational
• Associate of Arts in Performance (Keyboard Technology / center for Musicians Institute in Argentina. EMBA’s status as
Production Track) an educational center for MI allows MI to facilitate the transfer of
EMBA students directly into MI’s Bachelor level programs. The
agreement between the two institutions also calls for EMBA to
DIVERSITY STATEMENT utilize its promotional capabilities and professional networks to
Musicians Institute is committed to fostering an inclusive and enhance MI’s standing and reputation in the Argentinian market.
diverse environment for the community it serves. Members of the
MI community include students, faculty, administration, families, Music Academy International (MAI), Nancy, France
and visiting artists. As an institution that is dedicated to preparing With many options concerning their length of stay in Southern
students for careers in the diversified music and entertainment California, MAI students can take advantage of an agreement
industry, MI strives to cultivate talented individuals from across all between their home school and Musicians Institute, in which
backgrounds with conscious efforts to enrich the global public. they may complete two or three quarters at Musicians Institute to
complete an Associates Degree in Performance or eight or nine
quarters at Musicians Institute to complete a Bachelor’s Degree
in Performance. Transfer of completed credits between the two
RELATIONSHIPS WITH DOMESTIC INSTITUTIONS OF institutions is guaranteed.
HIGHER EDUCATION
1500 Sound Academy, Inglewood, CA USA. The Songwriter Music College, Singapore
Musicians Institute and the 1500 Sound Academy have The Songwriter Music College will serve as an educational
established a friendly academic relationship in order to facilitate partner of MI in Singapore with the privilege of transferring
the exchange of information on educational programs, teaching students directly to MI’s Certificate, Associate of Arts, Associate
materials, and facilities. Specific courses completed at 1500 of Science or Bachelor of Music programs.
Sound Academy have been established as accepted for transfer
to Musicians Institute. Zhejiang Conservatory of Music (ZJCM), Hangzhou, China
In the interest of expanding educational opportunities and the
furthering of international understanding, Musicians Institute and

GENERAL
RELATIONSHIPS WITH INTERNATIONAL INSTITUTIONS the Zhejiang Conservatory of Music have agreed to facilitate the
OF HIGHER EDUCATION exchange of students between the two institutions for periods of
Beijing Contemporary Music Academy (BCMA), China one semester (ZJCM) or two quarters (MI).
As a representative of MI in China and educational partner,
BMCA will serve as an information center, recruiter, authorized 1500 Sound Academy
testing institution, and promoter for Musicians Institute. BMCA Musicians Institute and the 1500 Sound Academy have
students are able to complete the first two years of the Musicians established a friendly academic relationship in order to facilitate
Institute’s Bachelor’s degree in Performance while attending the exchange of information on educational programs, teaching
BMCA. This will allow them to attend Musicians Institute in materials, and facilities. Both institutions agreed to exchange
Hollywood at the beginning of their third year of the Bachelor’s information on educational programs, teaching materials
degree in Performance program. and facilities. Musicians Institute agrees to accept 6 credits
from 1500 Sound Academy. Specific courses, a maximum of
Baekseok University, Korea six credits, completed at 1500 Sound Academy have been
Musicians Institute enjoys a student exchange program with established as accepted for transfer to Musicians Institute.
Baekseok University. Described as a non-degree seeking
reciprocal exchange, students enroll in courses similar to those
in which they would enroll at their home institution. Students
will enroll as full-time students during their time as exchange
students. Degrees will be awarded to students by their home
institution.

College of Music, Mahidol University, Nakhon Pathom,

Thailand
The College of Music at Mahidol University and Musicians
Institute enjoy a memorandum of understanding between the two
institutions, stating an agreement to foster academic exchange
and cooperation. The scope of the understanding is rather wide,
incorporating any program offered by either institution that may
be of benefit to the other.

EMBA, Escuela de Música de Buenos Aires, Buenos Aires,

Argentina
Musicians Institute enjoys a student exchange program with

252
 TUITION & FEES
TUITION QUARTERS PER QUARTER TOTAL CREDITS PER CREDIT TOTAL
CERTIFICATE
PERFORMANCE 4 $9,675.00 60 $645.00 $38,700.00
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL, SAXOPHONE, TROMBONE,
TRUMPET)

SONGWRITING 2 $9,675.00 30 $645.00 $19,350.00

AUDIO ENGINEERING 2 $9,675.00 30 $645.00 $19,350.00
STUDIO RECORDING 4 $9,675.00 60 $645.00 $38,700.00
ELECTRONIC MUSIC PRODUCTION 2 $9,675.00 30 $645.00 $19,350.00
INDEPENDENT ARTIST 2 $9,675.00 30 $645.00 $19,350.00
ARTIST / PRODUCER / ENTREPRENEUR 4 $9,675.00 60 $645.00 $38,700.00
MUSIC BUSINESS 2 $9,675.00 30 $645.00 $19,350.00
LIVE MUSIC EVENT PRODUCTION 4 $9,675.00 60 $645.00 $38,700.00
CERTIFICATE – PART-TIME
PERFORMANCE 8 $4,837.50 60 $645.00 $38,700.00
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL, SAXOPHONE, TROMBONE,
TRUMPET)

ONGWRITING 4 $4,837.50 30 $645.00 $19,350.00

AUDIO ENGINEERING 4 $4,837.50 30 $645.00 $19,350.00
STUDIO RECORDING 8 $5,160.00 60 $645.00 $38,700.00
ELECTRONIC MUSIC PRODUCTION 4 $4,837.50 30 $645.00 $19,350.00
INDEPENDENT ARTIST 4 $4,837.50 30 $645.00 $19,350.00
ARTIST / PRODUCER / ENTREPRENEUR 8 $4,837.50 60 $645.00 $38,700.00
MUSIC BUSINESS 4 $4,837.50 30 $645.00 $19,350.00
LIVE MUSIC EVENT PRODUCTION 8 $4,515.00 60 $645.00 $38,700.00
GENERAL

ASSOCIATE DEGREES
PERFORMANCE 6 $9,675.00 90 $645.00 $58,050.00
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL, SAXOPHONE, TRUMPET,
TROMBONE)

// COMBINED EMPHASIS 6 $9,675.00 90 $645.00 $58,050.00

ASSOCIATE OF SCIENCE IN MUSIC BUSINESS 6 $9,675.00 90 $645.00 $58,050.00
ASSOCIATE OF SCIENCE IN STUDIO RECORDING 6 $9,675.00 90 $645.00 $58,050.00
ASSOCIATE DEGREES - PART-TIME
PERFORMANCE 12 $4,837.50 90 $645.00 $58,050.00
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL, SAXOPHONE, TRUMPET,
TROMBONE)

// COMBINED EMPHASIS 12 $4,837.50 90 $645.00 $58,050.00

MUSIC BUSINESS 12 $4,837.50 90 $645.00 $58,050.00

STUDIO RECORDING 12 $4,837.50 90 $645.00 $58,050.00

LIVE MUSIC EVENT PRODUCTION 12 $4,837.50 90 $645.00 $58,050.00

BACHELOR OF MUSIC
ALL STUDENTS 12 $10,800.00 135 $720.00 $97,200.00
WITH MINOR** 14 $10,800.00 160 $720.00 $115,200.00
GENERAL EDUCATION CREDITS (VARIES) (VARIES) 45 $363.00 $16,335.00
MASTER OF MUSIC
PERFORMANCE 4 (VARIES) 45 $720.00 $32,400.00

NON-CERTIFICATE
MI SELECT*** 1 $9,675.00 15 $645.00 $9,675.00

TUITION DEPOSIT: $300.00; All programs are refundable.

NOTE: Published program lengths are based on optimal course load at 12 credits per quarter for Baccalaureate Programs and 15 credits per quarter for all other programs. Please see Enrollment
Status for further information; GE units average 3.75 per quarter. Tuition costs vary by quarter based on number of credits.
** Based on per-unit cost of Major and minor courses. Actual quarter amounts may vary.
*** Attendance or completion of any course does not guarantee subsequent advanced placement in a Certificate or Degree program. MI Select quarter course load equivalent to 15-credit
Certificate/AA course load for one quarter.

253 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 TUITION & FEES
FEES APPLICATION EQUIPMENT MATERIALS OTHER FEES ACADEMIC SUPPORT TOTALFEES
COST
(Non-Refundable) FEE ††
CERTIFICATE
PERFORMANCE $100.00 $0.00 $409.78 $116.00 $800.00 $1,425.78
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL, SAXOPHONE,
TROMBONE, TRUMPET)

SONGWRITING $100.00 $0.00 $459.98 $710.00 $400.00 $1,669.98

AUDIO ENGINEERING $100.00 $125.00 $199.00 $829.00 $400.00 $1,653.00
STUDIO RECORDING $100.00 $125.00 $464.00 $1,419.00 $800.00 $2,908.00
ELECTRONIC MUSIC PRODUCTION $100.00 $0.00 $46.28 $108.00 $400.00 $654.28
INDEPENDENT ARTIST DEVELOPMENT $100.00 $0.00 $104.85 $116.00 $400.00 $720.85
ARTIST / PRODUCER / ENTREPRENEUR $100.00 $0.00 $242.23 $108.00 $800.00 $1,150.23
MUSIC BUSINESS $100.00 $0.00 $88.94 $0.00 $400.00 $588.94
LIVE MUSIC EVENT PRODUCTION $100.00 $95.00 $369.00 $1,436.00 $800.00 $2,800.00

CERTIFICATE – PART-TIME
PERFORMANCE $100.00 $0.00 $409.78 $116.00 $1,600.00 $2,225.78
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL)

SONGWRITING $100.00 $0.00 $459.98 $710.00 $800.00 $2,069.98

AUDIO ENGINEERING* $100.00 $125.00 $199.00 $829.00 $800.00 $2,053.00
STUDIO RECORDING $100.00 $125.00 $464.00 $1,419.00 $1,600.00 $3,708.00
ELECTRONIC MUSIC PRODUCTION $100.00 $0.00 $46.28 $108.00 $800.00 $1,054.28
INDEPENDENT ARTIST DEVELOPMENT $100.00 $0.00 $104.85 $116.00 $800.00 $1,120.85
ARTIST / PRODUCER / ENTREPRENEUR $100.00 $0.00 $242.23 $108.00 $1,600.00 $2,050.23
MUSIC BUSINESS $100.00 $0.00 $88.94 $0.00 $800.00 $988.94
LIVE MUSIC EVENT PRODUCTION $100.00 $95.00 $369.00 $1,436.00 $1,600.00 $3,600.00

ASSOCIATE DEGREES

GENERAL
PERFORMANCE $100.00 $0.00 $544.63 $116.00 $1,200.00 $1,970.63
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL, SAXOPHONE,
TROMBONE, TRUMPET)

// COMBINED EMPHASIS $100.00 $0.00 $409.78 $945.00 $1,200.00 $2,654.78

ASSOCIATE OF SCIENCE IN MUSIC BUSINESS $100.00 $0.00 $15.00 $500.00 $1,200.00 $1,815.00
ASSOCIATE OF SCIENCE IN STUDIO RECORDING $100.00 $125.00 $464.00 $2,138.00 $1,200.00 $4,027.00

ASSOCIATE DEGREES - PART-TIME

PERFORMANCE $100.00 $0.00 $554.63 $116.00 $2,400.00 $3,170.63
(BASS, DRUM, GUITAR, KEYBOARD, VOCAL, SAXOPHONE,
TROMBONE, TRUMPET)

// COMBINED EMPHASIS $100.00 $0.00 $409.78 $945.00 $2,400.00 $3,854.78

ASSOCIATE OF SCIENCE IN MUSIC BUSINESS $100.00 $0.00 $15.00 $500.00 $2,400.00 $3,015.00
ASSOCIATE OF SCIENCE IN STUDIO RECORDING $100.00 $125.00 $464.00 $2,138.00 $2,400.00 $5,227.00

BACHELOR OF MUSIC
PERFORMANCE MAJOR $100.00 $0.00 $299.98 $1,000.00 $2,400.00 $3,799.98
W/MINOR IN AUDIO PRODUCTION* $100.00 $125.00 $299.98 $1,829.00 $2,800.00 $5,153.98
W/MINOR IN MUSIC INDUSTRY STUDIES $100.00 $0.00 $299.98 $1,000.00 $2,800.00 $4,199.98
COMPOSITION $100.00 $0.00 $169.96 $2,800.00 $2,400.00 $5,469.96
W/MINOR IN AUDIO PRODUCTION* $100.00 $125.00 $169.96 $3,629.00 $2,800.00 $6,823.96
W/MINOR IN MUSIC INDUSTRY STUDIES $100.00 $0.00 $169.96 $2,800.00 $2,800.00 $5,869.96
SONGWRITING & PRODUCTION $100.00 $0.00 $169.96 $2,700.00 $2,400.00 $5,369.96
W/MINOR IN AUDIO PRODUCTION* $100.00 $125.00 $169.96 $3,529.00 $2,800.00 $6,723.96
W/MINOR IN MUSIC INDUSTRY STUDIES $100.00 $0.00 $169.96 $2,700.00 $2,800.00 $5,769.96

MASTER OF MUSIC
PERFORMANCE MAJOR $100.00 $0.00 $75.00 $500.00 $800.00 $1,475.00
NON-CERTIFICATE
MI SELECT $100.00 $0.00 $0.00 $0.00 $200.00 $300.00
NOTES:
Tuition and fees for all programs are charged on a quarterly basis and are due at the time of registration for each quarter of instruction. All programs require students to source their own materials,
software and equipment. Visit [Link]/student-materials for a complete list of these required items. Students are not allowed to enter MI facilities or attend classes until required tuition and fees
are paid in full. See Student Billing department for current information. Costs vary according to manufacturer prices and features. Please contact our Admissions Department for details on the fees
pertaining to your specific start date.
* Audio Engineering/DJ Course Facility Fee 254
 TUITION & FEES
STATE OF CALIFORNIA STUDENT application for recovery from STRF for the debt that would have
otherwise been eligible for recovery. If it has been more than four
TUITION RECOVERY FUND (4) years since the action or event that made the student eligible,
The State of California established the Student Tuition Recovery the student must have filed a written application for recovery
Fund (STRF) to relieve or mitigate economic loss suffered by a within the original four (4) year period, unless the period has been
student in an educational program at a qualifying institution, who extended by another act of law.
is or was a California resident while enrolled, or was enrolled However, no claim can be paid to any student without a social
in a residency program, if the student enrolled in the institution, security number or a taxpayer identification number.
prepaid tuition, and suffered an economic loss. Unless relieved
of the obligation to do so, you must pay the state-imposed
Students who have exhausted all other possible ways to recover
assessment for the STRF, or it must be paid on your behalf, if
lost tuition expense may file STRF claim application. You may
you are a student in an educational program, who is a California
resident, or are enrolled in a residency program, and prepay all or download a STRF claim application by visiting our website
part of your tuition. [Link]
You are not eligible for protection from the STRF and you are not
required to pay the STRF assessment, if you are not a California
resident, or are not enrolled in a residency program.” ADMINISTRATIVE FEES
(b) In addition to the statement required under subdivision (a) Re-Application Fee $50
of this section, a qualifying institution shall include the following Credit by Examination/Test Out Fee $40 per course
statement in its school catalog: Lost or Renewed Student ID Card Fee $10
“It is important that you keep copies of your enrollment agreement, Transcript Fee $35
financial aid documents, receipts, or any other information
that documents the amount paid to the school. Questions COURSE-RELATED FEES:
regarding the STRF may be directed to the Bureau for Private
Some courses require additional fees for supplies and/
Postsecondary Education, 1747 N. Market Blvd. Suite 225,
or equipment. Course-related fees must be paid at the time
Sacramento, CA 95834, (916) 574-8900 or (888) 370-7589.
of Registration. Courses with related fees are noted under
To be eligible for STRF, you must be a California resident or are Course Descriptions. Fees may change without notice; current
enrolled in a residency program, prepaid tuition, paid or deemed information will be provided at the time of registration.
to have paid the STRF assessment, and suffered an economic
loss as a result of any of the following: TUITION PAYMENT PLAN
GENERAL

1. The institution, a location of the institution, or an educational Musicians Institute offers to all students a tuition and fees
program offered by the institution was closed or discontinued, and payment plan that divides the total cost of enrollment, tuition and
you did not choose to participate in a teach-out plan approved by fees without interest, for one quarter of study into three equal
the Bureau or did not complete a chosen teach-out plan approved payments. Students will receive the invoice for their quarter of
by the Bureau. study two weeks before the first day of the quarter. Tuition and
2. You were enrolled at an institution or a location of the fees can be paid in two or three equal installments, with the
institution within the 120 day period before the closure of the first payment being due on the first day of scheduled classes,
institution or location of the institution, or were enrolled in an Monday of week one of the quarter.
educational program within the 120 day period before the
program was discontinued. Payment plans are created as follows. Dates can be adjusted
3. You were enrolled at an institution or a location of the by the Student Billing department to meet the student’s specific
institution more than 120 days before the closure of the institution needs, however, adjustments need to be requested before the
or location of the institution, in an educational program offered first payment is due. Plan due dates can vary from quarter to
by the institution as to which the Bureau determined there was a quarter.
significant decline in the quality or value of the program more than
120 days before closure.
Three installment plan:
4. The institution has been ordered to pay a refund by the
• First payment due on or before Monday of week one with a
Bureau but has failed to do so.
five day grace period. The first payment must be made in full by
5. The institution has failed to pay or reimburse loan proceeds
Friday of week one. If the payment isn’t made by Wednesday of
under a federal student loan program as required by law, or has
failed to pay or reimburse proceeds received by the institution in week two, a hold will be placed on the student account.
excess of tuition and other costs. • Second payment due on or before Monday of week five. If the
6. You have been awarded restitution, a refund, or other payment isn’t made by Friday of week five, a hold will be placed
monetary award by an arbitrator or court, based on a violation of on the student account.
this chapter by an institution or representative of an institution, but • Third and final payment due on Monday of week ten. If the
have been unable to collect the award from the institution. payment isn’t made by Thursday of week ten, a hold will be
7. You sought legal counsel that resulted in the cancellation of placed on the student account.
one or more of your student loans and have an invoice for services
rendered and evidence of the cancellation of the student loan or Two installment plan:
loans. • First payment due on or before Monday of week one with a
To qualify for STRF reimbursement, the application must be five day grace period. The first payment must be made in full by
received within four (4) years from the date of the action or event Friday of week one. If the payment isn’t made by Wednesday of
that made the student eligible for recovery from STRF. week two, a hold will be placed on the student account.
A student whose loan is revived by a loan holder or debt collector • Second and final payment due on or before Wednesday of
after a period of noncollection may, at any time, file a written week five, one month after the initial payment. If the payment

255 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 TUITION & FEES
isn’t made by Friday of week five, a hold will be placed on the audio playback.
student account.
Apple Devices:
A “hold” placed on a student account will result in the MI iPad (iPad2 or newer recommended*)
Hollywood student’s ID badge being flagged upon scanning, iPad Mini (Retina display suggested*)
preventing them from entering the campus. MI Online students iPhone (4s or newer recommended*)
will be denied access to the learning management system (LMS) iOS 7 or above is recommended.
should a “hold” be placed on their account, preventing them
from attending their online class meetings and accessing course *All device versions are technically compatible with the delivery
materials held within the LMS. All “holds” on student accounts application. However, older devices may be limited by memory
are lifted once tuition and fees payments that are due have been and CPU requirements of a given book/file size. It is likely that
paid via the Billing office. students with iOS devices pre-iPad 2/iPhone 4 will experience
diminished functionality of the delivery application.
Debit and credit cards can be placed on automatic payment for
the agreed upon dates for the convenience of students and/or Android Devices:
parents. Phone & tablet devices utilizing the Android OS are compatible
with the delivery application. Due to the wide variety of
Payment plans must be established at the beginning of each manufacturers and models, a standardized list of actual devices
quarter of enrollment; they do not rollover into the following cannot be issued. Android OS 4.4 or above is recommended.
quarter, nor do auto payments continue into a subsequent
quarter.
Desktop Readers (Mac and Windows):
These desktop reader applications require Adobe AIR to be
Payment plans must be paid in full before a student can continue
in a subsequent quarter of study. installed and current on the machine. All tech specifications
are related to same minimum requirements for Adobe AIR
For Federal Financial Aid students whose payment is pending, installation: [Link]
they must make a payment of $150 by no later than Monday of html.
week three to ensure their commitment to beginning / continuing
their program. Windows
2.33GHz or faster x86-compatible processor, or Intel Atom™

GENERAL
Checks returned for non-payment will result in the student 1.6GHz or faster processor for netbook class devices
account being assessed a $25 service fee. Microsoft® Windows Vista® Home Premium, Business,
Ultimate, or Enterprise (including 64 bit editions) with Service
Students who have graduated, been terminated, or have Pack 2, Windows 7, or Windows 8 Classic
withdrawn with outstanding balances will be notified of the risk 512MB of RAM (1GB recommended).
of their account being sent to a collection agency.
Mac OS
Intel® Core™ Duo 1.83GHz or faster processor
BOOKS AND MATERIALS Mac OS X v10.7, v10.8, or v10.9
512MB of RAM (1GB recommended)
BOOKS, DEVICES AND SUPPLIES Questions about your device’s specifications and requirements
may be directed to Instructional & Information Technology
For a complete list of all books/materials, as well as prices and
Services at helpdesk@[Link].
purchasing information, please visit:
For all other inquires, please contact your Program Chair or the
[Link]
Student Affairs Department at studentaffairs@[Link].

BYOD POLICY We have made every effort to ensure that this material is
Each student at Musicians Institute must have a device that available on a multitude of different devices and operating
allows for access to our Learning Management System (LMS) systems. Please see [Link]/byod for details on your
and corresponding materials. This is a requirement of enrollment device’s requirements.
at Musicians Institute. Musicians Institute has made every effort
to ensure that this material is available on a multitude of different Much of MI’s course and curricular content is delivered solely
devices/operating systems. in an electronic format, so each student must possess a
device that allows for access to our Learning Management
As such, you will need a device that meets the following System (LMS) and corresponding course materials. This is a
specifications below: requirement of enrollment at Musicians Institute.

For a complete list of all books/materials, as well as prices and

GENERAL REQUIREMENTS: purchasing information, please visit [Link]
• A smart phone, tablet or laptop computer
• Internet connection for device/computer (wi-fi or ethernet financial-aid/tution-fees/ and click on the Textbook and
recommended). Equipment header.
• Built-in or external speakers, headphones, or similar for ​

256
 TUITION & FEES
BACHELOR DEGREE PROGRAM:
The cost of books and supplies averages approximately $325
per quarter for students enrolled in a full-time course of study.
Actual costs will vary depending on specific courses and credit
loads.

COST OF LIVING
The cost of living while attending MI varies with each student’s
personal needs. Below are the maximum living expense budgets
per month for the 2020–2021 academic year,as prescribed by
the California Student Aid Commission, based on average costs
statewide.
To arrive at a total cost for your program, multiply the monthly
costs by the number of months in that program (for example,
AA Degree = 18 months).

Student living at home with parents (per month):

Tuition varies by program
Books & Supplies $105
Food & Housing $1,125
Transportation $179
Personal/Miscellaneous $401
Total (not including tuition): $1,810

Student living off campus (per month):

Tuition varies by program
GENERAL

Books & Supplies $105

Food & Housing $2,159
Transportation $196
Personal/Miscellaneous $492
Total (not Including tuition) $2,952

257 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
CERTIFICATE & DEGREE BREAKDOWN
(DISTANCE LEARNING)

FULL–TIME
CERTIFICATE
Songwriting 2 QUARTERS / 30 CREDITS*
Industry Studies 2 QUARTERS / 30 CREDITS*
Independent Artist Development, Electronic Music
Production, Studio Recording Technology or Music Business
Artist/Producer/Entrepreneur 4 QUARTERS / 60 CREDITS**
Performance Studies 4 QUARTERS / 60 CREDITS*
Bass, Drum, Guitar, Keyboard, Vocal

ASSOCIATE DEGREES
Performance Studies 6 QUARTERS / 90 CREDITS*
Bass, Drum, Guitar, Keyboard, Vocal
Industry Studies 6 QUARTERS / 90 CREDITS*
Studio Recording Technology or Music Business
Combined Emphasis 6 QUARTERS / 90 CREDITS*
Major: Bass, Drum, Guitar, Keyboard, Vocal, (4 QUARTERS PERFORMANCE + 2 QUARTERS EMPHASIS)
Emphasis: Studio Recording Technology, Independent Artist
Development, Electronic Music Production, Songwriting, or
Music Business

BACHELOR OF MUSIC DEGREES

Performance (Contemporary Styles) 12 QUARTERS / 180 CREDITS*

Bass, Drum, Guitar, Keyboard, Vocal

Songwriting & Production 12 QUARTERS / 180 CREDITS*

*Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs; 15 units per
258 quarter for Certificate and Associate Programs and 7-8 units per quarter for Part-time programs.
**30 credits to complete a Minor in the B.M. These courses/credits can be taken and completed at any time.
 CERTIFICATE & DEGREE BREAKDOWN
(DISTANCE LEARNING)

PART–TIME
CERTIFICATE
Songwriting 4 QUARTERS / 30 CREDITS*
Industry Studies 4 QUARTERS / 30 CREDITS*
Independent Artist Development, Electronic Music
Production, Studio Recording Technology or Music Business
Artist/Producer/Entrepreneur 8 QUARTERS / 60 CREDITS**
Performance Studies 8 QUARTERS / 60 CREDITS*
Bass, Drum, Guitar, Keyboard, Vocal

ASSOCIATE DEGREES
Performance Studies 12 QUARTERS / 90 CREDITS*
Bass, Drum, Guitar, Keyboard, Vocal
Industry Studies 12 QUARTERS / 90 CREDITS*
Studio Recording Technology or Music Business
Combined Emphasis 12 QUARTERS / 90 CREDITS*
Major: Bass, Drum, Guitar, Keyboard, Vocal, (4 QUARTERS PERFORMANCE + 2 QUARTERS EMPHASIS)
Emphasis: Studio Recording Technology, Independent Artist
Development, Electronic Music Production, Songwriting, or
Music Business

NON-CERTIFICATE
MIO SELECT 10 WEEKS
Performance Studies
Bass, Drum, Guitar, Keyboard, Vocal, Common Course

*Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs; 15 units per
quarter for Certificate and Associate Programs and 7-8 units per quarter for Part-time programs. 259
**30 credits to complete a Minor in the B.M. These courses/credits can be taken and completed at any time.
 DISTANCE LEARNING

260
 CERTIFICATE (DISTANCE LEARNING)
ELECTRONIC MUSIC PRODUCTION

The Electronic Music Production Certificate Program at Musicians Institute is a two-quarter, 30-unit postsecondary
educational/vocational program created to provide students with education and practical training sufficient to create a
foundation for a career as an electronic music producer in the contemporary music and entertainment industry.
Students in this program will gain the technical knowledge and professional skills to grow as independent electronic
music producers, beat makers, and remix artists in a variety of musical settings in the industry.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM

COURSE CREDIT
Private Instruction 1-2 2
Musicianship 1-2 3
MAJOR AREA = 21 CREDITS Keyboard Essentials 1-2 2
Vocal Production 1
Production Advising 1-2 2
CERTIFICATE

Track Building 1-2 4

Remixing 1
Beat Making and Maschine 1
Sound Design w/Ableton Live 1-2 3
Final Project for EMP 2

Plugin Processing 1
STUDIES IN MUSIC = 6 CREDITS Music Mastering 1
DAW 1-2: Ableton Live© for DJs & Electronic
Music Producers 1-2 2
Business of Electronic Music Production 2
& Performance

ELECTIVES = 3 CREDITS Various 3

Certificate in Electronic Music Production Program Learning Outcomes:

1. Develop and demonstrate professional production abilities in contemporary electronic music styles through studies
in production, digital audio workstations, audio engineering, and sound design, using contemporary technology and
techniques.
2. Build and demonstrate fundamental aptitude, adaptability, and inventiveness through the study of traditional and
contemporary Western music theory, keyboard proficiency, ear training, song arrangement, and stylistic appropriateness as
pertaining to modern electronic music.
3. Develop a baseline fluency in entertainment business practices and demonstrate the ability to navigate and self-manage
their career, through studies in copyright law, marketing and promotions, and business contracts.

261
THIS CATALOG APPLIES TO ACADEMIC YEAR 2023/2024: JUNE 30, 2023 – JUNE 29, 2024
 CERTIFICATE (DISTANCE LEARNING)
ELECTRONIC MUSIC PRODUCTION

CERTIFICATE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
EMP-PL-ON Private Instruction 1 1 EMP-PL-ON Private Instruction 2 1
DJ-106-ON Musicianship 1 1.5 DJ-206-ON Musicianship 2 1.5
ARTST-380-ON Keyboard Essentials 1 1 ARTST-480-ON Keyboard Essentials 2 1
AUDIO-215-ON Vocal Production 1 EMP-202-ON Production Advising 2 1
EMP-102-ON Production Advising 1 1 EMP-207-ON Track Building 2 2
EMP-107-ON Track Building 1 2 EMP-209-ON Remixing 1
EMP-016-ON Beat Making and Maschine 1 EMP-211-ON Sound Design w/Ableton Live 2 1.5
EMP-111-ON Sound Design w/Ableton Live 1 1.5 EMP-203-ON Final Project for EMP 1
STUDIES IN MUSIC STUDIES IN MUSIC
EMP-214-ON Plugin Processing 1 EMP-216-ON Music Mastering 1
DJ-058-ON DAW 1: Ableton Live© for DJs & 1 DJ-158-ON DAW 2: Ableton Live© for DJs & 1
Electronic Music Producers 1 Electronic Music Producers 2
EMP-108-ON The Business of Electronic Music 1 EMP-208-ON The Business of Electronic Music 1
Production & Performance1 Production & Performance 2
ELECTIVES ELECTIVES
Various Various 2 Various Various 1

TOTAL 15 TOTAL 15

262
 CERTIFICATE (DISTANCE LEARNING)
ELECTRONIC MUSIC PRODUCTION

ELECTRONIC MUSIC PRODUCTION

30 CREDITS / 4 QUARTERS/ PART-TIME
The part-time Electronic Music Production Program is designed for individuals wishing to pursue
a Certificate in Electronic Muic Production who, due to employment, time constraints, family
responsibilities, or health reasons, may not be able to undertake a traditional full-time program.
Specific requirements and regulations apply to enrollment in the part-time Electronic Music Production
program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
EMP-PL-ON Private Instruction 1 1 EMP-PL-ON Private Instruction 2 1
DJ-106-ON Musicianship 1 1.5 DJ-206-ON Musicianship 2 1.5
ARTST-380-ON Keyboard Essentials 1 1 EMP-102-ON Production Advising 1 1
EMP-016-ON Beat Making and Maschine 1 EMP-107-ON Track Building 1 2
STUDIES IN MUSIC EMP-111-ON Sound Design w/Ableton Live 1 1.5
DJ-058-ON DAW 1: Ableton Live© for DJs & ELECTIVES
CERTIFICATE

Electronic Music Producers 1 1 Various Various 1

EMP-108-ON The Business of Electronic Music
Production & Performance1 1 TOTAL 8
ELECTIVES
Various Various 1

TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-480-ON Keyboard Essentials 2 1 EMP-202-ON Production Advising 2 1
AUDIO-215-ON Vocal Production 1 EMP-209-ON Remixing 1
EMP-207-ON Track Building 2 2 EMP-211-ON Sound Design w/Ableton Live 2 1.5
STUDIES IN MUSIC EMP-203-ON Final Project for EMP 2
EMP-214-ON Plugin Processing 1 STUDIES IN MUSIC
DJ-158-ON DAW 2: Ableton Live© for DJs & EMP-216-ON Music Mastering 1
Electronic Music Producers 2 1 ELECTIVES
EMP-208-ON The Business of Electronic Music Various Various 1
Production & Performance 2 1
TOTAL 7.5
TOTAL 7

263
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
INDEPENDENT ARTIST DEVELOPMENT

Instrumentalists, singers, songwriters, rappers, DJs and producers learn the entire process of creating their own project—
from writing and recording to marketing, publicity, website design and final release. This program is designed to equip
musicians with the various skills needed to independently write, record and market their original material.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Recording Techniques for Songwriters &
Producers 1–2 4
Project Advising 1–2 4
MAJOR AREA = 11 OR 13 CREDITS DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
DEPENDING ON CHOICE OF DAW STUDY
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Artist Identity 1
Final Project 2
CERTIFICATE

Business Practices for Musicians 1–2 3

PROF. DEVELOPMENT = 9 CREDITS Independent Artist Marketing 2
Graphic Design for Artists 1–2 4

Musicianship 1–2 3
MUSICIANSHIP = 6 CREDITS
Songwriting for Artists 1–2 3

ELECTIVES = 2 OR 4 CREDITS
Various 2 or 4
DEPENDING ON CHOICE OF DAW STUDY
Choice of DAW study explained:
Certificate in Independent Artist Development (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

Certificate in Independent Artist Development Program Learning Outcomes:

1. Develop and implement professional performance abilities in contemporary commercial music styles as engineers and
producers through studies in audio engineering, music production, and digital audio workstations.
2. Establish and demonstrate professional depth, versatility and creativity through the study of artist identity and branding,
public relations, visual media and web design as pertaining to a contemporary professional songwriter and producer.
3. Build and exhibit fundamental proficiencies in traditional and contemporary Western music theory, ear training,
rhythmic studies, and songwriting.
4. Develop a baseline fluency in entertainment business practices and demonstrate the ability to navigate and self-manage
their career, through studies in copyright law, marketing and promotions, and business contracts.

264
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
INDEPENDENT ARTIST DEVELOPMENT

CERTIFICATE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DAW Choose one of the following three ARTST-103-ON Artist Identity 1
DAW platforms: DAW The second course in selected
AUDIO-159-ON Pro Tools 1 2 DAW study
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-259-ON Pro Tools 2 2
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-264-ON Ableton Live Online 2 1
ARTST-101-ON Recording Techniques for Songwriters
& Producers 1 2 ARTST-201-ON Recording Techniques for Songwrit-
ARTST-111-ON Project Advising 1 2 ers & Producers 2 2
PROF. DEV. ARTST-211-ON Project Advising 2 2
MUBUS-0360-ON Business Practices for Musicians 1 1.5 ARTST-203-ON Final Project 2
MUBUS-0307-ON Independent Artist Marketing 2 PROF. DEV.
CC-307-ON Graphic Design for Artists 1 2 MUBUS-0460-ON Business Practices for Musicians 2 1.5
MUSICIANSHIP CC-407-ON Graphic Design for Artists 2 2
ARTST-106-ON Musicianship 1 1.5 MUSICIANSHIP
ARTST-107-ON Songwriting for Artists 1 1.5 ARTST-206-ON Musicianship 2 1.5
ELECTIVES ARTST-207-ON Songwriting for Artists 2 1.5
Various Various (Pro Tools selected for DAW study) 0 ELECTIVES
Various Various (Logic Pro or Ableton Live selected Various Various (Pro Tools selected for DAW study) 0
for DAW study) 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
TOTAL 14.5
TOTAL 15.5

The part-time Independent Artist Program is designed for individuals wishing to pursue a certificate in
Independent Artist Development who, due to employment, time constraints, family responsibilities, or
health reasons, may not be able to undertake a traditional full-time program. Specific requirements and
regulations apply to enrollment in the part-time Independent Artist Program.

265
 CERTIFICATE (DISTANCE LEARNING)
INDEPENDENT ARTIST DEVELOPMENT
30 CREDITS / 4 QUARTERS*/ PART-TIME

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-101-ON Recording Techniques for Songwrit- ARTST-111-ON Project Advising 1 2
ers & Producers 1 2 DAW The second course in selected
DAW Choose one of the following three DAW study
DAW platforms: AUDIO-259-ON Pro Tools 2 2
AUDIO-159-ON Pro Tools 1 2 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-264-ON Ableton Live Online 2 1
AUDIO-164-ON Ableton Live Online 1 1
PROF. DEV.
ARTST-103-ON Artist Identity 1 MUBUS-0360-ON Business Practices for Musicians 1 1.5
MUSICIANSHIP MUSICIANSHIP
ARTST-106-ON Musicianship 1 1.5 ARTST-206-ON Musicianship 2 1.5
ELECTIVES ARTST-107-ON Songwriting for Artists 1 1.5
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected TOTAL (Pro Tools selected for DAW study) 6.5
for DAW study) 2 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

CERTIFICATE
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-201-ON Recording Techniques for Songwrit- ARTST-211-ON Project Advising 2 2
ers & Producers 2 2 ARTST-203-ON Final Project 2
PROF. DEV. PROF. DEV.
MUBUS-0460-ON Business Practices for Musicians 2 1.5 CC-407-ON Graphic Design for Artists 2 2
CC-307-ON Graphic Design for Artists 1 2 MUBUS-0307-ON Independent Artist Marketing 2
MUSICIANSHIP
ARTST-207-ON Songwriting for Artists 2 1.5
TOTAL 8
TOTAL 7

266
 CERTIFICATE (DISTANCE LEARNING)
MUSIC BUSINESS
For those seeking non-performance careers in the music industry, this program provides the knowledge and practical
skills needed for entry-level positions at record labels, marketing and personal artist management firms, or music industry
companies specializing in music publishing and licensing, A&R, entertainment law, live concert touring and more.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Your Music Business Career 2
Law & Contracts 1-2 2
Music Publishing & Licensing 1 2
Industry 1: Labels & Talent 2
Computer Tech Applications 1 1.5
Personal Management 1
Marketing & Social Media 1-2 4
MAJOR AREA = 28 CREDITS Management & Business Skills 1-2 1.5
Industry 3B: Agents & Bookings 1
Music Licensing & Supervision 2
CERTIFICATE

Industry 2: Distribution & Label Services 2

Accounting & Finance 1 1.5
Industry 3C: Tour Management 1
Industry 4B: Concert Promoters 1

ELECTIVES = 2 CREDITS Various 2

Certificate in Music Business Program Learning Outcomes:

1. Define and articulate the current music industry landscape, including how the more specific business areas function
and are interconnected to drive the industry as a whole.
2. Describe and apply the essential skills of primary music business career paths and roles across main industry areas
such as personal management/artist management, music publishing and licensing, record label operations including
A&R (Artists & Repertoire), music marketing, music distribution, and booking and touring.
3. Employ industry-specific practical knowledge gained from application-oriented projects, and integrate direct business
experience through music business internships.
4. Recall and implement prevailing business practices and strategies applicable to major established music companies as
well as the independent sectors of the industry.
5. Relate and integrate additional valuable business insight gained from networking with successful music industry
professionals.
6. Apply and demonstrate general, transferable business skills, such as those in effective communication, with an
emphasis on applications within the music industry, as well as identify resources to carry out music business research.
7. Determine particular professional music industry career paths, suited to acquired skills, knowledge and personal
strengths, to then identify and secure appropriate business opportunities as well as job opportunities at entry level or for
initial professional advancement.
8. Appropriately analyze and adapt the acquired knowledge and skills to individual and specific industry situations that will
be encountered in a professional career.
9. Analyze and adapt to new developments and trends in the contemporary music industry utilizing foundational historical
perspective and context.
10. Apply the above-referenced knowledge and skills as a self-managed independent/performing artist.
*Based on optimal course load of 15 credits per quarter

This program page is for first-time, Certificate in Music Business students, beginning their first quarter in Winter 2021.
All students previously enrolled before Fall 2020 will have no changes to their program requirements (please go to Page 15).
267
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
MUSIC BUSINESS

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-104-ON Your Music Business Career 2 MUBUS-220-ON Law & Contracts 2 2
MUBUS-120-ON Law & Contracts 1 2 MUBUS-280-ON Marketing & Social Media 2 2
MUBUS-130-ON Music Publishing & Licensing 1 2 MUBUS-290-ON Management & Business Skills 2 1.5
MUBUS-140-ON Industry 1: Labels & Talent 2 MUBUS-207-ON Music Licensing & Supervision 2
MUBUS-150-ON Computer Tech Applications 1 1.5 MUBUS-240-ON Industry 2: Distribution & Label 2
MUBUS-170-ON Personal Management 1 Services
MUBUS-180-ON Marketing & Social Media 1 2 MUBUS-250-ON Accounting & Finance 1 1.5
MUBUS-190-ON Management & Business Skills 1 1.5 MUBUS-342-ON Industry 3C: Tour Management 1
MUBUS-341-ON Industry 3B: Agents & Bookings 1 MUBUS-441-ON Industry 4B: Concert Promoters 1
ELECTIVES
TOTAL 15 Various Various 2

TOTAL 15

MUSIC BUSINESS
30 CREDITS / 4 QUARTERS/ PART-TIME
The part-time Music Business Program is designed for individuals wishing to pursue a certificate in
Music Business who, due to employment, time constraints, family responsibilities, or health reasons,

CERTIFICATE
may not be able to undertake a traditional full-time program. Specific requirements and regulations
apply to enrollment in the part-time Music Business program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-120-ON Law & Contracts 1 2 MUBUS-220-ON Law and Contracts 2 2
MUBUS-130-ON Music Publishing & Licensing 1 2 MUBUS-240-ON Industry 2: Distribution & Label
MUBUS-140-ON Industry 1: Labels and Talent 2 Services 2
MUBUS-341-ON Industry 3B: Agents & Bookings 1 MUBUS-207-ON Music Licensing and Supervision 2
MUBUS-342-ON Industry 3C: Tour Management 1
TOTAL 7 MUBUS-441-ON Industry 4B: Concert Promoters 1

TOTAL 8

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-104-ON Your Music Business Career 2 MUBUS-280-ON Marketing and Social Media 2 2
MUBUS-150-ON Computer Tech Applications 1 1.5 MUBUS-290-ON Management & Business Skills 2 1.5
MUBUS-108-ON Personal Management 1 MUBUS-250-ON Accounting and Finance 1 1.5
MUBUS-190-ON Management & Business Skills 1 1.5 ELECTIVES
MUBUS-180-ON Marketing & Social Media 1 2 Various Various 2

TOTAL 8 TOTAL 7

268
 CERTIFICATE (DISTANCE LEARNING)
SONGWRITING
Students can earn a Certificate in Songwriting. with this intensive program, students will learn practical training
sufficient to create a foundation for a career as a professional songwriter in the contemporary music and
entertainment industry. With an innovative approach to music education, MI’s Certificate in Songwriting
program is centered on Harmony and Theory, Lyric Writing, Songwriting, Keyboard essential and Recording
and Production. This Certificate program provides students with a broad foundation of knowledge and practical
experience for careers as songwriters.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM

COURSE CREDIT

Songwriting Private Lesson 1-2 4

Songwriting 1-2 3
Harmony & Theory 011-021 3
MAJOR AREA = 18 CREDITS 2
Keyboard Essentials 1-2
CERTIFICATE

Lyric Writing 1-2 4

Songwriting Final Project 2

Demo Recording and Production 1-2 2

The Working Songwriter 1
SUPPORTIVE MUSIC = 6 CREDITS Songwriters Lab 1
The Business of Composing 1-2 2

DAW (choose from one platform below)

DAW = 2 CREDITS Logic Fundamentals 1–2 2
Ableton Live Online 1–2 2

ELECTIVES = 4 CREDITS Various 4

Choice of DAW study explained:

Certificate in Songwriting (Distance Learning) students, in fulfilling their required Digital Audio Workstation (DAW) courses,
have a choice of two different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit) OR
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement.

Certificate in Songwriting Program Learning Outcomes:

1. The student will compose songs within various genres of contemporary music including: Pop, Singer-Songwriter and
Country, while exhibiting foundational stylistic understanding, lyric-writing ability and originality.
2. The student will demonstrate rudimentary knowledge within areas including: music theory, keyboard essentials and
music business.
3. The student will demonstrate technological proficiency within the areas of music recording (digital audio workstations)
and music business.
4. The student will exhibit personal and artistic growth and leadership potential as a contemporary songwriter.

269
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
SONGWRITING

CERTIFICATE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
SONG-PL-ON Private Lesson 1 2 SONG-PL-ON Private Lesson 2 2
SONG-101-ON Songwriting 1 1.5 SONG-201-ON Songwriting 2 1.5
CC-011-ON Harmony & Theory 011 1.5 CC-021-ON Harmony & Theory 021 1.5
ARTST-380-ON Keyboard Essentials 1 1 ARTST-480-ON Keyboard Essentials 2 1
SONG-125-ON Lyric Writing 1 2 SONG-225-ON Lyric Writing 2 2
SUPPORTIVE SONG-210-ON Songwriting Final Project 2
MUSIC SUPPORTIVE
SONG-102-ON Demo Recording and Production 1 1 MUSIC
SONG-015-ON The Working Songwriter 1 SONG-202-ON Demo Recording and Production 2 1
SONG-011-ON Songwriters Lab 1 SONG-487-ON The Business of Composing 2 1
SONG-486-ON The Business of Composing 1 1 DAW The second course in selected
DAW Choose one of the following two DAW study
DAW platforms: AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-264-ON Ableton Live Online 2 1
AUDIO-164-ON Ableton Live Online 1 1
ELECTIVES
ELECTIVES Various Various 2
Various Various 2
TOTAL 15
TOTAL 15

270
 CERTIFICATE (DISTANCE LEARNING)
SONGWRITING
SONGWRITING
30 CREDITS / 4 QUARTERS/ PART-TIME
The part-time Songwriting Program is designed for individuals wishing to pursue a certificate in
Songwriting who, due to employment, time constraints, family responsibilities, or health reasons, may
not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Songwriting program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
SONG-PL-ON Private Lesson 1 2 SONG-101-ON Songwriting 1 2
CC-011-ON Harmony & Theory 011 1.5 CC-021-ON Harmony & Theory 021 1.5
SONG-125-ON Lyric Writing 1 2 ARTST-380-ON Keyboard Essentials 1 1
DAW Choose one of the following two SUPPORTIVE
DAW platforms: MUSIC
1 SONG-102-ON Demo Recording and Production 1 1
AUDIO-162-ON Logic Fundamentals 1
AUDIO-164-ON Ableton Live Online 1 1 DAW The second course in selected
DAW study
ELECTIVES
AUDIO-262-ON Logic Fundamentals 2 1
Various Various 1

CERTIFICATE
AUDIO-264-ON Ableton Live Online 2 1
TOTAL 7.5 ELECTIVES
Various Various 2

TOTAL 8

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
SONG-201-ON Songwriting 2 1.5 SONG-PL-ON Private Lesson 2 2
SONG-225-ON Lyric Writing 2 2 ARTST-480-ON Keyboard Essentials 2 1
SUPPORTIVE SONG-210-ON Final Project 2
MUSIC SUPPORTIVE
SONG-015-ON The Working Songwriter 1 MUSIC
SONG-011-ON Songwriters Lab 1 SONG-202-ON Demo Recording and Production 2 1
SONG-486-ON The Business of Composing 1 1 SONG-487-ON The Business of Composing 2 1
ELECTIVES
Various Various 1
TOTAL 8

TOTAL 7.5

271
 CERTIFICATE (DISTANCE LEARNING)
STUDIO RECORDING TECHNOLOGY
In a remote learning environment, students learn the fundamentals of audio recording, mixing, and mastering as
executed in professional, industry related, recording scenarios. The Certificate in Studio Recording Technology prepares
audio recording engineers, producers, and singer songwriters for the demands of working in professional or project-
based recording studios.

30 CREDITS / 2 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*

COURSE CREDIT

Audio Foundations: Theory & Technique 3

Console Theory & Operation 1-2 4
Pro Tools 1-2 4
MAJOR AREA = 28 CREDITS The Business of Audio 1
Critical Listening 2
Electronics 2
Music Production 1
Musicianship for Industry Professionals 1
CERTIFICATE

Evolution of Audio 1
Recording Techniques 2 1
Mixing Essentials 1 3
Intro to Post Production 1
Analog and Digital Signal Processing 2
Sound Reinforcement Theory & Operation 1
Vocal Production 1

ELECTIVES = 2 CREDITS Various 2

Certificate in Studio Recording Technology Program Learning Outcomes:

1. Demonstrate the ability to operate modern analog and digital audio systems using industry-standard production
techniques and equipment.
2. Demonstrate basic knowledge of audio engineering concepts in theory and in practice, including the principles of
computer basics, signal flow, and signal processing.
3. Demonstrate proficiency in frequency recognition and other critical listening skills.
4. Demonstrate basic musicianship skills and practical knowledge of Western music theory along with methods and
fundamentals associated with the creation and production of contemporary, popular music.
5. Demonstrate fundamental understanding of common audio post-production and live sound technologies and
practices.
6. Demonstrate fundamental understanding of basic audio electronics and theory, including soldering techniques related
to professional audio equipment.
7. Demonstrate basic understanding of common business practices related to music and professional efforts in the
entertainment industry.

* This program is new. The number of students who graduate, the number of students who are placed, or the starting salary you can earn after finishing the edu-
cational program are unknown at this time. Information regarding general salary and placement statistics may be available from governmental sources or from the
institution, but is not equivalent to actual performance data.

272
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
STUDIO RECORDING TECHNOLOGY

CERTIFICATE
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112-ON Audio Foundations: Theory & Technique 3 AUDIO-285-ON Console Theory & Operation 2 2
AUDIO-185-ON Console Theory & Operation 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-159-ON Pro Tools 1 2 AUDIO-201-ON Recording Techniques 2 1
AUDIO-104-ON The Business of Audio 1 AUDIO-204-ON Mixing Essentials 1 3
AUDIO-105-ON Critical Listening 2 AUDIO-207-ON Intro to Post Production 1
AUDIO-151-ON Electronics 2 AUDIO-208-ON Analog and Digital Signal 2
AUDIO-051-ON The Modern Music Producer 1 Processing
AUDIO-106-ON Musicianship for Industry 1 AUDIO-211-ON Sound Reinforcement Theory & 1
Professionals Operation
AUDIO-111-ON Evolution of Audio 1 AUDIO-215-ON Vocal Production 1
ELECTIVES
TOTAL 15 Various Various 2

TOTAL 15

273
 CERTIFICATE (DISTANCE LEARNING)
STUDIO RECORDING TECHNOLOGY
28 CREDITS / 4 QUARTERS/ PART-TIME
The part-time Studio Recording Technology program is designed for individuals wishing to pursue
a Certificate in Studio Recording Technology who, due to employment, time constraints, family
responsibilities, or health reasons, may not be able to undertake a traditional full-time program. Specific
requirements and regulations apply to enrollment in the part-time Studio Recording Technology
program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-185-ON Console Theory & Operation 1 2 AUDIO-112-ON Audio Foundations: Theory & Technique 3
AUDIO-159-ON ProTools 1 2 AUDIO-105-ON Critical Listening 2
AUDIO-104-ON The Business of Audio 1 AUDIO-111-ON Evolution of Audio 1
AUDIO-106-ON Musicianship for Industry AUDIO-151-ON Electronics 2
Professionals 1
AUDIO-051-ON The Modern Music Producer 1 TOTAL 8

TOTAL 7
CERTIFICATE

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-259-ON ProTools 2 2 AUDIO-215-ON Vocal Production 1
AUDIO-285-ON Console Theory & Operation 2 2 AUDIO-204-ON Mixing Essentials 1 3
AUDIO-201-ON Recording Techniques 2 1 AUDIO-208-ON Analog & Digital Signal Processing 2
AUDIO-211-ON Sound Reinforcement Theory & ELECTIVES
Operation 1 Various Various 1
AUDIO-207-ON Intro to Post Production 1
ELECTIVES TOTAL 7
Various Various 1

TOTAL 8

274
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM
Instrumentalists, singers, songwriters, rappers, DJs and producers learn the entire process of creating their own
project—from writing and recording to marketing, publicity, website design and final release. This program is designed
to equip musicians with the various skills needed to independently write, record and market their original material.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Recording Techniques for Songwriters &
Producers 1-4 8
Project Advising 1-4 8
DAW (choose two of the three platforms below)
MAJOR AREA = 23-25 CREDITS DEPENDING - Pro Tools 1–2 (4 credits) 4 or 6
ON CHOICE OF DAW STUDY - Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Artist Identity
Final Project for A/P/E 1
2

CERTIFICATE
Business Practices for Musicians 1-2 3
Independent Artist Marketing 2
Graphic Design for Artists 1-2 4
Media Relations 2
Music Video Bootcamp 1.5
PROF. DEVELOPMENT = 17 CREDITS Vocal Production 1
Social Media Branding for the
Independent Artist 1-2 2
CHOOSE FROM ONE PLATFORM BELOW:
Option 1: Music Video Editing w/ Adobe
Premiere 1.5
Option 2: Final Cut Pro X 1.5

Musicianship 1-4 6
Songwriting for Artists 1-2 3
MUSICIANSHIP = 14 CREDITS Songwriting for Artists 3-2 3
Keyboard Essentials 1-2 2
ELECTIVES = 4-6 CREDITS DEPENDING Various 4 or 6
ON CHOICE OF DAW STUDY
Choice of DAW study explained:
Certificate in Artist, Producer, Entrepreneur (Distance Learning) students, in fulfilling their required Digital Audio Workstation
(DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

275
 CERTIFICATE (DISTANCE LEARNING)
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM
60 CREDITS / 4 QUARTERS

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
ARTST-101-ON Recording Techniques for Songwrit- ARTST-201-ON Recording Techniques for Songwrit-
ers & Producers 1 2 ers & Producers 2 2
ARTST-103-ON Artist Identity 1 ARTST-211-ON Project Advising 2 2
ARTST-111-ON Project Advising 1 2 PROF. DEV.
PROF. DEV. MUBUS-0460-ON Business Practices for Musicians 2 1.5
MUBUS-0360-ON Business Practices for Musicians 1 1.5 MUBUS-0307-ON Independent Artist Marketing 2
CC-307-ON Graphic Design for Artists 1 2 CC-407-ON Graphic Design for Artists 2 2
MUSICIANSHIP MUSICIANSHIP
ARTST-106-ON Musicianship 1 1.5 ARTST-206-ON Musicianship 2 1.5
ARTST-107-ON Songwriting for Artists 1 1.5 ARTST-207-ON Songwriting for Artists 2 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2
CERTIFICATE

TOTAL 14.5 TOTAL 15.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-301-ON Recording Techniques for Songwrit- ARTST-401-ON Recording Techniques for Songwrit-
ers & Producers 3 2 ers & Producers 4 2
ARTST-311-ON Project Advising 3 2 ARTST-411-ON Project Advising 4 2
DAW Choose one of the following two DAW The second course in selected
DAW platforms: DAW study
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
PROF. DEV. 2 ARTST-403-ON Final Project for A/P/E 2
MUBUS-0202-ON Media Relations 1.5 PROF. DEV.
ARTST-353-ON Music Video Bootcamp 1 AUDIO-215-ON Vocal Production 1
ARTST-319-ON Social Media Branding for the ARTST-419-ON Social Media Branding for the
Independent Artist 1 Independent Artist 2 1
MUSICIANSHIP 1.5 CHOOSE ONE OF THE FOLLOWING:
ARTST-306-ON Musicianship 3 1.5 ARTST-454-ON Option 1: Music Video Editing w/
ARTST-307-ON Songwriting for Artists 3 1 Adobe Premiere 1.5
ARTST-380-ON Keyboard Essentials 1 ARTST-413-ON Option 2: Final Cut Pro X 1.5
ELECTIVES MUSICIANSHIP
Various Various 1 ARTST-406-ON Musicianship 4 1.5
ARTST-407-ON Songwriting for Artists 4 1.5
TOTAL 14.5 ARTST-480-ON Keyboard Essentials 2 1
ELECTIVES
Various Various 1

TOTAL 15.5

Artist/Producer/Entrepreneur Certificate Program Learning Outcomes:

1. Develop and demonstrate advanced professional abilities in contemporary commercial music styles as engineers and producers,
through studies in audio engineering, production, and multiple digital audio workstations.
2. Develop and exhibit advanced professional depth, versatility and creativity through the study and application of public relations, artist
identity and branding, visual media, and web design as pertaining to a contemporary professional artist, songwriter and producer.
3. Build and exhibit fundamental to advanced aptitude in traditional and contemporary Western music theory, keyboard proficiency, ear
training, rhythmic studies, and songwriting.
4. Develop a baseline fluency in entertainment business practices and demonstrate the ability to navigate and self-manage their career,
through studies in copyright law, marketing and promotions, and business contracts.
276
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
ARTIST/PRODUCER/ENTREPRENEUR PROGRAM
60 CREDITS / 8 QUARTERS / PART-TIME
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DAW Choose one of the following three ARTST-111-ON Project Advising 1 2
DAW platforms: DAW The second course in selected
AUDIO-159-ON Pro Tools 1 2 DAW study
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-259-ON Pro Tools 2 2
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-264-ON Ableton Live Online 2 1
ARTST-101-ON Recording Techniques for Songwrit-
ers & Producers 1 2 PROF. DEV.
MUSICIANSHIP MUBUS-0360-ON Business Practices for Musicians 1 1.5
ARTST-106-ON Musicianship 1 1.5 MUSICIANSHIP
ARTST-380-ON Keyboard Essentials 1 1 ARTST-206-ON Musicianship 2 1.5
ELECTIVES ARTST-107-ON Songwriting for Artists 1 1.5
Various Various 1
TOTAL (Pro Tools selected for DAW study) 8
TOTAL (Pro Tools selected for DAW study) 8.5 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-201-ON Recording Techniques for Songwrit- ARTST-211-ON Project Advising 2 2
ers & Producers 2 2 PROF. DEV.
PROF. DEV. CC-407-ON Graphic Design for Artists 2 2

CERTIFICATE
MUBUS-0460-ON Business Practices for Musicians 2 1.5 MUBUS-0307-ON Independent Artist Marketing 2
CC-307-ON Graphic Design for Artists 1 2 MUSICIANSHIP
MUSICIANSHIP ARTST-480-ON Keyboard Essentials 2 1
ARTST-207-ON Songwriting for Artists 2 1.5 ELECTIVES
ELECTIVES Various Various 1
Various Various 1
TOTAL 8
TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA
MAJOR AREA
ARTST-301-ON Recording Techniques for Songwrit-
ers & Producers 3 2 DAW The second course in selected
ARTST-103-ON Artist Identity 1 DAW study

DAW Choose one of the following two AUDIO-262-ON Logic Fundamentals 2 1

DAW platforms: AUDIO-264-ON Ableton Live Online 2 1
AUDIO-162-ON Logic Fundamentals 1 1 ARTST-311-ON Project Advising 3 2
AUDIO-164-ON Ableton Live Online 1 1 PROF. DEV.
ARTST-419-ON Social Media Branding for the 1
PROF. DEV.
Independent Artist 2
ARTST-319-ON Social Media Branding for the
MUSICIANSHIP
Independent Artist 1 1
ARTST-406-ON Musicianship 4 1.5
MUSICIANSHIP
ARTST-307-ON Songwriting for Artists 3 1.5
ARTST-306-ON Musicianship 3 1.5
TOTAL 7
TOTAL 6.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ARTST-401-ON Recording Techniques for Song- ARTST-411-ON Project Advising 4 2
writers & Producers 4 2 ARTST-403-ON Final Project for A/P/E 2
PROF. DEV. PROF. DEV.
MUBUS-0202-ON Media Relations 2 AUDIO-215-ON Vocal Production 1
ARTST-353-ON Music Video Bootcamp 1.5 CHOOSE ONE OF THE FOLLOWING:
MUSICIANSHIP ARTST-454-ON Option 1: Music Video Editing w/ 1.5
ARTST-407-ON Songwriting for Artists 4 1.5 Adobe Premiere
ELECTIVES ARTST-413-ON Option 2: Final Cut Pro X 1.5
Various Various 1 ELECTIVES
TOTAL 8 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 2

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 8.5
277
 CERTIFICATE (DISTANCE LEARNING)
BASS

Students can earn a Certificate in MI’s Performance Studies program for Bass. With an innovative
360-degree approach to music education, MI Certificates are centered on Harmony, Theory and
Ear Training, with core subjects in Reading, Technique and Performance. This Certificate program
provides students with a broad foundation of knowledge and practical experience, encouraging
the rapid development of skills in preparation for a range of professional music performance
situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM

COURSE CREDIT

Private Lesson 1-4 8

Bass LPW 013-203 4
Bass Performance 013-230 8
MAJOR AREA = 40 OR 42 CREDITS Bass Technique & Fretboard 011-210 8
CERTIFICATE

DEPENDING ON SELECTED DAW STUDY Bass Reading 012-220 8

Bass Gear Maintenance & Mastery 1
Bass & Drum Concepts 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 16 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2

ELECTIVES = 2 OR 4 CREDITS
Various 2 or 4
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Certificate in Performance – Bass (Distance Learning) students, in fulfilling their required Digital Audio Workstation (DAW)
courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

278
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
BASS

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 1 2 BASS-PL-ON Private Lesson 2 2
CC-013B-ON Bass LPW 013 1 CC-023B-ON Bass LPW 023 1
BASS-013-ON Bass Performance 013 2 BASS-023-ON Bass Performance 023 2
BASS-011-ON Bass Technique & Fretboard 011 2 BASS-021-ON Bass Technique & Fretboard 021 2
BASS-012-ON Bass Reading 012 2 BASS-022-ON Bass Reading 022 2
BASS-014-ON Bass Gear Maintenance & Mastery 1 BASS-025-ON Bass & Drum Concepts 1
MUSICIANSHIP MUSICIANSHIP
CC-015-ON Rhythm Reading Workout 1 1 CC-025-ON Rhythm Reading Workout 2 1
CC-011-ON Harmony & Theory 011 1.5 CC-021-ON Harmony & Theory 021 1.5
CC-012-ON Ear Training 012 1.5 CC-022-ON Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

CERTIFICATE
TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT

CERTIFICATE
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 3 2 BASS-PL-ON Private Lesson 4 2
CC-103B-ON Bass LPW 103 1 CC-203B-ON Bass LPW 203 1
BASS-130-ON Bass Performance 130 2 BASS-230-ON Bass Performance 230 2
BASS-110-ON Bass Technique & Fretboard 110 2 BASS-210-ON Bass Technique & Fretboard 210 2
BASS-120-ON Bass Reading 120 2 BASS-220-ON Bass Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP 1.5 MUSICIANSHIP 1.5
CC-101-ON Harmony & Theory 101 1.5 CC-201-ON Harmony & Theory 201 1.5
CC-102-ON Ear Training 102 1 CC-202-ON Ear Training 202 1
CC-108-ON Keyboard Proficiency 1 CC-208-ON Keyboard Proficiency 2
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 1

TOTAL 15 TOTAL 15

Certificate in Performance (Bass) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as an electric
bassist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production,
and live performance workshops/ ensembles.
2. The student will develop composition, studio production, and technical skills through advanced studies of studio-based
recording software and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a
skill set specific to themselves as artists/musicians.

279
 CERTIFICATE (DISTANCE LEARNING)
BASS
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Bass Program is designed for individuals wishing to pursue a certificate in Bass who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Bass program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 1 2 CC-013B-ON Bass LPW 013 1
BASS-011-ON Bass Technique & Fretboard 011 2 BASS-012-ON Bass Reading 012 2
BASS-014-ON Bass Gear Maintenance & Mastery 1 BASS-013-ON Bass Performance 2
MUSICIANSHIP MUSICIANSHIP
CC-015-ON Rhythm Reading Workout 1 1 CC-025-ON Rhythm Reading Workout 2 1
CC-011-ON Harmony & Theory 011 1.5 CC-012-ON Ear Training 012 1.5

TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 2 2 CC-023B-ON Bass LPW 023 1
BASS-021-ON Bass Technique & Fretboard 021 2 BASS-022-ON Bass Reading 022 2
BASS-024-ON Bass & Drum Concepts 1 BASS-023 -ON Bass Performance 023 2
MUSICIANSHIP DAW Choose one of the following three
CC-021-ON Harmony & Theory 021 1.5 DAW platforms:
CERTIFICATE

CC-108-ON Keyboard Proficiency 1 1

AUDIO-159-ON Pro Tools 1 2
TOTAL 7.5 AUDIO-162-ON Logic Fundamentals 1 1
AUDIO-164-ON Ableton Live Online 1 1
MUSICIANSHIP
CC-022-ON Ear Training 022 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 3 2 CC-103B-ON Bass LPW 103 1
BASS-110-ON Bass Technique & Fretboard 110 2 BASS-120-ON Bass Reading 120 2
DAW The second course in selected BASS-130-ON Bass Performance 130 2
DAW study MUSICIANSHIP
CC-102-ON Ear Training 102 1.5
AUDIO-259-ON Pro Tools 2 2
ELECTIVES
AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-264-ON Ableton Live Online 2 1 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
MUSICIANSHIP for DAW study) 1
CC-101-ON Harmony & Theory 101 1.5
CC-208-ON Keyboard Proficiency 1 1 TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 4 2 CC-203B-ON Bass LPW 203 1
BASS-210-ON Bass Technique & Fretboard 210 2 BASS-220-ON Bass Reading 220 2
MUSICIANSHIP BASS-230-ON Bass Performance 230 2
CC-201-ON Harmony & Theory 201 1.5 MUSICIANSHIP
ELECTIVES CC-202-ON Ear Training 202 1.5
Various Various 2 ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
TOTAL 7.5 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

* Student’s choice of various DAWs

280
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
DRUM
Students can earn a Certificate in MI’s Performance Studies program for Drums. With an innovative 360-degree approach to
music education, MI’s Drum Certificate is centered on Reading, Technique and Performance. This Certificate program provides
students with a broad foundation of knowledge and practical experience, encouraging the rapid development of skills in
preparation for a range of professional music performance situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM
COURSE CREDIT

Private Lesson 1-4 8

Drum LPW 013-203 4
Drum Performance 013-230 8
Drum Technique 011-210 8
Drum Reading 012-220 8
MAJOR AREA = 42 OR 44 CREDITS Developing Your Groove 1
DEPENDING ON SELECTED DAW STUDY Drum Gear Maintenance & Mastery 1
E-Drumming Essentials 1

CERTIFICATE
Timekeeping 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)

Harmony & Theory 011-201 6

MUSICIANSHIP = 14 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2

ELECTIVES = 2 OR 4 CREDITS
Various 2 or 4
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Certificate in Performance – Drum (Distance Learning) students, in fulfilling their required Digital Audio Workstation (DAW)
courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

Certificate in Performance (Drum) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and
ensemble drumset performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
workstations, electronic drumming and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a
skill set specific to themselves as artists/musicians
281
 CERTIFICATE (DISTANCE LEARNING)
DRUM

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 1 2 DRUM-PL-ON Private Lesson 2 2
CC-013D-ON Drum LPW 013 1 CC-023D-ON Drum LPW 023 1
DRUM-013-ON Drum Performance 013 2 DRUM-023-ON Drum Performance 023 2
DRUM-011-ON Drum Technique 011 2 DRUM-021-ON Drum Technique 021 2
DRUM-012-ON Drum Reading 012 2 DRUM-022-ON Drum Reading 022 2
DRUM-015-ON Developing Your Groove 1 DAW Choose one of the following three
DRUM-014-ON Drum Gear Maintenance & Mastery 1 DAW platforms:
MUSICIANSHIP AUDIO-159-ON Pro Tools 1 2
CC-011-ON Harmony & Theory 011 1.5 AUDIO-162-ON Logic Fundamentals 1 1
CC-012-ON Ear Training 012 1.5 AUDIO-164-ON Ableton Live Online 1 1
ELECTIVES
Various Various 1 DRUM-025-ON Timekeeping 1
MUSICIANSHIP
TOTAL 15 CC-021-ON Harmony & Theory 021 1.5
CC-022-ON Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
CERTIFICATE

TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 3 2 DRUM-PL-ON Private Lesson 4 2
CC-103D-ON Drum LPW 103 1 CC-203D-ON Drum LPW 203 1
DRUM-130-ON Drum Performance 130 2 DRUM-230-ON Drum Performance 230 2
DRUM-110-ON Drum Technique 110 2 DRUM-210-ON Drum Technique 210 2
DRUM-120-ON Drum Reading 120 2 DRUM-220-ON Drum Reading 220 2
DAW The second course in selected
DRUM-240-ON E-Drumming Essentials 1
DAW study MUSICIANSHIP
CC-201-ON Harmony & Theory 201 1.5
AUDIO-259-ON Pro Tools 2 2
CC-202-ON Ear Training 202 1.5
AUDIO-262-ON Logic Fundamentals 2 1
CC-208-ON Keyboard Proficiency 2 1
AUDIO-264-ON Ableton Live Online 2 1
ELECTIVES
MUSICIANSHIP 1.5 Various Various 1
CC-101-ON Harmony & Theory 101 1.5
CC-102-ON Ear Training 102 1 TOTAL 15
CC-108-ON Keyboard Proficiency 1
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 15

282
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
DRUM
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Drum Program is designed for individuals wishing to pursue a certificate in Drum who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Drum program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 1 2 CC-013D-ON Drum LPW 013 1
DRUM-011-ON Drum Technique 011 2 DRUM-013-ON Drum Performance 013 2
DRUM-015-ON Developing Your Groove 1 DRUM-012-ON Drum Reading 012 2
MUSICIANSHIP DRUM-025-ON Timekeeping 1
CC-108-ON Keyboard Proficiency 1 1 MUSICIANSHIP
ELECTIVES CC-208-ON Keyboard Proficiency 1 1
Various Various 1
TOTAL 7
TOTAL 7

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 2 2 CC-023D-ON Drum LPW 023 1
DRUM-021-ON Drum Technique 021 1 DRUM-023-ON Drum Performance 023 2
DRUM-014-ON Drum Gear Maintenance & Mastery 2 DRUM-022-ON Drum Reading 022 2
DRUM-240-ON E-Drumming Essentials 1

CERTIFICATE
DAW Choose one of the following three
DAW platforms: DAW The second course in selected
AUDIO-159-ON Pro Tools 1 2 DAW study
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-259-ON Pro Tools 2 2
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-264-ON Ableton Live Online 2 1
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 TOTAL (Pro Tools selected for DAW study) 8
Various Various (Logic Pro or Ableton Live selected TOTAL (Logic Pro or Ableton Live selected for DAW study) 7
for DAW study) 1

TOTAL 7

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 3 2 DRUM-130-ON Drum Performance 130 2
CC-103D-ON Drum LPW 103 1 DRUM-120-ON Drum Reading 120 2
DRUM-110-ON Drum Technique 110 2 MUSICIANSHIP
MUSICIANSHIP CC-021-ON Harmony & Theory 021 1.5
CC-011-ON Harmony & Theory 011 1.5 CC-022-ON Ear Training 022 1.5
CC-012-ON Ear Training 012 1.5 ELECTIVES
TOTAL 8 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 7

TOTAL (Logic Pro or Ableton Live selected for DAW study) 8

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA 2
DRUM-PL-ON Private Lesson 4 2 DRUM-230-ON Drum Performance 230 2
CC-203D-ON Drum LPW 203 1 DRUM-220-ON Drum Reading 220
DRUM-210-ON Drum Technique 210 2 MUSICIANSHIP 1.5
MUSICIANSHIP CC-201-ON Harmony & Theory 201 1.5
CC-101-ON Harmony & Theory 101 1.5 CC-202-ON Ear Training 202
CC-102-ON Ear Training 102 1.5 ELECTIVES 1
TOTAL 8 Various Various
TOTAL 8

* Student’s choice of various DAWs

283
 CERTIFICATE (DISTANCE LEARNING)
GUITAR

Students can earn a Certificate in MI’s Performance Studies program for Guitar. With an innovative 360-degree approach to
music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in Reading, Technique
and Performance. This Certificate program provides students with a broad foundation of knowledge and practical experience,
encouraging the rapid development of skills in preparation for a range of professional music performance situations.

60 CREDITS / 4 QUARTERS*
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM
COURSE CREDIT
Private Lesson 1-4 8
Guitar LPW 013-203 4
Guitar Performance 013-230 8
Guitar Technique 011-210 8
MAJOR AREA = 40 OR 42 CREDITS Guitar Reading 012-220 8
Guitar Gear Maintenance 1
DEPENDING ON SELECTED DAW STUDY
DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
CERTIFICATE

- Logic Fundamentals 1–2 (2 credits)

- Ableton Live Online 1–2 (2 credits)

Rhythm Reading Workout 1-2 2

MUSICIANSHIP = 16 CREDITS Harmony & Theory 011-201 6
Ear Training 012-202 6
Keyboard Proficiency 1-2 2
ELECTIVES = 2 OR 4 CREDITS Various 2 or 4
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Certificate in Performance – Guitar (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.
Certificate in Performance (Guitar) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and
ensemble guitar performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, tone production, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio
workstations and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a
skill set specific to themselves as artists/musicians.

* Based on optimal course load of 15 credits per quarter

284
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
GUITAR

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT

CERTIFICATE
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 1 2 GUIT-PL-ON Private Lesson 2 2
CC-013G-ON Guitar LPW 013 1 CC-023G-ON Guitar LPW 023 1
GUIT-013-ON Guitar Performance 013 2 GUIT-023-ON Guitar Performance 023 2
GUIT-011-ON Guitar Technique 011 2 GUIT-021-ON Guitar Technique 021 2
GUIT-012-ON Guitar Reading 012 2 GUIT-022-ON Guitar Reading 022 2
GUIT-015-ON Guitar Gear Maintenance & Mastery 1 MUSICIANSHIP
MUSICIANSHIP CC-025-ON Rhythm Reading Workout 2 1
CC-015-ON Rhythm Reading Workout 1 1 CC-021-ON Harmony & Theory 021 1.5
CC-011-ON Harmony & Theory 011 1.5 CC-022-ON Ear Training 022 1.5
CC-012-ON Ear Training 012 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1
TOTAL 15
TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 3 2 GUIT-PL-ON Private Lesson 4 2
CC-103G-ON Guitar LPW 103 1 CC-203G-ON Guitar LPW 203 1
GUIT-130-ON Guitar Performance 130 2 GUIT-230-ON Guitar Performance 230 2
GUIT-110-ON Guitar Technique 110 2 GUIT-210-ON Guitar Technique 210 2
GUIT-120-ON Guitar Reading 120 2 GUIT-220-ON Guitar Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP 1.5 MUSICIANSHIP 1.5
CC-101-ON Harmony & Theory 101 1.5 CC-201-ON Harmony & Theory 201 1.5
CC-102-ON Ear Training 102 1 CC-202-ON Ear Training 202 1
CC-108-ON Keyboard Proficiency 1 CC-208-ON Keyboard Proficiency 2
ELECTIVES ELECTIVES
Various Various 1
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
TOTAL 15 for DAW study) 1

TOTAL 15

285
 CERTIFICATE (DISTANCE LEARNING)
GUITAR
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Guitar Program is designed for individuals wishing to pursue a certificate in Guitar who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Guitar program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 1 2 GUIT-013-ON Guitar Performance 013 2
CC-013G-ON Guitar LPW 013 1 GUIT-012-ON Guitar Reading 012 2
GUIT-011-ON Guitar Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025-ON Rhythm Reading Workout 2 1
CC-015-ON Rhythm Reading Workout 1 1 CC-012-ON Ear Training 012 1.5
CC-011-ON Harmony & Theory 011 1.5 ELECTIVES
Various Various 1
TOTAL 7.5
TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 2 2 GUIT-023-ON Guitar Performance 023 2
CC-023G-ON Guitar LPW 023 1 GUIT-022-ON Guitar Reading 022 2
GUIT-021-ON Guitar Technique 021 2
DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CERTIFICATE

CC-021-ON Harmony & Theory 021 1.5

ELECTIVES AUDIO-159-ON Pro Tools 1 2
Various Various 1 AUDIO-162-ON Logic Fundamentals 1 1
AUDIO-164-ON Ableton Live Online 1 1
TOTAL 7.5
MUSICIANSHIP 1.5
CC-022-ON Ear Training 022
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 3 2 GUIT-130-ON Guitar Performance 130 2
CC-103G-ON Guitar LPW 103 1 GUIT-120-ON Guitar Reading 120 2
GUIT-110-ON Guitar Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102-ON Ear Training 102 1.5
DAW study CC-108-ON Keyboard Proficiency 1 1
ELECTIVES
AUDIO-259-ON Pro Tools 2 2
AUDIO-262-ON Logic Fundamentals 2 1 Various Various (Pro Tools selected for DAW study) 0
AUDIO-264-ON Ableton Live Online 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
MUSICIANSHIP 1.5
CC-101-ON Harmony & Theory 101 TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Pro Tools selected for DAW study) 8.5 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 4 2 GUIT-230-ON Guitar Performance 230 2
CC-203G-ON Guitar LPW 203 1 GUIT-220-ON Guitar Reading 220 2
GUIT-210-ON Guitar Technique 210 2 GUIT-015-ON Guitar Gear Maintenance & Mastery 1
MUSICIANSHIP MUSICIANSHIP
CC-201-ON Harmony & Theory 201 1.5 CC-202-ON Ear Training 202 1.5
ELECTIVES CC-208-ON Keyboard Proficiency 2 1
Various Various 1
TOTAL 7.5
TOTAL 7.5

* Based on optimal course load of 7.5 credits per quarter

286
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK

Students can earn a Certificate in MI’s Performance Studies program for Keyboard Technology. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core subjects in
Reading, Technique and Performance. This Certificate program provides students with a broad foundation of knowledge and
practical experience, encouraging the rapid development of skills in preparation for a range of professional music performance
situations.
Choosing the Performance Track allows students to receive a heavier emphasis on live performance skills, as well as basic
training in using a Digital Audio Workstation (DAW)software.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Private Lesson 1-4 8
Keyboard LPW 013-203 4
Keyboard Performance 013-230 8
Keyboard Technique 011-210 8
MAJOR AREA = 39 OR 41 CREDITS Keyboard Reading 012-220 8

CERTIFICATE
DEPENDING ON SELECTED DAW STUDY Keyboard Gear Mastery 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Rhythm Reading Workout 1-2 2
MUSICIANSHIP = 14 CREDITS Harmony & Theory 011-201 6
Ear Training 012-202 6
ELECTIVES = 5 OR 7 CREDITS
Various 5 or 7
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Certificate in Performance – Keyboard Technology (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.

Certificate in Performance (Keyboard Technology) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo
and ensemble keyboard performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/
diversity, tone production, and live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based
recording software and gear mastery.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, and in-depth rhythmic studies.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a
skill set specific to themselves as artists/musicians.

287
 CERTIFICATE (DISTANCE LEARNING)
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CERTIFICATE

MAJOR AREA MAJOR AREA

KEYBD-PL-ON Private Lesson 1 2 KEYBD-PL-ON Private Lesson 2 2
CC-013K-ON Keyboard LPW 013 1 CC-023K-ON Keyboard LPW 023 1
KEYBD-013-ON Keyboard Performance 013 2 KEYBD-023-ON Keyboard Performance 023 2
KEYBD-011-ON Keyboard Technique 011 2 KEYBD-021-ON Keyboard Technique 021 2
KEYBD-012-ON Keyboard Reading 012 2 KEYBD-022-ON Keyboard Reading 022 2
MUSICIANSHIP KEYBD-024-ON Keyboard Gear Mastery 1
CC-015-ON Rhythm Reading Workout 1 1 MUSICIANSHIP
CC-011-ON Harmony & Theory 011 1.5 CC-025-ON Rhythm Reading Workout 2 1
CC-012-ON Ear Training 012 1.5 CC-021-ON Harmony & Theory 021 1.5
ELECTIVES CC-022-ON Ear Training 022 1.5
Various Various 2 ELECTIVES
Various Various 1
TOTAL 15
TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 3 2 KEYBD-PL-ON Private Lesson 4 2
CC-103K-ON Keyboard LPW 103 1 CC-203K-ON Keyboard LPW 203 1
KEYBD-130-ON Keyboard Performance 130 2 KEYBD-230-ON Keyboard Performance 230 2
KEYBD-110-ON Keyboard Technique 110 2 KEYBD-210-ON Keyboard Technique 210 2
KEYBD-120-ON Keyboard Reading 120 2 KEYBD-220-ON Keyboard Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP 1.5 MUSICIANSHIP
CC-101-ON Harmony & Theory 101 1.5 CC-201-ON Harmony & Theory 201 1.5
CC-102-ON Ear Training 102 CC-202-ON Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL 15 TOTAL 15

288
ADDITIONS AND CHANGES TO
THIS
THECATALOG
CATALOGAPPLIES
OCCURTOFREQUENTLY.
ACADEMIC YEAR
PLEASE
2024/2025:
VISIT [Link]/CATALOG
JULY 1, 2024 – JUNEFOR
30, 2025
UPDATES AND ANNOUNCEMENTS
 CERTIFICATE (DISTANCE LEARNING)
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Keyboard Technologies Program is designed for individuals wishing to pursue a certificate
in Keyboard who, due to employment, time constraints, family responsibilities, or health reasons, may
not be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Keyboard program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 1 2 KEYBD-013-ON Keyboard Performance 013 2
CC-013K-ON Keyboard LPW 013 1 KEYBD-012-ON Keyboard Reading 012 2
KEYBD-011-ON Keyboard Technique 011 2 KEYBD-024-ON Keyboard Gear Mastery 1
MUSICIANSHIP MUSICIANSHIP
CC-015-ON Rhythm Reading Workout 1 1 CC-025-ON Rhythm Reading Workout 2 1
CC-011-ON Harmony & Theory 011 1.5 CC-012-ON Ear Training 012 1.5
TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 2 2 KEYBD-023-ON Keyboard Performance 023 2
CC-023K-ON Keyboard LPW 023 1 KEYBD-022-ON Keyboard Reading 022 2
KEYBD-021-ON Keyboard Technique 021 2 DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-021-ON Harmony & Theory 021 1.5

CERTIFICATE
AUDIO-159-ON Pro Tools 1 2
ELECTIVES AUDIO-162-ON Logic Fundamentals 1 1
Various Various 1 AUDIO-164-ON Ableton Live Online 1 1
TOTAL 7.5
MUSICIANSHIP
CC-022-ON Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 3 2 KEYBD-130-ON Keyboard Performance 130 2
CC-103K-ON Keyboard LPW 103 1 KEYBD-120-ON Keyboard Reading 120 2
KEYBD-110-ON Keyboard Technique 110 2 MUSICIANSHIP
AUDIO-156-ON DAW 2 1 CC-102-ON Ear Training 102 1.5
DAW The second course in selected ELECTIVES
DAW study Various Various 2
AUDIO-259-ON Pro Tools 2 2 Various Various (Pro Tools selected for DAW study) 1
AUDIO-262-ON Logic Fundamentals 2 1 Various Various (Logic Pro or Ableton Live selected
AUDIO-264-ON Ableton Live Online 2 1 for DAW study) 2

MUSICIANSHIP 1.5 TOTAL (Pro Tools selected for DAW study) 6.5
CC-101-ON Harmony & Theory 101 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 4 2 KEYBD-230-ON Keyboard Performance 230 2
CC-203K-ON Keyboard LPW 203 1 KEYBD-220-ON Keyboard Reading 220 2
KEYBD-210-ON Keyboard Technique 210 2 MUSICIANSHIP
MUSICIANSHIP CC-202-ON Ear Training 202 1.5
CC-201-ON Harmony & Theory 201 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1
TOTAL 7.5
TOTAL 7.5

* Student’s choice of various DAWs

289
 CERTIFICATE (DISTANCE LEARNING)
VOCAL
Students can earn a Certificate in MI’s Performance Studies program for Vocal. With an innovative 360-degree
approach to music education, MI Certificates are centered on Harmony, Theory and Ear Training, with core
subjects in Reading, Technique and Performance. This Certificate program provides students with a broad
foundation of knowledge and practical experience, encouraging the rapid development of skills in preparation for
a range of professional music performance situations.

60 CREDITS / 4 QUARTERS
REQUIRED TO COMPLETE THIS CERTIFICATE PROGRAM*
COURSE CREDIT
Private Lesson 1-4 8
Vocal LPW 013-203 4
Vocal Performance 013-230 8
Vocal Technique 011-210 8
MAJOR AREA = 40 OR 42 CREDITS Sightsinging 012-220 8
DEPENDING ON SELECTED DAW STUDY Styles Survey 1-2 2
DAW (choose from one platform below) 2 or 4
CERTIFICATE

- Pro Tools 1–2 (4 credits)

- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Rhythm Reading Workout 1-2 2
Harmony & Theory 011-201 6
MUSICIANSHIP = 16 CREDITS
Ear Training 012-202 6
Keyboard Proficiency 1-2 2
ELECTIVES = 2 OR 4 CREDITS Various 2 or 4
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Certificate in Performance – Vocal (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the
Pro Tools platform course sequence be the chosen option, two fewer elective credits will be required for overall program
completion.
Certificate in Performance (Vocal) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo
and ensemble vocalist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, and
live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based
recording software.
3. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, in-depth rhythmic studies, and keyboard proficiency.
4. The student will choose options for specialized study in areas such as musical styles, secondary instrument study,
popular music history, technology, music business, creative development and composition and analysis; assembling a skill
set specific to themselves as artists/musicians.

290
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 CERTIFICATE (DISTANCE LEARNING)
VOCAL

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT

CERTIFICATE
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 1 2 VOCAL-PL-ON Private Lesson 2 2
CC-013V-ON Vocal LPW 013 1 CC-023V-ON Vocal LPW 023 1
VOCAL-013-ON Vocal Performance 013 2 VOCAL-023-ON Vocal Performance 023 2
VOCAL-011-ON Vocal Technique 011 2 VOCAL-021-ON Vocal Technique 021 2
VOCAL-012-ON Sightsinging 012 2 VOCAL-022-ON Sightsinging 022 2
VOCAL-014-ON Styles Survey 1 1 VOCAL-024-ON Styles Survey 2 1
MUSICIANSHIP MUSICIANSHIP
CC-015-ON Rhythm Reading Workout 1 1 CC-025-ON Rhythm Reading Workout 2 1
CC-011-ON Harmony & Theory 011 1.5 CC-021-ON Harmony & Theory 021 1.5
CC-012-ON Ear Training 012 1.5 CC-022-ON Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 3 2 VOCAL-PL-ON Private Lesson 4 2
CC-103V-ON Vocal LPW 103 1 CC-203V-ON Vocal LPW 203 1
VOCAL-130-ON Vocal Performance 130 2 VOCAL-230-ON Vocal Performance 230 2
VOCAL-110-ON Vocal Technique 110 2 VOCAL-210-ON Vocal Technique 210 2
VOCAL-120-ON Sightsinging 120 2 VOCAL-220-ON Sightsinging 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP MUSICIANSHIP 1.5
CC-101-ON Harmony & Theory 101 1.5 CC-201-ON Harmony & Theory 201 1.5
CC-102-ON Ear Training 102 1.5 CC-202-ON Ear Training 202 1
CC-108-ON Keyboard Proficiency 1 1 CC-208-ON Keyboard Proficiency 2
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 1

TOTAL 15 TOTAL 15

291
 CERTIFICATE (DISTANCE LEARNING)
VOCAL
60 CREDITS / 8 QUARTERS*/ PART-TIME
The part-time Vocal Program is designed for individuals wishing to pursue a certificate in Vocals who,
due to employment, time constraints, family responsibilities, or health reasons, may not be able to
undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in
the part-time Vocal program.
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 1 2 VOCAL-013-ON Vocal Performance 013 2
CC-013V-ON Vocal LPW 013 1 VOCAL-012-ON Sightsinging 012 2
VOCAL-011-ON Vocal Technique 011 2 VOCAL-014-ON Styles Survey 1 1
MUSICIANSHIP MUSICIANSHIP
CC-015-ON Rhythm Reading Workout 1 1 CC-025-ON Rhythm Reading Workout 2 1
CC-011-ON Harmony & Theory 011 1.5 CC-012-ON Ear Training 012 1.5

TOTAL 7.5 TOTAL 7.5

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 2 2 VOCAL-023-ON Vocal Performance 023 2
CC-023V-ON Vocal LPW 023 1 VOCAL-022-ON Sightsinging 022 2
VOCAL-021-ON Vocal Technique 021 2 VOCAL-024-ON Styles Survey 2 1
MUSICIANSHIP MUSICIANSHIP
CC-021-ON Harmony & Theory 021 1.5 CC-022-ON Ear Training 022 1.5
CERTIFICATE

ELECTIVES CC-108-ON Keyboard Proficiency 1 1

Various Various 1
TOTAL 7.5
TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 3 2 VOCAL-130-ON Vocal Performance 130 2
CC-103V-ON Vocal LPW 103 1 VOCAL-120-ON Sightsinging 120 2
VOCAL-110-ON Vocal Technique 110 2 DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-101-ON Harmony & Theory 101 1.5
AUDIO-159-ON Pro Tools 1 2
CC-208-ON Keyboard Proficiency 2 1
AUDIO-162-ON Logic Fundamentals 1 1
AUDIO-164-ON Ableton Live Online 1 1
TOTAL 7.5
MUSICIANSHIP
CC-102-ON Ear Training 102 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA
VOCAL-PL-ON Private Lesson 4 2 MAJOR AREA
CC-203V-ON Vocal LPW 203 1 VOCAL-230-ON Vocal Performance 230 2
VOCAL-210-ON Vocal Technique 210 2 VOCAL-220-ON Sightsinging 220 2
MUSICIANSHIP
DAW The second course in selected
CC-202-ON Ear Training 202 1.5
DAW study
ELECTIVES
AUDIO-259-ON Pro Tools 2 2
AUDIO-262-ON Logic Fundamentals 2 1 Various Various (Pro Tools selected for DAW study) 1
AUDIO-264-ON Ableton Live Online 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 2
MUSICIANSHIP 1.5
CC-201-ON Harmony & Theory 201 TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
* Student’s choice of various DAWs
292
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 DISTANCE LEARNING

THIS CATALOG APPLIES TO ACADEMIC YEAR 2015/2016: OCTOBER 1, 2015 - SEPTEMBER 30, 2016.
ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS. 293
 ASSOCIATE OF ARTS OVERVIEW
(DISTANCE LEARNING)
6 QUARTERS IN PERFORMANCE STUDIES

MI’s Associate of Arts Degree in Performance (Distance Learning) offers students extensive vocational training in
Bass, Drum, Guitar, Keyboard Technology, and Vocal. Topics in Harmony, Theory and Ear Training are explored in
extensive depth through Reading, Technique and Performance on the chosen instrument.

The intensive A.A. curriculum prepares musicians to perform in professional situations, along with learning
professional development skills such as basic computer use, EPK creation, resume and bio writing, and social
media as a tool for business and networking. The Associate of Arts Degree is intended to equip students with the
knowledge and training needed to become professional performers in today’s music industry.

ASSOCIATE OF ARTS // COMBINED EMPHASIS

(DISTANCE LEARNING)
4 QTRS IN PERFORMANCE STUDIES & 2 QTRS
IN ENTERTAINMENT INDUSTRY STUDIES*
ASSOCIATE

With additional training, students can choose to earn an Associate of Arts Degree with a Combined Emphasis
in Performance and Entertainment Industry Studies. Enhancing the instrumental performance education of a
regular Associate of Arts Degree, graduates attain specialization in their choice of Electronic Music Production,
Independent Artist, Music Business, Songwriting, or Studio Recording Technology (see Certificate Distance
Learning section for details).

See the Admissions/Bachelor Program/Transfer of Credit section of this catalog for information on transfer of
Associate of Arts credits into MI’s Bachelor of Music Program.

ASSOCIATE OF SCIENCE OVERVIEW

(DISTANCE LEARNING)
6 QUARTERS IN MUSIC BUSINESS

Associate of Science in Music Business

The goal of this degree is to provide extensive knowledge, experience, and practical skills needed for a professional
business career in the contemporary music industry. It is applicable as preparation for entry-level employment
and beyond as well as for further professional advancement and specialization, fully managing a career as an
independent/ performing artist, creating and developing music businesses as an entrepreneur, and for the full
scope of assessing, acquiring, developing, marketing, promoting and launching a new artist or music project in
the current music industry and marketplace. Along with several of the primary industry-related subjects being
structured as in-depth progressive course series, the program curriculum also includes expanded studies in general
business skills as well as supportive studies of basic musicianship and the creative aspects of music relevant for a
music business professional to know, and a broadened historical perspective. Along with several of the primary
industry related subjects being structured as in-depth progressive course series, the program curriculum also
includes expanded studies in general business skills as well as supportive studies of basic musicianship and
the creative aspects of music relevant for a music business professional to know, and a broadened historical
perspective.

294 *Based on optimal course load of 15 credits per quarter

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
DISTANCE LEARNING

ASSOCIATE

295
*Based on optimal course load of 15 credits per quarter
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
BASS
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*
COURSE CREDIT
Private Lesson 1-6 12
Bass LPW 013-403 6
Bass Performance 013-230 8
Bass Technique & Fretboard 011-210 8
Bass Reading 012-220 8
Bass Gear Maintenance & Mastery 1
MAJOR AREA = 53 OR 55 CREDITS Bass & Drum Concepts 1
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Synth Bass 1
Upright Bass Workshop 1-2 2
Project Recording: Bass 1-2 4
Business Practices for Musicians 1-2 3
Media Relations 2
ASSOCIATE

PROF. DEVELOPMENT = 11 CREDITS

Graphic Design for Artists 1-2 4
Independent Artist Marketing 2
Rhythm Reading Workout 1-2 2
MUSICIANSHIP = 19 CREDITS Harmony & Theory 011-201 6
Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 5 OR 7 CREDITS
Various 5 or 7
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance – Bass (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Bass) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as a bassist through advanced
studies in electric bass, upright bass, and synth bass technique; reading, ensemble, stylistic appropriateness/diversity, tone production,
and live performance workshops/ ensembles.
2. The student will develop composing, studio production and technical skills through advanced studies of studio-based recording
software and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio performance and
production.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.

296
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
BASS
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 1 2 BASS-PL-ON Private Lesson 2 2
CC-013B-ON Bass LPW 013 1 CC-023B-ON Bass LPW 023 1
BASS-013-ON Bass Performance 013 2 BASS-023-ON Bass Performance 023 2
BASS-011-ON Bass Technique & Fretboard 011 2 BASS-021-ON Bass Technique & Fretboard 021 2
BASS-012-ON Bass Reading 012 2 BASS-022-ON Bass Reading 022 2
BASS-014-ON Bass Gear Maintenance & Mastery 1 BASS-025-ON Bass & Drum Concepts 1
MUSICIANSHIP MUSICIANSHIP
CC-015-ON Rhythm Reading Workout 1 1 CC-025-ON Rhythm Reading Workout 2 1
CC-011-ON Harmony & Theory 011 1.5 CC-021-ON Harmony & Theory 021 1.5
CC-012-ON Ear Training 012 1.5 CC-022-ON Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 3 2 BASS-PL-ON Private Lesson 4 2
CC-103B-ON Bass LPW 103 1 CC-0203B-ON Bass LPW 203 1
BASS-130-ON Bass Performance 130 2 BASS-230-ON Bass Performance 230 2
BASS-110-ON Bass Technique & Fretboard 110 2 BASS-210-ON Bass Technique & Fretboard 210 2

ASSOCIATE
BASS-120-ON Bass Reading 120 2 BASS-220-ON Bass Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study

AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2

AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP MUSICIANSHIP
CC-101-ON Harmony & Theory 101 1.5 CC-201-ON Harmony & Theory 201 1.5
CC-102-ON Ear Training 102 1.5 CC-202-ON Ear Training 202 1.5
CC-108-ON Keyboard Proficiency 1 1 CC-208-ON Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 0 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 1

TOTAL 15 TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 5 2 BASS-PL-ON Private Lesson 6 2
CC-303B-ON Bass LPW 303 1 CC-403B-ON Bass LPW 403 1
BASS-370-ON Synth Bass 1 BASS-450-ON Upright Bass Workshop 2 1
BASS-350-ON Upright Bass Workshop 1 1 BASS-460-ON Project Recording: Bass 2 2
BASS-360-ON Project Recording: Bass 1 2 PROF. DEV.
PROF. DEV. MUBUS-0460-ON Business Practices for Musicians 2 1.5
MUBUS-0360-ON Business Practices for Musicians 1 1.5 CC-407-ON Graphic Design for Artists 2 2
MUBUS-0202-ON Media Relations 2 MUBUS-0307-ON Independent Artist Marketing 2
CC-307-ON Graphic Design for Artists 1 2 MUSICIANSHIP
MUSICIANSHIP CC-207-ON Songwriting for Artists 2 1.5
CC-107-ON Songwriting for Artists 1 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1
TOTAL 15
TOTAL 15

297
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
BASS
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Bass Program is designed for individuals wishing to pursue an Associate of Arts degree
in Bass who, due to employment, time constraints, family responsibilities, or health reasons, may not
be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Bass program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC New Student Seminar 0 MAJOR AREA
MAJOR AREA CC-013B-ON Bass LPW 013 1
BASS-PL-ON Private Lesson 1 2 BASS-012-ON Bass Reading 012 2
BASS-011-ON Bass Technique & Fretboard 011 2 BASS-013-ON Bass Performance 2
BASS-014-ON Bass Gear Maintenance & Mastery 1 MUSICIANSHIP
MUSICIANSHIP CC-025-ON Rhythm Reading Workout 2 1
CC-015-ON Rhythm Reading Workout 1 1 CC-012-ON Ear Training 012 1.5
CC-011-ON Harmony & Theory 011 1.5
TOTAL 7.5
TOTAL 7.5

Q3 Q4
ASSOCIATE

CODE COURSE CREDIT CODE COURSE CREDIT

MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 2 2 CC-023B-ON Bass LPW 023 1
BASS-021-ON Bass Technique & Fretboard 021 2 BASS-022-ON Bass Reading 022 2
BASS-024-ON Bass & Drum Concepts 1 BASS-023-ON Bass Performance 023 2
MUSICIANSHIP DAW Choose one of the following three
CC-021-ON Harmony & Theory 021 1.5 DAW platforms:
ELECTIVES AUDIO-159-ON Pro Tools 1 2
Various Various 1 AUDIO-162-ON Logic Fundamentals 1 1
AUDIO-164-ON Ableton Live Online 1 1
TOTAL 7.5
MUSICIANSHIP
CC-022-ON Ear Training 022 1.5

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 3 2 CC-103B-ON Bass LPW 103 1
BASS-110-ON Bass Technique & Fretboard 110 2 BASS-120-ON Bass Reading 120 2
DAW The second course in selected BASS-130-ON Bass Performance 130 2
DAW study MUSICIANSHIP 1.5
AUDIO-259-ON Pro Tools 2 2 CC-102-ON Ear Training 102 1
AUDIO-262-ON Logic Fundamentals 2 1 CC-108-ON Keyboard Proficiency 1 1
AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP TOTAL 7.5
CC-101-ON Harmony & Theory 101 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

* Student’s choice of various DAWs

298
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
BASS
90 CREDITS / 12 QUARTERS/ PART-TIME/ CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 4 2 CC-203B-ON Bass LPW 203 1
BASS-210-ON Bass Technique & Fretboard 210 2 BASS-220-ON Bass Reading 220 2
MUSICIANSHIP BASS-230-ON Bass Performance 230 2
CC-201-ON Harmony & Theory 201 1.5 MUSICIANSHIP
ELECTIVES CC-202-ON Ear Training 202 1.5
Various Various 2 CC-208-ON Keyboard Proficiency 2 1

TOTAL 7.5 TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 5 2 CC-303B-ON Bass LPW 303B 1

ASSOCIATE
PRO. DEV. BASS-360-ON Project Recording 1 2
MUBUS-0202-ON Media Relations 2 PRO. DEV.
MUSICIANSHIP MUBUS-0360-ON Business Practices for Musicians 1 1.5
CC-107-ON Songwriting for Artists 1 1.5 CC-307-ON Graphic Design for Artists 1 2
ELECTIVES ELECTIVES
Various Various 2 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
TOTAL 7.5 for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
BASS-PL-ON Private Lesson 6 2 CC-403B-ON Bass LPW 403B 1
BASS-460-ON Project Recording 2 2 PRO. DEV.
PRO. DEV. MUBUS-0460-ON Business Practices for Musicians 2 1.5
MUBUS-0307-ON Independent Artist Marketing 2 CC-407-ON Graphic Design for Artists 2 2
MUSICIANSHIP ELECTIVES
CC-207-ON Songwriting for Artists 2 1.5 Various Various 3

TOTAL 7.5 TOTAL 7.5

299
 ASSOCIATE OF ARTS (DISTANCE LEARNING)

DISTANCE LEARNING
ASSOCIATE

300 300
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
DRUM
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*
COURSE CREDIT
Private Lesson 1-6 12
Drum LPW 013-403 6
Drum Performance 013-230 8
Drum Technique 011-210 8
Drum Reading 012-220 8
Developing Your Groove 1
Drum Gear Maintenance & Mastery 1
MAJOR AREA = 56 OR 58 CREDITS E-Drumming Essentials 1
DEPENDING ON SELECTED DAW STUDY Timekeeping 1
DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Advanced Drumming Styles: Jazz 2
Advanced Drumming Styles: Latin or R&B
Gospel (pick one option) 2
Project Recording: Drum 1-2 4

ASSOCIATE
Business Practices for Musicians 1-2 3
Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS Graphic Design for Artists 1-2 4
Independent Artist Marketing 2
Harmony & Theory 011-201 6
MUSICIANSHIP = 17 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS
Various 4 or 6
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance – Drum (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.
Associate of Arts in Performance (Drum) Program Learning Outcomes:
1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and ensemble
drumset performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production, and
live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio workstations,
electronic drumming and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition, and studio production with
instrument performance as the focal point.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of
traditional and contemporary music theory, ear training, songwriting, and in-depth rhythmic studies.
5. The student will develop basic skills in recording techniques, digital audio software, applied entertainment business concepts,
marketing techniques, visual media software, digital branding, and media relations concepts and practices, allowing them to negotiate
the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.
301
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
DRUM
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 1 2 DRUM-PL Private Lesson 2 2
CC-013D-ON Drum LPW 013 1 CC-023D Drum LPW 023 1
DRUM-013-ON Drum Performance 013 2 DRUM-023 Drum Performance 023 2
DRUM-011-ON Drum Technique 011 2 DRUM-021 Drum Technique 021 2
DRUM-012-ON Drum Reading 012 2 DRUM-022 Drum Reading 022 2
DRUM-015-ON Developing Your Groove 1 DRUM-025 Timekeeping 1
DRUM-014-ON Drum Gear Maintenance & Mastery 1 DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-011-ON Harmony & Theory 011 1.5 AUDIO-159-ON Pro Tools 1 2
CC-012-ON Ear Training 012 1.5 AUDIO-162-ON Logic Fundamentals 1 1
ELECTIVES AUDIO-164-ON Ableton Live Online 1 1
Various Various 1
MUSICIANSHIP
TOTAL 15 CC-021 Harmony & Theory 021 1.5
CC-022 Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
ASSOCIATE

DRUM-PL Private Lesson 3 2 DRUM-PL-ON Private Lesson 4 2

CC-103D Drum LPW 103 1 CC-203D-ON Drum LPW 203 1
DRUM-130 Drum Performance 130 2 DRUM-230-ON Drum Performance 230 2
DRUM-110 Drum Technique 110 2 DRUM-210-ON Drum Technique 210 2
DRUM-120 Drum Reading 120 2 DRUM-220-ON Drum Reading 220 2
DAW The second course in selected DRUM-240-ON E-Drumming Essentials 1
DAW study MUSICIANSHIP
AUDIO-259-ON Pro Tools 2 2 CC-201-ON Harmony & Theory 201 1.5
AUDIO-262-ON Logic Fundamentals 2 1 CC-202-ON Ear Training 202 1.5
AUDIO-264-ON Ableton Live Online 2 1 CC-208-ON Keyboard Proficiency 2 1
ELECTIVES
MUSICIANSHIP Various Various 1
CC-101 Harmony & Theory 101 1.5
CC-102 Ear Training 102 1.5 TOTAL 15
CC-108 Keyboard Proficiency 1 1
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 5 2 DRUM-PL-ON Private Lesson 6 2
CC-303D-ON Drum LPW 303 1 CC-403D-ON Drum LPW 403 1
DRUM-350-ON Advanced Drumming Styles: Jazz 1 2 DRUM-451-ON Advanced Drumming Styles 2A: Jazz 2 2
DRUM-360-ON Project Recording: Drum 1 2 DRUM-450-ON Advanced Drumming Styles 2B: Latin 2
PROF. DEV. DRUM-452-ON Advanced Drumming Styles 2C: R&B/
MUBUS-0360-ON Business Practices for Musicians 1 1.5 Gospel 2
MUBUS-0202-ON Media Relations 2 DRUM-460-ON Project Recording: Drum 2 2
CC-307-ON Graphic Design for Artists 1 2 PROF. DEV.
MUSICIANSHIP MUBUS-0460-ON Business Practices for Musicians 2 1.5
CC-107-ON Songwriting for Artists 1 1.5 CC-407-ON Graphic Design for Artists 2 2
ELECTIVES MUBUS-0307-ON Independent Artist Marketing 2
Various Various 1 MUSICIANSHIP
CC-207-ON Songwriting for Artists 2 1.5
TOTAL 15 ELECTIVES
Various Various 1
TOTAL 15

* Student’s choice of various DAWs

302
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
DRUM
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Drum Program is designed for individuals wishing to pursue an Associate of Arts degree
in Drum who, due to employment, time constraints, family responsibilities, or health reasons, may not
be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Drum program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC-ON New Student Seminar 0 MAJOR AREA
MAJOR AREA CC-013D-ON Drum LPW 013 1
DRUM-PL-ON Private Lesson 1 2 DRUM-012-ON Drum Reading 012 2
DRUM-011-ON Drum Technique 011 2 DRUM-013-ON Drum Performance 013 2
DRUM-015-ON Developing Your Groove 1 DRUM-025-ON Timekeeping 1
MUSICIANSHIP ELECTIVES
CC-108-ON Keyboard Proficiency 1 2 Various Various 1
ELECTIVES
Various Various 1 TOTAL 7

TOTAL 7

Q3 Q4

ASSOCIATE
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 2 2 CC-023D-ON Drum LPW 023 1
DRUM-021-ON Drum Technique 021 2 DRUM-023-ON Drum Performance 023 2
DRUM-014-ON Drum Gear Maintenance & Mastery 1 DRUM-022-ON Drum Reading 022 2
DAW Choose one of the following three DRUM-240-ON E-Drumming Essentials 1
DAW platforms: DAW The second course in selected
AUDIO-159-ON Pro Tools 1 2 DAW study
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-259-ON Pro Tools 2 2
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP
CC-208-ON Keyboard Proficiency 2 1
ELECTIVES TOTAL (Pro Tools selected for DAW study) 8
Various Various (Pro Tools selected for DAW study) 0 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA
MAJOR AREA
DRUM-130-ON Drum Performance 130 2
DRUM-PL-ON Private Lesson 3 2
DRUM-120-ON Drum Reading 120 2
CC-103D-ON Drum LPW 103 1
MUSICIANSHIP
DRUM-110-ON Drum Technique 110 2
CC-021-ON Harmony & Theory 021 1.5
MUSICIANSHIP
CC-022-ON Ear Training 022 1.5
CC-011-ON Harmony & Theory 011 1.5
ELECTIVES
CC-012-ON Ear Training 012 1.5
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
TOTAL 8 for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 7

TOTAL (Logic Pro or Ableton Live selected for DAW study) 8

* Student’s choice of various DAWs

303
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
DRUM

90 CREDITS / 12 QUARTERS/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 4 2 DRUM-230-ON Drum Performance 230 2
CC-203D-ON Drum LPW 203 1 DRUM-220-ON Drum Reading 220 2
DRUM-210-ON Drum Technique 210 2 MUSICIANSHIP
MUSICIANSHIP CC-201-ON Harmony & Theory 201 1.5
CC-101-ON Harmony & Theory 101 1.5 CC-202-ON Ear Training 202 1.5
CC-102-ON Ear Training 102 1.5 ELECTIVES
Various Various 1
TOTAL 8

TOTAL 8

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA
MAJOR AREA
DRUM-PL-ON Private Lesson 5 2
DRUM-360-ON Project Recording 1 2
CC-303D-ON Drum LPW 303 1
PROF. DEV.
DRUM-350-ON Advanced Drumming 1: Jazz 2
MUBUS-0360-ON Business Practices for Musicians 1 1.5
PROF. DEV.
MUBUS-0307-ON Independent Artist Marketing 2
MUBUS-0202-ON Media Relations 2
MUSICIANSHIP
CC-107-ON Songwriting for Artists 1 1.5
TOTAL 7
TOTAL 7

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
DRUM-PL-ON Private Lesson 6 2 DRUM-460-ON Project Recording 2 2
CC-403D-ON Drum LPW 403 1 PROF. DEV.
DRUM-450/452-ON Advanced Drumming 2: Latin or 2 MUBUS-0460-ON Business Practices for Musicians 2 1.5
Gospel CC-407-ON Graphic Design for Artists 2 2
PROF. DEV. MUSICIANSHIP
CC-307-ON Graphic Design for Artists 1 2 CC-207-ON Songwriting for Artists 2 1.5
ELECTIVES
TOTAL 7 Various Various 1

TOTAL 8

304
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
ASSOCIATE OF ARTS (DISTANCE LEARNING)

DISTANCE LEARNING

ASSOCIATE

305
305
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
GUITAR
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*

COURSE CREDIT
Private Lesson 1-6 12
Guitar LPW 013-403 6
Guitar Performance 013-230 8
Guitar Technique 011-210 8
Guitar Reading 012-220 8
MAJOR AREA = 54 OR 56 CREDITS Guitar Gear Maintenance & Mastery 1
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Advanced Musicianship Concepts 1-2 4
Project Recording: Guitar 1-2 4
Business Practices for Musicians 1-2 3
PROF. DEVELOPMENT = 11 CREDITS Media Relations 2
Graphic Design for Artists 1-2 4
ASSOCIATE

Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2
Harmony & Theory 011-201 6
MUSICIANSHIP = 19 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS Various 4 or 6
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Associate of Arts in Performance – Guitar (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Guitar) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and ensemble
guitar performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production, and live
performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of digital audio workstations,
electronic guitar and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio production with
instrument performance as the focal point.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.

306
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
GUITAR
Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 1 2 GUIT-PL-ON Private Lesson 2 2
CC-013G-ON Guitar LPW 013 1 CC-023G-ON Guitar LPW 023 1
GUIT-013-ON Guitar Performance 013 2 GUIT-023-ON Guitar Performance 023 2
GUIT-011-ON Guitar Technique 011 2 GUIT-021-ON Guitar Technique 021 2
GUIT-012-ON Guitar Reading 012 2 GUIT-022-ON Guitar Reading 022 2
GUIT-015-ON Guitar Gear Maintenance & Mastery 1 GUIT-024-ON Guitar Gear Mastery 1
MUSICIANSHIP MUSICIANSHIP
CC-015-ON Rhythm Reading Workout 1 1 CC-025-ON Rhythm Reading Workout 2 1
CC-011-ON Harmony & Theory 011 1.5 CC-021-ON Harmony & Theory 021 1.5
CC-012-ON Ear Training 012 1.5 CC-022-ON Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 2

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 3 2 GUIT-PL-ON Private Lesson 4 2

ASSOCIATE
CC-103G-ON Guitar LPW 103 1 CC-203G-ON Guitar LPW 203 1
GUIT-130-ON Guitar Performance 130 2 GUIT-230-ON Guitar Performance 230 2
GUIT-110-ON Guitar Technique 110 2 GUIT-210-ON Guitar Technique 210 2
GUIT-120-ON Guitar Reading 120 2 GUIT-220-ON Guitar Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP MUSICIANSHIP
CC-101-ON Harmony & Theory 101 1.5 CC-201-ON Harmony & Theory 201 1.5
CC-102-ON Ear Training 102 1.5 CC-202-ON Ear Training 202 1.5
CC-108-ON Keyboard Proficiency 1 1 CC-208-ON Keyboard Proficiency 2 1
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 10 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 1 for DAW study) 1

TOTAL 15 TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 5 2 GUIT-PL-ON Private Lesson 6 2
CC-303G-ON Guitar LPW 303 1 CC-403G-ON Guitar LPW 403 1
GUIT-350-ON Advanced Musicianship Concepts 1 2 GUIT-450-ON Advanced Musicianship Concepts 2 2
GUIT-360-ON Project Recording: Guitar 1 2 GUIT-460-ON Project Recording: Guitar 2 2
PROF. DEV. PROF. DEV.
MUBUS-0360-ON Business Practices for Musicians 1 1.5 MUBUS-0460-ON Business Practices for Musicians 2 1.5
MUBUS-0202-ON Media Relations 2 CC-407-ON Graphic Design for Artists 2 2
CC-307-ON Graphic Design for Artists 1 2 MUBUS-0307-ON Independent Artist Marketing 2
MUSICIANSHIP MUSICIANSHIP
CC-107-ON Songwriting for Artists 1 1.5 CC-207-ON Songwriting for Artists 2 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

307
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
GUITAR
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Guitar Program is designed for individuals wishing to pursue an Associate of Arts degree
in Guitar who, due to employment, time constraints, family responsibilities, or health reasons, may not
be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Guitar program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC-ON New Student Seminar 0 MAJOR AREA
MAJOR AREA GUIT-013-ON Guitar Performance 013 2
GUIT-PL-ON Private Lesson 1 2 GUIT-012-ON Guitar Reading 012 2
CC-013G-ON Guitar LPW 013 1 MUSICIANSHIP
GUIT-011-ON Guitar Technique 011 2 CC-025-ON Rhythm Reading Workout 2 1
MUSICIANSHIP CC-012-ON Ear Training 012 1.5
CC-015-ON Rhythm Reading Workout 1 1 ELECTIVES
CC-011-ON Harmony & Theory 011 1.5 Various Various 1

TOTAL 7.5 TOTAL 7.5

Q3 Q4
ASSOCIATE

CODE COURSE CREDIT CODE COURSE CREDIT

MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 2 2 GUIT-023 Guitar Performance 023 2
CC-023G-ON Guitar LPW 023 1 GUIT-022 Guitar Reading 022 2
GUIT-021-ON Guitar Technique 021 2 DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-021-ON Harmony & Theory 021 1.5
AUDIO-159-ON Pro Tools 1 2
ELECTIVES
AUDIO-162-ON Logic Fundamentals 1 1
Various Various 1
AUDIO-164-ON Ableton Live Online 1 1
TOTAL 7.5 MUSICIANSHIP
CC-022 Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
TOTAL for DAW study) 7.5
1

TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL Private Lesson 3 2 GUIT-130 Guitar Performance 130 2
CC-103G Guitar LPW 103 1 GUIT-120 Guitar Reading 120 2
GUIT-110 Guitar Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study CC-108 Keyboard Proficiency 1 1
AUDIO-259-ON Pro Tools 2 2 ELECTIVES
AUDIO-262-ON Logic Fundamentals 2 1 Various Various (Pro Tools selected for DAW study) 0
AUDIO-264-ON Ableton Live Online 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5
TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Pro Tools selected for DAW study) 8.5 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

* Based on optimal course load of 7.5 credits per quarter

308
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
GUITAR

90 CREDITS / 12 QUARTERS/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 4 2 GUIT-230-ON Guitar Performance 230 2
CC-203G-ON Guitar LPW 203 1 GUIT-220-ON Guitar Reading 220 2
GUIT-210-ON Guitar Technique 210 2 GUIT-015-ON Guitar Gear Maintenance & Mastery 1
MUSICIANSHIP MUSICIANSHIP
CC-201-ON Harmony & Theory 201 1.5 CC-202-ON Ear Training 202 1.5
ELECTIVES CC-208-ON Keyboard Proficiency 2 1
VARIOUS Various 1
TOTAL 7.5
TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
GUIT-PL-ON Private Lesson 4 2 GUIT-350-ON Adv. Musician Concepts 1 2

ASSOCIATE
CC-203G-ON Guitar LPW 203 1 GUIT-360-ON Project Recording 1 2
PROF. DEV. PROF. DEV.
MUBUS-0202-ON Media Relations 1 2 MUBUS-0360-ON Business Practices for Musicians 1 1.5
MUSICIANSHIP CC-307-ON Graphic Design for Artists 1 2
CC-107-ON Songwriting for Artists 1 1.5
ELECTIVES
VARIOUS Various 1 TOTAL 7.5

TOTAL 7.5

Q11
CODE COURSE CREDIT Q12
MAJOR AREA CODE COURSE CREDIT
GUIT-PL-ON Private Lesson 5 2
CC-203G-ON Guitar LPW 203 1 MAJOR AREA
PROF. DEV. GUIT-450-ON Adv. Musician Concepts 2 2
MUBUS-0307-ON Independent Artist Marketing 2 GUIT-460-ON Project Recording 2 2
MUSICIANSHIP PROF. DEV.
CC-207-ON Songwriting for Artists 2 1.5 MUBUS-0460-ON Business Practices for Musicians 2 1.5
ELECTIVES CC-407-ON Graphic Design for Artists 2 2
VARIOUS Various 1

TOTAL 7.5
TOTAL 7.5

309
 ASSOCIATE OF ARTS (DISTANCE LEARNING)

DISTANCE LEARNING
ASSOCIATE

310
310
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK

90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*

COURSE CREDIT
Private Lesson 1-6 12
Keyboard LPW 013-403 6
Keyboard Performance 013-230 8
Keyboard Technique 011-210 8
Keyboard Reading 012-420 8
MAJOR AREA = 53 OR 55 CREDITS Keyboard Gear Mastery 1
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Commercial Composition 1-2 4
Project Recording: Keyboard 1-2 4
Business Practices for Musicians 1-2 3

ASSOCIATE
Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS Graphic Design for Artists 1-2 4
Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 17 CREDITS Ear Training 012-202 6
Songwriting for Artists 1-2 3
ELECTIVES = 7 OR 9 CREDITS Various 7 or 9
DEPENDING ON SELECTED DAW STUDY
Choice of DAW study explained:
Associate of Arts in Performance – Keyboard Technology (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Keyboard Technology) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both solo and ensemble
keyboard performer through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, tone production, and
live performance workshops/ ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based recording
software and gear mastery.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of recording, composition, and studio
production (performance focus).
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, and in-depth rhythmic studies.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, and
media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.
311
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 1 2 KEYBD-PL-ON Private Lesson 2 2
CC-013K-ON Keyboard LPW 013 1 CC-023K-ON Keyboard LPW 023 1
KEYBD-013-ON Keyboard Performance 013 2 KEYBD-023-ON Keyboard Performance 023 2
KEYBD-011-ON Keyboard Technique 011 2 KEYBD-021-ON Keyboard Technique 021 2
KEYBD-012-ON Keyboard Reading 012 2 KEYBD-022-ON Keyboard Reading 022 2
MUSICIANSHIP KEYBD-024-ON Keyboard Gear Mastery 1
CC-015-ON Rhythm Reading Workout 1 1 MUSICIANSHIP
CC-011-ON Harmony & Theory 011 1.5 CC-025-ON Rhythm Reading Workout 2 1
CC-012-ON Ear Training 012 1.5 CC-021-ON Harmony & Theory 021 1.5
ELECTIVES CC-022-ON Ear Training 022 1.5
Various Various 2 ELECTIVES
Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 3 2 KEYBD-PL-ON Private Lesson 4 2
ASSOCIATE

CC-103K-ON Keyboard LPW 103 1 CC-203K-ON Keyboard LPW 203 1

KEYBD-130-ON Keyboard Performance 130 2 KEYBD-230-ON Keyboard Performance 230 2
KEYBD-110-ON Keyboard Technique 110 2 KEYBD-210-ON Keyboard Technique 210 2
KEYBD-120-ON Keyboard Reading 120 2 KEYBD-220-ON Keyboard Reading 220 2
DAW Choose one of the following three DAW The second course in selected
DAW platforms: DAW study
AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-162-ON Logic Fundamentals 1 1 AUDIO-262-ON Logic Fundamentals 2 1
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-264-ON Ableton Live Online 2 1
MUSICIANSHIP MUSICIANSHIP
CC-101-ON Harmony & Theory 101 1.5 CC-201-ON Harmony & Theory 201 1.5
CC-102-ON Ear Training 102 1.5 CC-202-ON Ear Training 202 1.5
ELECTIVES ELECTIVES
Various Various (Pro Tools selected for DAW study) 1 Various Various (Pro Tools selected for DAW study) 1
Various Various (Logic Pro or Ableton Live selected Various Various (Logic Pro or Ableton Live selected
for DAW study) 2 for DAW study) 2

TOTAL 15 TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 5 2 KEYBD-PL-ON Private Lesson 6 2
CC-303K-ON Keyboard LPW 303 1 CC-403K-ON Keyboard LPW 403 1
KEYBD-350-ON Commercial Composition 1 2 KEYBD-450-ON Commercial Composition 2 2
KEYBD-360-ON Project Recording: Keyboard 1 2 KEYBD-460-ON Project Recording: Keyboard 2 2
PROF. DEV. PROF. DEV.
MUBUS-0360-ON Business Practices for Musicians 1 1.5 MUBUS-0460-ON Business Practices for Musicians 2 1.5
MUBUS-0202-ON Media Relations 2 CC-407-ON Graphic Design for Artists 2 2
CC-307-ON Graphic Design for Artists 1 2 MUBUS-0307-ON Independent Artist Marketing 2
MUSICIANSHIP MUSICIANSHIP
CC-107-ON Songwriting for Artists 1 1.5 CC-207-ON Songwriting for Artists 2 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

* Student’s choice of various DAWs

312
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
KEYBOARD TECHNOLOGY // PERFORMANCE TRACK
90 CREDITS / 12 QUARTERS/ PART-TIME
The part-time Keyboard Technologies Program is designed for individuals wishing to pursue an
Associate of Arts degree in Keyboard who, due to employment, time constraints, family responsibilities,
or health reasons, may not be able to undertake a traditional full-time program. Specific requirements
and regulations apply to enrollment in the part-time Keyboard program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC-ON New Student Seminar 0 MAJOR AREA
MAJOR AREA KEYBD-013-ON Keyboard Performance 013 2
KEYBD-PL-ON Private Lesson 1 2 KEYBD-012-ON Keyboard Reading 012 2
CC-013K-ON Keyboard LPW 013 1 KEYBD-024-ON Keyboard Gear Mastery 1
KEYBD-011-ON Keyboard Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025-ON Rhythm Reading Workout 2 1
CC-015-ON Rhythm Reading Workout 1 1 CC-012-ON Ear Training 012 1.5
CC-011-ON Harmony & Theory 011 1.5

TOTAL 7.5
TOTAL 7.5

Q3 Q4

ASSOCIATE
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 2 2 KEYBD-023-ON Keyboard Performance 023 2
CC-023K-ON Keyboard LPW 023 1 KEYBD-022-ON Keyboard Reading 022 2
KEYBD-021-ON Keyboard Technique 021 2 DAW Choose one of the following three
MUSICIANSHIP DAW platforms:
CC-021-ON Harmony & Theory 021 1.5
AUDIO-159-ON Pro Tools 1 2
ELECTIVES
AUDIO-162-ON Logic Fundamentals 1 1
Various Various 1
AUDIO-164-ON Ableton Live Online 1 1
TOTAL 7.5 MUSICIANSHIP
CC-022-ON Ear Training 022 1.5
ELECTIVES
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1

TOTAL 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 3 2 KEYBD-130-ON Keyboard Performance 130 2
CC-103K-ON Keyboard LPW 103 1 KEYBD-120-ON Keyboard Reading 120 2
KEYBD-110-ON Keyboard Technique 110 2 MUSICIANSHIP
DAW The second course in selected
CC-102-ON Ear Training 102 1.5
DAW study ELECTIVES
AUDIO-259-ON Pro Tools 2 2 Various Various (Pro Tools selected for DAW study) 1
AUDIO-262-ON Logic Fundamentals 2 1 Various Various (Logic Pro or Ableton Live selected
AUDIO-264-ON Ableton Live Online 2 1 for DAW study) 2

MUSICIANSHIP
CC-101-ON Harmony & Theory 101 1.5 TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Pro Tools selected for DAW study) 8.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

313
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
KEYBOARD TECHNOLOGY// PERFORMANCE TRACK
90 CREDITS / 12 QUARTERS/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 4 2 KEYBD-230-ON Keyboard Performance 230 2
CC-203K-ON Keyboard LPW 203 1 KEYBD-220-ON Keyboard Reading 220 2
KEYBD-210-ON Keyboard Technique 210 2 MUSICIANSHIP
MUSICIANSHIP CC-202-ON Ear Training 202 1.5
CC-201-ON Harmony & Theory 201 1.5 ELECTIVES
ELECTIVES Various Various 2
Various Various 1

TOTAL 7.5 TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 5 2 KEYBD-360-ON Project Recording 1 2
CC-303K-ON Keyboard LPW 303 1 PROF. DEV.
KEYBD-350-ON Commercial Composition 1 2
ASSOCIATE

MUBUS-0202-ON Media Relations 1 2

PROF. DEV. CC-307-ON Graphic Design for Artists 1 2
MUBUS-0360-ON Business Practices for Musicians 1 1.5 MUSICIANSHIP
ELECTIVES CC-107-ON Songwriting for Artists 1 1.5
Various Various 1

TOTAL 7.5 TOTAL 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
KEYBD-PL-ON Private Lesson 5 2 KEYBD-460-ON Project Recording 2 2
CC-403K-ON Keyboard LPW 403 1 PROF. DEV.
KEYBD-450-ON Commercial Composition 2 2 CC-407-ON Graphic Design for Artists 2 2
PROF. DEV. MUBUS-0307-ON Independent Artist Marketing 2
MUBUS-0460-ON Business Practices for Musicians 2 1.5 MUSICIANSHIP
ELECTIVES CC-207-ON Songwriting for Artists 2 1.5
Various Various 1

TOTAL 7.5 TOTAL 7.5

314
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)

DISTANCE LEARNING
ASSOCIATE

315
315
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
VOCAL
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF ARTS DEGREE*

COURSE CREDIT
Private Lesson 1-6 12
Vocal LPW 013-403 6
Vocal Performance 013-230 8
Vocal Technique 011-210 8
Sightsinging 012-220 8
MAJOR AREA = 54 OR 56 CREDITS Styles Survey 1-2 2
DEPENDING ON SELECTED DAW STUDY DAW (choose from one platform below) 2 or 4
- Pro Tools 1–2 (4 credits)
- Logic Fundamentals 1–2 (2 credits)
- Ableton Live Online 1–2 (2 credits)
Ensemble 1-2 4
Project Recording: Vocal 1-2 4
Business Practices for Musicians 1-2 3
Media Relations 2
PROF. DEVELOPMENT = 11 CREDITS 4

ASSOCIATE
Graphic Design for Artists 1-2
Independent Artist Marketing 2

Rhythm Reading Workout 1-2 2

Harmony & Theory 011-201 6
MUSICIANSHIP = 19 CREDITS Ear Training 012-202 6
Keyboard Proficiency 1-2 2
Songwriting for Artists 1-2 3
ELECTIVES = 4 OR 6 CREDITS
Various 4 or 6
DEPENDING ON SELECTED DAW STUDY

Choice of DAW study explained:

Associate of Arts in Performance – Vocal (Distance Learning) students, in fulfilling their required Digital Audio
Workstation (DAW) courses, have a choice of three different DAW platform course sequences for study:
1. AUDIO-162 Logic Fundamentals 1 (1 credit) and AUDIO-262 Logic Fundamentals 2 (1 credit)
2. AUDIO-164 Ableton Live Online 1 (1 credit) and AUDIO-264 Ableton Live Online 2 (1 credit) OR
3. AUDIO-159 Pro Tools 1 (2 credits) and AUDIO-259 Pro Tools 2 (2 credits)
A specific two-course sequence in a chosen DAW platform must be completed to fulfill the DAW requirement. Should the Pro Tools
platform course sequence be the chosen option, two fewer elective credits will be required for overall program completion.

Associate of Arts in Performance (Vocal) Program Learning Outcomes:

1. The student will develop professional performance abilities in contemporary commercial music styles as both a solo and ensemble
vocalist through advanced studies in technique, reading, ensemble, stylistic appropriateness/diversity, and live performance workshops/
ensembles.
2. The student will develop professional studio production and technical skills through advanced studies of studio-based recording
software.
3. The student will develop skills of professional depth, versatility, and creativity in the areas of composition and studio production with
vocal performance as the focal point.
4. The student will cultivate fundamental proficiencies alongside adaptability and inventiveness through the study of traditional and
contemporary music theory, ear training, songwriting, in-depth rhythmic studies, and keyboard proficiency.
5. The student will develop basic skills in applied entertainment business concepts, marketing techniques, visual media software, digital
branding, and media relations concepts and practices, allowing them to negotiate the professional business side of the music industry.
6. The student will choose options for specialized study in areas such as musical styles, secondary instrument study, popular music
history, technology, music business, creative development and composition and analysis; assembling a skill set specific to themselves as
artists/musicians.
316
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
VOCAL

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 1 2 VOCAL-PL-ON Private Lesson 2 2
CC-013V-ON Vocal LPW 013 1 CC-023V-ON Vocal LPW 023 1
VOCAL-013-ON Vocal Performance 013 2 VOCAL-023-ON Vocal Performance 023 2
VOCAL-011-ON Vocal Technique 011 2 VOCAL-021-ON Vocal Technique 021 2
VOCAL-012-ON Sightsinging 012 2 VOCAL-022-ON Sightsinging 022 2
VOCAL-014-ON Styles Survey 1 1 VOCAL-024-ON Styles Survey 2 1
MUSICIANSHIP MUSICIANSHIP
CC-015-ON Rhythm Reading Workout 1 1 CC-025-ON Rhythm Reading Workout 2 1
CC-011-ON Harmony & Theory 011 1.5 CC-021-ON Harmony & Theory 021 1.5
CC-012-ON Ear Training 012 1.5 CC-022-ON Ear Training 022 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15
Q3
CODE COURSE CREDIT Q4
MAJOR AREA
VOCAL-PL-ON Private Lesson 3 2
CODE COURSE CREDIT
CC-103V-ON Vocal LPW 103 1 MAJOR AREA
VOCAL-130-ON Vocal Performance 130 2 VOCAL-PL-ON Private Lesson 4 2
VOCAL-110-ON Vocal Technique 110 2
ASSOCIATE

CC-203V-ON Vocal LPW 203 1

VOCAL-120-ON Sightsinging 120 2 VOCAL-230-ON Vocal Performance 230 2
DAW Choose one of the following three VOCAL-210-ON Vocal Technique 210 2
DAW platforms: VOCAL-220-ON Sightsinging 220 2
AUDIO-159-ON Pro Tools 1 2 DAW The second course in selected
AUDIO-162-ON Logic Fundamentals 1 1 DAW study
AUDIO-164-ON Ableton Live Online 1 1 AUDIO-259-ON Pro Tools 2 2
AUDIO-262-ON Logic Fundamentals 2 1
MUSICIANSHIP
AUDIO-264-ON Ableton Live Online 2 1
CC-101-ON Harmony & Theory 101 1.5
CC-102-ON Ear Training 102 1.5 MUSICIANSHIP
CC-108-ON Keyboard Proficiency 1 1 CC-201-ON Harmony & Theory 201 1.5
ELECTIVES CC-202-ON Ear Training 202 1.5
Various Various (Pro Tools selected for DAW study) 0 CC-208-ON Keyboard Proficiency 2 1
Various Various (Logic Pro or Ableton Live selected ELECTIVES
for DAW study) 1 Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
TOTAL 15

TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 5 2 VOCAL-PL-ON Private Lesson 6 2
CC-303V-ON Vocal LPW 303 1 CC-403V-ON Vocal LPW 403 1
VOCAL-350-ON Contemporary Vocal Ensemble 2 VOCAL-450-ON Advance Contemporary Vocal Ensemble 2
VOCAL-360-ON Project Recording: Vocal 1 2 VOCAL-460-ON Project Recording: Vocal 2 2
PRO. DEV. PROF. DEV.
MUBUS-0360-ON Business Practices for Musicians 1 1.5 MUBUS-0460-ON Business Practices for Musicians 2 1.5
MUBUS-0202-ON Media Relations 2 CC-407-ON Graphic Design for Artists 2 2
CC-307-ON Graphic Design for Artists 1 2 MUBUS-0307-ON Independent Artist Marketing 2
MUSICIANSHIP MUSICIANSHIP
CC-107-ON Songwriting for Artists 1 1.5 CC-207-ON Songwriting for Artists 2 1.5
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

* Student’s choice of various DAWs

317
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
VOCAL
90 CREDITS / 12 QUARTERS*/ PART-TIME
The part-time Vocal Program is designed for individuals wishing to pursue an Associate of Arts degree
in Vocals who, due to employment, time constraints, family responsibilities, or health reasons, may not
be able to undertake a traditional full-time program. Specific requirements and regulations apply to
enrollment in the part-time Vocal program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
CC-CC-ON New Student Seminar 0 MAJOR AREA
MAJOR AREA VOCAL-013-ON Vocal Performance 013 2
VOCAL-PL-ON Private Lesson 1 2 VOCAL-012-ON Sightsinging 012 2
CC-013V-ON Vocal LPW 013 1 VOCAL-014-ON Styles Survey 1 1
VOCAL-011-ON Vocal Technique 011 2 MUSICIANSHIP
MUSICIANSHIP CC-025-ON Rhythm Reading Workout 2 1
CC-015-ON Rhythm Reading Workout 1 1 CC-012-ON Ear Training 012 1.5
CC-011-ON Harmony & Theory 011 1.5

TOTAL 7.5 TOTAL 7.5

Q3 Q4

ASSOCIATE
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 2 2 VOCAL-023 Vocal Performance 023 2
CC-023V-ON Vocal LPW 023 1 VOCAL-022 Sightsinging 022 2
VOCAL-021-ON Vocal Technique 021 2 VOCAL-024 Styles Survey 2 1
MUSICIANSHIP DAW Choose one of the following three
CC-021-ON Harmony & Theory 021 1.5 DAW platforms:
CC-108-ON Keyboard Proficiency 1 1
AUDIO-159-ON Pro Tools 1 2
AUDIO-162-ON Logic Fundamentals 1 1
AUDIO-164-ON Ableton Live Online 1 1
TOTAL 7.5
MUSICIANSHIP 1.5
CC-022 Ear Training 022

TOTAL (Pro Tools selected for DAW study) 8.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL Private Lesson 3 2 VOCAL-130 Vocal Performance 130 2
CC-103V Vocal LPW 103 1 VOCAL-120 Sightsinging 120 2
VOCAL-110 Vocal Technique 110 2 MUSICIANSHIP
DAW The second course in selected CC-102 Ear Training 102 1.5
DAW study VOCAL-031E Digital Notation & Arranging 1
ELECTIVES
AUDIO-259-ON Pro Tools 2 2
AUDIO-262-ON Logic Fundamentals 2 1 Various Various (Pro Tools selected for DAW study) 0
AUDIO-264-ON Ableton Live Online 2 1 Various Various (Logic Pro or Ableton Live selected
for DAW study) 1
MUSICIANSHIP
CC-101 Harmony & Theory 101 1.5
TOTAL (Pro Tools selected for DAW study) 6.5
TOTAL (Pro Tools selected for DAW study) 8.5 TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5
TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

* Student’s choice of various DAWs

318
 ASSOCIATE OF ARTS (DISTANCE LEARNING)
VOCAL
90 CREDITS / 12 QUARTERS/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA
VOCAL-PL-ON Private Lesson 4 2 MAJOR AREA
CC-203V-ON Vocal LPW 203 1 VOCAL-230-ON Vocal Performance 230 2
VOCAL-210-ON Vocal Technique 210 2 VOCAL-220-ON Sightsinging 220 2
MUSICIANSHIP VOCAL-360-ON Project Recording 1 2
CC-201-ON Harmony & Theory 201 1.5 MUSICIANSHIP
CC-208-ON Keyboard Proficiency 2 1 CC-202-ON Ear Training 202 1.5

TOTAL 7.5
TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA MAJOR AREA

VOCAL-PL-ON Private Lesson 5 2 VOCAL-350-ON Vocal Ensemble 1 2
CC-303V-ON Vocal LPW 303 1 PROF. DEV.
VOCAL-460-ON Project Recording 2 2 MUBUS-0460-ON Business Practices for Musicians 2 1.5
PROF. DEV. CC-307-ON Graphic Design for Artists 1 2
MUBUS-0360-ON Business Practices for Musicians 1 1.5 MUSICIANSHIP
ELECTIVES CC-107-ON Songwriting for Artists 1 1.5
Various Various (Pro Tools selected for DAW study) 0
Various Various (Logic Pro or Ableton Live selected TOTAL 7
for DAW study) 1

TOTAL (Pro Tools selected for DAW study) 6.5

TOTAL (Logic Pro or Ableton Live selected for DAW study) 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
VOCAL-PL-ON Private Lesson 6 2 VOCAL-450-ON Vocal Ensemble 2 2
CC-403V-ON Vocal LPW 403 1 PROF. DEV.
PROF. DEV. CC-407-ON Graphic Design for Artists 2 2
MUBUS-0202-ON Media Relations 1 2 MUSICIANSHIP
MUBUS-0307-ON Independent Artist Marketing 2 CC-207-ON Songwriting for Artists 2 1.5
ELECTIVES
Various Various 2
TOTAL 7
TOTAL 7.5

319
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
LIVE PERFORMANCE WORKSHOPS
(DISTANCE LEARNING)

LIVE PERFORMANCE WORKSHOPS (LPW) - MI ONLINE

In response to the social media centered performance space, LPW credits can be earned through
online performance in the following LPW sections. The possibilities are endless within the Online
LPW sections, as you can submit performances of original songs and arrangements, performances
playing along with existing or original tracks, demonstrations of gear, or tutorials on melodic and/or
harmonic concepts, all depending on the particular online LPW section.
• Coffee House Online
• Live OnLine Bass
• Live OnLine Drums
• Live OnLine Guitar
• Live OnLine Keyboard
• Live OnLine Vocal
• Live OnLine Audition

Note: LPW offerings vary by quarter; check current course schedule for availability.

LPW is a core course offering for the Certificate in Performance (Distance

Learning) and Associate of Arts in Performance (Distance Learning). It is also offered as a MI Online
Common Course elective to all students.

ASSOCIATE
Students are not required to report to a single LPW section at a specific time each week. Instead,
they complete their LPW credits a la carte. Students enrolled in LPW sign up weekly in mobile.
[Link] for slots in the LPW sections of their choice in order to complete their required ten video/live
performances per quarter. For this reason, enrollment in LPW will not appear on the student’s weekly
schedule.

320
 ASSOCIATE OF ARTS (DISTANCE LEARNING)

DISTANCE LEARNING
ASSOCIATE

STUDIO RECORDING TECHNOLOGY

321
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
ASSOCIATE OF SCIENCE (DISTANCE LEARNING)
MUSIC BUSINESS
90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF SCIENCE DEGREE*
COURSE CREDIT
Music Industry History 1-2 4
Music Business Law & Contracts 1-3 5
Music Publishing & Licensing 1-4 8
Music Industry 1-4 11
Computer Tech Music Business Applications 1-2 3
MAJOR AREA = Music Business Accounting & Finance 1-2 3
Personal Management & the Artist’s Team 1
64.5 CREDITS Artist Development: Skills for the Creative Ent. 1.5
Music Business Marketing & Social Media 1-5 10
Music Industry Internship 1-2 6
Personal Entrepreneurship 1-2 4
Publishing/A&R Practicum 4
Booking & Management Practicum 4

PROF. DEVELOPMENT = Management & Business Skills 1-4 6.5

10.5 CREDITS (includes Business Writing, Networking, Public Speaking and Leadership)
Graphic Design for Artists 1-2 4
Musicianship for Industry Professionals 1
SUPPORTIVE MUSIC = Song Structure & Content 2
Songs, Recording & Production: A&R Analysis 2

ASSOCIATE
9 CREDITS Production Music for Visual Media: Critical Listening 1-2 4
ELECTIVES =
6 CREDITS Various 6

Associate of Science in Music Business Program Learning Outcomes:

1. Define and articulate more comprehensively and with added global perspective the current music industry landscape including how the more
specific business areas function and are interconnected to drive the industry as a whole.
2. Describe, apply and demonstrate the essential skills of primary music business career paths and roles across main industry areas such as
personal management/artist management, music publishing and licensing, record label operations including A&R (Artists & Repertoire), music
marketing, music distribution, and booking and touring.
3. Employ industry-specific practical knowledge gained from application-oriented projects and hands-on technology training, and integrate
direct business experience through music business internships.
4. Recall and implement prevailing business practices and strategies applicable to major established music companies as well as the independent
sectors of the industry.
5. Relate and integrate additional valuable business insight gained from networking with successful music industry professionals.
6. Apply and demonstrate a more developed and expanded range of transferable business skills, such as those in leadership, team building,
effective communication and expanding a professional network, with an emphasis on applications within the music industry, as well as identify
resources to carry out music business research.
7. Determine particular professional music industry career paths, suited to acquired skills, knowledge and personal strengths, to then identify
and secure appropriate business opportunities as well as job opportunities at entry level or beyond, or for further professional advancement and
specialization.
8. Appropriately analyze and adapt the acquired knowledge and skills to individual and specific industry situations that will be encountered in a
professional career.
9. Analyze and adapt to new developments and trends in the contemporary music industry utilizing broadened historical perspective and context.
10. Fully apply and demonstrate the above-referenced knowledge and skills as a self-managed independent/performing artist.
11. As for being an entrepreneur, define, articulate and implement the practical and legal aspects/steps of forming a business, develop skills to
operate and manage the day-to-day functions of a music-related company, and overall business planning.
12. Demonstrate practical skills related to goal-setting, task allocation, research and analysis techniques, measurement and results analysis,
problem solving, and time management.
13. More effectively evaluate musical talent and music product as prospects from an independent business/company standpoint, considering both
business and artistic/creative goals.
14. Demonstrate basic musical knowledge as well as critical/analytical skills sufficient for a certain level of professional music evaluation from a
creative standpoint and effective communication with artists and other creative professionals such as songwriters, producers, musicians and audio
engineers.
15. Wholly utilize the in-depth knowledge, experience and practical skills acquired, to perform the full scope of assessing, acquiring, developing,
marketing, promoting and launching a new artist or music project.

*This program is new.

The number of students who graduate, the number of students who are placed, or the starting salary you can earn after finishing the educational program are unknown at this time. Information
regarding general salary and placement statistics may be available from governmental sources or from the institution, but is not equivalent to actual performance data.
322
 ASSOCIATE OF SCIENCE (DISTANCE LEARNING)
MUSIC BUSINESS

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-110-ON Music Industry History 1 2 MUBUS-210-ON Music Industry History 2 2
MUBUS-120-ON Music Business Law & Contracts 1 2 MUBUS-220-ON Music Business Law & Contracts 2 2
MUBUS-130-ON Music Publishing & Licensing 1 2 MUBUS-230-ON Music Publishing & Licensing 2 2
MUBUS-140-ON Music Industry 1 2 MUBUS-240-ON Music Industry 2 2
MUBUS-150-ON Computer Tech Music Business 1.5 MUBUS-250-ON Music Business Accounting & 1.5
Applications 1 Finance 1
MUBUS-170-ON Personal Management & The Artist’s 1 MUBUS-280-ON Music Business Marketing & Social 2
Team Media 2
MUBUS-180-ON Music Business Marketing & Social 2 PRO. DEV.
Media 1 MUBUS-290-ON Management & Business Skills 2 1.5
PRO. DEV. SUP. MUSIC
MUBUS-190-ON Management & Business Skills 1 1.5 AUDIO-106-ON Musicianship for Industry Prof. 1
ELECTIVES ELECTIVES
Various Various 1 Various Various 1

TOTAL 15 TOTAL 15

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA MAJOR AREA

MUBUS-320-ON Music Business Law & Contracts 3 1 MUBUS-430-ON Music Publishing & Licensing 4 2
MUBUS-330-ON Music Publishing & Licensing 3 2 MUBUS-440-ON Music Industry 4A 2
MUBUS-340-ON Music Industry 3A 2 MUBUS-441-ON Music Industry 4B 1
MUBUS-341-ON Music Industry 3B 1 MUBUS-450-ON Computer Tech Music Business 1.5
MUBUS-342-ON Music Industry 3C 1 Applications 2
MUBUS-350-ON Music Business Accounting & 1.5 MUBUS-470-ON Artist Development: Skills for the 1.5
Finance 2 Creative Environment
MUBUS-380-ON Music Business Marketing & Social 2 MUBUS-480-ON Music Business Marketing & Social 2
Media 3 Media 4
PRO. DEV. PRO. DEV.
MUBUS-390-ON Management & Business Skills 3 1.5 MUBUS-490-ON Management & Business Skills 4 2
SUP. MUSIC SUP. MUSIC
MUBUS-360-ON Song Structure & Content 2 MUBUS-460-ON Songs, Recording & Production: 2
ELECTIVES A&R Analysis
Various Various 1 ELECTIVES
Various Various 1
TOTAL 15
TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-580-ON Music Business Marketing & Social MUBUS-640-ON Music Industry Internship 2 4
Media 5 2 MUBUS-650-ON Personal Entrepreneurship 2 2
MUBUS-540-ON Music Industry Internship 1 2 MUBUS-670-ON Booking & Mgmt. Practicum 4
MUBUS-550-ON Personal Entrepreneurship 1 2 PRO. DEV.
MUBUS-570-ON Publishing/A&R Practicum 4 CC-407-ON Graphic Design for Artists 2 2
PRO. DEV. SUP. MUSIC
CC-307-ON Graphic Design for Artists 1 2 MUBUS-660-ON Production Music for Graphic Design
SUP. MUSIC for Artists 2 2
MUBUS-560-ON Production Music for Graphic Design ELECTIVES
for Artists 1 2 Various Various 1
ELECTIVES
Various Various 1 TOTAL 15

TOTAL 15

323
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
ASSOCIATE OF SCIENCE (DISTANCE LEARNING)
MUSIC BUSINESS
90 CREDITS / 12 QUARTERS/ PART-TIME

The part-time Music Business Program is designed for individuals wishing to pursue an Associate degree
in Music Business who, due to employment, time constraints, family responsibilities, or health reasons,
may not be able to undertake a traditional full-time program. Specific requirements and regulations
apply to enrollment in the part-time Music Business program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-140-ON Music Industry 1 2 MUBUS-110-ON Music Industry History 1 2
MUBUS-150-ON Computer Tech Music Business 1.5 MUBUS-120-ON Music Business Law & Contracts 1 2
Applications 1 MUBUS-130-ON Music Publishing & Licensing 1 2
MUBUS-180-ON Music Business Marketing & Social 2 MUBUS-240-ON Music Industry 2 2
Media 1
PRO. DEV. TOTAL 8
MUBUS-190-ON Management & Business Skills 1 1.5
ELECTIVES
Various Various 1

TOTAL 8

ASSOCIATE
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-210-ON Music Industry History 2 2 MUBUS-320-ON Music Business Law & Contracts 3 1
MUBUS-220-ON Music Business Law & Contracts 2 2 MUBUS-330-ON Music Publishing & Licensing 3 2
MUBUS-230-ON Music Publishing & Licensing 2 2 MUBUS-340-ON Music Industry 3A 2
MUBUS-170-ON Personal Management & The 1 MUBUS-341-ON Music Industry 3B 1
ELECTIVES Artist’s Team MUBUS-342-ON Music Industry 3C 1
Various Various 1

TOTAL 7
TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-250-ON Music Business Accounting & 1.5 MUBUS-430-ON Music Publishing & Licensing 4 2
Finance 1 MUBUS-440-ON Music Industry 4A 2
MUBUS-280-ON Music Business Marketing & Social 2 MUBUS-441-ON Music Industry 4B 1
Media 2 MUBUS-380-ON Music Business Marketing & Social 2
PRO. DEV. Media 3
MUBUS-290-ON Management & Business Skills 2 1.5
SUP. MUSIC
AUDIO-106-ON Musicianship for Industry Prof. 1 TOTAL 7
ELECTIVES
Various Various 1

TOTAL 7

324
 ASSOCIATE OF SCIENCE (DISTANCE LEARNING)
MUSIC BUSINESS
90 CREDITS / 12 QUARTERS/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-350-ON Music Business Accounting & 1.5 MUBUS-450-ON Computer Tech Music Business 1.5
Finance 2 Applications 2
MUBUS-480-ON Music Business Marketing & Social 2 MUBUS-470-ON Artist Development: Skills for the 1.5
Media 4 Creative Environment
PROF. DEV. MUBUS-580-ON Music Business Marketing & Social 2
MUBUS-390-ON Management & Business Skills 3 1.5 Media 5
SUP. MUSIC SUP. MUSIC
MUBUS-360-ON Song Structure & Content 2 MUBUS-460-ON Songs, Recording & Production: 2
A&R Analysis
ELECTIVES
TOTAL 7 Various Various 1

TOTAL 8

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
ASSOCIATE

MAJOR AREA MAJOR AREA

MUBUS-550-ON Personal Entrepreneurship 1 2 MUBUS-650-ON Personal Entrepreneurship 2 2
PROF. DEV. PROF. DEV.
MUBUS-490-ON Management & Business Skills 4 2 CC-407-ON Graphic Design for Artists 2 2
CC-307-ON Graphic Design for Artists 1 2 SUP. MUSIC
SUP. MUSIC MUBUS-660-ON Production Music for Graphic Design 2
MUBUS-560-ON Production Music for Graphic Design ELECTIVES for Artists 2
for Artists 1 2 Various 1
Various
TOTAL 8
TOTAL 7

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
MUBUS-540-ON Music Industry Internship 1 2 MUBUS-640-ON Music Industry Internship 2 4
MUBUS-570-ON Publishing/A&R Practicum 4 MUBUS-670-ON Booking & Mgmt. Practicum 4
ELECTIVES
Various Various 1
TOTAL 8

TOTAL 7

325
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ASSOCIATE OF SCIENCE (DISTANCE LEARNING)
STUDIO RECORDING TECHNOLOGY

90 CREDITS / 6 QUARTERS
REQUIRED TO COMPLETE THIS ASSOCIATE OF SCIENCE DEGREE

COURSE CREDIT
Recording Techniques 2 1
Audio Foundations: Theory & Technique 3
Pro Tools 1-4 4
Electronics 2
Console Theory & Operation 1-4 8
Intro to Post-Production 1
Sound Reinforcement Theory & Operation 1
Interactive Audio & Emerging Technologies 2
MAJOR AREA = 59 CREDITS Mixing Essentials 1-3 7
Pro Tools Operation 1-2 4
Advanced Audio Principles 3
Analog and Digital Signal Processing 2
Advanced Digital Signal Processing 1
Music Mastering 1
Systems Integration & File Management 2
Broadcast Media 1-2 2
Survey of Recording & Production Techniques 1-2 4

ASSOCIATE
Live Recording Techniques 2
Studio Technology 2
Recording Studio Etiquette 1
Final Project 1-2 6

Business Practices for Musicians 1-2 3

Operating a Music Business 2
PROF. DEVELOPMENT = 12 CREDITS Networking Strategies 1
Graphic Design for Artists 1-2 4
Business Law for Music Producers 2

The Evolution of Audio 1

Musicianship for Industry Professionals 1
MUSICIANSHIP = 11 CREDITS Critical Listening 2
Music Production 1
Song Structure and Content 2
Music Industry History 1-2 4

ELECTIVES = 8 CREDITS Various 8

Associate of Science in Studio Recording Technology Program Learning Outcomes:

1. Demonstrate the ability to operate modern analog and digital audio systems using industry-standard production techniques and equipment in various
recording scenarios.
2. Demonstrate basic to advanced knowledge of audio engineering concepts in theory and in practice, including the principles of computer basics, signal
flow, and signal processing.
3. Demonstrate proficiency in frequency recognition and other critical listening skills.
4. Demonstrate basic musicianship skills, song structure, and practical knowledge of Western music theory, methods and fundamentals associated with
the creation and production of contemporary, popular music.
5. Demonstrate fundamental understanding of common audio post-production and live sound technologies and practices.
6. Demonstrate fundamental understanding of basic audio electronics and theory, including soldering techniques related to professional audio equipment.
7. Demonstrate basic understanding of common business practices related to music and professional efforts in the entertainment industry, including
music business law & contracts.
8. Demonstrate the ability to create your own visual media components.
9. Understand deep technical concepts as they relate to audio recording, broadcasting, and podcasts.
10. Identify the different musical genres and musical standards as they relate to historical and cultural changes throughout the last eighty years.
11. Demonstrate fundamental understanding of the audio technology arc from wax cylinders to vinyl, analog systems, early digital formats, to digital audio
workstations.
326
 ASSOCIATE OF SCIENCE (DISTANCE LEARNING)
STUDIO RECORDING TECHNOLOGY
In a remote learning environment, students explore all phases of audio production including recording,
mixing, mastering, and producing as executed in professional, industry related, recording scenarios. The
Associate of Science in Studio Recording Technology offers audio recording engineers and producers
individual and team exercises designed to build a mastery of the recording process while understanding
the business of the audio industry.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112-ON Audio Foundations: Theory & Technique 3 AUDIO-259-ON Pro Tools 2 2
AUDIO-159-ON Pro Tools 1 2 AUDIO-285-ON Console Theory & Operation 2 2
AUDIO-185-ON Console Theory and Operation 1 2 AUDIO-207-ON Intro to Post-Production 1
AUDIO-151-ON Electronics 2 AUDIO-211-ON Sound Reinforcement Theory and 1
PRO. DEV. Operation
MUBUS-0360-ON Business Practices for Musicians 1 1.5 AUDIO-204-ON Mixing Essentials 1 3
MUSICIANSHIP AUDIO-208-ON Analog and Digital Signal Processing 2
AUDIO-111-ON Evolution of Audio 1 PRO. DEV.
AUDIO-105-ON Critical Listening 2 MUBUS-0460-ON Business Practices for Musicians 2 1.5
AUDIO-051-ON The Modern Music Producer 1 MUSICIANSHIP
AUDIO-106-ON Musicianship for Industry
TOTAL 14.5 Professionals 1
MUBUS-110-ON Music Industry History 1 2

TOTAL 15.5
ASSOCIATE

Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-201-ON Recording Techniques 2 1 AUDIO-459-ON Pro Tools 4 2
AUDIO-359-ON Pro Tools 3 2 AUDIO-485-ON Console Theory & Operation 4 2
AUDIO-385-ON Console Theory & Operation 3 2 AUDIO-440-ON Mixing Essentials 3 2
AUDIO-360-ON Interactive Audio & Emerging AUDIO-216-ON Music Mastering 1
Technologies 2 AUDIO-470-ON Systems Integration & File
AUDIO-340-ON Mixing Essentials 2 2 PRO. DEV. Management 2
AUDIO-370-ON Advanced Audio Principles 3 AUDIO-375-ON Business Law for Music Producers 2
AUDIO-320-ON Advanced Digital Signal Processing 1 MUSICIANSHIP
MUSICIANSHIP MUBUS-360-ON Song Structure and Content 2
MUBUS-210-ON Music Industry History 2 2 ELECTIVES
Various Various 2
TOTAL 15
TOTAL 15

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-510-ON Broadcast Media 1 1 AUDIO-610-ON Broadcast Media 2 1
AUDIO-575-ON Survey of Recording & Production AUDIO-675-ON Survey of Recording & Production
Techniques 1 2 Techniques 2 2
AUDIO-580-ON Live Recording Techniques 2 AUDIO-660-ON Studio Technology 2
AUDIO-140-ON Recording Studio Etiquette 1 AUDIO-690-ON Final Project 2 3
AUDIO-590-ON Final Project 1 3 PRO. DEV.
PRO. DEV. CC-407-ON Graphic Design for Artists 2 2
MUBUS-206-ON Networking Strategies 1 MUBUS-308-ON Operating a Music Business 2
CC-307-ON Graphic Design for Artists 1 2 ELECTIVES
ELECTIVES Various Various 3
Various Various 3
TOTAL 15
TOTAL 15

327
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
ASSOCIATE OF SCIENCE (DISTANCE LEARNING)
STUDIO RECORDING TECHNOLOGY
90 CREDITS / 12 QUARTERS/ PART-TIME
The part-time Studio Recording program is designed for individuals wishing to pursue an Associate degree in
Studio Recording who, due to employment, time constraints, family responsibilities, or health reasons, may not be
able to undertake a traditional full-time program. Specific requirements and regulations apply to enrollment in the
part-time Studio Recording program.

Q1 Q2
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-112-ON Audio Foundations: Theory & Technique 3 AUDIO-111-ON The Evolution of Audio 1
AUDIO-159-ON Pro Tools 1 2 AUDIO-259-ON Pro Tools 2 2
AUDIO-185-ON Console Theory & Operation 1 2 AUDIO-151-ON Electronics 2
MUSICIANSHIP MUSICIANSHIP
AUDIO-106-ON The Modern Music Producer 1 AUDIO-105-ON Critical Listening 2
AUDIO-051-ON Musicianship for Industry Professionals 1
TOTAL 8
TOTAL 8

ASSOCIATE
Q3 Q4
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-201-ON Recording Techniques 2 1 AUDIO-211-ON Sound Reinforcement Theory &
AUDIO-285-ON Console Theory & Operation 2 2 Operation 1
AUDIO-204-ON Mixing Essentials 1 3
AUDIO-207-ON Intro to Post-Production 1 AUDIO-359-ON Pro Tools 3 2
AUDIO-360-ON Interactive Audio & Emerging AUDIO-208-ON Analog and Digital Signal Processing 2
Technologies 2
MUSICIANSHIP TOTAL 8
MUBUS-360-ON Song Structure and Content 2

TOTAL 8

Q5 Q6
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-340-ON Mixing Essentials 2 2 AUDIO-440-ON Mixing Essentials 3 2
AUDIO-459-ON Pro Tools 4 2 AUDIO-385-ON Console Theory & Operation 3 2
AUDIO-320-ON Advanced Digital Signal Processing 1 AUDIO-216-ON Music Mastering 1
MUSICIANSHIP MUSICIANSHIP
MUBUS-110-ON Music Industry History 1 2 MUBUS-210-ON Music Industry History 2 2

TOTAL 7 TOTAL 7

328
 ASSOCIATE OF SCIENCE (DISTANCE LEARNING)
STUDIO RECORDING TECHNOLOGY
90 CREDITS / 12 QUARTERS/ PART-TIME / CONT.

Q7 Q8
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-485-ON Console Theory & Operation 4 2 AUDIO-370-ON Advanced Audio Principles 3
PRO. DEV.
AUDIO-470-ON Systems Integration and File MUBUS-0360-ON Business Practices for Musicians 1 1.5
Management 2 MUBUS-308-ON
PRO. DEV. CC-407-ON Graphic Design for Artists 1 2
CC-307-ON Graphic Design for Artists 1 2 ELECTIVES
AUDIO-375-ON Business Law for Music Producers 2 Various Various 1

TOTAL 8 TOTAL 7.5

Q9 Q10
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-575-ON Survey of Recording & Production AUDIO-510-ON Broadcasting Media 1 1
Techniques 1 2 AUDIO-675-ON Survey of Recording & Production
ASSOCIATE

PRO. DEV. Techniques 2 2

MUBUS-0460-ON Business Practices for Musicians 2 1.5 AUDIO-580-ON Live Recording Techniques 2
MUBUS-206-ON Networking Strategies 1 ELECTIVES
MUBUS-308-ON Owning and Operating a Music Business 2 Various Various 2
ELECTIVES
Various Various 1 TOTAL 7

TOTAL 7.5

Q11 Q12
CODE COURSE CREDIT CODE COURSE CREDIT
MAJOR AREA MAJOR AREA
AUDIO-610-ON Broadcasting Media 2 1 AUDIO-660-ON Studio Technology 2
AUDIO-140-ON Recording Studio Etiquette 1 AUDIO-690-ON Final Project 2 3
AUDIO-590-ON Final Project 1 3 ELECTIVES
ELECTIVES Various Various 2
Various Various 2
TOTAL 7
TOTAL 7

329
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 DISTANCE LEARNING

BACHELOR
OF MUSIC IN PERFORMANCE

THIS CATALOG APPLIES TO ACADEMIC YEAR 2015/2016: OCTOBER 1, 2015 - SEPTEMBER 30, 2016.
330 ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS.
 BACHELOR OF MUSIC OVERVIEW
(DISTANCE LEARNING)
12 QUARTERS IN COMPOSITION OR SONGWRITING & PRODUCTION

MI’s Bachelor of Music Degree offers several options for students who want to gain an in-depth mastery of Harmony,
Theory and Ear Training as well as comprehensive courses in music history, music production software, producing,
and business relations. Bachelor Degrees are available in either Composition, Performance or Songwriting &
Production with the goal of preparing graduates to become professional artists in the contemporary music and
entertainment industry.

Bachelor of Music in Performance (Contemporary Styles)

This unique degree program combines contemporary music performance training with the rigorous study of
traditional disciplines including sight-reading, music history, arranging, conducting, recording and more. Students
attain expertise in one of five major instruments: Bass, Drums, Guitar, Keyboard or Vocal. Ensemble participation,
core to the Bachelor of Music in Performance (Contemporary Styles) program, is accomplished via Zoom
teleconferencing software, low latency remote music performance software, and Musicians Institute’s own On
Campus Initiative (OCI). OCI requires students to travel to the Los Angeles area twice during the course of their
program to complete ensemble work and their sophomore and senior juries. The comprehensive program instructs
students to demonstrate stylistic depth, creative maturity and professional competence in preparation for careers in
today’s music industries.

Bachelor of Music in Songwriting & Production

The Bachelor of Songwriting & Production degree program is designed to prepare students for careers as
songwriters in today’s modern music industry. Graduates of this program will be able to write and produce their
own music, while also gaining the skills to write music for other artists or for TV, film and commercial placement.
Curriculum includes classes in Songwriting, Lyric Writing, Contemporary Arranging, Studio Production, Ensemble,
Logic, Pro Tools, Ear Training, and more.

BACHELOR
Bachelor of Music in Performance (Contemporary Styles) Program Learning Outcomes:
Upon completion of a Bachelor of Music in Performance Degree from Musicians Institute, students will be
able to:
1. Perform music of various contemporary genres, including Jazz, Rock & Roll, Rhythm & Blues/Funk, Latin
and Pop, while exhibiting stylistic authenticity, technical accuracy, improvisational aptitude and creativity.
2. Develop specialized technical, reading and performing abilities as they pertain to the aforementioned
styles within the specified area of instrumental concentration.
3. Demonstrate substantive knowledge within supportive areas including music history, theory and
composition (traditional and contemporary), arranging, conducting (traditional and contemporary), ear-
training, keyboard proficiency, and instrumental instruction.
4. Demonstrate technological proficiency within the areas of music notation, recording, performance, and
business.
5. Effectively communicate, orally and in writing (English), with regard to specific musical works,
composers, performers, music’s role in shaping world culture, the creative process of artists in general,
music education and business practices.
6. Exhibit personal and artistic growth and leadership skills as a team-oriented performer of contemporary
musical styles along with the ability to further develop an organizational foundation for well-rounded self-
study.

The Bachelor of Music in Performance Program Learning Outcomes are developed through a combination
of requirements common to traditional undergraduate music degrees including Private Lessons;
Performance Ensemble; Music Theory; Music History; Music Education; Keyboard Proficiency; Ear-Training;
Conducting; and Arranging, and subsequently combined with Musicians Institute’s contemporary emphasis
on Recording Technology; Sibelius Music Notation; Improvisation; Music Business and Entrepreneurship.
Conventional disciplines along with present-day applications are unified to form a curriculum that
emphasizes personal creativity, synthesis of skills leading to artistic identity, depth and versatility, and
comprehensive assimilation of technique and knowledge through regularly occurring live performance,
studio recording and scholarly research.

Bachelor of Music Conditional Acceptance

Students who clearly demonstrate potential to complete a Bachelor’s degree program but do not yet have the
necessary foundational skills required for full acceptance to the Bachelor’s degree program may be accepted
conditionally. This status requires that the student complete 30 credits of foundational courses before beginning the
Bachelor’s program for which they have been conditionally accepted.

Published program lengths are based on optimal course load at 15 credits per quarter for Bachelor Programs
331
 BACHELOR OF MUSIC IN PERFORMANCE
(DISTANCE LEARNING)
(CONTEMPORARY STYLES) BASS

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT
Private Lesson 1-12 24
Bachelor Ensemble 1-4, 5-12 12
Performance 1-6 6
MAJOR AREA = 66 CREDITS Bass Technique 110-410 8
Bass Reading 120-420 8
Bass Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

Ear Training 102-602 11
Styles Survey 1
BACHELOR

Music History 1-4 8

Contemporary Arranging 1-5 10
SUPPORTIVE MUSIC = 61 CREDITS Directing and Conducting 2
Sibelius Notation 1
Logic Fundamentals 1-2 2
ProTools 1-2 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 8 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
332
 BACHELOR OF MUSIC IN PERFORMANCE
(DISTANCE LEARNING)
(CONTEMPORARY STYLES) DRUMS

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-4, 5-12 12
Performance 1-6 6
MAJOR AREA = 66 CREDITS Drum Technique 110-410 8
Drum Reading 120-420 8
Drum Performance 130-230 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

BACHELOR

Ear Training 102-602 11

Styles Survey 1
Music History 1-4 8
Contemporary Arranging 1-5 10
SUPPORTIVE MUSIC = 61 CREDITS Directing and Conducting 2
Sibelius Notation 1
Logic Fundamentals 1-2 2
ProTools 1-2 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 8 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
333
 BACHELOR OF MUSIC IN PERFORMANCE
(DISTANCE LEARNING)
(CONTEMPORARY STYLES) GUITAR

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-4, 5-12 12
Performance 1-6 6
MAJOR AREA = 66 CREDITS Guitar Technique 110-410 8
Guitar Reading 120-420 8
Guitar Performance 130-430 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

BACHELOR

Ear Training 102-602 11

Styles Survey 1
SUPPORTIVE MUSIC = 61 CREDITS Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
Sibelius Notation 1
Logic Fundamentals 1-2 2
ProTools 1-2 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 8 CREDITS Various 8

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
334
 BACHELOR OF MUSIC IN PERFORMANCE
(DISTANCE LEARNING)
(CONTEMPORARY STYLES) KEYBOARD

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-4, 5-12 12
Performance 1-6 6
MAJOR AREA = 66 CREDITS Keyboard Technique 110-410 8
Keyboard Reading 120-420 8
Keyboard Performance 130-430 4
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2

Harmony & Theory 101-801 15

BACHELOR

Ear Training 102-602 11

Styles Survey 1
SUPPORTIVE MUSIC = 61 CREDITS Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
Sibelius Notation 1
Logic Fundamentals 1-2 2
ProTools 1-2 4
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 11 CREDITS Various 11

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
335
 BACHELOR OF MUSIC IN PERFORMANCE
(DISTANCE LEARNING)
(CONTEMPORARY STYLES) VOCAL

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*

COURSE CREDIT

Private Lesson 1-12 24

Bachelor Ensemble 1-4, 5-12 12
Performance 1-4 4
MAJOR AREA = 70 CREDITS Sight Singing 120-220 4
Vocal Creativity 320-420 4
Vocal Technique 011-210 8
Vocal Performance 130-430 8
Sophomore Jury Prep / Sophomore Jury 2
Senior Jury Prep / Senior Jury 2
Harmony & Theory 101-801 15
BACHELOR

Ear Training 102-602 11

Styles Survey 1
SUPPORTIVE MUSIC = 61 CREDITS Music History 1-4 8
Contemporary Arranging 1-5 10
Directing and Conducting 2
Sibelius Notation 1
Logic Fundamentals 1-2 2
ProTools 1-2 4
Keyboard Proficiency 1-3 3
Business Practices for Musicians 1-2 3
Contemporary Music Instruction 1

GENERAL ED* = 45 CREDITS Various 45

ELECTIVES = 4 CREDITS Various 4

**Student’s choice of DAW

Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.
THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
336
 BACHELOR OF MUSIC (DISTANCE LEARNING)
SONGWRITING & PRODUCTION

180 CREDITS / 12 QUARTERS

REQUIRED TO COMPLETE THIS BACHELOR OF MUSIC DEGREE*
COURSE CREDIT
Private Lesson 1-12 24
Songwriting 1-6 11
Compositional Style and Analysis 1-2 4
Lyric Writing 1-2 4
MAJOR AREA = 63 CREDITS Contemporary Arranging 1-5 10
Vocal Technique for Songwriters 1
Guitar Harmony for Songwriters 1
Vocal Arranging 1-2 4
Sophomore Recital 2
Senior Portfolio Project 2

Keyboard Harmony for Songwriting 1-2 4
Vocal Production and Collaboration 1-2 4
Music History 1-4 8
Musical Directing/Conducting 2
BACHELOR

Secondary Applied Lessons 2

SUPPORTIVE MUSIC = 33 CREDITS Business of Composing 1-2 2
Production Music for Graphic Design for
Artists 1-2 4
Sibelius Notation 1
Logic Fundamentals 1-2 2
Pro Tools 1-2 4
Harmony & Theory 1-8 15
Ear Training 1-6 11
MUSICIANSHIP = 33 CREDITS
Keyboard Proficiency 1-3 3
Composers Ensemble 1-2 4
GENERAL ED* = 45 CREDITS Various 45
ELECTIVES = 6 CREDITS Various 6
Bachelor of Music in Songwriting and Production Program Learning Outcomes:
1. Compose and arrange within various genres of contemporary music including: Pop, Rock & Roll, Rhythm & Blues/Funk,
Latin, Jazz, and Country while exhibiting stylistic authenticity, lyric-writing ability and originality.
2. Demonstrate comprehensive technical, reading and performing abilities as they pertain to the aforementioned styles
within the specified area of instrumental concentration.
3. Demonstrate proper application of audio production techniques including: microphone placement, live tracking, audio-
editing, mixing and mastering along with showcasing leadership skills as applied to problem solving within a recording
studio environment.
4. Demonstrate substantive knowledge within supportive areas including: music history, theory and composition
(traditional and contemporary), arranging, conducting (traditional and contemporary), ear-training, keyboard and guitar
proficiency.
5. Demonstrate technological proficiency within the areas of music notation, recording, performance and music business.
6. Exhibit personal and artistic growth and leadership skills as a team-oriented songwriter and producer of contemporary
musical
*See General styles along
Education with
Transfer the abilityfortorequired
Agreement further credit
develop an organizational
distribution. Distributionfoundation for well-rounded
of General Education self-study.
credits is based on recommended
average credit balance per quarter. General Education requirements can be found on page 123.
Note: Published program lengths are based on optimal course load at 12 units per quarter for Bachelor Programs.

THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
337
 NON-CERTIFICATE (DISTANCE LEARNING)
MI SELECT FOR MI ONLINE a primary instrument/department (Bass, Common Course,
Drum, Guitar, Keyboard Technology, Vocal) based on their
desired courses for the quarter. Students may choose
DEFINITION courses from programs outside their primary instrument
MIO Select is a non-certificate, non-degree status based on availability and Office of Academic Affairs (OAA)
designed to allow online students to enroll in courses and approval.
experience Musicians Institute without enrolling in a degree
or certificate program. Students can create their own
customized schedule from available classes and workshops,
FEES
MIO Select students are responsible for all applicable fees;
while enjoying access to the online music library, online
see Tuition and Fees for specific information.
clinics, online extra-curricular activities, and other online
industry networking opportunities.
FINANCIAL AID
Enrollment is available at the beginning of any quarter, MIO Select is not eligible for State or Federal financial aid
and may be repeated for additional quarters. MIO Select and/or scholarships.
features a full-time schedule, including week 11 final
projects and exams. MATERIALS
MIO Select students are entitled to receive curriculum
The class schedule is based on an initial evaluation and and other materials applicable to courses included in their
consultation with the student’s admissions advisor, where official course schedule only.
the student is provided with a list of available courses
appropriate to the student’s level of knowledge and skill. NUMBER OF CREDITS
Online course offerings vary by quarter and some courses Based on the list of courses available for MIO Select
and programs are not available for MIO Select enrollment. enrollment at the student’s appropriate level during the
quarter(s) of enrollment, the student chooses a course load
Private Lessons are available for MIO Select students, anywhere from 1.0 credit to full time (15+ credits).
NON CERTIFICATE

consisting of weekly, one-hour private lessons on the

student’s primary instrument. The instructor and student
jointly develop learning outcomes for the quarter based
on the student’s particular interests. The instructor and
student then work throughout the quarter to achieve their
established learning outcomes. Requests for private lessons
with a specific instructor are subject to Chief Academic
Officer / Director approval and/or instructor availability.

ACCESS
MIO Select students enrolled in a minimum of seven credits
enjoy full access to MI’s online clinics and seminars offered
during the student’s period of enrollment. They also receive
access to the Artist and Career Services Office, via Zoom,
and all of the online resources they provide to MI students.

COURSE CREDIT
MIO Select students receive credit for successfully
completed courses (70%+) should they choose to enter a
certificate or degree program. Not all courses are available
for enrollment as an MIO Select student. Successful
completion of courses while in MIO Select status do not
equate acceptance into any certificate or degree program.

COURSE SELECTION
Students may choose courses from programs outside
their primary instrument based on availability and Office
of Academic Affairs (OAA) approval. Sequential courses
above the initial level of a sequence are not available to
MIO Select students without the successful completion of
placement testing for said sequential courses.

ENROLLMENT
Students enrolling in the MIO Select Program must choose

338 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

ARTIST/PRODUCER/ENTREPRENEUR develop a music performance, production, and marketing plan

for their final culminating experience (The Final Project). They
MAJOR AREA/ ARTIST/PRODUCER/ENTREPRENEUR also complete a promotional package, to consist of a recording
of their recording and supporting materials. The final package
ARTST-101-ON | RECORDING TECHNIQUES FOR must be defended before a faculty committee chaired by the
SONGWRITERS & PRODUCERS 1 (2) student’s advisor/mentor. One lecture hour per week for one
Learn to produce professional recordings in a project-studio quarter.
environment. This portion of this course focuses on recording
fundamentals and the process of tracking and overdubbing.
Students learn how to record their original songs using the ARTST-311-ON | PROJECT ADVISING 3 (2)
school’s studios as well as their own home setups. Specific Prerequisite ARTST-211 Project Advising 2. Working in close
topics include project-studio terminology, mic choice and consultation with various project advisors, whom they are
placement, EQ, compression and vocal production techniques. required to meet with at least once a week, students begin
Two lecture hours per week for one quarter. planning and creating their final project, including five or more
original songs, artwork, an internet presence, four videos, a
ARTST-201-ON | RECORDING TECHNIQUES FOR press kit and a marketing/career plan. One lecture hour per
week for one quarter.
SONGWRITERS & PRODUCERS 2 (2)
Prerequisite: ARTST-101 Recording Techniques for
Songwriters & Producers 1. Building on the foundation of ARTST-411-ON | PROJECT ADVISING 4 (2)
Recording Techniques for Songwriters & Producers 1, this Prerequisite ARTST-311 Project Advising 3. Working in close
course focuses on the mixing and mastering process. Students consultation with various project advisors, with whom they
learn how to turn basic tracks into dynamic and professional are required to meet at least once a week, students begin
finished products. Topics include effects, mixing, mastering, planning and creating their final project, including three or
buying equipment, and home studio setup. Two lecture hours more original songs, artwork, an internet presence, a press kit
per week per quarter. and a marketing/career plan. One lecture hour per week for
one quarter.
ARTST-301-ON | RECORDING TECHNIQUES FOR
SONGWRITERS & PRODUCERS 3 (2) ARTST-103-ON | ARTIST IDENTITY (1)
This is a workshop in which students explore various concepts
Prerequisite: ARTST-201 Recording Techniques for
of aesthetics, with a focus on developing their own musical

COURSES
Songwriters & Producers 2. This course delves deeper
aesthetic philosophy, artistic identity and personal branding.
in to the specifics of production, with an increased focus
Students present their own original material to the class for
on performance, arrangement, and recording. Students
feedback and advice. Guest lecturers and artists-in-residence
learn what it takes to transform their tracks into dynamic,
from a variety of diverse backgrounds will also join the
professional products. Topics include production vision,
discussions. One lecture hour per week for one quarter.
home studio setup, live instrument tracking, time/pitch editing,
MIDI performance/programming, and virtual instruments/
samplers. Upon completion of this course, students should be ARTST-106-ON | MUSICIANSHIP 1 (1.5)
able to conceptualize and execute all steps needed to create Designed for aspiring music professionals, this course is
commercial-quality recordings leading up the post-production the study of popular music composition devices and their
stage. Two lecture hours per week for one quarter. foundation in the basic music theory. This is accomplished
through the analysis of popular harmonic structures, melodies,
and various common rhythmic patterns. Basics of harmony and
ARTST-401-ON | RECORDING TECHNIQUES FOR theory will be covered, including the role of melody, harmony
SONGWRITERS & PRODUCERS 4 (2) and rhythm, major vs. minor chord qualities, Roman numeral
Prerequisite: ARTST-301 Recording Techniques for harmonic analysis, song form and the basics of chart creation.
Songwriters & Producers 3. Building on the foundation of Students will also be introduced to basic rhythmic notation
Recording Techniques for Songwriters & Producers 3, this and will study ear training by using popular songs as examples.
course focuses on the mixing and mastering process. Students Upon completing this course students will be able to effectively
learn how to turn basic tracks into dynamic and professional communicate with other musical professionals by using
finished products. Topics include remixing, mix bus processing, appropriate music terminology, which will prove invaluable
and mix delivery. Two lecture hours per week for one quarter. during writing or recording sessions in the studio. This course
is equivalent to the DJ Performance and Production Program’s
ARTST-111-ON | PROJECT ADVISING 1 (2) Musicianship course (DJ-106). This course is NOT equivalent
Working in close consultation with project advisors, begin to the Audio Engineering Department’s Musicianship course
planning and creating your final Independent Artist project, (AUDIO-106). One lecture hour and one lab hour per week for
including two or more original songs, artwork, an Internet one quarter.
presence, a press kit and a marketing/career plan. Initial
assignments include choosing a project category/focus, ARTST-206-ON | MUSICIANSHIP 2 | CREDITS: (1.5)
creating a production schedule and creating a project Prerequisite: ARTST-106 or DJ-106 Musicianship 1. Building
proposal. One lecture hour per week for one quarter. on Musicianship 1, this course provides a more in-depth
practical application of Harmony and Theory, addressing
ARTST-211-ON | PROJECT ADVISING 2 (2) concepts such as Time Signatures, Minor Scales, Triad
Prerequisite ARTST-111 Project Advising 1. Working in close Cadences, Inversions, and Voice Leading. Upon successful
consultation with project advisors, students continue to completion of this course, students will be able to effectively

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MI Online course offerings are only available to students enrolled in MI Online programs.

communicate with other music professionals by using Students will dig deeper into detailed analysis of various
appropriate music terminology, which will prove invaluable genres of songwriting styles, practice more advanced lyric
during writing or recording sessions in the studio. One lecture writing techniques, and produce more complex melodies,
hour and one lab hour per week for one quarter. chord progressions, and rhythm/groove. In addition, students
will learn crucial knowledge about navigating the business
of songwriting with respect to publishing, performance
ARTST-306-ON | MUSICIANSHIP 3 (1.5) rights organizations (PROs), and copyright. Students will
Prerequisite: ARTST-206 or DJ-206 Musicianship 2. This
work both independently and collaboratively on various
course provides continued study of popular music composition
creative songwriting exercises, which will culminate in a final
devices and their foundation in music theory and ear training.
presentation of one or more completed songs at the end of
This is accomplished through the analysis of popular harmonic
the quarter. One lecture hour and one lab hour per week, per
structures, melodies and various common rhythmic patterns.
quarter.
Topics will include the role of melody, harmony and rhythm,
common chord progressions, 7th chords, song form and the
basics of chart creation will be covered, as well as continued ARTST-307-ON | SONGWRITING FOR ARTISTS 3 (1.5)
study of ear training. Upon completion of this course, students Prerequisite: ARTST-207 Songwriting for Artists 2. Building
will be able to understand advanced harmonic concepts upon the foundation provided in Songwriting for Artists 1 &
and to demonstrate a high degree of proficiency in the aural 2, this project-focused “bootcamp” style course provides
recognition skills required by a professional musician. One continued analysis and practice of popular music composition
lecture hour and one lab hour per week per quarter. devices in preparation for writing songs in the contemporary
marketplace. Covered topics include arranging, complex
chord progressions, modulation, writing from an acapella, use
ARTST-406-ON | MUSICIANSHIP 4 (1.5) of metaphor, simile and imagery and co-writing collaboration
Prerequisite: ARTST-306 Musicianship 3. Building on
preparation. This is accomplished through reading, listening
Harmony/Theory/Ear Training for Independent Artists 3
and analysis of popular songs demonstratingthe week’s
(Musicianship 3), this course provides students with detailed
techniques, weekly songwriting assignments, plusin-class
instruction in the principles of modulation, tonicization,
individual exercises and/or collaborations. One lecture and one
and reharmonization and how different types of diminished
lab hour per week for one quarter.
7th chords resolve within chord progressions. Advanced
concepts such as second inversion triads, smaller formal
structures, sequences, and irregular resolution will also be ARTST-407-ON | SONGWRITING FOR ARTISTS 4 (1.5)
COURSES

addressed. Students will also be introduced to such topics Prerequisite: ARTST-307 Songwriting for Artists 3. Building
as aural recognition skills using the solfege labeling system; upon the foundation provided in Songwriting for Artists 3,
concentrates on identification, arpeggiation, sightsinging, this course focuses on more advanced songwriting tips and
dictation, and transcription of musical elements that are techniques, further study of lyrical development, melody,
diatonic to Minor key centers (Natural Minor, Harmonic groove and chords, as well as continued analytical study of
Minor, and Melodic Minor) including single notes, intervals, contemporary songs. One lecture and one lab hour per week
diatonic triads and seventh chords, and melodic patterns. for one quarter.
Upon completion of this course, students will be able to
understand advanced harmonic concepts such as second ARTST-353-ON | MUSIC VIDEO BOOT CAMP (1.5)
inversion triad formation, smaller formal structures, and An introductory course in creating simple, single-camera-style
diatonic and chromatic modulation. Students will also be music videos. Students, sourcing their own bands or artists,
able to demonstrate a high degree of proficiency in the aural will create a music video under the guidance of the instructor
recognition skills required by a professional musician. One in a series of seminar-style workshops. Topics covered will be:
lecture hour and one lab hour per week per quarter. the basics of directing performance, camera operation, and
video editing. One lecture hour and one lab hour per week for
ARTST-107-ON | SONGWRITING FOR ARTISTS 1 (1.5) one quarter.
This course is a hands-on introduction to the methods and
practices of modern songwriting for the contemporary ARTST-319-ON | SOCIAL MEDIA BRANDING FOR THE
independent music artist. Topics covered include: genre-based INDEPENDENT ARTIST (1)
song structure studies, lyric writing, reverse-engineering, and This is an introductory course on navigating the world of social
effective chord progressions, melody, and groove. Students media as a musician. Students will study how to share their
will examine and work with multiple songwriting styles, story and music effectively through Social Media platforms
structures, and examples, analyzing both classic and current such as YouTube, Facebook and Instagram. Throughout this
hit songs. Students will develop their skills as independent course, students will be guided through various practical
songwriters through weekly writing exercises, and apply what steps to shape their image and expand their fan base. Upon
they have learned by creating and presenting a fully-finished successful completion of this course, students will be able to
song at the end of the course. One lecture hour and one lab use effective branding strategies as well as practical skills to
hour per week, per quarter. create and post relevant content. One lecture hour per week
for one quarter.
ARTST-207-ON | SONGWRITING FOR ARTISTS 2 (1.5)
Prerequisite: ARTST-107 Songwriting for Artists 1 or SONG- ARTST-419-ON | SOCIAL MEDIA BRANDING FOR THE
101 Songwriting 1. Building on the concepts and methods INDEPENDENT ARTIST (1)
from level 1, this course further explores the art and application Prerequisite: ARTST-319 or CC-019E Social Media Branding
of songwriting for modern independent music artists. 1. Building upon the foundation provided in Social Media

340 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

Branding 1, this course focuses on more advanced concepts 1, or ARTST 101 Recording Techniques for Songwriters &
in navigating the world of social media as a musician. Students Producers 1. Using industry standard programs Pro Tools
will continue to study how to share their story effectively and Logic Pro X, the course will explore templates, project
through song and visuals by fully harnessing the power of management, EQ, Compression, vocal FX, comping, bussing,
Social Media platforms such as YouTube, Facebook and vocal alignment, printing stems, and remixing techniques, as
Instagram. Students will gain experience in live streaming applied to vocal production. One lecture hour per week for one
and on-the-go filmmaking aimed at showcasing their musical quarter.
abilities. Upon successful completion of this course, students
will be better able to use more advanced branding strategies ARTST-403-ON | FINAL PROJECT FOR APE (2)
as well as practical skills to create, post and monetize relevant Prerequisite: ARTST-302 Project Advising 3. Corequisite:
content and build their fan base. One lecture hour per week for ARTST-402 Recording Techniques for Songwriters &
one quarter. Producers 4. Students are required to complete a culminating
experience that serves as both a practicum and bridge to
ARTST-380-ON | KEYBOARD ESSENTIALS 1 (1) the professional world. This directed study project enables
This is an introductory course on contemporary keyboard the student to utilize his/her research within (and experience
technique. Through the study of physical posture, major scales from) our Visual Media, Recording Project, Songwriting,
and common chord progressions, this course will enable Video, Social Media Branding and Artist Identity courses.
students to develop the necessary motor skills required During the quarter, the student will work in consultation with a
for using the keyboard as an arranging and compositional mentor during weeks 2, 4, 7 and 10 to develop his/her unique,
tool. Upon completion of this course, students will gain a professional project, which will include a set of compositions/
basic knowledge of keyboard skills through focused study arrangements, videos, DIY marketing plan, website and album
of performance posture, practice routine development, art. A committee evaluates the final project that results from the
major scale construction, finger dexterity, interval and triad culminating experience.
construction as well as common chord progressions. One
lecture hour per week for one quarter. MUBUS-0360-ON | BUSINESS PRACTICES FOR MUSICIANS
1 (1.5) The first in a two-quarter course sequence, designed to
ARTST-480-ON | KEYBOARD ESSENTIALS 2 (1) provide students with an understanding of the entertainment
Prerequisite requirement: ARTST-380 Keyboard Essentials 1. industry, as it exists today, and essential knowledge for
Building upon the foundation provided in Keyboard Essentials sustaining a career in the digital era. In Business Practices for

COURSES
1, this course focuses on more advanced contemporary Musicians 1, topics include an overview of industry structure,
keyboard techniques through the introduction and study of the artist’s team (manager, attorney, agent, etc.), copyrights
4-note chords. Topics include Major and Minor 7, Dominant 7, and music publishing, band partnerships and solo artists,
Augmented and Diminished 7, Sus4 and Sus2 chords, natural employment agreements, work-for-hire, unions and more. One
minor and blues scales. Upon completion of this course, lecture hour per week for one quarter.
students will be able to continue developing the necessary
motor skills and music vocabulary required for using the MUBUS-0460-ON | BUSINESS PRACTICES FOR MUSICIANS
keyboard as an arranging, compositional and production tool. 2 (1.5)Prerequisite: MUBUS-0360 Business Practices
One Lecture hour per week per quarter. for Musicians 1. This course is a continuation of Business
Practices for Musicians 1, further covering the most important
ARTST-454-ON | MUSIC VIDEO EDITING WITH ADOBE areas and aspects of the entertainment industry. Topics
PREMIERE (1.5) include: record labels (major and indie), types of deals, the
An introduction to editing music videos and other short-form DIY market, distribution, touring, merchandising, and more.
video content. Techniques include importing footage, file S.M.A.R.T. goal setting is also covered to support students in
management, time code, building sequences, working with creating a path to career success. One lecture hour per week
effects and transitions, fine-cutting, and delivering outputs for one quarter.
from Adobe Premiere Pro. The quarter culminates with the
student editing their final project to completion. Students will CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2)
be exposed to the basic skills of editing, color correction, and Students learn how to use Adobe Photoshop to design original
creating outputs. Upon completion of this course, students will CD artwork, flyers, promotional tools, and other visual materials
be able to understand the post-production process and how vital to modern artists. Emphasis is on creating exciting and
it relates to other aspects of production. One lecture hour and expressive designs that directly support music marketing
one lab hour per week per quarter. campaigns. Topics covered in this class include: typography,
flyer design, album artwork design, image manipulation,
ARTST-413-ON | FINAL CUT PRO X (1.5) merchandise design, and more. Two lecture hours per week for
A course designed to familiarize the beginning to seasoned one quarter.
film editor on the variety of features available in Final Cut Pro X.
Topics will include transforming clips, manipulating audio, color CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2)
correcting, and multi-camera editing. One lecture hour and one Prerequisite: CC-307 Graphic Design for Artists 1. The
lab hour per week for one quarter. Internet has opened up an enormous opportunity for musicians
to promote themselves directly to music fans. This course
AUDIO-215-ON | VOCAL PRODUCTION (1) focuses on the technical skills needed to promote music
Prerequisite: Successful completion of one of the following online. Topics include: building a strong online presence,
courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic creation of a content-rich artist website, online marketing tools

341
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

and strategies, video editing basics and social media. Two app, troubleshooting. Logic Fundamentals 2 (online) does not
lecture hours per week for one quarter. qualify the student to take the Logic User Certification Exam.
One lecture hour per week for one quarter.
MUBUS-0307-ON | INDEPENDENT ARTIST MARKETING (2)
Learn do-it-yourself grass-roots marketing strategies designed AUDIO-164-ON | ABLETON LIVE ONLINE 1 (1)
for limited budgets. Each student guides an independent A practical application of digital recording techniques using
artist’s album through the entire marketing process, including Ableton Live, this course provides an overview for songwriters
defining an image, brand, position, and format, identifying and artists on the fundamentals of the recording process,
the target audience, creating practical plans for booking including file and session setup, tracking, arranging, editing,
live shows, gaining access to radio, Internet, press, and and mixing. Upon successful completion of the course,
video promotion, advertising and sponsorships, sales and students will be able to compose, record, and produce music
distribution, film and TV licensing, and development and using Ableton Live. One lab hour per week for one quarter.
distribution of press kits. As the final project, students track,
compile, and report on marketing results. This is the real thing! AUDIO-264-ON | ABLETON LIVE ONLINE 2 (1)
Two lecture hours per week for one quarter. Prerequisite: AUDIO-164 Ableton Live Online 1. Building on
Ableton Live 1, this course provides a more in-depth practical
MUBUS-0202-ON | MEDIA RELATIONS (2) application of digital recording techniques using Ableton Live,
The Internet has forever changed the music industry. This including synthesis, building racks, advanced audio effects,
course covers all aspects of how the Internet has impacted dummy clips, remixing, and live performance. Upon successful
music industry distribution, promotion, marketing and retail completion of this course, students will have tools to create
practices. Topics include: blogging, podcasts, widgets and their own sounds and effects as well as have building blocks to
online retail. Students engage in real-time research. Two perform live. One lab hour per week for one quarter.
lecture hours per week for one quarter.
ELECTIVES // ARTIST/PRODUCER/ENTREPRENEUR
AUDIO-159-ON | PRO TOOLS 1 (2)
This course focuses on the basic concepts and theory involved ARTST-010E-ON | MUSIC PRODUCTION WORKSHOP (1)
in using a digital audio workstation. Students will understand Computer-based weekly one-on-one workshop with an
how to set-up an Avid Pro Tools® session for recording, instructor who guides the student in developing technique,
importing audio, editing, recording MIDI, backing-up data, musicianship and style in support of music production
COURSES

working with external drives, and more. Two lecture hours per skills. Students learn how to enhance their basic production
week for one quarter. knowledge into dynamic and professional quality material.
Topics include drum programming, sampling, remixing, synth
AUDIO-259-ON | PRO TOOLS 2 (2) development and more. One individual workshop hour per
Prerequisite: AUDIO-159 Pro Tools 1. This course expands week for one quarter. May be repeated for credit.
upon the basic principles taught in Pro Tools Fundamentals 1
while introducing the core concepts and techniques students IAP PRIVATE LESSON-ON (1)
need to competently operate a Pro Tools system running ARTST-BPL (Bass)
mid-sized sessions. Students learn to build sessions designed ARTST-DPL (Drum)
for commercial purposes and improve the results of their ARTST-GPL (Guitar)
ARTST-KPL (Keyboard)
recording, editing, and mixing efforts. Two lecture hours per
ARTST-VPL (Vocal)
week for one quarter. Weekly lesson with an instructor who guides the student in
developing technique, musicianship, and style in support of
AUDIO-162-ON | LOGIC FUNDAMENTALS 1 (1) student goals and program requirements. One private lesson
This course introduces students to the primary features and hour per week for one quarter. May be repeated for credit.
basic user interface of Logic Pro X. The class explores the
process of creating an actual song, from start to finish. Pre-
production using Apple Loops, recording/editing audio and MUSIC BUSINESS
MIDI, arranging of tracks, producing drumbeats with a virtual MAJOR AREA // MUSIC BUSINESS (CERTIFICATE)
drummer, as well as basic mixing and automation techniques
are explored. Logic Fundamentals 1 (online) does not qualify
the student to take the Logic User Certification Exam. One MUBUS-104-ON | YOUR MUSIC BUSINESS CAREER (2)
lecture hour per week for one quarter. An overview of the varied career opportunities available in
the music business, including job descriptions ranging from
AUDIO-262-ON | LOGIC FUNDAMENTALS 2 (1) on-air radio personality to production manager to music-related
Prerequisite: AUDIO-162 Logic Fundamentals 1. This teaching. Students receive individual career planning advice
course is a continuation of the Logic Pro X user interface for from the Music Business Program Director and guest speakers
songwriters, composers, producers, and sound engineers. provide professional insights. Two lecture hours per week for
Upon completion, students will understand how to use Logic one quarter.
Pro’s comprehensive array of software instruments, arranging
of MIDI sequences, as well as editing with Flex Time and MUBUS-120-ON | MUSIC BUSINESS LAW AND CONTRACTS
Pitch, Vari-Speed, Smart Controls, Smart Tempo, Advanced 1 (2)
Audio and MIDI, Recording/Editing Techniques, Logic Remote This course is designed to develop an understanding of the

342 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

fundamentals of law and legal rights which permeate the music week for one quarter.
industry by providing an overview of legal concepts which
govern all business activities, with particular emphasis on those MUBUS-150-ON | COMPUTER TECH APP 1 (1.5)
which play a significant role in music- related transactions, A practical introduction to commonly used music business
including copyrights, trademarks, “name & likeness” (publicity software. Using on-site computer rooms, students explore
rights), property law (generally), Constitutional rights and office basics and develop projects using MS Office (Word,
guaranties in the context of the music industry (e.g., freedom of Excel and PowerPoint) as well as a survey of Mac productivity
speech, freedom of assembly), and the basics of contract law suite applications (Keynote, Pages, Numbers, Preview). Also
(with introduction to common industry agreements, negotiation includes an overview of cloud-based and mobile productivity
techniques, and specialized terminology). Two lecture hours per applications such as the Evernote and Google applications.
week for one quarter. One lecture hour and one lab hour per week for one quarter.

MUBUS-220-ON | MUSIC BUSINESS LAW AND CONTRACTS MUBUS-170-ON | PERSONAL MANAGEMENT (1)
2 (2) Corequisite: MUBUS-140 Music Industry 1: Labels and Talent.
Prerequisite MUBUS-120 Music Business Law and Contracts An overview of the responsibilities of personal managers as
1. More advanced principles of contract law including analysis leaders of the artist’s team, and the nature of the relationships
of commonly-encountered contract clauses and provisions, they maintain with their artists. Topics include: contractual
as well as practical exercises with expert coaching in the agreements between the artist and manager, fulfillment of those
negotiation and drafting of effective legal contracts, licenses, obligations, and management responsibilities with regard to the
releases, and other written instruments, coupled with study of negotiation and concluding of various contracts. In addition,
real-world disputes as a guide to what to include and what to the specific roles of an artist’s team are defined and discussed,
avoid in formulating contracts. During the course, students will including the attorney, agent, business manager, tour manager
actually negotiate and draft at least five complete contracts and publicist. Overview of planning and positioning an artist’s
including: a mechanical license; a personal management career along with strategies are discussed. One lecture hour
agreement; a general partnership agreement (band agreement); per week for one quarter.
a “sync” license for first-use inclusion of a musical composition
in a motion picture; and a comprehensive recording contract MUBUS-180-ON | MUSIC BUSINESS MARKETING AND
deal memo. Two lecture hours per week for one quarter.

COURSES
SOCIAL MEDIA 1 (2)
An overview of the principles of marketing for music as well as
MUBUS-130-ON | MUSIC PUBLISHING AND LICENSING 1 the distinct channels used, including airplay, publicity, video
(2) and social media. Students study how to structure effective
Topics include the business and creative responsibilities of a marketing campaigns, as well as strategies for maximizing
publisher, how to copyright songs and recorded works, how results. The course culminates with students developing an
royalties are paid to writers and publishers, an overview of online marketing campaign for an artist, including creating
various of royalty income streams, and the scope and functions the message, slogans, media and visual elements along with
of the Performing Rights Organizations (PRO) and emerging defining their methods and channels of exposure. Two lecture
music rights organizations. Hands-on exercises include hours per week for one quarter.
copyright and PRO form execution, completing cue sheets
using online forms, and performance, sync, and mechanical MUBUS-280-ON | MUSIC BUSINESS MARKETING AND
licenses. In addition, as the industry is firmly entrenched in
digital platforms, ongoing developments in the world of music SOCIAL MEDIA 2 (2)
publishing will also be discussed. Two lecture hours per week Prerequisite MUBUS-180 Music Business Marketing and
for one quarter. Social Media 1. Continued study of marketing strategies
focusing on the principles and methods of public relations
MUBUS-140-ON | MUSIC INDUSTRY 1: LABELS AND (PR) as well as effective use of video content in this current
TALENT (2) digital age. Topics include the logistics of media relationships,
An overview of typical record label structures and how they implementing a press plan, creating PR materials, promotional
evolved, including an analysis of the functions of specific writing, image development; online video platforms such as
departments and how they interact to build an artist’s career. YouTube and an overview of how to use content; integration of
Students analyze the similarities and differences in company social media to support and tie-in. As a final project, students
structure as well as artist deals between major and indie labels. will write a press release incorporating live links to a video
In addition, students will study the evolution and responsibilities series starring an artist, and then sharing on multiple social
of the A&R (Artist & Repertoire) role, including the screening of media platforms. Two lecture hours per week for one quarter.
new material, new artist discovery, the signing process, artist
development, song selection and the artist-label-management MUBUS-190-ON | MANAGEMENT AND BUSINESS SKILLS 1
dynamic. The course culminates in a final project in which each (1.5)
student creates a full A&R report for an independent artist’s Time and resource management is the process of exercising
album of their choosing covering musical genre, production conscious control over the time spent on specific activities
strategy, target demographics, internet exposure, radio airplay, in order to increase efficiency and productivity. Topics
streaming, marketing ideas, and more. Two lecture hours per include maintaining written records, setting goals, creating a
vision, prioritizing, punctuality, reducing information overload,

343
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

organizing, delegating, artist incentivizing, and how to focus and consignment, and the concept of bundling; techniques for
use time effectively in business affairs. Students study business pitching to distributors, and how sales results are tallied
writing skills including how to use words as a productive through tracking systems such as SoundScan; specifics in
business tool to establish a professional image, how to embedding metadata and digital watermarking. In addition, with
communicate clearly and effectively in written communications the rise of independent artists foregoing traditional recording
including business letters, email (including email etiquette), and deals, the more recently developed segment of companies
web content, and how to expand vocabulary and polish their providing label services will be explored. Two lecture hours per
grammar. One lecture hour and one lab hour per week for one week for one quarter.
quarter.
MUBUS-250-ON | ACCOUNTING AND FINANCE 1 (1.5)
MUBUS-290-ON | MANAGEMENT AND BUSINESS SKILLS 2 Prerequisite MUBUS-150 Computer Tech Music Business
(1.5) Applications 1. An introduction to core concepts and
Prerequisite MUBUS-190 Management and Business Skills techniques of business accounting and fiscal management,
1. Success in a changing music industry is determined by the including: cash accounting and accrual accounting methods;
strength and longevity of personal contacts: who you know, debits and credits; charts of accounts; the “acid test” and other
what you know, and most important, who knows you. In this commonly used fiscal ratios; personal and business budgeting
practical, application-oriented course, students analyze and and financial planning; fundamentals of entertainment industry
practice different types of communication, social techniques, project budgeting (“above-the-line” and “below-the-line”
and presentation skills important to making personal contacts elements); common financial reports (balance sheets, income
in all strata of the music business, plus study how to comport statements, cash flow statements); tax considerations and
themselves professionally at events and in corporate situations. common government forms (W-2, W-4, W-7, W-9, 1099, SS-
Students select and attend appropriate music performance 4, etc.). One lecture hour and one lab hour per week for one
and music business events where they network, follow up with quarter.
professionals, and report on the activity and results. Building on
the aforementioned, students develop career strategies to seek MUBUS-342-ON | INDUSTRY 3C: TOUR MANAGEMENT (1)
out job opportunities or business ventures through networking, Working in tandem with the Agent, the Tour Manager handles
establish a reputation in chosen career area, meet the right all responsibilities on the ground for the artist during the tour.
people and identify the primary players (companies and people) All logistical aspects are explored including, sound checks,
COURSES

in a chosen field in order to enter the industry at the highest and performance deliverables, advancing shows, coordinating
level possible. One lecture hour and one lab hour per week for itineraries to follow routing, dealing with stage managers,
one quarter. merchandising, budgets, per diems, personnel management,
interviews, and running a mobile production office. The
MUBUS-341-ON | INDUSTRY 3B: AGENTS-BOOKINGS (1) specifics in working festival tours are also discussed. One
The Booking Agent has emerged as a vital team member for the lecture hour per week for one quarter.
artist. This critical role and its corresponding responsibilities
in the live concert industry are explored. Topics include the MUBUS-441-ON | INDUSTRY 4B: CONCERT PROMOTERS
history and evolution of agencies, methods involved in booking (1)
tours (local to major), sourcing contacts and venues, offers and As the live concert industry has become one of the most
pitching, performance contracts, fee structures, and negotiating dominant areas of the music and entertainment business,
with talent buyers and promoters. Logistical aspects and the distinct role of the Concert Promoter is explored. Topics
execution of contract requirements and riders along with the include the history of promoters and talent buyers, venue
steps in advancing shows will be introduced. Additionally, the ownership, and the evolution and rise of large corporations
specifics of college tours and booking conferences will be such as Live Nation and AEG. In addition, the specifics of how
discussed. One lecture hour per week for one quarter. to produce a live concert, musical event, festival or tour are
covered, including sizing of venues, ticket sales, contracts,
MUBUS-207-ON | MUSIC LICENSING AND SUPERVISION (2) negotiating with booking agents, technical aspects and more.
Artists can open up significant additional revenue streams by Industry resources for the live industry are reviewed such as
licensing their recordings to international record labels, TV, Pollstar and Celebrity Access. One lecture hour per week for
film and video games. This course explains how to submit one quarter.
your music to labels and music supervisors and how deals are MAJOR AREA // MUSIC BUSINESS (ASSOCIATE)
typically structured. Two lecture hours per week for one quarter.

MUBUS-240-ON | INDUSTRY 2: DISTRIBUTION AND LABEL MUBUS-110-ON | MUSIC INDUSTRY HISTORY 1 (2)
SERVICES (2) An introduction to the key components of the music business
Prerequisite MUBUS-140 Music Industry 1. A complete and a comprehensive historical overview of the recorded
study of the area of distribution in the music industry music industry from 1909 to the onset of the rock ’n’ roll era.
including traditional and digital channels, independent vs. Students listen to and analyze the music of each era, including
major distributors and the various deal structures, along with sources and influences on subsequent trends in the context of
innovative approaches to releasing and positioning music. social and cultural movements and political events. In addition,
Topics include radio, retail, online and digital platforms, mobile, students are given an overview of the basic concepts and
steps in the recording process, and its evolution from invention

344 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

to the end of the 1950’s. Two lecture hours per week for one dress, misappropriations of personality and publicity rights,
quarter. “sound-alike” and “look alike” personality rights infringements,
performers’ actions to disaffirm contracts entered when they
MUBUS-210-ON | MUSIC INDUSTRY HISTORY 2 (2) were minors, co-authors’ disputes, fraud cases, publishing
Prerequisite: MUBUS-110 Music Industry History 1. An disputes, licensing disputes, and conflict-of-law cases
overview of the evolution of the industry through an era of balancing the interactions between the laws of different
increasingly rapid change beginning in the ‘60s and coming countries in the same case. One lecture hour per week for one
into the digital age. Includes listening and musical analysis as quarter.
well as examination of sources and influences on subsequent
trends in the context of social and cultural movements and MUBUS-130-ON | MUSIC PUBLISHING AND LICENSING 1 (2)
political events. Additional topics include the advent and Introduction to Music Publishing. Topics include the business
exponential growth of new technologies in the recording and creative responsibilities of a publisher, how to copyright
process as well as with music consumption and formats, and songs and recorded works, how royalties are paid to writers
the remodeling of business practices and economic structures and publishers, an overview of various royalty income
throughout the entertainment arena. The course concludes streams, and the scope and functions of the Performing
with an overview of industry careers in the modern era. Two Rights Organizations (PRO) and emerging music rights
lecture hours per week for one quarter. organizations. Hands-on exercises include copyright and PRO
form execution, completing cue sheets using online forms,
MUBUS-120-ON | MUSIC BUSINESS LAW AND CONTRACTS and performance, sync, and mechanical licenses used in both
1 (2) traditional and new digital medias. Two lecture hours per week
This course is designed to develop an understanding of for one quarter.
the fundamentals of law and legal rights which permeate
the music industry by providing an overview of legal MUBUS-230-ON | MUSIC PUBLISHING AND LICENSING 2 (2)
concepts which govern all business activities, with particular Prerequisite: MUBUS-130 Music Publishing and Licensing 1.
emphasis on those which play a significant role in music- Global Markets. A study of publishing with a global focus.
related transactions, including copyrights, trademarks, Concepts include sub-publishing in non-U.S. territories,
“name & likeness” (publicity rights), property law (generally), international copyright terms and extensions, royalty payments
Constitutional rights and guaranties in the context of the music and international PRO’s (Songwriter Societies). In addition,

COURSES
industry (e.g., freedom of speech, freedom of assembly), the creative aspects of music publishing with a global
and the basics of contract law (with introduction to common perspective are examined, including songwriter relationships,
industry agreements, negotiation techniques, and specialized song plugging and promoting music in alternative markets. Two
terminology). Two lecture hours per week for one quarter. lecture hours per week for one quarter.

MUBUS-220-ON | MUSIC BUSINESS LAW AND CONTRACTS MUBUS-330-ON | MUSIC PUBLISHING AND LICENSING 3 (2)
2 (2) Prerequisite: MUBUS-230 Music Publishing and Licensing 2.
Prerequisite: MUBUS-120 Music Business Law and Contracts Co-requisite: MUBUS-350 Accounting and Finance 2.
1. More advanced principles of contract law including analysis Music Licensing and Alternative Catalog Income. An
of commonly-encountered contract clauses and provisions, examination of the significant revenue streams generated by
as well as practical exercises with expert coaching in the licensing recordings for use in TV, film, trailers, commercials,
negotiation and drafting of effective legal contracts, licenses, video games, digital and mobile platforms, print music and
releases, and other written instruments, coupled with study lyrics, compilations/special projects, karaoke, toys, greeting
of real-world disputes as a guide to what to include and cards, and more. Topics include an overview and analysis of
what to avoid in formulating contracts. During the course, typical deal structures, contracts, forms, and licenses used in
students will actually negotiate and draft at least five complete the field along with the process of music rights clearance and
contracts including: a mechanical license; a personal royalty disbursements. Also explored is the use of metadata
management agreement; a general partnership agreement and advancements in music recognition technology. Two
(band agreement); a “sync” license for first-use inclusion of a lecture hours per week for one quarter.
musical composition in a motion picture; and a comprehensive
recording contract deal memo. Two lecture hours per week for MUBUS-430-ON | MUSIC PUBLISHING AND LICENSING 4
one quarter. (2)
Prerequisite: MUBUS-330 Music Publishing and Licensing 3.
MUBUS-320-ON | MUSIC BUSINESS LAW AND CONTRACTS Music Supervision and Music Libraries. The role of the music
3 (1) supervisor is explored as well as how to submit music for
Prerequisite: MUBUS-220 Music Business Law and various types of projects. Topics also include music libraries,
Contracts 2. Analysis of real-world disputes in the music configuration of music for them and how this affects royalty
industry, including the various legal and equitable doctrines disbursement, along with a review of the numerous publishing
as applied by courts rendering judgment in those cases, deals available in today’s business. Students also study to
exploring a broad range of legal issues and causes of action: employ online resources to gather information on film and TV
copyright infringements, contract disputes, artist/manager productions as well as methods for connecting with industry
disputes, trademark infringements and dilutions, trade professionals to further their own careers. Two lecture hours

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MI Online course offerings are only available to students enrolled in MI Online programs.

per week for one quarter.

MUBUS-341-ON | MUSIC INDUSTRY 3B (1)
MUBUS-140-ON | MUSIC INDUSTRY 1 (2) (Agents & Bookings)
(Record Label Structure & Talent Acquisition) Prerequisite: MUBUS-240 Music Industry 2. Co-requisites:
Co-requisite: MUBUS-170 Personal Management and The MUBUS-340 Music Industry 3A, and MUBUS-342 Music
Artist’s Team. An overview of typical record label structures Industry 3C. The Booking Agent has emerged as a vital team
and how they evolved, including an analysis of the functions of member for the artist. This critical role and its corresponding
specific departments and how they interact to build an artist’s responsibilities in the live concert industry are explored.
career. Students analyze the similarities and differences in Topics include the history and evolution of agencies, methods
company structure as well as artist deals between major and involved in booking tours (local to major), sourcing contacts
indie labels. In addition, students will study the evolution and and venues, offers and pitching, performance contracts, fee
responsibilities of the A&R (Artist & Repertoire) role, including structures, and negotiating with talent buyers and promoters.
the screening of new material, new artist discovery, the signing Logistical aspects and execution of contract requirements
process, artist development, song selection and the artist- and riders along with the steps in advancing shows will be
label-management dynamic. The course culminates in a final introduced. Additionally, the specifics of college tours and
project in which each student will be challenged to find an booking conferences will be discussed. One lecture hour per
unsigned artist, carefully articulate their A&R decision to “sign” week for one quarter.
the act and create a full A&R report with analysis of how they
would prepare/record an album, as well as define a marketing, MUBUS-342-ON | MUSIC INDUSTRY 3C (1)
promotion and sales campaign for the act. Two lecture hours (Tour Management)
per week for one quarter. Prerequisite: MUBUS-240 Music Industry 2. Co-requisites:
MUBUS-340 Music Industry 3A, and MUBUS-341 Music
MUBUS-240-ON | MUSIC INDUSTRY 2 (2) Industry 3B. Working in tandem with the agent, the Tour
(Distribution & Label Services Companies) Manager handles all responsibilities on the ground for the
Prerequisite: MUBUS-140 Music Industry 1. A complete artist during the tour. All logistical aspects are explored,
study of the area of distribution in the music industry including including sound checks, performance deliverables, advancing
traditional, online and digital channels, independent and major shows, coordinating itineraries to follow routing, dealing
distributors, varied deal structures and innovative strategies with stage managers, merchandising, budgets, per diems,
COURSES

for releasing and positioning music in an evolving global personnel management, interviews, and running a mobile
marketplace. Topics cover all distribution platforms, including production office. The specifics in working festival tours are
terrestrial radio, digital, online and mobile platforms, pitching also discussed. One lecture hour per week for one quarter.
distributors in each area, alternative distribution, consignments,
servicing retail outlets, coordinating promotions and marketing MUBUS-440-ON | MUSIC INDUSTRY 4A (2)
with distribution, and packaging and bundling music for added- (Entrepreneurial Strategies for Music Based Companies)
value. Additionally, how sales are monitored, tracked and Prerequisites: MUBUS-340 Music Industry 3A, MUBUS-341
compiled will be examined, the importance of UPC bar codes, Music Industry 3B, and MUBUS-342 Music Industry 3C.
ISRC’s, metadata and digital watermarks. A special focus will Co-requisite: MUBUS-441 Music Industry 4B. An overview
be given to independent artists who forego traditional record of creative and business requirements for starting an
deals, and instead utilize label services provided by a variety of independent record label or music-based company (related
companies, including distributors. Two lecture hours per week product or service). Students developing a mock label define
for one quarter. the music genre; identify the target audience; find and sign
artists; set recording budgets; select producers, arrangers,
MUBUS-340-ON | MUSIC INDUSTRY 3A (2) backup musicians, audio engineers and recording studios;
(Broadcast Media) and develop the image, branding, promotion, advertising
Prerequisite: MUBUS-240 Music Industry 2. Co-requisites: and publicity. Similarly, students developing a music-related
MUBUS-341 Music Industry 3B, and MUBUS-342 Music product or service define the company, products and services,
Industry 3C. Topics include the evolution of radio, as well as identify the target consumer, outline costs, and likewise
other broadcast media, and their impact on the music industry. develop the image, branding, promotion and advertising. As
Various broadcast outlets are examined with a focus on how a final project, music business students develop business and
they operate, determine formats and programming, and help marketing plan elements and promotional media for actual
to promote music. Forms of broadcasts for study include independent artists or for the product or service. Two lecture
commercial and non-commercial radio, public radio, mix and hours per week for one quarter.
specialty shows, satellite and internet radio, digital broadcasts
and streaming services. Focus is given to how music is MUBUS-441-ON | MUSIC INDUSTRY 4B (1)
chosen and prepared for programming, with an overview of (Concert Promoters)
industry charts, monitoring services and tracking systems. Prerequisites: MUBUS-340 Music Industry 3A, MUBUS-341
Techniques for obtaining airplay in both commercial and non- Music Industry 3B, and MUBUS-342 Music Industry 3C.
commercial media are explored, along with promo-tours and Co-requisite: MUBUS-440 Music Industry 4A. As the live
live concerts used to support broadcasts. Two lecture hours concert industry has become one of the most dominant
per week for one quarter. areas of the music and entertainment business, the distinct

346 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

role of the Concert Promoter is explored. Topics include models (subscription, peer-to-peer (P2P), streaming, pay-
the history of promoters and talent buyers, venue ownership, per-play), contract analysis to quantify financial elements,
and the evolution and rise of large corporations such as Live royalty collections, royalty accounting, international currency
Nation and AEG. In addition, the specifics of how to produce considerations, preparing and analyzing royalty statements,
a live concert, musical event, festival or tour are covered, management and distribution of licensing revenues,
including sizing of venues, ticket sales, contracts, negotiating considerations arising under multiple-rights (“360”) recording
with booking agents, technical aspects and more. Industry contracts (live performance revenue, endorsement and
resources for the live industry are reviewed such as Pollstar merchandise revenue, other entertainment-related revenue
and Celebrity Access. One lecture hour per week for one streams), and general strategies for minimizing tax liabilities.
quarter. One lecture hour and one lab hour per week for one quarter.

MUBUS-150-ON | COMPUTER TECH MUSIC BUSINESS MUBUS-170-ON | PERSONAL MANAGEMENT & THE
APPLICATIONS 1 (1.5) ARTIST’S TEAM (1)
A practical introduction to commonly used music business Co-requisite: MUBUS-140 Music Industry 1. An overview of
software. Using on-site computer rooms, students explore the responsibilities of personal managers as leaders of the
office basics and develop projects using MS Office (Word, artist’s team, and the nature of the relationships they maintain
Excel and PowerPoint) as well as a survey of Mac productivity with their artists. Topics include: contractual agreements
suite applications (Keynote, Pages, Numbers, Preview). Also between the artist and manager, fulfillment of those obligations,
includes an overview of cloud-based and mobile productivity and management responsibilities with regard to the negotiation
applications such as the Evernote and Google applications. and concluding of various contracts. In addition, the specific
One lecture hour and one lab hour per week for one quarter. roles of an artist’s team are defined and discussed, including
the attorney, agent, business manager, tour manager and
MUBUS-450-ON | COMPUTER TECH MUSIC BUSINESS publicist. Overview of planning and positioning an artist’s
APPLICATIONS 2 (1.5) career along with strategies are discussed. One lecture hour
Prerequisites: MUBUS-150 Computer Tech Music Business per week for one quarter.
Applications 1, MUBUS-330 Music Publishing and Licensing
3, and MUBUS-350 Accounting and Finance 2. Building on MUBUS-470-ON | ARTIST DEVELOPMENT: SKILLS FOR THE
core computer skills, students explore programs designed

COURSES
CREATIVE ENVIRONMENT (1.5)
to manage and administer music publishing tasks and Prerequisites: MUBUS-170 Personal Management and The
songwriter catalogs, rights and royalty accounting and Artist’s Team, MUBUS-340 Music Industry 3A, MUBUS-341
tracking, production music library digital distribution (including Music Industry 3B, MUBUS-342 Music Industry 3C, and
generating cue sheets), and music licensing. One lecture hour MUBUS-360 Song Structure and Content. Co-requisite:
and one lab hour per week for one quarter. Required lab fee MUBUS-460 Songs, Recordings and Production: A&R
(software license): $195.00. Analysis. This class explores the roles of the arranger,
producer, engineer, road technicians, side musicians,
MUBUS-250-ON | MUSIC BUSINESS ACCOUNTING AND background vocalists and technical support personnel
FINANCE 1 (1.5) employed on a tour or session. Students study musical
Prerequisite: MUBUS-150 Computer Tech Music Business terminology required for effective communication in rehearsal,
Applications 1. An introduction to core concepts and stage, or studio environments and strategies for carrying out
techniques of business accounting and fiscal management, constructive critique and musical decision-making with artistic/
including: cash accounting and accrual accounting methods; creative personalities. Students apply relationship scenarios,
debits and credits; charts of accounts; double-entry communication and artist-development skills during one-on-
bookkeeping; the “acid test” and other commonly used fiscal one sessions with actual independent artists. One lecture hour
ratios; inventory controls (“LIFO” vs. “FIFO”); personal and and one lab hour per week for one quarter.
business budgeting and financial planning; fundamentals of
entertainment industry project budgeting (“above-the-line” MUBUS-180-ON | MUSIC BUSINESS MARKETING AND
and “below-the-line” elements); common financial reports SOCIAL MEDIA 1 (2)
(balance sheets, income statements, cash flow statements); An overview of the principles of marketing for music as well as
tax considerations and common government forms (W-2, W-4, the distinct channels used, including airplay, publicity, video
W-7, W-9, 1099, SS-4, etc.). One lecture hour and one lab and social media. Students study how to structure effective
hour per week for one quarter. marketing campaigns, as well as strategies for maximizing
results. The course culminates with students developing an
MUBUS-350-ON | MUSIC BUSINESS ACCOUNTING AND online marketing campaign for an artist, including creating
FINANCE 2 (1.5) the message, slogans, media and visual elements along with
Prerequisites: MUBUS-250 Accounting and Finance 1, and defining their methods and channels of exposure. Two lecture
MUBUS-220 Music Business Law and Contracts 2. Co- hours per week for one quarter.
requisite: MUBUS-330 Music Publishing and Licensing
3. More advanced study of accounting principles and MUBUS-280-ON | MUSIC BUSINESS MARKETING AND
techniques as applied to the music industry, including: SOCIAL MEDIA 2 (2)
digital rights management, internet marketing and revenue Prerequisite: MUBUS-180 Music Business Marketing and

347
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

Social Media 1. Continued study of marketing strategies process and then reviewing the entire marketing process. In
focusing on the principles and methods of public relations part one, the research process, topics include: Identifying
(PR) as well as effective use of video content in this current a problem, designing the research brief, commissioning the
digital age. Topics include the logistics of media relationships, research work, conducting both qualitative and quantitative
implementing a press plan, creating PR materials, promotional research, analyzing the data, and reporting the results. In
writing and image development; online video platforms such part 2, the marketing process, topics include: research, goal
as YouTube and an overview of how to use content; and setting, strategizing, measuring, assembling, and executing.
integration of social media to support and tie-in. As a final Two lecture hours per week for one quarter.
project, students will write a press release incorporating live
links to a video series starring an artist, and then share on MUBUS-540-ON | MUSIC INDUSTRY INTERNSHIP I (2)
multiple social media platforms. Two lecture hours per week for Prerequisite: MUBUS-110 Music Industry History 1,
one quarter. MUBUS-120 Music Business Law and Contracts 1,
Prerequisite: MUBUS-130 Music Publishing and Licensing
MUBUS-380-ON | MUSIC BUSINESS MARKETING AND 1, MUBUS-140 Music Industry 1, MUBUS-150 Computer
SOCIAL MEDIA 3 (2) Tech Music Business Applications 1, MUBUS-170 Personal
Prerequisite: MUBUS-280 Music Business Marketing and Management and The Artist’s Team, MUBUS-180 Music
Social Media 2. Continued study of marketing strategies Business Marketing and Social Media 1, and MUBUS-190
focusing on the areas of airplay and retailing as well as Management and Business Skills 1. Students gain firsthand
expanded social media techniques. Topics include an overview experience within the music industry by working as interns for
of airplay platforms (terrestrial, internet and satellite radio, music-related companies. Students are coached on music
streaming, mobile and alternative outlets), and how to position business employment skills including writing professional
artists and their music. Strategies in retailing for music and résumés, personal interview techniques and professionalism.
merchandise, effective social media integration and online Specific firms, positions and duties vary according to
advertising are also reviewed. Major platforms such as availability. Average of six internship hours per week for
Facebook and Twitter are explored for creating relationships one quarter, 60 hours total. Students must present signed
with and marketing products and services to relevant Verification of Course Credit sheet and completed Hours Log
demographic communities, along with web analytics and to earn course credits.
COURSES

search engine optimization (SEO) techniques. Students study

how to allocate budgets for maximum impact utilizing a diverse MUBUS-640-ON | MUSIC INDUSTRY INTERNSHIP 2 (4)
media mix. Two lecture hours per week for one quarter. Prerequisite: MUBUS-110 Music Industry History 1,
MUBUS-120 Music Business Law and Contracts 1,
MUBUS-480-ON | MARKETING AND SOCIAL MEDIA 4 (2) Prerequisite: MUBUS-130 Music Publishing and Licensing
Prerequisite MUBUS-380 Music Business Marketing & 1, MUBUS-140 Music Industry 1, MUBUS-150 Computer
Social Media 3. This course provides a continued study of Tech Music Business Applications 1, MUBUS-170 Personal
marketing strategies focusing on the areas of consumer Management and The Artist’s Team, MUBUS-180 Music
lifestyles and sponsorship. It begins by first defining the term Business Marketing and Social Media 1, and MUBUS-190
“sponsorships” and proceeds by looking at a number of Management and Business Skills 1. Students may continue
successful case studies with several brands-both small and their internship with the same firm in an expanded capacity or
large. Next, it presents an overview of key marketing elements undertake a new internship with a different firm. Specific firms,
related to sponsorships including writing an overview of your positions and duties vary according to availability. Average of
company, defining your target market, and identifying your twelve internship hours per week for one quarter, 120 hours
brand identity. A framework is then presented for entering into total. Students must present signed Verification of Course
successful sponsorships through a mock pitch project that Credit sheet and completed Hours Log to earn course credits.
students will undertake. This framework includes: describing
the event, identifying the sponsors that would be a good MUBUS-550-ON | PERSONAL ENTREPRENEURSHIP 1 (2)
“brand fit,” understanding what you want from the sponsor Prerequisite: MUBUS-250 Accounting and Finance 1. The
(money, product giveaways, credibility), identifying what you legal aspects of starting a business, including defining the
are offering the sponsor in return (media exposure, goodwill, business type (proprietorship, partnership, LLC, corporation),
etc.), and locating the proper contacts (brand manager, securing licenses, financial/tax planning, trademark searches
event planner, etc.) to pitch. As a final part of the course, and clearances, DBAs, permits, setting up the tax structure,
students put together an actual pitch and follow-up by writing obtaining business loans, and maintaining compliance with
a mock sponsorship report that evaluates the success of the federal, state, and local laws and regulations that govern
sponsorship and the return on investment. Two lecture hours business ventures. Students also carry out analysis to
per week for one quarter. determine if a proposed business is financially viable and study
daily business operations management skills such as hiring
MUBUS-580-ON | MARKETING AND SOCIAL MEDIA 5 (2) employees, managing inventory, and more. Two lecture hours
Prerequisite MUBUS-480 Music Business Marketing & Social per week for one quarter.
Media 4. Many businesses start with heart but fail because
there was little, or no marketing research and planning involved. MUBUS-650-ON | PERSONAL ENTREPRENEURSHIP 2 (2)
This two-part course begins by singling out the research Prerequisites: MUBUS-550 Personal Entrepreneurship

348 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

1, MUBUS-220 Music Business Law and Contracts 2, US and connecting to live events and possible partnerships
MUBUS-440 Music Industry 4A, MUBUS-441 Music Industry internationally. Students pick an active musician or band, to
4B, MUBUS-430 Music Publishing and Licensing 4, and use as real-life examples, for all projects and assignments.
MUBUS-580 Music Business Marketing and Social Media The management section will guide the student as an advisor
5. Utilizing research and product/service development skills, in career development covering performing, imaging &
students write a formal business plan, including projections, branding, pitching for deals and sponsors plus executing full
strategies, and resource materials, for a new music business management contracts and acquiring team members. On the
firm in a field of their choice (management, booking, label, live performance side, the student will be instructed on how to
music library, publishing, licensing, app development). Based assess, research, negotiate and book venues. Tour instruction
on the business plan, each student then develops a marketing will concentrate on executing tour routing, plus constructing
and promotion strategy. Topics include identifying a physical music and promotion activities that align with tour budgets in
location, naming the business, obtaining financing, and finding both the United States and Internationally. Four lecture hours
and retaining customers/clients. Two lecture hours per week per week for one quarter.
for one quarter.
PROFESSIONAL DEVELOPMENT //
MUBUS-570-ON | PUBLISHING/A&R PRACTICUM (4)
Prerequisites: MUBUS-430 Music Publishing and Licensing MUSIC BUSINESS ASSOCIATE
4, MUBUS-440 Music Industry 4A, MUBUS-170 Personal
Management and The Artist’s Team, MUBUS-220 Music MUBUS-190-ON | MANAGEMENT AND BUSINESS SKILLS 1
Business Law and Contracts 2, MUBUS-350 Accounting and (1.5)
Finance 2, MUBUS-460 Songs, Recordings and Production: (Business Writing and Time Management)
A&R Analysis, MUBUS-470 Artist Development: Skills For Learning and applying effective written communication is
The Creative Environment, MUBUS-480 Music Business essential in the music business as is completing tasks with
Marketing and Social Media 4, and MUBUS-490 Management tight deadlines. In addition to creating business appropriate
and Business Skills 4. Co-requisite: MUBUS-560 Production communication, students will identify and use industry specific
Music For Graphic Design for Artists 1 (Critical Listening). language and expand their vocabularies with new words.
Under the guidance of instructors as project advisors, Topics also cover using words as a productive business
business students undertake the responsibilities of the roles tool to establish a professional image, as well as clear,

COURSES
of Publishing executive and A&R executive. With application effective written communication in business letters, email
to MI student artists or their own artists/projects, business (with email etiquette), and web content. In time management,
students’ activities will include determining musical direction new methods to increase efficiency and productivity will be
as well as providing advice and assistance on copyrighting analyzed and implemented. Topics include maintaining written
their songs, co-writer agreements, publishing agreements, records, setting goals, creating a vision, prioritizing, punctuality,
and joining the appropriate Performing Rights Organization reducing information overload, organizing, delegating, and how
alongside song critiquing, polishing material and advising to focus and use time effectively.
preparation of competitive demo recordings; determining
“casting” (pitching for a self-contained singer/songwriter vs. MUBUS-290-ON | MANAGEMENT AND BUSINESS SKILLS 2
promoting the songs to other artists) and potential for pitching (1.5)
the songs to artist management and record label A&R reps as (Networking Strategies and Professionalism)
well as music supervisors for film/TV/media placement. With Prerequisite: MUBUS-190 Management and Business Skills
respect to the A&R role, business students advise and develop 1. Success in a changing music industry is determined by the
artists/projects towards being signable for a record deal or strength and longevity of personal contacts: who you know,
marketability and viability as an independent. Interaction with what you know, and most important, who knows you. In this
industry professionals and relevant industry organizations practical, application-oriented course, students analyze and
integrated throughout the quarter as well. Four group project practice different types of communication, social techniques,
advisement hours per week for one quarter plus independent and presentation skills important to making personal contacts
project completion. in all strata of the music business, plus study how to comport
themselves professionally at events and in corporate situations.
MUBUS-670-ON | BOOKING-MANAGEMENT PRACTICUM Students select and attend appropriate music performance
(4) and music business events where they network, follow up with
Prerequisites MUBUS-330 Music Publishing & Licensing 3, professionals, and report on the activity and results. Building
MUBUS-440 Music Industry 4A, MUBUS-441 Music Industry on the aforementioned, students develop career strategies
4B, MUBUS-170 Personal Management, MUBUS-220 Music to seek out job opportunities or business ventures through
Business Law & Contracts 2, MUBUS-350 Music Business networking, establish a reputation in chosen career area,
Accounting & Finance 2, MUBUS-460 Songs, Recordings & and meet the right people and identify the primary players
Production: A&R Analysis, MUBUS-470 Artist Development: (companies and people) in a chosen field in order to enter the
Skills, MUBUS-480 Music Business Marketing & Social Media industry at the highest level possible. One lecture hour and one
4, and MUBUS-490 Management & Business Skills 4. Music lab hour per week for one quarter.
Business instructors direct students through a practicum in the
areas of artist development, management, booking tours in the MUBUS-390-ON | MANAGEMENT AND BUSINESS SKILLS 3

349
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

(1.5) harmony, song form, and the basics of chart creation. Two lab
(Public Speaking and Managing Professional Relations) hours per week for one quarter.
Prerequisite: MUBUS-290 Management and Business
Skills 2. Whether in the boardroom or the employee lounge, MUBUS-360-ON | SONG STRUCTURE AND CONTENT (2)
you must be able to speak clearly and concisely in order to Prerequisite: AUDIO-106 Musicianship for Industry
inspire and motivate your employees, artists or clients. This Professionals. A study of the basic elements of popular song
course helps students overcome stage fright and helps them structure, including melody, lyric patterns and construction,
prepare to speak in public, whether to a handful of people or harmony, scales, intervals, rhythm, and form; analysis of
to a crowd. Topics include making business presentations, the structure of successful songs and the application of
inspirational speaking, motivational speaking and debating. those elements to songwriting, including lyric and melodic
Plus, how to diplomatically handle difficult business situations development, hook recognition, chord structures, and
and communicate with artists, managers, agents, record label accompaniment styles. Includes analysis of songwriting styles
personnel, studio personnel, accountants, and audiences. One in various genres including pop, rock, country, rap/hip-hop,
lecture hour and one lab hour per week for one quarter. R&B/soul, jazz, blues, Latin, and folk/Americana. Through
role-playing, students develop techniques for communicating
MUBUS-490-ON | MANAGEMENT AND BUSINESS SKILLS 4 on a musical level with performers, arrangers, engineers, and
(2) (Leadership, Business Relations and Applied Methods) producers. Two lecture hours per week for one quarter.

Prerequisite: MUBUS-390 Management and Business MUBUS-460-ON | SONGS, RECORDING & PRODUCTION:
Skills 3. A study of methods for developing the leadership A&R ANALYSIS (2)
qualities that enable music business professionals to deal with Prerequisite: MUBUS-360 Song Structure and Content.
business associates ethically and tactfully, set an example for Continued development of musical analysis skills and
employees, and motivate them in the workplace. Topics include terminology, with a specific focus on critical listening from
how to be an effective leader, how to hire/recruit employees, an A&R standpoint of songs and talent at various levels and
rewarding your workers, leadership traits, delegating, stages across a range of musical genres. Along with covering
becoming a better listener, and more. Additional focus will be the phases of the recording process, production elements
on maintaining leadership in your field of specialty by staying for enhancing a musical composition and identifying them
COURSES

ahead of the curve, setting trends, and holding membership in in a recording will be explored. Analysis and comparison of
executive organizations. Two lecture hours per week for one preliminary song demos by prominent popular artists with
quarter. the commercially-released versions, identifying choices that
led to a “good song” becoming a “hit song.” Students are
CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2) also guided on how to assess the artist’s needs and provide
Students learn how to use Adobe Photoshop to design original effective advice on performance, song selection, melody, and
CD artwork, flyers, promotional tools, and other visual materials lyrics as well as how to work and communicate with the other
vital to modern artists. Emphasis is on creating exciting and creative personnel (i.e. producers, engineers, musicians, co-
expressive designs that directly support music marketing writers, etc.). One lecture hour and two lab hours per week for
campaigns. Topics covered in this class include: typography, one quarter.
flyer design, album artwork design, image manipulation,
merchandise design, and more. Two lecture hours per week for MUBUS-560-ON | PRODUCTION MUSIC FOR Graphic
one quarter. Design for Artists 1 (CRITICAL LISTENING) (2)
Prerequisites: MUBUS-430 Music Publishing and Licensing
CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2) 4, and MUBUS-360 Song Structure and Content. Introduction
Prerequisite: CC-307 Graphic Design for Artists 1. The to musical analysis from the perspectives of the composer/
Internet has opened up an enormous opportunity for musicians songwriter and the music supervisor, including identifying and
to promote themselves directly to music fans. This course interpreting aspects of tone, timbre, instrumentation, dynamics
focuses on the technical skills needed to promote music online. and motifs within a custom composition or song placement
Topics include: building a strong online presence, creation of for film or television. Students are assigned to review various
a content-rich website, online marketing tools and strategies, pieces of visual media from the perspective of a music
video editing basics, and social media. Two lecture hours per supervisor, assigning specific aspects of lyric content, melodic
week for one quarter. tone, dynamics and other factors to significant markers in the
film, and communicating the desired aspects to the composer.
SUPPORTIVE MUSIC // MUSIC BUSINESS ASSOCIATE Two lecture hours per week for one quarter.

AUDIO-106-ON | MUSICIANSHIP FOR INDUSTRY MUBUS-660-ON | PRODUCTION MUSIC FOR Graphic

PROFESSIONALS (1) Design for Artists 2 (CRITICAL LISTENING) (2)
Students will be introduced to the fundamentals of music Prerequisite: MUBUS-560 Production Music For Graphic
notation on the staff, including the basics of harmony and Design for Artists 1 (Critical Listening). Continued study of
theory that are discussed between producers, engineers, and the relationship between music and visual media from the
musicians in the studio. Upon completion, students will be able perspectives of both the composer and the music supervisor.
to differentiate between major vs. minor keys, Roman numeral Professionals in the field explain and demonstrate the role and

350 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

requirements of production music libraries by screening film, Music Business Associate students may also choose from a
TV and ad cues and interpreting the accompanying sound limited selection of Common Course electives approved by
effects, compositions and soundtrack elements. Topics of the Program Director after completing their first quarter.
discussion include the process of custom composing for short
films, feature films, various TV show formats, ads/commercials, MUBUS-415E-ON | ADVANCED PERSONAL MANAGEMENT
corporate events, and religious institutions. Students are (1)
required to source and select (“place”) existing song material Prerequisites: MUBUS-170 Personal Management & The
for use in a commercial, a film trailer and as a TV theme song, Artist’s Team, MUBUS-320 Music Business Law & Contracts
including researching the availability of material and analyzing 3, MUBUS-330 Music Publishing & Licensing 3, MUBUS-340
and explaining the musical attributes of selections. Two lecture Music Industry 3A, MUBUS-341 Music Industry 3B,
hours per week for one quarter. MUBUS-342 Music Industry 3C, MUBUS-350 Accounting
& Finance 2, MUBUS-380 Marketing & Social Media 3.
ELECTIVES // MUSIC BUSINESS Building upon the foundational Personal Management course
Music Business students must complete their elective (MUBUS-170) as well as courses up to Qtr. 3 in the Associate
requirements by choosing among the following courses only: of Science in Music Business program, this advanced course
in personal management further cultivates the necessary
MUBUS-114E-ON | GETTING GIGS (1) skills and abilities to successfully grow and manage music
Students learn the most efficient ways for artists and bands careers, as well as develop artists. Topics include: 5-year
to book live shows and tours. Subjects include: where to career goal setting, the application of business structures
play, checking out the venue, personal appearance contracts, and new media tools to acquire fans and funding, developing
getting paid, and putting together your own tours. Guest successful touring scenarios, executing deal negotiations
speakers (as available) include club owners, promoters, and creating money-making ventures to expand the artist’s
booking agents, and touring artists. One lecture hour per week career. Additionally covered are insider tips and case studies
for one quarter. of prominent personal managers in the industry (past and
present). One lecture hour per week for one quarter.
MUBUS-115E-ON | BUSINESS WRITING (1)
Students learn how to use words as a productive business MUBUS-416E-ON | ADVANCED TOUR MANAGEMENT (1)
Prerequisites: MUBUS-342 Music Industry 3C: Tour

COURSES
tool to establish a professional image. This course prepares
students to communicate clearly and efficiently in written Management and MUBUS-250 Accounting & Finance 1.
communication, including business letters, email, press This advanced course provides a more in-depth study of
releases, and website content. One lecture/workshop hour per tour management practices including the development of
week for one quarter. show pre-advancing information and advancing packages,
travel and logistical planning, leadership and communication
MUBUS-214E-ON | NEWS AND INDUSTRY TRENDS (1) management techniques, more involved tour budgeting
Students and instructor review and discuss all of the latest exercises, developing a technical understanding of show
music business news as reported in Billboard, trade websites production, and common considerations in planning
and newspapers, and general media. Discussions center on international tours. Throughout the course, students will plan
how the news impacts the industry and students’ own careers. and manage a mock tour scenario while developing a tour
One lecture hour per week for one quarter. book that includes the creation of common documents and
information collected throughout the process. One lecture hour
MUBUS-216E-ON | GRANT WRITING: GETTING FREE per week for one quarter.
MONEY FOR YOUR MUSIC PROJECTS (1)
Grant Writing is becoming an essential skill in our new music BASS
world. The National Endowment for the Arts will annually
support more than 30,000 concerts and performances. In this
MAJOR AREA // BASS
course, the student will be taken through the entire process
of researching and applying for grants, plus connecting with
BASS-PL-ON | PRIVATE LESSON (2)
A weekly individual instrument lesson that supports core
corporate awards that align with specific music missions and
curriculum goals. An instructor guides the student in developing
branding. Detailed topics include: preparing your purpose and
technique, musicianship and style. Twelve credits required (two
audience analysis, drafting and formatting a written proposal
per quarter). One hour per week per quarter.
plus defining your SMART goals and strategies that can lead to
successful awarded grants. One lecture hour per week for one
quarter. CC-013B-CC403B-ON | LIVE PERFORMANCE WORKSHOPS
013-403 (1)
Students perform in a variety of styles and settings (see section
ELECTIVES // MUSIC BUSINESS ASSOCIATE on Live Performance Workshops for overview of workshop
offerings). Minimum requirement of ten performances with an
Music Business Associate students may choose from all average grade of 70% or higher per quarter. One hour per
electives listed above (except MUBUS-115E), as well as the week per quarter.
following electives.

351
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

BASS-013-ON | BASS PERFORMANCE 013 (2) including pentatonics, blues harmony, minor scale variations,
Students develop fundamental technical approaches to a and extended chords. One hour per week for one quarter.
variety of popular styles through weekly live performance.
Concentration is placed on listening, dynamics, awareness of BASS-210-ON | BASS TECHNIQUE & FRETBOARD 210 (2)
song form, basic chart reading, instrument & amp setup, and A continuation of Bass Technique 110 with concentration on
tone. This class coordinates with Bass Technique & Fretboard grooves, additional striking hand techniques and approaches to
011, Bass Reading 012, Harmony Theory 011, Ear Training 012 soloing. Fretboard harmony will continue examining minor scale
and Rhythm Reading Workout 1. One lecture/ensemble hour variations, modes and improvisation. One lecture hour and one
per week for one quarter. lab hour per week for one quarter. One hour per week for one
quarter.
BASS-023-ON | BASS PERFORMANCE 023 (2)
A continuation of Bass Performance 1 with playing bass to the BASS-012-ON | BASS READING 012 (2)
pre-recorded backing track. Bass Performance 2 will continue This course introduces the novice reader to the basic elements
studying bass lines to songs that are written in various styles of music reading in bass clef, including rhythmic subdivisions,
of music which will include Rock, Funk, Jazz and so on. Each pitch identification, introduced to time signature studies (4/4,
week, a song in different style will be assigned for the students 3/4 & 2/4) and position playing on all four strings and scale
to learn the bass line. Students will play bass to the backing forms. Students perform in solo and ensemble settings.
track that is available in the e-text book. The Bass line of each This class coordinates with Bass Technique 011 and Bass
song will be discussed and learned prior to each class. One Performance 013 topics. One lab hour per week for one
hour per week for one quarter. quarter.

BASS-130-ON | BASS PERFORMANCE 130 (2) BASS-022-ON | BASS READING 022 (2)
Ensemble performance emphasizing stylistic rhythm section This course introduces the bassist to more advanced elements
textures and applied techniques. Emphasis is placed on of music reading, including position playing, triplet subdivisions,
handling variations in typical song form, improving chart-reading time signature studies (2/4 & 3/4), dotted notes, ties, dynamic
skills, and taking a leadership role within the group. This class markings, chord symbols, reading in ensembles and basic chart
coordinates with Bass Technique 110 and Bass Reading 120 reading. Students will perform in solo and ensemble settings.
topics. One hour per week for one quarter. This class coordinates with Bass Technique 021 and Bass
COURSES

Performance 023 topics. One hour per week for one quarter.
BASS-230-ON | BASS PERFORMANCE 230 (2)
Prerequisites: BASS-230 Bass Performance 230. Ensemble BASS-120-ON | BASS READING 120 (2)
performance emphasizing applied techniques and advanced This class is a continuation of Bass Reading 2. In addition to
concepts, such as odd meters and metric modulation. continued position and specific key reading, this course preps
Emphasis is also placed on handling variations in typical song the student to read longer forms through bass clef notation
form, strengthening chart- reading skills and developing time transcription and chord charts. Interpreting melodies and
feel, including odd-meter concepts. This class coordinates with rhythm in different styles are also presented in detail. Position
Bass Technique 210 and Bass Reading 220 topics. One hour playing has the students revisiting the lower register but
per week for one quarter. with concentrated focus on the middle register of the neck.
Sight reading concepts will be introduced, and students will
BASS-011-ON | BASS TECHNIQUE & FRETBOARD 011 (2) participate in weekly discussion questions on their LMS. One
This course covers techniques for finger-style bass hour per week for one quarter.
playing, including correct posture, hand positioning, finger
independence, as well as picking (use of plectrum) and muting. BASS-220-ON | BASS READING 220 (2)
All techniques are mastered through extensive exercises. Prerequisites: BASS-120 Bass Reading 120. The Bass
Fretboard harmony is introduced through major scales, triads Reading 220 curriculum continues with position and specific
and intervals. One hour per week for one quarter. key(s) reading in the upper register of the neck. Continuing
with sight-reading concepts and exercises. This course will
BASS-021-ON BASS TECHNIQUE & FRETBOARD 021 (2) introduce odd- meter concepts and exercise reading of treble
This course covers techniques for slap- style bass playing, clef notation, compound meter, metric modulation, jazz chart
including thumb/pluck technique, muting, articulation, reading, lead sheets and transcribing. This class coordinates
rhythmic variations and embellishment. Fretboard harmony with Bass Technique 210 and Bass Performance 230 topics.
study continues with melodic development exercises, scale One hour per week for one quarter.
sequencing and the introduction of the minor scale. One hour
per week for one quarter. BASS-014-ON | BASS GEAR MAINTENANCE & MASTERY (1)
This course covers critical techniques of bass setup and
BASS-110-ON | BASS TECHNIQUE &FRETBOARD 110 (2) maintenance, such as truss rod adjustment, setting intonation,
Continued study of bass guitar techniques, with a concentration action, minor wiring repairs, as well as basic concepts to
on versatile approaches to standard rhythms, grooves and assure the longevity and performance of bass amps and
feels, including eighth-note and sixteenth-note grooves, straight cables. In addition, this course introduces many elements that
and swung. Fretboard harmony will cover chords and scales, make up a contemporary bassists signal chain and how these
components interact to best facilitate the tones and techniques

352 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

required of a professional bassist in multiple different working

environments and genres. One hour per week for one quarter.
PROFESSIONAL DEVELOPMENT // BASS
BASS-025-ON | BASS & DRUM CONCEPTS (1)
Prerequisite: BASS-011 Bass Technique 011, and BASS-013 MUBUS-0360-ON | BUSINESS PRACTICES FOR MUSICIANS
Bass Performance 013. Performance workshop for bassists 1 (1.5)
that takes an in-depth look at the musical dependency between The first in a two-quarter course sequence, designed to
the two instruments and the effect that it has on the groove. provide students with an understanding of the entertainment
Particular attention is given to the intertwining of bass and drum industry, as it exists today, and essential knowledge for
parts and solidifying the groove. One hour per week for one sustaining a career in the digital era. In Business Practices for
quarter. Musicians 1, topics include an overview of industry structure,
the artist’s team (manager, attorney, agent, etc.), copyrights
BASS-370-ON | SYNTH BASS (1) and music publishing, band partnerships and solo artists,
This course is an introduction to keyboard bass playing – employment agreements, work-for-hire, unions and more. One
from a bass player’s perspective. The layout and controls of a lecture hour per week for one quarter.
synthesizer and basic keyboard techniques will be discussed
in great detail. Popular songs featuring prominent keyboard MUBUS-0460-ON | BUSINESS PRACTICES FOR MUSICIANS
basslines will also be discussed. One hour per week for one 2 (1.5)
quarter. Prerequisites: MUBUS-0360 Business Practices for Musicians
1. This course is a continuation of Business Practices for
BASS-350-ON | UPRIGHT BASS WORKSHOP 1 (1) Musicians 1, further covering the most important areas and
This course will present a playing approach that is derived from aspects of the entertainment industry. Topics include: record
the Simandl method for upright bass, adapted and modified labels (major and indie), types of deals, the DIY market,
for the electric bass. This includes the use of open strings as a distribution, touring, merchandising, and more. S.M.A.R.T.
part of any fingering, and shifting with open strings, wherever goal setting is also covered to support students in creating
it is possible to employ them. Topics covered in this class will a path to career success. One lecture hour per week for one
include major scales with open strings in half and first positions, quarter.
and major and minor scales from the lowest notes playable to

COURSES
the highest on your instrument’s fingerboard. One hour per MUBUS-0202-ON | MEDIA RELATIONS (2)
week for one quarter. Students learn the difference between publicity and public
relations, how to create and implement media campaigns, and
BASS-450-ON | UPRIGHT BASS WORKSHOP 2 (1) how to write artist bios, press releases, news releases, and
Prerequisites: BASS-350 Upright Bass Workshop 1: eye-catching headlines. Skills apply to independent artists as
Continuation of BASS-350. This course will present a playing well as those aspiring to work in the industry. Two lecture hours
approach that is derived from the Simandl method for upright per week for one quarter.
bass, adapted and modified for the electric bass. This includes
the use of open strings as a part of any fingering, and shifting CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2)
with open strings, wherever it is possible to employ them. Students learn how to use Adobe Photoshop to design original
Topics covered in this class will include major scales with CD artwork, flyers, promotional tools, and other visual materials
open strings in half and first positions, and major and minor
vital to modern artists. Emphasis is on creating exciting and
scales from the lowest notes playable to the highest on your
expressive designs that directly support music marketing
instrument’s fingerboard. One hour per week for one quarter.
campaigns. Topics covered in this class include: typography,
flyer design, album artwork design, image manipulation,
BASS-360 PROJECT RECORDING 1: BASS (2) merchandise design, and more. Two lecture hours per week for
Prerequisites: Bass Reading 220, Bass Technique 210,
one quarter.
Bass Performance 230. This course is designed to mimic the
“real world” scenario of tracking bass in a 24-track studio.
Topics include: developing bass parts, sight-reading charts,
CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2)
Prerequisites: CC-307 Graphic Design for Artists 1. The
performing with backing tracks, overdubbing, punching in,
Internet has opened up an enormous opportunity for
as well as performing with loops and backing tracks. Studio
musicians to promote themselves directly to music fans. This
etiquette and sound development are also presented in detail.
course focuses on the technical skills needed to promote
One private recording session hour per week for one quarter.
music online. Topics include: building a strong online presence,
creation of a content-rich artist website, online marketing tools
BASS-460-ON | PROJECT RECORDING 2: BASS (2) and strategies, video editing basics, and social media. Two
Prerequisites: BASS-360 Project Recording 1: Bass.
lecture hours per week for one quarter.
A continuation of Project Recording 1: Bass by learning
techniques and experiences, including advanced styles such
as odd-meter performance and soloing. Detailed bass tones,
MUBUS-0307-ON | INDEPENDENT ARTIST MARKETING (2)
This course reveals basic marketing concepts applicable to
amp settings and microphone placement are also covered. One
any professional business venture and focuses on the creation
private recording session hour per week for one quarter.
of a fully customized, low-budget marketing plan of attack.
Furthermore, at a time when new technologies make it more

353
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

possible than ever for artists to leverage their own careers, CC-201-ON | HARMONY & THEORY 201 (1.5)
there has never been a greater need for practical, independent Prerequisites: CC-101 Harmony & Theory 101. This course
marketing advice. After identifying a business vision, students presents non-diatonic melodic and harmonic concepts.
conduct research, set short-term goals, and create an Highlights include: minor key harmony and melody, modal
integrated mix of marketing strategies to achieve their objective, interchange, secondary dominants, diatonic substitution and
including defining an image, brand, position, and format, modulation, chromatic modulations, Roman numeral analysis,
identifying the target audience, gaining access to radio, as altered and symmetrical scales. One video lecture hour and one
well as effectively utilizing live shows, the Internet, press, video lab hour per week for one quarter.
promotion, advertising and sponsorships, sales and licensing.
Students create a complete marketing plan utilizing handy CC-012-ON | EAR TRAINING 012 (1.5)
templates included in the course resource, and receive useful This course is an introduction to ear training techniques,
feedback during three in-class work hours. Two lecture hours which can be used within popular music. This is accomplished
per week for one quarter. through the technique of matching specific pitches, major
scale melodies, and melodic intervals. Melodic and harmonic
MUSICIANSHIP // BASS intervals, chromaticism, triads, diatonic harmony, rhythm are
also studied. One video lecture hour and one lab hour per week
CC-015-ON | RHYTHM READING WORKOUT 1 (1) for one quarter.
This course is designed to give Performance Program students
a solid foundation in reading rhythms. Students will focus CC-022-ON | EAR TRAINING 022 (1.5)
solely on understanding rhythmic notation and subdividing Prerequisites: CC-12 Ear Training 012. This course is a
basics. Topics covered include: notation basics (bar lines, continuation of Ear Training 012, through the further study
time signatures) notes and rests (ranging from whole note of meter and rhythm, eighth-note phrases, sight-singing,
to sixteenth note values), note value relationships, counting, transcribing melody and rhythm, melodic and harmonic
triplets and syncopation. One lecture/lab hour per week for one intervals, triad qualities, and diatonic major chord progressions.
quarter. One video lecture hour and one lab hour per week for one
quarter.
CC-025-ON | RHYTHM READING WORKOUT 2 (1)
CC-102-ON | EAR TRAINING 102 (1.5)
COURSES

Prerequisites: CC-015 Rhythm Reading Workout 1. This

class is designed to give Performance Program students an Prerequisites: CC-022 Ear Training 022. This course is an
understanding of intermediate rhythm concepts. Topics covered application- based continuation of Ear Training 022 that
include: dotted notes, tied notes, swung eighth and sixteenth focuses on the recognition and transcription of pentatonic
notes, advanced time signatures (cut time, 3/4, 6/8) and mixed scales, simple major and minor pentatonic melodies, triplet
meters. One lecture/lab hour per week for one quarter. rhythms, blues scales, natural minor scale and its variations,
chord progressions utilizing inversions, diatonic minor key
CC-011-ON | HARMONY & THEORY 011 (1.5) chord progressions, chord progressions in Roman numerals,
This course is an introduction to the harmony and theory seventh chords. One video lecture hour and one lab hour per
used within popular music. This is accomplished through the week for one quarter.
application of music notation (for pitch), major scales, major key
signatures, intervals, triads, and major scale harmonies. One CC-202-ON | EAR TRAINING 202 (1.5)
video lecture hour and one lab hour per week for one quarter. Prerequisites: CC-202 Ear Training 102. This course is an
application- based continuation of Ear Training 102 that
CC-021-ON | HARMONY & THEORY 021 (1.5) focuses on the recognition and transcription of sixteenth-note
Prerequisites: CC-011 Harmony & Theory 011. This course is rhythmic phrases, standard variations in minor-key melody and
a continuation of Harmony & Theory 011. This is accomplished harmony, and seventh chord major and minor diatonic harmony.
through the further study of musical notation, diatonic One video lecture hour and one lab hour per week for one
structures, rhythmic values, time signatures, natural minor quarter.
scales (and variations), minor key signatures, harmonized minor
scales, chord inversions, diatonic seventh chords, triad analysis, CC-108-ON | KEYBOARD PROFICIENCY 1 (1)
chord progressions, and key centers. One video lecture hour Keyboard Proficiency 1 serves as an introduction to
and one lab hour per week for one quarter. contemporary keyboard technique. Through the study of
physical posture, finger technique, diatonic scales & chord
CC-101-ON | HARMONY & THEORY 101 (1.5) progressions, this course will enable students to develop the
Prerequisites: CC-021 Harmony & Theory 021. This course necessary motor skills required for using the keyboard both as
presents variations on diatonic structures from Harmony & a performing instrument and compositional tool. One lecture
Theory 021. Highlights include: pentatonic and blues scales, hour and one lab hour per week for one quarter.
inverted, extended and non-standard chord types, chord
symbols and modes, and voice leading and chord progressions. CC-208-ON | KEYBOARD PROFICIENCY 2 (1)
One video lecture hour and one lab hour per week for one Prerequisites: CC-108 Keyboard Proficiency 1. This course
quarter. further develops the technical skills required for successful
keyboard performance and musical comprehension. Pop and

354 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

Classical repertoire performance serves as the main focus of CC-013D-CC403D-ON | LIVE PERFORMANCE WORKSHOPS
this course, in addition to further study of chord progressions 013-403 (1)
and scales. One lecture hour and one lab hour per week for one Students perform in a variety of styles and settings (see section
quarter. on Live Performance Workshops for overview of workshop
offerings). Minimum requirement of ten performances with an
CC-107-ON | SONGWRITING FOR ARTISTS 1 (1.5) average grade of 70% or higher per quarter. One hour per
This course is a hands-on introduction to the methods and week per quarter. Six credits required (one per quarter).
practices of modern songwriting for the contemporary
independent music artist. Topics covered include: genre-based DRUM-013-ON | DRUM PERFORMANCE 013 (2)
song structure studies, lyric writing, reverse-engineering, and This course covers fundamental technical approaches to a
effective chord progressions, melody, and groove. Students will variety of popular styles. Lessons on essential skills needed
examine and work with multiple songwriting styles, structures, for a professional drummer such as: listening, dynamics, song
and examples, analyzing both classic and current hit songs. form, basic chart reading, instrument setup, and drum set
Students will develop their skills as independent songwriters sound are presented. This class coordinates with topics within
through weekly writing exercises, and apply what they have Drum Technique 011 and Drum Reading 012. One hour per
learned by creating and presenting a fully-finished song at the week for one quarter.
end of the course. One lecture hour and one lab hour per week,
per quarter. DRUM-023-ON | DRUM PERFORMANCE 023 (2)
Drum Performance 023 is a continuation on Drum Performance
CC-207-ON | SONGWRITING FOR ARTISTS 2 (1.5) 013 and covers topics such as mixed meters, unique song
Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101 forms, dynamics, drum set sound and feel, and reading at an
Songwriting 1. Building on the concepts and methods from intermediate level. This course coordinates with topics within
level 1, this course further explores the art and application of Drum Technique 021 and Drum Reading 022. One hour per
songwriting for modern independent music artists. Students week for one quarter.
will dig deeper into detailed analysis of various genres of
songwriting styles, practice more advanced lyric writing DRUM-130-ON | DRUM PERFORMANCE 130 (2)
techniques, and produce more complex melodies, chord Prerequisites: DRUM-023 Drum Performance 023. This course
progressions, and rhythm/groove. In addition, students will learn covers ensemble performance emphasizing stylistic rhythm

COURSES
crucial knowledge about navigating the business of songwriting section textures and applied techniques. Emphasis is placed on
with respect to publishing, performance rights organizations handling variations in typical song form, advanced chart-reading
(PROs), and copyright. Students will work both independently skills, and taking a leadership role within the group. This course
and collaboratively on various creative songwriting exercises, coordinates with Drum Technique 110 and Drum Reading 120
which will culminate in a final presentation of one or more topics. One hour per week for one quarter.
completed songs at the end of the quarter. One lecture hour
and one lab hour per week, per quarter. DRUM-230-ON | DRUM PERFORMANCE 230 (2)
Prerequisites: DRUM-130 Drum Performance 130. Ensemble
ELECTIVES // BASS performance emphasizing applied techniques and advanced
concepts, such as odd meters and metric modulation.
Emphasis is also placed on handling variations in typical
BASS-151E-ON | CHORDS FOR BASS (1)
song form, improving odd meter chart reading skills, metric
A study of double stops, triads, seventh chords and their
modulations and developing time feel. This course coordinates
application in creating chord melodies and chord progressions
with Drum Technique 210 and Drum Reading 220 topics. One
on the electric bass. Solo pieces will also be applied using
hour per week for one quarter.
these topics. One lecture hour per week for one quarter.
DRUM-011-ON | DRUM TECHNIQUE 011 (2)
BASS-151E-ON CHORDS FOR BASS (1) This course covers introductory hand technique for the drum
A study of double stops, triads, seventh chords and their set player. Essential (and relevant) grips, strokes, posture and
application in creating chord melodies and chord progressions rudiments are essential developmental areas for all drummers.
on the electric bass. Solo pieces will also be applied using This course coordinates with Drum Performance 013 and Drum
these topics. One lecture hour per week for one quarter. Reading 012 topics. One hour per week for one quarter.

DRUM DRUM-021-ON | DRUM TECHNIQUE 021 (2)

Prerequisites: DRUM-011 Drum Technique 011. This course
MAJOR AREA // DRUM presents intermediate hand technique as applied to the drum
set. The transition of essential rudiments from the practice pad
DRUM-PL-ON | PRIVATE LESSON 1-6 (2) to the drum set is essential for all drummers in order to develop
A weekly individual instrument lesson that supports core a deep vocabulary. Creativity and functionality is developed
curriculum goals. An instructor guides the student in developing through technique building. This course coordinates with Drum
technique, musicianship and style. Twelve credits required (two Performance 023 and Drum Reading 022 topics. One hour per
per quarter). week for one quarter.

355
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

This is an introductory course presenting hands-on lessons

DRUM-110-ON | DRUM TECHNIQUE 110 (2) on seminal drum equipment care, including equipment
Prerequisites: DRUM-021 Drum Technique 021. This course specifications, inspection, maintenance, repair, cleaning,
presents intermediate hand technique as applied to the drum mounting, restoration, storage and gear selection and
set. The transition of essential rudiments from the practice pad options. Additionally, this course offers in-depth sound design
to the drum set is essential for all drummers in order to develop workshops where students learn to tune and create appropriate
a deep vocabulary. Creativity and functionality are developed drum sounds from multiple eras of recorded music with an
through technique building. One hour per week for one quarter. emphasis on modern sounds. Specific topics include how to
make the proper drum, drumhead and tuning choices for all
situations. One hour per week for one quarter.
DRUM-210-ON | DRUM TECHNIQUE 210 (2)
Prerequisites: DRUM-110 Drum Technique 110. This course
DRUM-240-ON | E-DRUMMING ESSENTIALS (1)
presents advanced hand technique concepts as applied Prerequisite: Successful completion of either AUDIO-262:
to the drum set, including rudimental drum set application Logic Fundamentals 2, or AUDIO-259: Pro Tools 2. This course
and creative development. This course coordinates with Drum focuses on developing a basic understanding of programming
Performance 230 and Drum Reading 220 topics. One hour per and performing with electronic percussion instruments.
week for one quarter. Concepts such as sampling, looping and triggering will be
covered during class and explored with weekly assignments.
DRUM-012-ON | DRUM READING 012 (2) Upon successful completion of the course, the student will
This course presents introductory fundamentals of single- line be comfortable with using electronic percussion for both
and drum set reading. Students learn notation basics, basic performance and practice settings. In addition, the student
note and rest values, subdividing, and sight-reading skills. will have a basic understanding of programming electronic
This course coordinates with Drum Technique 011 and Drum percussion instruments in their respective modules and with
Performance 013 topics. One hour per week for one quarter. computer programs such as Ableton Live. One hour per week
for one quarter.
DRUM-022-ON | DRUM READING 022(2)
Prerequisites: DRUM-012 Drum Reading 012. This course DRUM-025-ON | TIMEKEEPING (1)
presents drum set application of fundamental rhythms. Topics Prerequisites: DRUM-015 Developing Your Groove. This
include: time signature studies, note-value relationships, false course applies developed groove-based coordination to
COURSES

notation, counting, and subdivision exercises. Interpreting metronome usage and verbal counting. One hour per week for
rhythms at the drum set, 3-way independence studies and one quarter.
basic chart reading are also presented in detail. This course
coordinates with Drum Technique 021 and Drum Performance DRUM-350-ON | ADVANCED DRUMMING STYLES: JAZZ (1)
023 topics. One hour per week for one quarter. Prerequisites: DRUM-210 Drum Technique 210, DRUM-230
Drum Performance 230. This course presents the historical,
DRUM-120-ON | DRUM READING 120 (2) stylistic and technical evolution of Jazz from Dixieland to 1950s
This course presents the essential reading fundamentals Bebop. In addition, the basic elements of jazz drumming
needed by professional- level drummers: lead sheet interpreta- techniques include: ride patterns and left-hand comping, basic
tion, drum set orchestration, sight-reading, and ensemble independence and coordination, ensemble interaction, and
figure set-up fills. One and two- bar ensemble figures are pre- soloing concepts. One hour per week for one quarter.
sented in varying styles accompanied by orchestration and fill
suggestions. This course coordinates with Drum Technique 110 DRUM-450-ON | ADVANCED DRUMMING STYLES 2B: LATIN
and Drum Performance 130 topics. One hour per week for one (2) Prerequisites: DRUM-350 Advanced Drumming Styles:
quarter. Jazz. This course develops authentic stylistic hand and foot
techniques through listening, demonstration, and classroom
DRUM-220-ON | DRUM READING 220 (2) practice, with emphasis on popular Brazilian styles, including
Prerequisites: DRUM-120 Drum Reading 120. This course bossa nova and samba. One hour per week for one quarter.
presents the advanced reading concepts needed by
professional- level drummers: lead sheet interpretation, drum DRUM-451-ON | ADVANCED DRUMMING 2A: JAZZ 2 (2)
set orchestration, sight-reading, and ensemble figure set-up Prerequisites: DRUM-210 Drum Technique 210 and DRUM-
fills. Advanced concepts such as metric modulations and cut 350 Advanced Drumming Styles: Jazz 1. This course is
time will also be presented. This course coordinates with Drum designed to help today’s student drummer quickly (and
Technique 210 and Drum Performance 230 topics. One hour efficiently) learn the Jazz idiom. It is an inclusive and in-depth
per week for one quarter. study of how to authentically perform—alongside a rhythm
section — within Jazz’s popular styles and forms. Not only
DRUM-015-ON | DEVELOPING YOUR GROOVE 1 (1) does this class and curricula include a set of detailed charts;
This course helps drummers to apply fundamental rhythms but each composition also focuses on a particular musical
to the drum set, which improve time, feel, independence, and form, drum set sound, solo concept, and comping approach.
sound. Coordination drills are introduced and performed in Genre-relevant, drumset-based rudimental voicings and simple
class within rock and jazz styles. One hour per week for one brush patterns will also be presented. Altogether (and upon
quarter. completing this study), the student will be able to function
within a jazz ensemble (and sound like they belong there). One
DRUM-014-ON | DRUM GEAR MAINTENANCE & MASTERY (1) hour per week for one quarter.

356 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

goal setting is also covered to support students in creating

DRUM-452-ON | ADVANCED DRUMMING 2C: R&B/ GOSPEL a path to career success. One lecture hour per week for one
(2) Prerequisites: DRUM-210 Drum Technique 210 and quarter.
DRUM-350 Advanced Drumming Styles: Jazz 1. This course
is designed to help today’s student drummer quickly (and MUBUS-0202-ON | MEDIA RELATIONS (2)
efficiently) learn R&B/Gospel drumming techniques. It is an Students learn the difference between publicity and public
in-depth study of how to perform popular R&B/Gospel styles relations, how to create and implement media campaigns, and
and forms. This course takes the technical building blocks how to write artist bios, press releases, news releases, and
(linear drumming, hand/foot fill combinations, over -the-bar eye-catching headlines. Skills apply to independent artists as
rhythms, soloing ostinatos and metric modulation) presented in well as those aspiring to work in the industry. Two lecture hours
Drum-210 and applies these techniques within a modern R&B/ per week for one quarter.
Gospel rhythm section. Instructions on understanding each
song’s form, rhythmic figures, feel, comping, solo approaches CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2)
and appropriate drum set sound are also presented. This class Students learn to use Adobe Photoshop to design original CD
presents each student with a weekly assignment that focuses artwork, flyers, promotional tools, and other visual materials
on a particular R&B/Gospel form; drum set sound, groove vital to modern artists. Emphasis is on creating exciting and
concept and improvisational approach. Upon completing this
expressive designs that directly support music marketing
course, the student will be able to apply advanced technical
campaigns. Topics covered in this class include: typography,
drumming concepts in a musical and comprehensive manner.
flyer design, album artwork design, image manipulation,
One hour per week for one quarter.
merchandise design, and more. Two lecture hours per week for
one quarter.
DRUM-360-ON | PROJECT RECORDING 1: DRUMS (2)
Prerequisites: DRUM-220 DRUM Reading 220, DRUM-210
Drum Technique 210, DRUM-230 Drum Performance 230. This CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2)
course is designed to mimic the “real world” scenario of drum Prerequisites: CC-307 Graphic Design for Artists 1. The
tracking in a 24-track studio. Topics include: developing drum Internet has opened up an enormous opportunity for
parts, sight-reading charts, performing with backing tracks, musicians to promote themselves directly to music fans. This
overdubbing and punching in, and learning to lock in with loops course focuses on the technical skills needed to promote
music online. Topics include: building a strong online presence,

COURSES
and backing tracks. Studio etiquette and sound development
are also presented in detail. One hour per week for one quarter. creation of a content-rich artist website, online marketing tools
and strategies, video editing basics, and social media. Two
DRUM-460-ON | PROJECT RECORDING 2: DRUMS (2) lecture hours per week for one quarter.
Prerequisites: DRUM-360 Project Recording 1: Drums. A
continuation of studio drumming techniques and experiences, MUBUS-0307-ON | INDEPENDENT ARTIST MARKETING (2)
including advanced styles, such as odd-meter performance and This course reveals basic marketing concepts applicable to
soloing. Detailed drum tuning and microphone placement are any professional business venture and focuses on the creation
also covered. One hour per week for one quarter. of a fully customized, low-budget marketing plan of attack. At
a time when new technologies make it more possible than
ever for artists to leverage their own careers, there has never
PROFESSIONAL DEVELOPMENT // DRUM been a greater need for practical, independent marketing
advice. After identifying a business vision, students conduct
MUBUS-0360-ON | BUSINESS PRACTICES FOR MUSICIANS research, set short-term goals, and create an integrated mix of
1 (1.5) marketing strategies to achieve their objective. Students create
The first in a two-quarter course sequence, designed to a complete marketing plan utilizing handy templates included in
provide students with an understanding of the entertainment the course resource, and receive useful feedback during three
industry, as it exists today, and essential knowledge for one-hour lab. Two lecture hours per week for one quarter.
sustaining a career in the digital era. In Business Practices for
Musicians 1, topics include an overview of industry structure, MUSICIANSHIP // DRUM
the artist’s team (manager, attorney, agent, etc.), copyrights
and music publishing, band partnerships and solo artists, CC-011-ON | HARMONY & THEORY 011 (1.5)
employment agreements, work-for-hire, unions and more. One This course is an introduction to the harmony and theory
lecture hour per week for one quarter. used within popular music. This is accomplished through the
application of music notation (for pitch), major scales, major key
MUBUS-0460-ON | BUSINESS PRACTICES FOR MUSICIANS signatures, intervals, triads, and major scale harmonies. One
2 (1.5) video lecture hour and one lab hour per week for one quarter.
Prerequisites: MUBUS-0360 Business Practices for Musicians
1. This course is a continuation of Business Practices for CC-021-ON | HARMONY & THEORY 021 (1.5)
Musicians 1, further covering the most important areas and Prerequisites: CC-011 Harmony & Theory 011. This course is
aspects of the entertainment industry. Topics include: record a continuation of Harmony & Theory 011. This is accomplished
labels (major and indie), types of deals, the DIY market, through the further study of musical notation, diatonic
distribution, touring, merchandising, and more. S.M.A.R.T. structures, rhythmic values, time signatures, natural minor

357
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

scales (and variations), minor key signatures, harmonized minor Keyboard Proficiency 1 serves as an introduction to
scales, chord inversions, diatonic seventh chords, triad analysis, contemporary keyboard technique. Through the study of
chord progressions, and key centers. One video lecture hour physical posture, finger technique, diatonic scales & chord
and one lab hour per week for one quarter. progressions, this course will enable students to develop the
necessary motor skills required for using the keyboard both as
CC-101-ON | HARMONY & THEORY 101 (1.5) a performing instrument and compositional tool. One lecture
Prerequisites: CC-021 Harmony & Theory 021. This course hour and one lab hour per week for one quarter.
presents variations on diatonic structures from Harmony &
Theory 021. Highlights include: pentatonic and blues scales, CC-208-ON | KEYBOARD PROFICIENCY 2 (1)
inverted, extended and non-standard chord types, chord Prerequisites: CC-108 Keyboard Proficiency 1. This course
symbols and modes, and voice leading and chord progressions. further develops the technical skills required for successful
One video lecture hour and one lab hour per week for one keyboard performance and musical comprehension. Pop and
quarter. Classical repertoire performance serves as the main focus of
this course, in addition to further study of chord progressions
CC-201-ON | HARMONY & THEORY 201 (1.5) and scales. One lecture hour and one lab hour per week for one
Prerequisites: CC-101 Harmony & Theory 101. This course quarter.
presents non-diatonic melodic and harmonic concepts.
Highlights include: minor key harmony and melody, modal CC-107-ON | SONGWRITING FOR ARTISTS 1 (1.5)
This course is a hands-on introduction to the methods
interchange, secondary dominants, diatonic substitution and
and practices of modern songwriting for the contemporary
modulation, chromatic modulations, Roman numeral analysis,
independent music artist. Topics covered include: genre-based
altered and symmetrical scales. One video lecture hour and one
song structure studies, lyric writing, reverse-engineering, and
lab hour per week for one quarter.
effective chord progressions, melody, and groove. Students will
examine and work with multiple songwriting styles, structures,
CC-012-ON | EAR TRAINING 012 (1.5)
and examples, analyzing both classic and current hit songs.
This course is an introduction to ear training techniques,
Students will develop their skills as independent songwriters
which can be used within popular music. This is accomplished
through weekly writing exercises, and apply what they have
through the technique of matching specific pitches, major
learned by creating and presenting a fully-finished song at the
scale melodies, and melodic intervals. Melodic and harmonic
COURSES

end of the course. One lecture hour and one lab hour per week,
intervals, chromaticism, triads, diatonic harmony, rhythm are
per quarter.
also studied. One video lecture hour and one lab hour per week
for one quarter.
CC-207-ON | SONGWRITING FOR ARTISTS 2 (1.5)
CC-022-ON | EAR TRAINING 022 (1.5) Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101
Prerequisites: CC-12 Ear Training 012. This course is a Songwriting 1. Building on the concepts and methods from
continuation of Ear Training 012, through the further study level 1, this course further explores the art and application of
of meter and rhythm, eighth-note phrases, sight-singing, songwriting for modern independent music artists. Students
transcribing melody and rhythm, melodic and harmonic will dig deeper into detailed analysis of various genres of
intervals, triad qualities, and diatonic major chord progressions. songwriting styles, practice more advanced lyric writing
One video lecture hour and one lab hour per week for one techniques, and produce more complex melodies, chord
quarter. progressions, and rhythm/groove. In addition, students will learn
crucial knowledge about navigating the business of songwriting
CC-102-ON | EAR TRAINING 102 (1.5) with respect to publishing, performance rights organizations
Prerequisites: CC-022 Ear Training 022. This course is an (PROs), and copyright. Students will work both independently
application- based continuation of Ear Training 022 that focuses and collaboratively on various creative songwriting exercises,
on the recognition and transcription of pentatonic scales, which will culminate in a final presentation of one or more
simple major and minor pentatonic melodies, triplet rhythms, completed songs at the end of the quarter. One lecture hour
blues scales, natural minor scale and its variations, chord and one lab hour per week, per quarter.
progressions utilizing inversions, diatonic minor key chord
progressions, chord progressions in Roman numerals, seventh
chords. One video lecture hour and one lab hour per week for GUITAR
one quarter.
MAJOR AREA // GUITAR
CC-202-ON | EAR TRAINING 202 (1.5)
Prerequisites: CC-202 Ear Training 102. This course is an GUIT-PL-ON | PRIVATE LESSON (2)
application- based continuation of Ear Training 102 that focuses A weekly individual instrument lesson that supports core
on the recognition and transcription of sixteenth-note rhythmic curriculum goals and, time permitting, also focuses on
phrases, standard variations in minor-key melody and harmony, student’s personal musical development goals. An instructor
and seventh chord major and minor diatonic harmony. One guides the student in developing technique, musicianship and
video lecture hour and one lab hour per week for one quarter. style. One hour per week per quarter. Twelve credits required
(two per quarter).
CC-108-ON | KEYBOARD PROFICIENCY 1 (1)

358 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

CC-013G-CC-403G-ON | LIVE PERFORMANCE Prerequisites: GUIT-011 Guitar Technique 011. General

WORKSHOPS 013-403 (1) musicianship is developed through learning the five-patterns
Students perform in a variety of styles and settings (see section of the minor scales, applying rhythms to scales, how to
on Live Performance Workshops for overview of workshop structure a solo, fingerstyle technique, acquiring knowledge
offerings). Minimum requirement of ten performances with an of chord voicings, and essential performance techniques
average grade of 70% or higher per quarter. One hour per commonly used in contemporary music. One lecture hour and
week per quarter. Six credits required (one per quarter). one lab hour per week for one quarter.

GUIT-013-ON | GUITAR PERFORMANCE 013 (2) GUIT-110-ON | GUITAR TECHNIQUE 110 (2)
Students develop fundamental technical approaches to a Prerequisites: GUIT-021 Guitar Technique 021. Emphasis
variety of popular styles through weekly live performance. in this course will be on scales such as Major and Minor
Concentration is placed on getting good lead and rhythm Pentatonic, Blues, Dorian, Mixolydian, and Lydian, plus
tones, stage etiquette, dynamics, and basic chart reading and introduction to drop voicings, chord progressions, Roman
writing. This course coordinates with Guitar Technique 011 numeral harmony, extended and altered chords, motive
and Guitar Reading 012 topics. One hour per week for one development, shuffle feel, and Blues tonalities. One lecture
quarter. hour and one lab hour per week for one quarter.

GUIT-023-ON | GUITAR PERFORMANCE 023 (2) GUIT-210-ON | GUITAR TECHNIQUE 210 (2)
Prerequisites: GUIT-13 Guitar Performance 013. Students Prerequisites: GUIT-110 Guitar Technique 110. Emphasis in
develop fundamental technical approaches to a variety of this course is placed on advanced concepts such as 16th
popular styles through weekly live performance. Emphasis will note strum technique, scales such as Phrygian, Harmonic and
be on playing acoustic guitar in ensemble settings, use of open Melodic minor, modal interchange and common approaches
tunings, Travis picking, performing rhythm parts which include for playing over dominant chords. One lecture hour and one lab
effects, plus introduction to styles such as reggae, punk rock, hour per week for one quarter.
thrash metal, and classic metal. This course coordinates with
Guitar Technique 021 and Guitar Reading 022 topics. One GUIT-012-ON | GUITAR READING 012 (2)
hour per week for one quarter. This course introduces the fundamentals of music reading and
the basic terminology used in written notation. The emphasis
will be placed on how to read single-note lines in open

COURSES
GUIT-130-ON | GUITAR PERFORMANCE 130 (2)
position, key signatures and accidentals, how to navigate a
Prerequisites: GUIT-023 Guitar Performance 023. Students
basic chart, plus the chromatic note names and their position
develop fundamental technical approaches to a variety of
on the neck. The course will also introduce basic music
popular styles through weekly live performance. Emphasis is
topics such as motives, phrases, melodies, and form. This
placed on handling variations in typical song form, improving course coordinates with Guitar Technique 011 and Guitar
chart-reading skills, taking a leadership role within the group, Performance 013 topics. One hour per week for one quarter.
plus introduction to a variety of styles such as classic and
modern urban blues, classic R&B and Motown, contemporary GUIT-022-ON | GUITAR READING 022 (2)
R&B and neo-soul, the early rock styles of Bo Diddley and Prerequisites: GUIT-012 Guitar Reading 012. Emphasis in
Chuck Berry, surf/rockabilly, contemporary musical theater, this course is placed on reading in 5th position, various key
classic and modern country, country-rock, and southern rock. centers, real-world charts, plus symbols and terms commonly
This course coordinates with Guitar Technique 110 and Guitar found in written notation. This course coordinates with Guitar
Reading 120 topics. One hour per week for one quarter. Technique 021 and Guitar Performance 023 topics. One hour
per week for one quarter.
GUIT-230-ON | GUITAR PERFORMANCE 230 (2)
Prerequisites: GUIT-130 Guitar Performance 130. Students GUIT-120-ON | GUITAR READING 120 (2)
develop fundamental technical approaches to a variety of Prerequisites: GUIT-022 Guitar Reading 022. Emphasis in this
popular styles through weekly live performance. Emphasis will course is placed on reading in 2nd and 7th position, reading
be on advanced chart reading, stage craft, playing in various harmonies, duo and trio performances, and advanced real-
meters such as 3/4, 6/8 and odd meters, plus introduction world charts. This course coordinates with Guitar Technique
to styles such as jam- band, Delta blues, urban/Chicago 110 and Guitar Performance 130 topics. One hour per week
blues, Gypsy jazz, minor blues, American Songbook, Latin, for one quarter.
bossa nova, Big Band comping and modern jazz. This course
coordinates with Guitar Technique 210 and Guitar Reading GUIT-220-ON | GUITAR READING 220 (2)
220 topics. One hour per week for one quarter. Prerequisites: GUIT-120 Guitar Reading 120. Emphasis
in this course is placed on reading in multiple positions,
GUIT-011-ON | GUITAR TECHNIQUE 011 (2) reading polyphonic music, trio and quartet performances,
This course is an introduction to the basic fretting and picking and advanced real-world charts. This course coordinates with
techniques, the layout of the guitar fretboard, basic chords, Guitar Technique 210 and Guitar Performance 230 topics.
chord progressions, and a general introduction to the most One hour per week for one quarter.
common solo and rhythm guitar approaches. One lecture hour
and one lab hour per week for one quarter. GUIT-015-ON | GUITAR GEAR MAINTENANCE & MASTERY
(1)
GUIT-021-ON | GUITAR TECHNIQUE 021 (2) This course will cover important design elements of guitars,

359
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

amps, and effects, with emphasis placed on helping the 1. This course is a continuation of Business Practices for
student to achieve contemporary and time-honored guitar Musicians 1, further covering the most important areas and
tones. Additionally, students will learn how to set up, perform aspects of the entertainment industry. Topics include: record
basic maintenance, and adjust intonation on guitars. Basic gig labels (major and indie), types of deals, the DIY market,
survival tactics as they apply to guitars and amplifiers will also distribution, touring, merchandising, and more. S.M.A.R.T.
be presented. One lecture hour per week for one quarter. goal setting is also covered to support students in creating
a path to career success. One lecture hour per week for one
GUIT-350-ON | ADVANCED MUSICIANSHIP CONCEPTS (FOR quarter.
THE GUITARIST) 1 (2)
Prerequisites: GUIT-210 Guitar Technique 210, GUIT-230 MUBUS-0202-ON | MEDIA RELATIONS (2)
Guitar Performance 230. This course will introduce the student
Students learn the difference between publicity and public
to essential aspects of musicianship as needed for becoming
relations, how to create and implement media campaigns, and
a skilled improvising instrumentalist and a complete musician.
The basic principles covered in Guitar Technique 011-210 will how to write artist bios, press releases, news releases, and
be applied towards larger musical goals and more advanced eye-catching headlines. Skills apply to independent artists as
improvisational concepts, and the class will cover topics such well as those aspiring to work in the industry. Two lecture hours
as playing over changes, chromaticism, harmonic relationships per week for one quarter.
and chord substitutions. One lecture hour and one lab hour per
week for one quarter. CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2)
Students learn to use Adobe Photoshop to design original CD
GUIT-450-ON | ADVANCED MUSICIANSHIP CONCEPTS (FOR artwork, flyers, promotional tools, and other visual materials
THE GUITARIST) 2 (2) vital to modern artists. Emphasis is on creating exciting and
Prerequisites: GUIT-350 Advanced Musicianship Concepts expressive designs that directly support music marketing
(For The Guitarist) 1. Topics to be covered include: advanced campaigns. Topics covered in this class include: typography,
improvisational concepts, deeper harmonic understanding, and flyer design, album artwork design, image manipulation,
more sophisticated aspects of musicianship. One hour and two merchandise design, and more. Two lecture hours per week for
lab hours per week for one quarter. one quarter.

GUIT-360-ON | PROJECT RECORDING 1: GUITAR (2) CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2)
COURSES

Prerequisites: GUIT-220 Guitar Reading 220, GUIT-210 Prerequisites: CC-307 Graphic Design for Artists 1. The
Guitar Technique 210, GUIT-230 Guitar Performance 230. Internet has opened up an enormous opportunity for
This course will introduce the student to the basic knowledge musicians to promote themselves directly to music fans. This
required to be able to record, engineer and produce their own
course focuses on the technical skills needed to promote
music. Topics include: basic studio etiquette, signal path,
music online. Topics include: building a strong online presence,
creating guitar parts and tracking tactics. The student will
finish 1-3 recorded songs that can be used to showcase their creation of a content-rich artist website, online marketing tools
professional skills. One hour per week for one quarter. and strategies, video editing basics, and social media. Two
lecture hours per week for one quarter.
GUIT-460-ON | PROJECT RECORDING 2: GUITAR (2)
Prerequisites: GUIT-360 Project Recording 1: Guitar. A MUBUS-0307-ON | INDEPENDENT ARTIST MARKETING (2)
continuation of studio techniques and approaches, with This course reveals basic marketing concepts applicable to
emphasis on more advanced styles, soloing and sophisticated any professional business venture and focuses on the creation
post-production techniques such as effects processing and of a fully customized, low-budget marketing plan of attack.
editing. One hour per week for one quarter. At a time when new technologies make it more possible than
ever for artists to leverage their own careers, there has never
been a greater need for practical, independent marketing
PROFESSIONAL DEVELOPMENT // GUITAR advice. After identifying a business vision, students conduct
research, set short-term goals, and create an integrated mix of
MUBUS-0360-ON | BUSINESS PRACTICES FOR MUSICIANS marketing strategies to achieve their objective. Students create
1 (1.5) a complete marketing plan utilizing handy templates included in
The first in a two-quarter course sequence, designed to the course resource, and receive useful feedback during three
provide students with an understanding of the entertainment one-hour lab. Two lecture hours per week for one quarter.
industry, as it exists today, and essential knowledge for
sustaining a career in the digital era. In Business Practices for
Musicians 1, topics include an overview of industry structure, MUSICIANSHIP // GUITAR
the artist’s team (manager, attorney, agent, etc.), copyrights
and music publishing, band partnerships and solo artists, CC-015-ON | RHYTHM READING WORKOUT 1 (1)
employment agreements, work-for-hire, unions and more. One This course is designed to give Performance Program students
lecture hour per week for one quarter. a solid foundation in reading rhythms. Students will focus
solely on understanding rhythmic notation and subdividing
MUBUS-0460-ON | BUSINESS PRACTICES FOR MUSICIANS basics. Topics covered include: notation basics (bar lines,
2 (1.5) time signatures) notes and rests (ranging from whole note
to sixteenth note values), note value relationships, counting,
Prerequisites: MUBUS-0360 Business Practices for Musicians

360 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

triplets and syncopation. One lecture/lab hour per week for one intervals, triad qualities, and diatonic major chord progressions.
quarter. One video lecture hour and one lab hour per week for one
quarter.
CC-025-ON | RHYTHM READING WORKOUT 2 (1)
Prerequisites: CC-015 Rhythm Reading Workout 1. This CC-102-ON | EAR TRAINING 102 (1.5)
class is designed to give Performance Program students Prerequisites: CC-022 Ear Training 022. This course is an
an understanding of intermediate rhythm concepts. Topics application- based continuation of Ear Training 022 that
covered include: dotted notes, tied notes, swung eighth and focuses on the recognition and transcription of pentatonic
sixteenth notes, advanced time signatures (cut time, 3/4, 6/8) scales, simple major and minor pentatonic melodies, triplet
and mixed meters. One lecture/lab hour per week for one rhythms, blues scales, natural minor scale and its variations,
quarter. chord progressions utilizing inversions, diatonic minor key
chord progressions, chord progressions in Roman numerals,
CC-011-ON | HARMONY & THEORY 011 (1.5) seventh chords. One video lecture hour and one lab hour per
This course is an introduction to the harmony and theory week for one quarter.
used within popular music. This is accomplished through the
application of music notation (for pitch), major scales, major key CC-202-ON | EAR TRAINING 202 (1.5)
signatures, intervals, triads, and major scale harmonies. One Prerequisites: CC-202 Ear Training 102. This course is an
video lecture hour and one lab hour per week for one quarter. application- based continuation of Ear Training 102 that
focuses on the recognition and transcription of sixteenth-note
CC-021-ON | HARMONY & THEORY 021 (1.5) rhythmic phrases, standard variations in minor-key melody and
Prerequisites: CC-011 Harmony & Theory 011. This course is
harmony, and seventh chord major and minor diatonic harmony.
a continuation of Harmony & Theory 011. This is accomplished
One video lecture hour and one lab hour per week for one
through the further study of musical notation, diatonic
quarter.
structures, rhythmic values, time signatures, natural minor
scales (and variations), minor key signatures, harmonized
minor scales, chord inversions, diatonic seventh chords, triad CC-108-ON | KEYBOARD PROFICIENCY 1 (1)
analysis, chord progressions, and key centers. One video Keyboard Proficiency 1 serves as an introduction to
lecture hour and one lab hour per week for one quarter. contemporary keyboard technique. Through the study of
physical posture, finger technique, diatonic scales & chord

COURSES
CC-101-ON | HARMONY & THEORY 101 (1.5) progressions, this course will enable students to develop the
Prerequisites: CC-021 Harmony & Theory 021. This course necessary motor skills required for using the keyboard both as
presents variations on diatonic structures from Harmony a performing instrument and compositional tool. One lecture
& Theory 021. Highlights include: pentatonic and blues hour and one lab hour per week for one quarter.
scales, inverted, extended and non-standard chord types,
chord symbols and modes, and voice leading and chord CC-208-ON | KEYBOARD PROFICIENCY 2 (1)
progressions. One video lecture hour and one lab hour per Prerequisites: CC-108 Keyboard Proficiency 1. This course
week for one quarter. further develops the technical skills required for successful
keyboard performance and musical comprehension. Pop and
CC-201-ON | HARMONY & THEORY 201 (1.5) Classical repertoire performance serves as the main focus of
Prerequisites: CC-101 Harmony & Theory 101. This course this course, in addition to further study of chord progressions
presents non-diatonic melodic and harmonic concepts. and scales. One lecture hour and one lab hour per week for
Highlights include: minor key harmony and melody, modal one quarter.
interchange, secondary dominants, diatonic substitution and
modulation, chromatic modulations, Roman numeral analysis, CC-107-ON | SONGWRITING FOR ARTISTS 1 (1.5)
altered and symmetrical scales. One video lecture hour and This course is a hands-on introduction to the methods and
one lab hour per week for one quarter. practices of modern songwriting for the contemporary
independent music artist. Topics covered include: genre-based
song structure studies, lyric writing, reverse-engineering, and
CC-012-ON | EAR TRAINING 012 (1.5) effective chord progressions, melody, and groove. Students
This course is an introduction to ear training techniques,
will examine and work with multiple songwriting styles,
which can be used within popular music. This is accomplished
structures, and examples, analyzing both classic and current
through the technique of matching specific pitches, major
hit songs. Students will develop their skills as independent
scale melodies, and melodic intervals. Melodic and harmonic songwriters through weekly writing exercises, and apply what
intervals, chromaticism, triads, diatonic harmony, rhythm are they have learned by creating and presenting a fully-finished
also studied. One video lecture hour and one lab hour per song at the end of the course. One lecture hour and one lab
week for one quarter. hour per week, per quarter.

CC-022-ON | EAR TRAINING 022 (1.5) CC-207-ON | SONGWRITING FOR ARTISTS 2 (1.5)
Prerequisites: CC-12 Ear Training 012. This course is a Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101
continuation of Ear Training 012, through the further study Songwriting 1. Building on the concepts and methods from
of meter and rhythm, eighth-note phrases, sight-singing, level 1, this course further explores the art and application of
transcribing melody and rhythm, melodic and harmonic songwriting for modern independent music artists. Students

361
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

will dig deeper into detailed analysis of various genres of performance- based course that utilizes practical techniques
songwriting styles, practice more advanced lyric writing and advanced concepts, such as dual keyboard playing,
techniques, and produce more complex melodies, chord multiple keyboard splits, key transposition and detailed
progressions, and rhythm/groove. In addition, students improvisation. Each topic is applied to a particular groove,
will learn crucial knowledge about navigating the business style and song form. Further leadership within a group is also
of songwriting with respect to publishing, performance discussed. This course coordinates with Keyboard Technique
rights organizations (PROs), and copyright. Students will 210 and Keyboard Reading 220 topics. One hour per week for
work both independently and collaboratively on various one quarter.
creative songwriting exercises, which will culminate in a final
presentation of one or more completed songs at the end of KEYBD-011-ON | KEYBOARD TECHNIQUE 011 (2)
the quarter. One lecture hour and one lab hour per week, per This course serves as an introduction to contemporary
quarter. keyboard technique. Weekly group study centers on the
development and subsequent mastery of the performance skills
necessary for becoming a successful keyboardist. Students
KEYBOARD TECHNOLOGY will gain a thorough understanding of both the mental and
MAJOR AREA // KEYBOARD TECHNOLOGY physical components that contribute to proper technique.
Subsequent curricular topics include: performance posture,
KEYBD-PL-ON | PRIVATE LESSON (2) warm-up/practice routine development, major & melodic minor
A weekly individual instrument lesson that supports core scale performance & memorization, finger dexterity, interval &
curriculum goals. An instructor guides the student in developing triad construction based on the major scale, as well as chord
technique, musicianship and style. One hour per week per progressions, complete with preferred voicings. One hour per
quarter. Twelve credits required (two per quarter). week for one quarter.

CC-013K-ON – CC-403K-ON | LIVE PERFORMANCE KEYBD-021-ON | KEYBOARD TECHNIQUE 021 (2)

WORKSHOPS 013 – 403 (1) Prerequisites: KEYBD-011 Keyboard Technique 011. This
Students perform in a variety of styles and settings (see section course serves as a continuation of Keyboard Technique
on Live Performance Workshops for overview of workshop 1. Weekly group study centers on the development and
offerings). Minimum requirement of ten performances with an subsequent mastery of the performance skills necessary for
COURSES

average grade of 70% or higher per quarter. One hour per week becoming a successful keyboardist. We will keep exploring
per quarter. Six credits required (one per quarter).
the mental and physical components that contribute to proper
technique. Subsequent curricular topics include natural &
KEYBD-013-ON | KEYBOARD PERFORMANCE 013 (2) harmonic minor scale performance & memorization, major,
A performance course that focuses on the role of the keyboard
minor, diminished and augmented chords in root position, first
player in a live band. Various popular music styles are explored,
including piano ballads, blues, reggae, pop, synth pop, and and second inversion, interval performance, harmonized natural
R&B. In addition, the most important keyboard instruments are and harmonic minor scales, as well as major and minor key
introduced – acoustic piano, electric piano, Hammond organ, chord progressions with voice leading. One hour per week for
and synthesizer. One lecture hour per week for one quarter. one quarter.

KEYBD-023-ON | KEYBOARD PERFORMANCE 023 (2) KEYBD-110-ON | KEYBOARD TECHNIQUE 110 (2)
Prerequisites: KEYBD-013 Keyboard Performance 013. A Prerequisites: KEYBD-021 Keyboard Technique 021. Weekly
performance course that utilizes both technical and popular group study centers on the development and subsequent
music approaches. Intermediate-level chart reading also aids mastery of the performance skills necessary for becoming
in the further development of giving and following cues, a successful keyboardist. Students will gain a thorough
keyboard patch programming, and stylistic improvisation. understanding of both the mental and physical components that
This course coordinates with Keyboard Technique 021 and contribute to proper technique. Subsequent curricular topics
Keyboard Reading 022 topics. One hour per week for one include: pentatonic & blues scales, the Mixolydian & Dorian
quarter. modes, chromatic interval-based extensions, first, second &
third inversion seventh chords, ii7-V7-Ima7, iimi7(b5)-V7-Ima7/
KEYBD-130-ON | KEYBOARD PERFORMANCE 130 (2) i7 progressions, major & dominant cycles, add9 & sus4 chords
Prerequisites: KEYBD-023 Keyboard Performance 023. A
and seventh chord-based arpeggios. One hour per week for
performance course that utilizes both technical and popular
one quarter.
music approaches, with an emphasis on atypical song forms,
stylistic embellishments, volume swells, use of the modulation
wheel, keyboard splits and sonic layering. Each topic is applied KEYBD-210-ON | KEYBOARD TECHNIQUE 210 (2)
to a particular groove, comping pattern and musical form. Prerequisites: KEYBD-110 Keyboard Technique 110. Weekly
Leadership within a group is also discussed. This course group study centers on the development and subsequent
coordinates with Keyboard Technique 110 and Keyboard mastery of the performance skills necessary for becoming
Reading 120 topics. One hour per week for one quarter. a successful keyboardist. Students will gain a thorough
understanding of both the mental and physical components
KEYBD-230-ON | KEYBOARD PERFORMANCE 230 (2) that contribute to proper technique. Subsequent curricular
Prerequisites: KEYBD-130 Keyboard Performance 130. A topics include: Locrian & Lydian modes, altered scales, ii7-V7-

362 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

Ima7 & iimi7(b5)-V7- Ima7/i7 progressions utilizing chromatic week for one quarter.
extensions & tri-tone substitutions and lead-sheet interpretation,
complete with three & four-note voicings. One hour per week KEYBD-360-ON | PROJECT RECORDING 1: KEYBOARDS (2)
for one quarter. Prerequisites: KEYBD-220 Keyboard Reading 220,
KEYBD-210 Keyboard Technique 210, KEYBD-230 Keyboard
KEYBD-012-ON | KEYBOARD READING 012 (2) Performance 230. Students will begin planning and creating
Students learn basic single-line note reading, symbols for their final keyboard recording project, including two or more
notating melody, rhythm and harmony. Highlights include: Clefs, original songs. Digital recording, home studios, writing and
Grand Staff, Ledger Lines, Key Signatures, fingering, and song arranging, programming MIDI and some business discussions
are all covered. Initial assignments include producing song
forms. This course coordinates with Keyboard Technique 011
demos and creating a production schedule. One hour per week
and Keyboard Performance 013 topics. One hour per week for
for one quarter.
one quarter.
KEYBD-460-ON | PROJECT RECORDING 2: KEYBOARDS (2)
KEYBD-022-ON | KEYBOARD READING 022 (2) Prerequisites: KEYBD-360 Project Recording 1: Keyboards.
Prerequisites: KEYBD-012 Keyboard Reading 012. Topics Students will gain a basic understanding of analog signal flow
include: time signature studies, note-value relationships, and how it translates to the digital domain. Understand what’s
counting and subdivision exercises as applied to particular involved in a live studio session including creating charts
grooves, articulations and ornaments, syncopated rhythms, and how to stay organized and efficient. Understand and
chart reading, part independence, comping patterns and identify different Microphone types and recording techniques.
musical forms. This course coordinates with Keyboard Understand the concept of signal processing and basic mixing
Technique 021 and Keyboard Performance 023 topics. One and mastering methods. One hour per week for one quarter.
hour per week for one quarter.
KEYBD-150-ON | SYNTHESIS AND SAMPLING (1)
KEYBD-120-ON | KEYBOARD READING 120 (2) This course covers the history of synthesizers, fundamentals of
Prerequisites: KEYBD-022 Keyboard Reading 022. Topics subtractive synthesis, sampling techniques and their application
include: interpreting rhythmic, harmonic and melodic patterns using Apple Logic software. Includes practical application of
within a particular groove, and song form. This course theory using the ES-1, ES-2 and Sculpture synthesizers as well
coordinates with Keyboard Technique 110 and Keyboard as the EXS-24 sampler and Apple Loops utility. One hour per

COURSES
Performance 130 topics. One hour per week for one quarter. week for one quarter.

KEYBD-220-ON | KEYBOARD READING 220 (2) KEYBD-140-ON | DIGITAL MUSIC 1 (2)

Prerequisites: KEYBD-120 Keyboard Reading 120. Topics This course is an introduction to digital audio technology as an
include: reading compound time signatures, meter changes, essential tool for the creation of computer-based recordings.
harmonic and melodic patterns within a particular groove, Students learn intuitive set-up procedures and use of
keyboard patch, and song form. This course coordinates with controllers and DAWs. One hour per week for one quarter.
Keyboard Technique 210 and Keyboard Performance 230
topics. One hour per week for one quarter. KEYBD-240-ON | DIGITAL MUSIC 2 (2)
Prerequisite: KEYBD-140 Digital Music 1. Building from the
KEYBD-024-ON | KEYBOARD GEAR MASTERY (1) foundation set in Digital Music 1, this class continues with the
This course is an introduction to the modern keyboard rig development of using digital audio technology as a tool for
and its use in live performance and/or recording. This is creating computer-based recordings. One hour per week for
accomplished through an introduction to the basic functions one quarter.
and controls of popular hardware electric keyboards and
their soft-synth counterparts, the basics of analog synthesis,
KEYBD-340-ON | DIGITAL MUSIC 3 (2)
an overview of sound selection techniques, and the ancillary
Prerequisite: KEYBD-240 Digital Music 2. This course is the
components to keyboard live performance and recording. One
study and application of mixing techniques with emphasis on
hour per week for one quarter.
audio processing using effects plug-ins. One hour per week for
one quarter.
KEYBD-350-ON | COMMERCIAL COMPOSITION 1 (2)
Prerequisites: DAW 2. This course is an introduction to
composing musical background scores, in order to enhance the KEYBD-330-ON | PRODUCER PROJECT 1 (2)
emotional qualities of video images. This course includes both Prerequisite: KEYBD-2240 Digital Music 2. In this class,
the creative and technical aspects of scoring for commercials, students will work collaboratively in teams to produce original
T.V. and film. One hour per week for one quarter. material for a “client” played by the instructor. Students will be
required to produce a number of drafts and revisions of the
KEYBD-450-ON | COMMERCIAL COMPOSITION 2 (2) project to meet the requirements of the client. One hour per
Prerequisites: KEYBD-350 Commercial Composition 1. week for one quarter.
This intermediate level course delves deeper into the popular
compositional and music production devices used in TV, KEYBD-430-ON | PRODUCER PROJECT 2 (2)
film and video music creation. Topics include: combining live Prerequisite: KEYBD-330 Producer Project 1. A continuation
instruments with software, editing MIDI instruments for a more of Producer Project 1. Students will work collaboratively in
“realistic” sound, mixing and basic mastering. One hour per teams to produce original material for a “client” played by the

363
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

instructor. Students will be required to produce a number of This course reveals basic marketing concepts applicable to
drafts and revisions of the project to meet the requirements of any professional business venture and focuses on the creation
the client. One hour per week for one quarter. of a fully customized, low-budget marketing plan of attack. At a
time when new technologies make it more possible than ever
PROFESSIONAL DEVELOPMENT // KEYBOARD for artists to leverage their own careers, there has never been
a greater need for practical, independent marketing advice.
TECHNOLOGY After identifying a business vision, students conduct research,
set short-term goals, and create an integrated mix of marketing
MUBUS-0360-ON | BUSINESS PRACTICES FOR MUSICIANS strategies to achieve their objective. Students create a complete
1 (1.5) marketing plan utilizing handy templates included in the course
The first in a two-quarter course sequence, designed to resource, and receive useful feedback during three one-hour
provide students with an understanding of the entertainment lab. Two lecture hours per week for one quarter.
industry, as it exists today, and essential knowledge for
sustaining a career in the digital era. In Business Practices for
Musicians 1, topics include an overview of industry structure, MUSICIANSHIP // KEYBOARD TECHNOLOGY
the artist’s team (manager, attorney, agent, etc.), copyrights
and music publishing, band partnerships and solo artists, CC-015-ON | RHYTHM READING WORKOUT 1 (1)
employment agreements, work-for-hire, unions and more. One This course is designed to give Performance Program students
lecture hour per week for one quarter. a solid foundation in reading rhythms. Students will focus
solely on understanding rhythmic notation and subdividing
MUBUS-0460-ON | BUSINESS PRACTICES FOR MUSICIANS basics. Topics covered include: notation basics (bar lines,
2 (1.5) time signatures) notes and rests (ranging from whole note to
Prerequisites: MUBUS-0360 Business Practices for Musicians sixteenth note values), note value relationships, counting, triplets
1. This course is a continuation of Business Practices for and syncopation. One lecture/lab hour per week for one quarter.
Musicians 1, further covering the most important areas and
aspects of the entertainment industry. Topics include: record CC-025-ON | RHYTHM READING WORKOUT 2 (1)
labels (major and indie), types of deals, the DIY market, Prerequisites: CC-015 Rhythm Reading Workout 1. This
distribution, touring, merchandising, and more. S.M.A.R.T. class is designed to give Performance Program students an
COURSES

goal setting is also covered to support students in creating understanding of intermediate rhythm concepts. Topics covered
a path to career success. One lecture hour per week for one include: dotted notes, tied notes, swung eighth and sixteenth
quarter. notes, advanced time signatures (cut time, 3/4, 6/8) and mixed
meters. One lecture/lab hour per week for one quarter.
MUBUS-0202-ON | MEDIA RELATIONS (2)
Students learn the difference between publicity and public CC-011-ON | HARMONY & THEORY 011 (1.5)
relations, how to create and implement media campaigns, and This course is an introduction to the harmony and theory
how to write artist bios, press releases, news releases, and eye- used within popular music. This is accomplished through the
catching headlines. Skills apply to independent artists as well application of music notation (for pitch), major scales, major key
as those aspiring to work in the industry. Two lecture hours per signatures, intervals, triads, and major scale harmonies. One
week for one quarter. video lecture hour and one lab hour per week for one quarter.

CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2) CC-021-ON | HARMONY & THEORY 021 (1.5)
Students learn to use Adobe Photoshop to design original CD Prerequisites: CC-011 Harmony & Theory 011. This course is
artwork, flyers, promotional tools, and other visual materials a continuation of Harmony & Theory 011. This is accomplished
vital to modern artists. Emphasis is on creating exciting and through the further study of musical notation, diatonic
expressive designs that directly support music marketing structures, rhythmic values, time signatures, natural minor
campaigns. Topics covered in this class include: typography, scales (and variations), minor key signatures, harmonized minor
flyer design, album artwork design, image manipulation, scales, chord inversions, diatonic seventh chords, triad analysis,
merchandise design, and more. Two lecture hours per week for chord progressions, and key centers. One video lecture hour
one quarter. and one lab hour per week for one quarter.

CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2) CC-101-ON | HARMONY & THEORY 101 (1.5)
Prerequisites: CC-307 Graphic Design for Artists 1. The Prerequisites: CC-021 Harmony & Theory 021. This course
Internet has opened up an enormous opportunity for musicians presents variations on diatonic structures from Harmony &
to promote themselves directly to music fans. This course Theory 021. Highlights include: pentatonic and blues scales,
focuses on the technical skills needed to promote music online. inverted, extended and non-standard chord types, chord
Topics include: building a strong online presence, creation symbols and modes, and voice leading and chord progressions.
of a content-rich artist website, online marketing tools and One video lecture hour and one lab hour per week for one
strategies, video editing basics, and social media. Two lecture quarter.
hours per week for one quarter.
CC-201-ON | HARMONY & THEORY 201 (1.5)
MUBUS-0307-ON | INDEPENDENT ARTIST MARKETING (2) Prerequisites: CC-101 Harmony & Theory 101. This course

364 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

presents non-diatonic melodic and harmonic concepts. CC-207-ON | SONGWRITING FOR ARTISTS 2 (1.5)
Highlights include: minor key harmony and melody, modal Prerequisite: CC-107 Songwriting for Artists 1 or
interchange, secondary dominants, diatonic substitution and SONG-101 Songwriting 1. Building on the concepts and
modulation, chromatic modulations, Roman numeral analysis, methods from level 1, this course further explores the art and
altered and symmetrical scales. One lecture hour and one lab application of songwriting for modern independent music
hour per week for one quarter. artists. Students will dig deeper into detailed analysis of various
genres of songwriting styles, practice more advanced lyric
CC-012-ON | EAR TRAINING 012 (1.5) writing techniques, and produce more complex melodies, chord
This course is an introduction to ear training techniques, progressions, and rhythm/groove. In addition, students will learn
which can be used within popular music. This is accomplished crucial knowledge about navigating the business of songwriting
through the technique of matching specific pitches, major with respect to publishing, performance rights organizations
scale melodies, and melodic intervals. Melodic and harmonic (PROs), and copyright. Students will work both independently
intervals, chromaticism, triads, diatonic harmony, rhythm are and collaboratively on various creative songwriting exercises,
also studied. One video lecture hour and one lab hour per week which will culminate in a final presentation of one or more
for one quarter. completed songs at the end of the quarter. One lecture hour
and one lab hour per week, per quarter.
CC-022-ON | EAR TRAINING 022 (1.5)
Prerequisites: CC-12 Ear Training 012. This course is a
continuation of Ear Training 012, through the further study ELECTIVES // KEYBOARD TECHNOLOGY
of meter and rhythm, eighth-note phrases, sight-singing,
transcribing melody and rhythm, melodic and harmonic KEYBD-073E-ON | FUNK KEYBOARDS (1)
intervals, triad qualities, and diatonic major chord progressions. This course covers the analysis of contemporary funk players
One video lecture hour and one lab hour per week for one
with an emphasis on understanding the subtle differences
quarter.
in their approach to groove playing. Students will learn two-
handed rhythm parts, which is common to most funk music.
CC-102-ON | EAR TRAINING 102 (1.5) One lecture hour per week for one quarter.
Prerequisites: CC-022 Ear Training 022. This course is an
application- based continuation of Ear Training 022 that

COURSES
focuses on the recognition and transcription of pentatonic VOCAL
scales, simple major and minor pentatonic melodies, triplet
rhythms, blues scales, natural minor scale and its variations,
MAJOR AREA // VOCAL
chord progressions utilizing inversions, diatonic minor key
chord progressions, chord progressions in Roman numerals,
VOCAL-PL-ON | PRIVATE LESSON (2)
A weekly individual instrument lesson that supports core
seventh chords. One video lecture hour and one lab hour per
curriculum goals. An instructor guides the student in developing
week for one quarter. technique, musicianship and style. One hour per week per
quarter. Twelve credits required (two per quarter).
CC-202-ON | EAR TRAINING 202 (1.5)
Prerequisites: CC-202 Ear Training 102. This course is an CC-013V-ON – CC-403V-ON | LIVE PERFORMANCE
application- based continuation of Ear Training 102 that WORKSHOPS 013–403 (1)
focuses on the recognition and transcription of sixteenth-note Students perform in a variety of styles and settings (see section
rhythmic phrases, standard variations in minor-key melody and on Live Performance Workshops for overview of workshop
harmony, and seventh chord major and minor diatonic harmony. offerings). Minimum requirement of ten performances with an
One video lecture hour and one lab hour per week for one average grade of 70% or higher per quarter. One hour per
quarter. week per quarter. Six credits required (one per quarter).

CC-107-ON | SONGWRITING FOR ARTISTS 1 (1.5) VOCAL-013-ON | VOCAL PERFORMANCE 013 (2)
This course is a hands-on introduction to the methods and Students develop fundamental technical approaches to vocal
practices of modern songwriting for the contemporary performance via weekly performances in a number of popular
independent music artist. Topics covered include: genre-based genres assisted by extensive curricular materials, including
song structure studies, lyric writing, reverse-engineering, and performance notes, vocal charts, and reference audio. One
effective chord progressions, melody, and groove. Students will hour per week for one quarter.
examine and work with multiple songwriting styles, structures,
and examples, analyzing both classic and current hit songs. VOCAL-023-ON | VOCAL PERFORMANCE 023 (2)
Students will develop their skills as independent songwriters Prerequisites: VOCAL-013 Vocal Performance 013. Continued
through weekly writing exercises, and apply what they have live ensemble performing experience, featuring progressively
learned by creating and presenting a fully-finished song at the more complex material and additional musical genres. One hour
end of the course. One lecture hour and one lab hour per week, per week for one quarter.
per quarter.
VOCAL-130-ON | VOCAL PERFORMANCE 130 (2)
Prerequisites: VOCAL-023 Vocal Performance 023.
Students develop fundamental technical approaches to vocal

365
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

performance via weekly online performances in a number of development of sightsinging skills with emphasis on combining
popular genres. Focusing on harmonies, ensemble singing, and notes and values, an introduction to the bass clef, triplet
background vocals, students will gain a sense of what it is like rhythms, cadences and 6/8 time signature. One lecture hour
to sing within a group of 2 or more voices. Assisted by extensive and one lab hour per week for one quarter.
curricular materials, including performance notes, vocal charts,
and reference audio. One hour per week for one quarter. VOCAL-120-ON | SIGHTSINGING 120 (2)
Prerequisites: VOCAL-022 Sightsinging 022. This course
VOCAL-230-ON | VOCAL PERFORMANCE 230 (2) expands sightsinging skills to include the introduction of major
Prerequisites: VOCAL-130 Vocal Performance 130. Additional and minor diatonic melodies, mixed rhythms and complex
live ensemble performing experience featuring progressively harmonies. Topics include: intervals, major and minor triad
more complex material, additional musical genres, and the inversions, minor scales, modes, extended chords, and minor
ability for students to perform their own material at set points key chord progressions. Two hours per week for one quarter.
within the course. One hour per week for one quarter.
VOCAL-220-ON | SIGHTSINGING 220 (2)
VOCAL-011-ON | VOCAL TECHNIQUE 011 (2) Prerequisites: VOCAL-120 Sighsinging 120. This course
This course is an introduction to the anatomy, the physiology includes: tension/resolution and chord/scale relationships,
and production of the voice. Topics include: vocal terminology, review of the modes, eighth note grooves, introduction to swing,
breathing techniques, breath management, effective practice jazz transcription, advanced blues reading, and advanced two-
habits, vocal registers and efficient phonation techniques. This part reading. Two hours per week for one quarter.
course teaches how to maintain a healthy condition for the voice
by learning ideal practice methods, using the voice in various VOCAL-014-ON | STYLES SURVEY 1 (1)
conditions and medical considerations. One hour per week for This course provides students with an analytical overview
one quarter. of styles, chart reading and critical listening as they relate to
repertoire requirements. Styles covered include: rock, rhythm &
VOCAL-021-ON | VOCAL TECHNIQUE 021 (2) blues, jazz, and Latin. One hour per week for one quarter.
Prerequisites: VOCAL-011 Vocal Technique 011. This course
focuses on understanding the nature of vocal production. VOCAL-024-ON | STYLES SURVEY 2 (1)
Topics include: assessing and increasing vocal range, study of Prerequisites: VOCAL-014 Styles Survey 1. This course is a
the Passaggio (the break), expansion of listening techniques, continuation of style exploration through chart reading and
COURSES

formation of speech sounds, vowel placement, exploration of critical listening as they relate to advanced repertoire. Styles
resonance, vibrato, agility, ad-libbing, tonal colors, singing in covered include: rock, rhythm & blues, jazz, and Latin. One hour
harmony, endurance and factors that affect vocal health. One per week for one quarter.
hour per week for one quarter.
VOCAL-350-ON | CONTEMPORARY VOCAL ENSEMBLE (2)
VOCAL-110-ON | VOCAL TECHNIQUE 110 (2) Students will learn the essentials of backing vocals with an
Prerequisites: VOCAL-021 Vocal Technique 021. Topics emphasis on blending, singing unison, counterpoint, mic
include: The International Phonetic Alphabet (IPA) will be techniques, and sightsinging while in a small or large group and
introduced, the American Standard Pronunciation will be as individuals. Two hours per week for one quarter. This course
discussed, addresses the formation and placement of vowels may be repeated for credit.
and consonants, diphthongs and triphthongs with exercises and
resources to improve diction, exploring your speaking range. VOCAL-450-ON | ADVANCED CONTEMPORARY VOCAL
One hour per week for one quarter. ENSEMBLE (2) Prerequisites: VOCAL-350 Contemporary
Vocal Ensemble. This course covers backing vocals for
VOCAL-210-ON | VOCAL TECHNIQUE 210 (2) advanced students. Topics include: containing intricate
Prerequisites: VOCAL-110 Vocal Technique 110. This vocals, jazz harmonies, cluster chords, plus 4-part and 6-part
course continues the development and execution of melodic harmony song structures, along with soloing and backup
ornamentation (vocabulary embellishment, improvisation, singing within the same song.
inflection) through the study of jazz, gospel, soul, R&B and
pop vocal performance techniques. Therefore, these genres’ VOCAL-360-ON | PROJECT RECORDING 1: VOCAL (2)
harmonic subtleties and melodic vocabulary will be presented in Prerequisites: VOCAL-220 Sightsinging 220, VOCAL-210
great detail. One hour per week for one quarter. Vocal Technique 210, VOCAL-230 Vocal Performance 230.
Students will learn the art and practical skills of creating their
VOCAL-012-ON | SIGHTSINGING 012 (2) own professional-quality vocal reel in the recording studio
This course is an introduction to sight-reading and sightsinging using industry-standard audio equipment. Topics include:
for the vocalist. Topics include: an overview of music notation, pre-production, microphone techniques, equipment choice,
the basic elements of written music, major scales, intervals, ties, essential recording studio terminology, pre- amplification, EQ
dotted notes, warm-ups, simple diatonic melodies with whole, and effects for lead vocals, as well as other equipment and
half, quarter, eighth, and sixteenth-note rhythmic patterns. One techniques essential to creating and capturing the best vocal
lecture hour and one lab hour per week for one quarter. performance. One hour per week for one quarter.

VOCAL-022-ON | SIGHTSINGING 022 (2) VOCAL-460-ON | PROJECT RECORDING 2: VOCAL (2)

Prerequisites: VOCAL-012 Sightsinging 012. Continued Prerequisites: VOCAL-360 Studio Recording 1: Building on

366 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

the knowledge and techniques learned in Project Recording 1:

Students will further experience recording with both a Producer MUBUS-0307-ON | INDEPENDENT ARTIST MARKETING (2)
and an Engineer, using industry-standard recording equipment. This course reveals basic marketing concepts applicable to
This course sees students arranging and recording a cover any professional business venture and focuses on the creation
version or original song, including overdubs, backing vocals, of a fully customized, low-budget marketing plan of attack.
final EQ and effects. as a means to understand studio vocal Furthermore, at a time when new technologies make it more
performances. One hour per week for one quarter. possible than ever for artists to leverage their own careers,
there has never been a greater need for practical, independent
PROFESSIONAL DEVELOPMENT // VOCAL marketing advice. After identifying a business vision, students
conduct research, set short-term goals, and create an
MUBUS-0360-ON | BUSINESS PRACTICES FOR MUSICIANS integrated mix of marketing strategies to achieve their objective,
1 (1.5) including defining an image, brand, position, and format,
The first in a two-quarter course sequence, designed to identifying the target audience, gaining access to radio, as
provide students with an understanding of the entertainment well as effectively utilizing live shows, the Internet, press, video
industry, as it exists today, and essential knowledge for promotion, advertising and sponsorships, sales and licensing.
sustaining a career in the digital era. In Business Practices for Students create a complete marketing plan utilizing handy
Musicians 1, topics include an overview of industry structure, templates included in the course resource, and receive useful
the artist’s team (manager, attorney, agent, etc.), copyrights feedback during three in-class work hours. Two lecture hours
and music publishing, band partnerships and solo artists, per week for one quarter.
employment agreements, work-for-hire, unions and more. One
lecture hour per week for one quarter. MUSICIANSHIP // VOCAL
MUBUS-0460-ON | BUSINESS PRACTICES FOR MUSICIANS CC-015-ON | RHYTHM READING WORKOUT 1 (1)
2 (1.5) This course is designed to give Performance Program students
Prerequisites: MUBUS-0360 Business Practices for Musicians a solid foundation in reading rhythms. Students will focus
1. This course is a continuation of Business Practices for solely on understanding rhythmic notation and subdividing
Musicians 1, further covering the most important areas and basics. Topics covered include: notation basics (bar lines,

COURSES
aspects of the entertainment industry. Topics include: record time signatures) notes and rests (ranging from whole note
labels (major and indie), types of deals, the DIY market, to sixteenth note values), note value relationships, counting,
distribution, touring, merchandising, and more. S.M.A.R.T. goal triplets and syncopation. One lecture/lab hour per week for one
setting is also covered to support students in creating a path to quarter.
career success. One lecture hour per week for one quarter.
CC-025-ON | RHYTHM READING WORKOUT 2 (1)
MUBUS-0202-ON | MEDIA RELATIONS (2) Prerequisites: CC-015 Rhythm Reading Workout 1. This
Students learn the difference between publicity and public class is designed to give Performance Program students an
relations, how to create and implement media campaigns, and understanding of intermediate rhythm concepts. Topics covered
how to write artist bios, press releases, news releases, and include: dotted notes, tied notes, swung eighth and sixteenth
eye-catching headlines. Skills apply to independent artists as notes, advanced time signatures (cut time, 3/4, 6/8) and mixed
well as those aspiring to work in the industry. Two lecture hours meters. One lecture/lab hour per week for one quarter.
per week for one quarter.
CC-011-ON | HARMONY & THEORY 011 (1.5)
CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2) This course is an introduction to the harmony and theory
Students learn how to use Adobe Photoshop to design original used within popular music. This is accomplished through the
CD artwork, flyers, promotional tools, and other visual materials application of music notation (for pitch), major scales, major key
vital to modern artists. Emphasis is on creating exciting and signatures, intervals, triads, and major scale harmonies. One
expressive designs that directly support music marketing video lecture hour and one lab hour per week for one quarter.
campaigns. Topics covered in this class include: typography,
flyer design, album artwork design, image manipulation, CC-021-ON | HARMONY & THEORY 021 (1.5)
merchandise design, and more. Two lecture hours per week for Prerequisites: CC-011 Harmony & Theory 011. This course is
one quarter. a continuation of Harmony & Theory 011. This is accomplished
through the further study of musical notation, diatonic
CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2) structures, rhythmic values, time signatures, natural minor
Prerequisites: CC-307 Graphic Design for Artists 1. The scales (and variations), minor key signatures, harmonized minor
Internet has opened up an enormous opportunity for musicians scales, chord inversions, diatonic seventh chords, triad analysis,
to promote themselves directly to music fans. This course chord progressions, and key centers. One video lecture hour
focuses on the technical skills needed to promote music online. and one lab hour per week for one quarter.
Topics include: building a strong online presence, creation
of a content-rich artist website, online marketing tools and CC-101-ON | HARMONY & THEORY 101 (1.5)
strategies, video editing basics, and social media. Two lecture Prerequisites: CC-021 Harmony & Theory 021. This course
hours per week for one quarter. presents variations on diatonic structures from Harmony &

367
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

Theory 021. Highlights include: pentatonic and blues scales, CC-208-ON | KEYBOARD PROFICIENCY 2 (1)
inverted, extended and non-standard chord types, chord Prerequisites: CC-108 Keyboard Proficiency 1. This course
symbols and modes, and voice leading and chord progressions. further develops the technical skills required for successful
One video lecture hour and one lab hour per week for one keyboard performance and musical comprehension. Pop and
quarter. Classical repertoire performance serves as the main focus of
this course, in addition to further study of chord progressions
CC-201-ON | HARMONY & THEORY 201 (1.5) and scales. One lecture hour and one lab hour per week for one
Prerequisites: CC-101 Harmony & Theory 101. This course quarter.
presents non-diatonic melodic and harmonic concepts.
Highlights include: minor key harmony and melody, modal CC-107-ON | SONGWRITING FOR ARTISTS 1 (1.5)
interchange, secondary dominants, diatonic substitution and This course is a hands-on introduction to the methods
modulation, chromatic modulations, Roman numeral analysis, and practices of modern songwriting for the contemporary
altered and symmetrical scales. One video lecture hour and one independent music artist. Topics covered include: genre-based
lab hour per week for one quarter. song structure studies, lyric writing, reverse-engineering, and
effective chord progressions, melody, and groove. Students will
CC-012-ON | EAR TRAINING 012 (1.5) examine and work with multiple songwriting styles, structures,
This course is an introduction to ear training techniques, and examples, analyzing both classic and current hit songs.
which can be used within popular music. This is accomplished Students will develop their skills as independent songwriters
through the technique of matching specific pitches, major through weekly writing exercises, and apply what they have
scale melodies, and melodic intervals. Melodic and harmonic learned by creating and presenting a fully-finished song at the
intervals, chromaticism, triads, diatonic harmony, rhythm are end of the course. One lecture hour and one lab hour per week,
also studied. One video lecture hour and one lab hour per week per quarter.
for one quarter.

CC-022-ON | EAR TRAINING 022 (1.5) CC-207-ON | SONGWRITING FOR ARTISTS 2 (1.5)
Prerequisite: CC-107 Songwriting for Artists 1 or SONG-101
Prerequisites: CC-12 Ear Training 012. This course is a
Songwriting 1. Building on the concepts and methods from
continuation of Ear Training 012, through the further study
level 1, this course further explores the art and application of
of meter and rhythm, eighth-note phrases, sight-singing,
COURSES

songwriting for modern independent music artists. Students

transcribing melody and rhythm, melodic and harmonic
will dig deeper into detailed analysis of various genres of
intervals, triad qualities, and diatonic major chord progressions.
songwriting styles, practice more advanced lyric writing
One video lecture hour and one lab hour per week for one
techniques, and produce more complex melodies, chord
quarter.
progressions, and rhythm/groove. In addition, students will learn
crucial knowledge about navigating the business of songwriting
CC-102-ON | EAR TRAINING 102 (1.5)
with respect to publishing, performance rights organizations
Prerequisites: CC-022 Ear Training 022. This course is an
(PROs), and copyright. Students will work both independently
application- based continuation of Ear Training 022 that focuses
and collaboratively on various creative songwriting exercises,
on the recognition and transcription of pentatonic scales,
which will culminate in a final presentation of one or more
simple major and minor pentatonic melodies, triplet rhythms,
completed songs at the end of the quarter. One lecture hour
blues scales, natural minor scale and its variations, chord
and one lab hour per week, per quarter.
progressions utilizing inversions, diatonic minor key chord
progressions, chord progressions in Roman numerals, seventh
chords. One video lecture hour and one lab hour per week for SONGWRITING
one quarter.
MAJOR AREA // SONGWRITING
CC-202-ON | EAR TRAINING 202 (1.5) SONG-PL-ON | SONGWRITING PRIVATE LESSON (2)
Prerequisites: CC-202 Ear Training 102. This course is an Fostering the development of students “compositional voices”
application- based continuation of Ear Training 102 that focuses serves as the main objective within the Songwriting lesson
on the recognition and transcription of sixteenth-note rhythmic program. One private lesson hour per week per quarter.
phrases, standard variations in minor-key melody and harmony,
and seventh chord major and minor diatonic harmony. One SONG-101-ON | SONGWRITING 1: INTRODUCTION TO POP
video lecture hour and one lab hour per week for one quarter.
SONGWRITING (1.5)
CC-108-ON | KEYBOARD PROFICIENCY 1 (1) This course enables students to develop the analytical,
Keyboard Proficiency 1 serves as an introduction to compositional and performance skills necessary for
successfully navigating contemporary music’s ever changing
contemporary keyboard technique. Through the study of
stylistic landscape. Group study of the compositional and
physical posture, finger technique, diatonic scales & chord
production components that contribute to authenticity
progressions, this course will enable students to develop the
pertaining to key genres and repertoire serves as the curricular
necessary motor skills required for using the keyboard both as a
foundation of these classes. One lecture hour and one lab hour
performing instrument and compositional tool. One lecture hour
per week for one quarter.
and one lab hour per week for one quarter.

368 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

SONG-201-ON | SONGWRITING 2: POP AND COUNTRY including finding inspiration, mastering tools of the craft, and
tailoring lyrics to different styles and situations. Two lecture
SONGWRITING (2) hours per week for one quarter.
Prerequisites: SONG-101 Songwriting 1: Introduction to Pop
Songwriting. This course enables students to develop the
skills necessary to create, analyze, critique, and revise song SONG-225-ON | LYRIC WRITING 2 |CREDITS:2.00
lyrics in the contemporary songwriting market. Students will Prerequisite: SONG-101:Songwriting 1: Introduction to Pop
learn important concepts relating to lyrics, including finding Songwriting and SONG-125: Lyric Writing 1: Introduction to
inspiration, mastering tools of the craft, and tailoring lyrics to Lyric Writing. This course enables students to develop the
different styles and situations. One lecture hour and one lab skills necessary to create, analyze, critique, and revise song
hour per week for one quarter. lyrics in the contemporary songwriting market. Students will
learn important concepts relating to lyrics, including finding
inspiration, mastering tools of the craft, and tailoring lyrics
CC-011-ON | HARMONY & THEORY 011 (1.5) to different styles and situations. This course will introduce
This course is an introduction to the harmony and theory
advanced story-telling techniques. Two lecture hours per week
used within popular music. This is accomplished through the
for one quarter.
application of music notation (for pitch), major scales, key
signatures, intervals, triads, and major scale harmonies. One
video lecture hour and one lab hour per week for one quarter.
SONG-210-ON | SONGWRITING FINAL PROJECT (2)
Prerequisites: SONG-101: Songwriting 1: Introduction to Pop
Songwriting and SONG-125: Lyric Writing 1: Introduction to
CC-021-ON | HARMONY & THEORY 021 (1.5) Lyric Writing. Co-requisite SONG-225: Lyric Writing 2. This
Prerequisite: CC-011 Harmony and Theory 011. This course is class focuses on the student’s all-around abilities for complete
a continuation of Harmony and Theory 1. This is accomplished presentation and performance of their composed and arranged
through the further study of musical notation, diatonic music. Skills required include: Chart Preparation, Composition
structures, rhythmic values, time signatures, natural minor and Arrangement, Repertoire, and Program Note
scales (and variations), minor key signatures, harmonized minor Writing. Students learn how to be an effective bandleader
scales, chord inversions, diatonic seventh chords, triad analysis, and musical director, with the goal of delivering a complete
chord progressions, and key centers. One video lecture hour
live musical performance that showcases the student's
and one lab hour per week for one quarter.
creativity and comprehension of song form, melody, and

COURSES
harmony. One lecture hour per week for one quarter.
ARTST-380-ON | KEYBOARD ESSENTIALS 1 (1)
This is an introductory course on contemporary keyboard
technique. Through the study of physical posture, major scales
SUPPORTIVE MUSIC // SONGWRITING
and common chord progressions, this course will enable
SONG-102-ON | DEMO RECORDING AND PRODUCTION 1 (1)
students to develop the necessary motor skills required This course prepares students for successfully navigating
for using the keyboard as an arranging and compositional a project studio environment as songwriter, arranger and
tool. Upon completion of this course, students will gain a producer. Demo Recording and Production I focuses on
basic knowledge of keyboard skills through focused study recording theory and pre-production techniques including
of performance posture, practice routine development, interface operation, recording techniques, microphone, preamp
major scale construction, finger dexterity, interval and triad and headphone mixes, EQ considerations and general session
construction as well as common chord progressions. One operation. One lecture hour per week for one quarter.
lecture hour per week for one quarter.
SONG-202-ON | DEMO RECORDING AND PRODUCTION 2
ARTST-480-ON | KEYBOARD ESSENTIALS 2 (1) (1)
Prerequisite: SONG-102: Demo Recording and Production 1.
Prerequisite requirement: ARTST-380 Keyboard Essentials 1.
Recording and Production II continues to focus on recording,
Building upon the foundation provided in Keyboard Essentials
basic mixing and general post-production techniques. Students
1, this course focuses on more advanced contemporary
keyboard techniques through the introduction and study of will learn proper studio techniques such as tracking, overdubs
4-note chords. Topics include Major and Minor 7, Dominant 7, and “punch-in” for use in demo recording. At the same time, the
Augmented and Diminished 7, Sus4 and Sus2 chords, natural course will discuss how to organize and plan/pre-produce all
minor and blues scales. Upon completion of this course, aspects of a demo recording session using loops, samples and
students will be able to continue developing the necessary MIDI. One lecture hour per week for one quarter.
motor skills and music vocabulary required for using the
keyboard as an arranging, compositional and production tool. SONG-011-ON | SONGWRITERS LAB (1)
One Lecture hour per week per quarter. This class is designed to foster open discussion, idea sharing,
performance, and relationship-building for songwriters. Student
SONG-125-ON | LYRIC WRITING 1: INTRODUCTION TO songwriters perform their songs and share the writing process
followed by open discussion of alternative writing techniques
LYRIC WRITING (2) and the creative process. Two workshop hours per week for
Corequisite: SONG-101 Songwriting 1. This course enables
one quarter.
students to develop the skills necessary to create, analyze,
critique, and revise song lyrics in the contemporary songwriting
market. Students will learn important concepts relating to lyrics, SONG-015-ON | THE WORKING SONGWRITER (1)

369
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

This class delves into the realm of current industry hit

songwriting, helping students learn what it takes to become AUDIO-164-ON | ABLETON LIVE ONLINE 1 (1)
a working songwriter along with studying current industry A practical application of digital recording techniques using
songwriting techniques. One lecture hour per week for one Ableton Live, this course provides an overview for songwriters
quarter. and artists on the fundamentals of the recording process,
including file and session setup, tracking, arranging, editing,
SONG-486-ON | BUSINESS OF COMPOSING 1 (1) and mixing. Upon successful completion of the course,
This course explores of the world of music publishing and the students will be able to compose, record, and produce music
how-to of owning and exploiting musical copyrights. Topics using Ableton Live. One lecture hour per week for one quarter.
include: copyright law and terminology, the online electronic
Copyright Office (eCO) process, publishing rights, how to set AUDIO-264-ON | ABLETON LIVE ONLINE 2 (1)
up a music publishing company, US PROs, public performance Prerequisite: AUDIO-164 Ableton Live Online 1. Building on
royalties, how to affiliate with a PRO, cue sheets, songwriter Ableton Live 1, this course provides a more in-depth practical
application of digital recording techniques using Ableton Live,
contracts and co-publishing agreements, administration
including synthesis, building racks, advanced audio effects,
agreements, sub publishing, joint works, royalty splits,
dummy clips, remixing, and live performance. Upon successful
mechanical and synchronization licenses, works made for hire, completion of this course, students will have tools to create
sampling, industry organizations and resources for further study. their own sounds and effects as well as have building blocks to
One lecture hour per week for one quarter. perform live. One lecture hour per week for one quarter.

SONG-487-ON | BUSINESS OF COMPOSING 2(1)

Prerequisite: SONG-486 The Business of Composing 1. INDEPENDENT ARTIST DEVELOPMENT
This course examines music licensing and the process of MAJOR AREA // INDEPENDENT ARTIST DEVELOPMENT
placing music and songs into film, television, video games,
commercials and other productions. Topics include: music ARTST-103-ON | ARTIST IDENTITY (1)
licensing terminology, songwriter co-administration agreements, This is a course in which students explore various concepts
the importance of music and songs in the film and television of aesthetics, with a focus on developing their own musical
production process, sources of musical content for producers, fingerprint, artistic identity and personal branding. Students
the “Two Sides,” music production libraries and one-stop
COURSES

receive an overview of all the tools necessary to establish

shopping, the role of the music supervisor, source cues, music themselves as Independent Artists when it comes to online
clearance, spotting sessions and a composer’s timing notes, branding, communicating in the industry and launching original
temp music, how to negotiate synchronization and master use content. One lecture hour per week for one quarter.
licenses, composer package deals, music production and
sound recordings, union contracts, and how to fill out a cue AUDIO-159-ON | PRO TOOLS 1 (2)
sheet. One lecture hour per week for one quarter. This course focuses on the basic concepts and theory involved
in using a digital audio workstation. Students will understand
DIGITAL AUDIO WORKSHOP (DAW) // SONGWRITING how to set-up an Avid Pro Tools® session for recording,
importing audio, editing, recording MIDI, backing-up data,
TRACK OPTION A: working with external drives, and more. Two lecture hours per
week for one quarter.
AUDIO-162-ON | LOGIC FUNDAMENTALS 1 (1)
This course introduces students to the primary features and AUDIO-259-ON | PRO TOOLS 2 (2)
basic user interface of Logic Pro X. The class explores the Prerequisite: AUDIO-159 Pro Tools 1. This course expands
process of creating an actual song, from start to finish. Pre- upon the basic principles taught in Pro Tools Fundamentals 1
production using Apple Loops, recording/editing audio and while introducing the core concepts and techniques students
midi, arranging of tracks, producing drumbeats with a virtual need to competently operate a Pro Tools system running
drummer, as well as basic mixing and automation techniques mid-sized sessions. Students learn to build sessions designed
are explored. One lecture hour per week for one quarter. for commercial purposes and improve the results of their
recording, editing, and mixing efforts. Two lecture hours per
AUDIO-262 -ON | LOGIC FUNDAMENTALS 2 (1) week for one quarter.
Prerequisite: AUDIO-052 Logic 1 or AUDIO-052E Logic 1.
This course is a continuation of the Logic Pro X user interface AUDIO-162-ON | LOGIC FUNDAMENTALS 1 (1)
for songwriters, composers, producers, and sound engineers. This course introduces students to the primary features and
Upon completion, students will understand how to use Logic basic user interface of Logic Pro X. The class explores the
process of creating an actual song, from start to finish. Pre-
Pro’s comprehensive array of software instruments, arranging of
production using Apple Loops, recording/editing audio and
MIDI sequences, as well as editing with Flex Time & Pitch, Keep
MIDI, arranging of tracks, producing drumbeats with a virtual
Tempo, Smart Controls, Advanced Audio & MIDI Recording/ drummer, as well as basic mixing and automation techniques
Editing Techniques, and trouble-shooting. One lecture hour per are explored. Logic Fundamentals 1 (online) does not qualify
week for one quarter. the student to take the Logic User Certification Exam. One
lecture hour per week for one quarter.
TRACK OPTION B:

370 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

AUDIO-262-ON | LOGIC FUNDAMENTALS 2 (1)

Prerequisite: AUDIO-162 Logic Fundamentals 1. This ARTST-107-ON | SONGWRITING FOR ARTISTS 1 (1.5)
course is a continuation of the Logic Pro X user interface for This course is a hands-on introduction to the methods
songwriters, composers, producers, and sound engineers. and practices of modern songwriting for the contemporary
Upon completion, students will understand how to use Logic independent music artist. Topics covered include: genre-based
Pro’s comprehensive array of software instruments, arranging song structure studies, lyric writing, reverse-engineering, and
of MIDI sequences, as well as editing with Flex Time and Pitch, effective chord progressions, melody, and groove. Students will
Vari-Speed, Smart Controls, Smart Tempo, Advanced Audio examine and work with multiple songwriting styles, structures,
and MIDI, Recording/Editing Techniques, Logic Remote app, and examples, analyzing both classic and current hit songs.
troubleshooting. Logic Fundamentals 2 (online) does not qualify Students will develop their skills as independent songwriters
the student to take the Logic User Certification Exam. One
through weekly writing exercises, and apply what they have
lecture hour per week for one quarter.
learned by creating and presenting a fully-finished song at the
end of the course. One lecture hour and one lab hour per week,
AUDIO-164-ON | ABLETON LIVE ONLINE 1 (1)
per quarter.
A practical application of digital recording techniques using
Ableton Live, this course provides an overview for songwriters
and artists on the fundamentals of the recording process, ARTST-207-ON | SONGWRITING FOR ARTISTS 2 (1.5)
including file and session setup, tracking, arranging, editing, Prerequisite: ARTST-107 Songwriting for Artists 1 or
and mixing. Upon successful completion of the course, SONG-101 Songwriting 1. Building on the concepts and
students will be able to compose, record, and produce music methods from level 1, this course further explores the art and
using Ableton Live. One lab hour per week for one quarter. application of songwriting for modern independent music
artists. Students will dig deeper into detailed analysis of various
AUDIO-264-ON | ABLETON LIVE ONLINE 2 (1) genres of songwriting styles, practice more advanced lyric
Prerequisite: AUDIO-164 Ableton Live Online 1. Building on writing techniques, and produce more complex melodies,
Ableton Live 1, this course provides a more in-depth practical chord progressions, and rhythm/groove. In addition, students
application of digital recording techniques using Ableton Live, will learn crucial knowledge about navigating the business
including synthesis, building racks, advanced audio effects, of songwriting with respect to publishing, performance
dummy clips, remixing, and live performance. Upon successful rights organizations (PROs), and copyright. Students will
completion of this course, students will have tools to create work both independently and collaboratively on various

COURSES
their own sounds and effects as well as have building blocks to creative songwriting exercises, which will culminate in a final
perform live. One lab hour per week for one quarter. presentation of one or more completed songs at the end of
the quarter. One lecture hour and one lab hour per week, per
ARTST-101-ON | RECORDING TECHNIQUES FOR quarter.
SONGWRITERS & PRODUCERS 1 (2)
Learn to produce professional recordings in a project studio ARTST-211-ON | PROJECT ADVISING 2 (2)
environment. This portion of this course focuses on recording Prerequisite: ARTST-111 Project Advising 1. Working in
fundamentals and the process of tracking and overdubbing. close consultation with project advisors, students continue to
Students learn how to record their original songs using the develop a music performance, production, and marketing plan
school’s studios as well as their own home setups. Specific for their final culminating experience (The Final Project). They
topics include: project-studio terminology, mic choice and also complete a promotional package, to consist of a recording
placement, EQ, compression and vocal production techniques. of their recording and supporting materials. The final package
Two lecture hours per week for one quarter. must be defended before a faculty committee chaired by the
student’s advisor/mentor. One lecture hour per week for one
ARTST-201-ON | RECORDING TECHNIQUES FOR quarter.
SONGWRITERS & PRODUCERS 2 (2)
Prerequisite: ARTST-101 Recording Techniques for ARTST-203-ON | FINAL PROJECT FOR THE INDEPENDENT
Songwriters & Producers 1. Building on the foundation of ARTIST (2)
Recording Techniques for Songwriters & Producers 1, this Prerequisite: ARTST-111 Project Advising 1. Co-requisite:
course focuses on the mixing and mastering process. Students ARTST-211 Project Advising 2. Students are required to
learn how to turn basic tracks into dynamic and professional complete a culminating experience that serves as both
finished products. Topics include effects, mixing, mastering, a practicum and bridge to the professional world. This
buying equipment and home-studio setup. Two lecture hours directed study project enables the student to utilize his/
per week for one quarter. her research within (and experience from) our Visual Media,
Recording Project, Independent Artist Marketing and Artist
ARTST-111-ON | PROJECT ADVISING 1 (2) Identity courses. During the quarter, the student will work in
Working in close consultation with project advisors, begin consultation with a mentor during weeks 2, 4, 7 and 10 to
planning and creating your final Independent Artist project, develop his/her unique, professional project, which will include
including two or more original songs, artwork, an Internet a set of compositions/arrangements, videos, DIY marketing
presence, a press kit and a marketing/career plan. Initial plan, website and album art. Two lecture hours per week for
assignments include choosing a project category/focus, one quarter.
creating a production schedule and creating a project proposal.
One lecture hour per week for one quarter.

371
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

PROFESSIONAL DEVELOPMENT // INDEPENDENT templates included in the course resource, and receive useful
feedback during three in-class work hours. Two lecture hours
ARTIST DEVELOPMENT per week for one quarter.
MUBUS-0360-ON | BUSINESS PRACTICES FOR MUSICIANS
1 (1.5) MUSICIANSHIP // INDEPENDENT ARTIST
The first in a two-quarter course sequence, designed to provide DEVELOPMENT
students with an understanding of the entertainment industry,
as it exists today, and essential knowledge for sustaining a ARTST-106-ON | MUSICIANSHIP 1 (1.5)
career in the digital era. In Business Practices for Musicians Designed for aspiring music professionals, this course is
1, topics include an overview of industry structure, the artist’s the study of popular music composition devices and their
team (manager, attorney, agent, etc.), copyrights and music foundation in basic music theory. This is accomplished
publishing, band partnerships and solo artists, employment through the analysis of popular harmonic structures, melodies
agreements, work-for-hire, unions and more. One lecture hour and various common rhythmic patterns. Basic harmony and
per week for one quarter. theory will be covered, including the role of melody, harmony
and rhythm, major vs. minor chord qualities, Roman numeral
MUBUS-0460-ON | BUSINESS PRACTICES FOR MUSICIANS harmonic analysis, song form and the basics of chart creation.
2 (1.5) Students will also be introduced to basic rhythmic notation and
Prerequisite: MUBUS-0360 Business Practices for Musicians will study ear training by using popular songs as examples. Two
1. This course is a continuation of Business Practices for lecture hours per week for one quarter.
Musicians 1, further covering the most important areas and
aspects of the entertainment industry. Topics include: record ARTST-206-ON | MUSICIANSHIP 2 (1.5)
labels (major and indie), types of deals, the DIY market, Prerequisite: ARTST-106 Musicianship 1. Building on
distribution, touring, merchandising, and more. S.M.A.R.T. goal Musicianship 1, this course provides a more in-depth practical
setting is also covered to support students in creating a path to application of Harmony and Theory, addressing concepts such
career success. One lecture hour per week for one quarter. as Time Signatures, Minor Scales, Triad Cadences, Inversions
and Voice Leading. Upon successful completion of this course,
CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2) students will be able to effectively communicate with other
COURSES

Learn to use Adobe Photoshop to design original CD artwork, music professionals by using appropriate music terminology,
flyers, promotional tools, and other visual materials vital to which will prove invaluable during writing or recording sessions
modern artists. Emphasis is on creating exciting and expressive in the studio. Two lecture hours per week for one quarter.
designs that directly support music marketing campaigns.
Topics covered in this class include: typography, flyer design,
ELECTIVES // INDEPENDENT ARTIST DEVELOPMENT
album artwork design, image manipulation, merchandise
design, and more. Two lecture hours per week for one quarter. ARTST-010E-ON | MUSIC PRODUCTION WORKSHOP (1)
Computer-based weekly one-on-one workshop with an
CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2) instructor who guides the student in developing technique,
Prerequisites: CC-307 Graphic Design for Artists 1. The musicianship and style in support of music production
Internet has opened up an enormous opportunity for musicians skills. Students learn how to enhance their basic production
to promote themselves directly to music fans. This class knowledge into dynamic and professional quality material.
focuses on the technical skills needed to promote music online. Topics include drum programming, sampling, remixing, synth
Topics include: building a strong online presence, creation development and more. One individual workshop hour per
of a content-rich artist website, online marketing tools and week for one quarter. May be repeated for credit.
strategies, video editing basics, and social media. Two lecture
hours per week for one quarter. IAP PRIVATE LESSON-ON (1)
ARTST-BPL (Bass)
MUBUS-0307-ON | INDEPENDENT ARTIST MARKETING (2) ARTST-DPL (Drum)
This course reveals basic marketing concepts applicable to ARTST-GPL (Guitar)
any professional business venture and focuses on the creation ARTST-KPL (Keyboard)
ARTST-VPL (Vocal)
of a fully customized, low-budget marketing plan of attack.
Weekly lesson with an instructor who guides the student in
Furthermore, at a time when new technologies make it more
developing technique, musicianship, and style in support of
possible than ever for artists to leverage their own careers, student goals and program requirements. One private lesson
there has never been a greater need for practical, independent hour per week for one quarter. May be repeated for credit.
marketing advice. After identifying a business vision, students
conduct research, set short-term goals, and create an
integrated mix of marketing strategies to achieve their objective, ELECTRONIC MUSIC PRODUCTION
including defining an image, brand, position, and format,
MAJOR AREA // EMP
identifying the target audience, gaining access to radio, as
well as effectively utilizing live shows, the Internet, press, video
promotion, advertising and sponsorships, sales and licensing. EMP-PL-ON | EMP PRIVATE INSTRUCTION (1)
Students create a complete marketing plan utilizing handy In a weekly private session with an instructor, the student is

372 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

guided in the development of technique, musicianship, and style scales. Upon completion of this course, students will be able
in support of electronic music production skills. Students will to continue developing the necessary motor skills and music
enhance their basic music production knowledge with the goal vocabulary required for using the keyboard as an arranging,
of creating dynamic and professional quality material. Topics compositional and production tool. One Lecture hour per week
include drum programming, sampling, synthesis, arrangement, per quarter.
and more. One private instruction hour per week per quarter.

AUDIO-215-ON | VOCAL PRODUCTION (1)

DJ-106-ON | MUSICIANSHIP 1 ( 1.5) Using industry standard programs Pro Tools and Logic Pro X,
Designed for aspiring music professionals, this course is the course will explore templates, project management, EQ,
the study of popular music composition devices and their Compression, vocal FX, comping, bussing, vocal alignment,
foundation in the basic music theory. This is accomplished printing stems, and remixing techniques, as applied to vocal
through the analysis of popular harmonic structures, melodies, production. One lecture hour per week for one quarter.
and various common rhythmic patterns. Basics of harmony
and theory will be covered, including the role of melody,
harmony and rhythm, major vs. minor chord qualities, Roman EMP-102-ON | PRODUCTION ADVISING 1 (1)
numeral harmonic analysis, song form and the basics of chart Working in close consultation with various production advisors,
creation. Students will also be introduced to basic rhythmic with whom they are required to meet at least once a week,
notation and will study ear training by using popular songs as students begin planning and creating their final project for the
examples. Upon completing this course, students will be able Final Project for Electronic Music Production requirement,
to effectively communicate with other musical professionals by including three or more original or remixed tracks, and a
using appropriate music terminology, which will prove invaluable marketing/career plan. One hour production advising meeting
during writing or recording sessions in the studio. This course per week for one quarter.
is equivalent to the IAP Musicianship course (ARTST-106).
This course is NOT equivalent to the Audio Engineering EMP-202-ON | PRODUCTION ADVISING 2 (1)
Department’s Musicianship course (AUDIO-106). One lecture Prerequisite: EMP-102 Production Advising 1. Working in close
hour and one lab hour per week for one quarter. consultation with various production advisors, with whom they
are required to meet at least once a week, students continue

COURSES
DJ-206-ON | MUSICIANSHIP 2 (1.5) planning and fine-tuning their project for the Final Project for
Prerequisite: DJ-106 or ARTST-106 Musicianship 1. Building on Electronic Music Production requirement, including three or
Musicianship 1, this course provides a more in-depth practical more original or remixed tracks, and a marketing/career plan.
application of Harmony and Theory, addressing concepts such One-hour production advising meeting per week for one
as Time Signatures, Minor Scales, Triad Cadences, Inversions, quarter.
and Voice Leading. Upon successful completion of this course,
students will be able to effectively communicate with other EMP-107-ON | TRACK BUILDING 1 (2)
music professionals by using appropriate music terminology, This course focuses on providing students with production
which will prove invaluable during writing or recording sessions skills that are designed to elevate the quality of their recorded
in the studio. One lecture hour and one lab hour per week for music to the professional level. Additionally, students will
one quarter. develop a stylistic identity, utilizing such skills, in a unique and
individualized manner. The instructor mentors on the production
ARTST-380-ON | KEYBOARD ESSENTIALS 1 (1) aspects involved in recorded music for the modern electronic
This is an introductory course on contemporary keyboard music producer. Two lecture hours per week for one quarter.
technique. Through the study of physical posture, major scales
and common chord progressions, this course will enable EMP-207-ON | TRACK BUILDING 2 (2)
students to develop the necessary motor skills required Prerequisite: EMP-107 Song Building 1. Building on the
for using the keyboard as an arranging and compositional teaching of Song Building 1, students focus on refining their
tool. Upon completion of this course, students will gain a stylistic identity and production skills (their unique “sound”)
basic knowledge of keyboard skills through focused study by developing a short body of work encompassing several
of performance posture, practice routine development, compositions. Advanced production techniques such as
major scale construction, finger dexterity, interval and triad tracking, arranging, and mixing will also be covered. Two lecture
construction as well as common chord progressions. One hours per week for one quarter.
lecture hour per week for one quarter.
EMP-209-ON | REMIXING (1)
ARTST-480-ON | KEYBOARD ESSENTIALS 2 (1) Prerequisite: DJ-058 Ableton Live for DJs & Electronic Music
Prerequisite: ARTST-380 Keyboard Essentials 1. Building upon Producers 1. This course explores the essential techniques
the foundation provided in Keyboard Essentials 1, this course needed to transform a pre-existing track into a successful
focuses on more advanced contemporary keyboard techniques remix. Students will understand how to use flextime editing to
through the introduction and study of 4-note chords. Topics change the tempo and pitch of audio stems and layer their own
include Major and Minor 7, Dominant 7, Augmented and beats, synths, and samples. The course will also examine the
Diminished 7, Sus4 and Sus2 chords, natural minor and blues difference between an “official” remix versus a “bootleg” and

373
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

how to collect remix fees and royalties. One lecture hour per This course covers topics such as EQ, compression,
week per quarter. reverb, delay, pitch correction, sound replacing, and signal
flow. Students will be exposed to different types of effects
AUDIO-016-ON | BEAT MAKING AND MASCHINE (1) processors, as well as how to operate and apply them to
Corequisite: DJ-058 Ableton Live for DJs & Electronic Music recorded music. Upon successful completion of this course,
Producers 1. Prerequisite: Successful completion of one of students will understand how to use and implement these tools
the following courses: AUDIO-162 Logic Fundamentals 1, appropriately. One lecture hour per week per quarter.
AUDIO-159 Pro Tools 1, or AUDIO-164 Ableton Live Online
1. An introduction to the use and utility of Maschine Sampler EMP-216-ON | MUSIC MASTERING (1)
software. Students will be exposed to modern production and Prerequisite: Successful completion of one of the following
programming techniques using Native Instruments’ Maschine. courses: DJ-058 Ableton Live for DJs & Electronic Music
Upon completing this course, students will be able to create Producers 1, AUDIO-162 Logic Fundamentals 1, AUDIO-159
beat sequences as well as more complex productions and Pro Tools 1, or AUDIO-164 Ableton Live Online 1. Students
remixes using the Maschine software and hardware suite. will study the theory, art, and practical applications of
This course is equivalent to ARTST-016E Beat Making and mastering music. Discussion and practice will include analyzing
Maschine. Two lab hours per week per quarter. stylistic approaches for mastering various genres of music,
understanding specific technical requirements for mastered
EMP-111-ON | SOUND DESIGN WITH ABLETON LIVE 1 (1.5) products and the practical applications of typical analog and
This course examines the fundamental elements of sound digital mastering processors. Two lab hours per week per
synthesis and signal flow, including critical concepts in quarter.
subtractive and additive forms of synthesis as well as the
important basics of sampling. The course material focuses on DJ-058-ON | ABLETON LIVE FOR DJS & ELECTRONIC MUSIC
tools within Ableton Live. Although concepts are applicable to PRODUCERS 1 (1)
any platform, students will learn to design unique sounds on Ableton Live is a production and live music solution favored
various synthesizer instruments within Ableton Live. One lecture by electronic music producers, DJs, beatmakers, and remix
and one lab hour per week per quarter. Artists. In this course, students explore this platform and learn
core functionality in order to be able to create tracks from the
COURSES

EMP-211-ON | SOUND DESIGN WITH ABLETON LIVE 2 (1.5) ground up, put together “mashups” and remixes, and how
Prerequisite: EMP-111 Sound Design w/Ableton Live 1. to incorporate external controllers in order to trigger cues,
Students will continue to develop the skills introduced in samples, and effects (“FX”). Two lab hours per week for one
Sound Design with Ableton 1, by learning new, more advanced quarter.
techniques to further define their unique musical sound beyond
the scope of preset patches. This course introduces additional, DJ-158-ON | ABLETON LIVE FOR DJS & ELECTRONIC MUSIC
more complex forms of sound synthesis, including a in-depth PRODUCERS 2 (1)
examination of Frequency Modulation (FM) synthesis, as well Prerequisite: DJ-058 Ableton Live for DJs & Electronic Music
as Amplitude Modulation, Phase Modulation and Physical Producers 1. Building on the material of Ableton Live for DJs &
Modelling. The course material explores examples in Ableton as EMP 1, students focus on gaining a deeper understanding of
well as Native Instruments Komplete. One lecture hour and one Ableton’s instruments, effects, mapping, and audio warping.
lab hour per week per quarter. Students will also learn the techniques used to create custom
live performance setups. Two lab hours per week for one
quarter.
EMP-203-ON | FINAL PROJECT FOR EMP (2)
Prerequisite: EMP-102 Production Advising 1. Corequisite: EMP-108-ON | THE BUSINESS OF ELECTRONIC MUSIC
EMP-202 Production Advising 2. Electronic Music Production
students are required to complete a culminating experience that PRODUCTION & PERFORMANCE 1 (1)
serves as both a practicum and a bridge to the professional In this course, students gain a comprehensive overview of
world. This experience takes the form of a directed final operating a business as an electronic music producer or DJ.
project, that enables the student to utilize their work within (and Topics include: creating a business entity, filing taxes, the
experience from) Track Building, Production Advising, Ableton key personnel in an electronic music producer/performer’s
Live, Remixing, Beat Making with Maschine, Private Lesson business team, session riders; performance, recording, and
and Sound Design. The student will work in consultation personnel contracts; an overview of copyright law and the
with a mentor during weeks 2, 4, 7 and 10 to develop his/her basics of publishing; along with common situations in which the
unique project, set of compositions/arrangements, produced producer/performer may find him/herself in the execution of the
tracks and and a marketing/career plan, the goal of which is a craft. One lecture hour per week per quarter.
professional outcome. A committee evaluates the final project
that results from the culminating experience. EMP-208-ON | THE BUSINESS OF ELECTRONIC MUSIC
PRODUCTION & PERFORMANCE 2 (1)
STUDIES IN MUSIC Prerequisite: EMP-108 The Business of Electronic Music
Production & Performance 1. This course reveals basic
EMP-214-ON | PLUGIN PROCESSING (1) marketing concepts applicable to any professional producer

374 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

business venture and focuses on the creation of a fully week for one quarter.
customized business and revenue plan. After identifying an
overarching vision, students conduct research, set short-term AUDIO-104-ON | THE BUSINESS OF AUDIO (1)
and long-term goals, and create an integrated mix of business In this course, students gain a comprehensive overview
and revenue generating strategies to achieve their unique of operating a business as an audio engineer or producer.
career objectives. One lecture hour per week per quarter. Topics include music budgets, invoicing, finances, and basic
accounting methods to legally setting up their own business.
Students also discuss the challenges of the new business
STUDIO RECORDING TECHNOLOGY model as well as industry definitions and roles. One lecture
hour per week for one quarter.
MAJOR AREA // STUDIO RECORDING TECHNOLOGY
(CERTIFICATE) AUDIO-105-ON | CRITICAL LISTENING (2)
Students are exposed to various musical content and
AUDIO-112-ON | AUDIO FOUNDATIONS: THEORY & production styles. Identifying frequencies and key instruments
TECHNIQUE (3) will be an integral part of this class, along with the equipment
This introductory course equips audio engineers with the and processes involved in producing commercial recordings.
fundamentals of audio recording theory, technique, and basic One lecture hour per week for one quarter.
computer operation. Students learn about the basic principles
of sound, audio terminology, processors & signal flow, as well AUDIO-151-ON | ELECTRONICS (2)
as applying Apple’s MacIntosh computer to audio production. Students learn the fundamentals of electricity and electronics
The class surveys studio microphones and common miking and the course explores Ohm’s law, basic electronic
techniques for contemporary instruments including drums, components, AC/DC circuits, as well as analog audio
bass, guitar, piano, keyboard, and vocals. Three lecture hours fundamentals as implemented in electronics. Microphone
per week for one quarter. construction and characteristics are also explored, and
the instructor will demonstrate basic soldering and wiring
AUDIO-185-ON | CONSOLE THEORY AND OPERATION 1 techniques. One lecture hour per week for one quarter.
(2)
Students learn console functionality and signal flow as it AUDIO-051-ON | THE MODERN MUSIC PRODUCER (1)

COURSES
applies directly to high-end professional consoles. The class This course exposes students to the “ins and outs” of both
explores concepts such as inputting sources, routing functions, the business and creative sides of being a modern music
and mixing. Students compare a number of analog professional producer. Classes are hands-on, intensive, and based in
consoles and examine similarities and differences. One lecture real-world situations, covering concepts such as budgeting,
hour per week for one quarter. choosing studios and musicians, working with engineers and
management, and finessing the best performance out of artists.
AUDIO-285-ON | CONSOLE THEORY AND OPERATION 2 Two lab hours per week for one quarter.
(2)
Prerequisite: AUDIO-185 Console Theory and Operation 1. AUDIO-106-ON | MUSICIANSHIP FOR INDUSTRY
Students reinforce concepts of signal flow on professional
PROFESSIONALS (1)
recording consoles. The class explores advanced operation
Students will be introduced to the fundamentals of music
concepts in console design including the evolution from split to
notation on the staff, including the basics of harmony and
in-line channel designs, the evolution of monitor switching, as
theory that are discussed between producers, engineers, and
well as increased flexibility and functionality for stereo outputs
musicians in the studio. Upon completion, students will be able
and returns. One lecture hour per week for one quarter.
to differentiate between major vs. minor keys, Roman numeral
harmony, song form, and the basics of chart creation. One
AUDIO-159-ON | PRO TOOLS 1 (2) lecture hour per week for one quarter.
This course focuses on the basic concepts and theory involved
in using a digital audio workstation. Students will understand
AUDIO-111-ON | THE EVOLUTION OF AUDIO (1)
how to set-up an Avid Pro Tools® session for recording,
This course explores many of the seminal inventions and
importing audio, editing, recording MIDI, backing-up data,
processes that have evolved over the last century and a half,
working with external drives, and more. Two lecture hours per
which have helped shape recorded and live music, sound
week for one quarter.
reinforcement in general, as well as sound to picture. Students
will examine professional and consumer advancements in
AUDIO-259-ON | PRO TOOLS 2 (2) equipment, processes, and recording and playback mediums,
Prerequisite: AUDIO-159 Pro Tools 1. This course expands
to understand the art form. Topics include how they have
upon the basic principles taught in Pro Tools Fundamentals 1
evolved, sometimes have become extinct, and in some cases,
while introducing the core concepts and techniques students
how they revolutionized the industry. One lecture hour per week
need to competently operate a Pro Tools system running
for one quarter.
mid-sized sessions. Students learn to build sessions designed
for commercial purposes and improve the results of their
recording, editing, and mixing efforts. Two lecture hours per
AUDIO-201-ON | RECORDING TECHNIQUES 2 (1)
Prerequisite: AUDIO-112 Audio Foundations: Theory &

375
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

Technique. As a continuation of recording techniques, Students STUDIO RECORDING TECHNOLOGY

learn common methods for tracking strings, choirs, and other
ensembles. Also, this course focuses on additional single MAJOR AREA // STUDIO RECORDING TECHNOLOGY
instrument recording such as upright bass, Hammond organ, (ASSOCIATE)
trumpet, saxophone, and various percussion. Students explore
recording signal chains and more complex routing for tracking. AUDIO-112-ON | AUDIO FUNDAMENTALS: THEORY &
One lecture hour per week for one quarter. TECHNIQUE (3)
This introductory course equips audio engineers with the
AUDIO-204-ON | MIXING ESSENTIALS 1 (3) fundamentals of audio recording theory, technique, and basic
Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159 Pro computer operation. Students learn about the basic principles
Tools 1. As mixing music is an important skill for the professional of sound, audio terminology, processors & signal flow, as well
audio engineer, this course introduces professional mixing as applying Apple’s MacIntosh computer to audio production.
techniques. Components to effective mixing are discussed and The class surveys studio microphones and common miking
executed in class such as musical balance, dynamic control techniques for contemporary instruments including drums,
(compression), tonal balance (equalization), ambience, effects, bass, guitar, piano, keyboard, and vocals. Three lecture hours
as well as automation. Lab time mirrors the lecture content as per week for one quarter.
students work individually to create their own mixes. Two lecture
hour per week for one quarter. AUDIO-201-ON | RECORDING TECHNIQUES 2 (1)
Prerequisite: AUDIO-101 Recording Techniques 1. As a
AUDIO-207-ON | INTRO TO POST-PRODUCTION (1) continuation of recording techniques, Students learn common
Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159 Pro methods for tracking strings, choirs, and other ensembles. Also,
Tools 1. This course examines the entire post-production this course focuses on additional single instrument recording
sound to picture workflow as well as the various related jobs such as upright bass, Hammond organ, trumpet, saxophone,
and career opportunities available in the industry. Students are and various percussion. Students explore recording signal
exposed to fundamental concepts and techniques of audio post chains and more complex routing for tracking. One lecture hour
production to picture including, sound effects editing, dialogue per week for one quarter.
editing, Foley, mixing, and surround sound formats. Students are
immersed in weekly hands-on projects designing, editing, and AUDIO-159-ON | PRO TOOLS 1 (2)
COURSES

mixing sound to picture, with the weekly projects culminating in This course focuses on the basic concepts and theory involved
a Final Project. Thirty minutes of lecture and one lab hour per in using a digital audio workstation. Students will understand
week for one quarter. how to set-up an Avid Pro Tools® session for recording,
importing audio, editing, recording MIDI, backing-up data,
AUDIO-208-ON | ANALOG AND DIGITAL SIGNAL working with external drives, and more. Two lecture hours per
PROCESSING (2) week for one quarter.
Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159 Pro
Tools 1. This course focuses on how to operate professional AUDIO-259-ON | PRO TOOLS 2 (2)
signal processing gear, including traditional in-line processors Prerequisite: AUDIO-159 Pro Tools 1. This course expands
(compressor, gate, EQ), effects processors (reverb, delay, upon the basic principles taught in Pro Tools Fundamentals 1
chorus, pitch shift), and both Avid Pro Tools® and third party while introducing the core concepts and techniques students
plug-ins. One lecture hour per week for one quarter. need to competently operate a Pro Tools system running
mid-sized sessions. Students learn to build sessions designed
AUDIO-211-ON | SOUND REINFORCEMENT THEORY AND for commercial purposes and improve the results of their
OPERATION (1) recording, editing, and mixing efforts. Two lecture hours per
Students explore the fundamentals of live sound and week for one quarter.
engineering. The class examines the equipment and systems
used, analog and digital configurations, as well as FOH (“front AUDIO-359-ON | PRO TOOLS 3 (2)
of house”) mixing, monitor mixing, and setup/ tear-down Prerequisite: AUDIO-259 Pro Tools 2. This course examines
procedures. One lecture hour per week for one quarter. the core concepts and skills needed to operate an Avid
Pro Tools|Ultimate system with HD-series hardware in a
AUDIO-215-ON | VOCAL PRODUCTION (1) professional studio environment. This course builds on the
Prerequisite: Successful completion of one of the following Pro Tools Fundamentals 1 and 2 series of courses, providing
courses: AUDIO-057 ProTools 101, or AUDIO-052 Logic intermediate and advanced-level Pro Tools concepts and
1, or ARTST 101 Recording Techniques for Songwriters & techniques. Students learn to customize the configuration of
Producers 1. Using industry standard programs Pro Tools Pro Tools to maximize results and improve recording, editing,
and Logic Pro X, the course will explore templates, project and mixing workflows. Two lecture hours per week for one
management, EQ, Compression, vocal FX, comping, bussing, quarter.
vocal alignment, printing stems, and remixing techniques, as
applied to vocal production. One lecture hour per week for one AUDIO-459-ON | PRO TOOLS 4 (2)
quarter. Prerequisite: AUDIO-359 Pro Tools 3. This course covers
techniques for working with Pro Tools systems in a professional

376 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

music production environment and is a continued exploration and career opportunities available in the industry. Students are
of concepts and theory operating Avid Pro Tools® including exposed to fundamental concepts and techniques of audio
editing and processing functions, use of plug-ins, higher post production to picture including, sound effects editing,
automation functions, synchronization, MIDI quantization, dialogue editing, Foley, mixing, and surround sound formats.
mastering, and more. Two lecture hours per week for one Students are immersed in weekly hands-on projects designing,
quarter. editing, and mixing sound to picture, with the weekly projects
culminating in a Final Project. Thirty minutes of lecture and one
AUDIO-185-ON | CONSOLE THEORY AND OPERATION 1 lab hour per week for one quarter.
(2)
Students learn console functionality and signal flow as it AUDIO-211-ON | SOUND REINFORCEMENT THEORY AND
applies directly to high-end professional consoles. The class OPERATION (1)
explores concepts such as inputting sources, routing functions, Students explore the fundamentals of live sound and
and mixing. Students compare a number of analog professional engineering. The class examines the equipment and systems
consoles and examine similarities and differences. One lecture used, analog and digital configurations, as well as FOH (“front
hour per week for one quarter. of house”) mixing, monitor mixing, and setup/ tear-down
procedures. One lecture hour per week for one quarter.
AUDIO-285-ON | CONSOLE THEORY AND OPERATION 2
(2) AUDIO-204-ON | MIXING ESSENTIALS 1 (3)
Prerequisite: AUDIO-185 Console Theory and Operation 1. Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159
Students reinforce concepts of signal flow on professional Pro Tools 1. As mixing music is an important skill for
recording consoles. The class explores advanced operation the professional audio engineer, this course introduces
concepts in console design including the evolution from split to professional mixing techniques. Components to effective mixing
in-line channel designs, the evolution of monitor switching, as are discussed and executed in class such as musical balance,
well as increased flexibility and functionality for stereo outputs dynamic control (compression), tonal balance (equalization),
and returns. One lecture hour per week for one quarter. ambience, effects, as well as automation. Lab time mirrors the
lecture content as students work individually to create their own
AUDIO-385-ON | CONSOLE THEORY AND OPERATION 3 mixes. One lecture hour per week for one quarter.
(2)

COURSES
Prerequisite: AUDIO-285 Console Theory and Operation 2. AUDIO-340-ON | MIXING ESSENTIALS 2 (2)
Students examine the evolution of consoles and signal flow in Prerequisite: AUDIO-204 Mixing Essentials 1. Students
contemporary audio production settings. The class explores continue to apply mixing skills learned in Mixing Essentials
a number of the newer small footprint consoles and their 1. In this course, focus shifts to mixing multiple songs within
integration with popular DAW systems. The class also explores a project. Students learn about delivery requirements,
the digital console market. One lecture hour per week for one consistency of mixes within a larger project, and production
quarter. value in mixing as well as time management. Two lecture hour
per week for one quarter.
AUDIO-485-ON | CONSOLE THEORY AND OPERATION 4
(2) AUDIO-370-ON | ADVANCED AUDIO PRINCIPLES (3)
Prerequisite: AUDIO-385 Console Theory and Operation 3. Prerequisite: AUDIO-112 Audio Foundations: Theory &
This fourth console course covers the functionality of control Technique. This course equips audio engineers with the
surfaces for use with DAW systems. Students learn about how technical knowledge necessary to understand and optimize
a DAW is integrated with these controllers as well as examining analog and digital audio systems. Throughout the course,
systems that can function as both a control surface as well as a students learn best practices for producing high-quality audio
traditional console. The class examines hardware and software using both analog and digital equipment. The course delves
monitor control systems including surround monitoring and into signal types, specifications, physical interconnections,
bass management. One lecture hour per week for one quarter. storage, and signal processing. Analog topics include voltage,
impedance, decibels, and loudness, while digital theory
AUDIO-151-ON | ELECTRONICS (2) covers analog-to-digital conversion, digital audio codecs and
Students learn the fundamentals of electricity and electronics protocols, data storage, and digital signal processing. Three
and the course explores Ohm’s law, basic electronic lecture hours per week for one quarter.
components, AC/DC circuits, as well as analog audio
fundamentals as implemented in electronics. Microphone AUDIO-440-ON | MIXING ESSENTIALS 3 (2)
construction and characteristics are also explored, and Prerequisite: AUDIO-340 Mixing Essentials 2. This course is a
the instructor will demonstrate basic soldering and wiring continuation of Mixing Essentials with the focus on advanced
techniques. One lecture hour per week for one quarter. mixing efforts and professional scenarios. Students continue to
mix multiple song projects and are expected to execute tasks
AUDIO-207-ON | INTRO TO POST-PRODUCTION (1) in mixdown such as matching reference mixes and performing
Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159 Pro edits to the arrangement as requested. The focus is on
Tools 1. This course examines the entire post-production achieving commercial production value in mixdown. Two lecture
sound to picture workflow as well as the various related jobs hour per week for one quarter.

377
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

one quarter.
AUDIO-208-ON | ANALOG AND DIGITAL SIGNAL
PROCESSING (2) AUDIO-610-ON | BROADCAST MEDIA 2 (1)
Prerequisite: AUDIO-057 Pro Tools 101 or AUDIO-159 Pro Prerequisite: AUDIO-510 Broadcast Media 1. Applying the
Tools 1. This course focuses on how to operate professional skills acquired in Broadcast Media 1, students complete
signal processing gear, including traditional in-line processors independent and collaborating exercises on materials ranging
(compressor, gate, EQ), effects processors (reverb, delay, from documentary and dramatic productions, to news, sports,
chorus, pitch shift), and both Avid Pro Tools® and third party live event production, commercials, and client projects. Topics
plug-ins. One lecture hour per week for one quarter. include: industry-standard broadcast and HD equipment
use and associated workflows, microphone techniques,
AUDIO-360-ON | INTERACTIVE AUDIO & EMERGING approaches for industrial and commercial voice-over, digital
TECHNOLOGIES (2) audio editing and production techniques, media formats, and
In this course, students learn to create, publish and market final product delivery logistics and specifications. One lecture
audio content for new platforms such as interactive media, hour per week for one quarter.
games, webcasting, podcasting, apps, and streaming content.
Projects focus on the core elements, workflow, and concepts AUDIO-575-ON | SURVEY OF RECORDING AND
utilized in creating audio for gaming platforms and multimedia PRODUCTION TECHNIQUES 1 (2)
applications. One lecture hour per week for one quarter. Prerequisite: AUDIO-485 Console Theory and Operation 4.
Students examine common recording and production scenarios
AUDIO-320-ON | ADVANCED DIGITAL SIGNAL for musical artist album production and development. The
PROCESSING (1) class examines case studies of album production including
Prerequisite: AUDIO-208 Analog and Digital Signal Processing. approaches, timelines, and the parties involved. Two lecture
Students examine some of the more common specialized signal hours per week for one quarter.
processors available as hardware and plug-ins. The course
explores processors that can only exist in the digital domain, AUDIO-675-ON | SURVEY OF RECORDING AND
including linear phase & dynamic EQ’s, multi-band processors, PRODUCTION TECHNIQUES 2 (2)
look ahead processors, pitch correction, and convolution Prerequisite: AUDIO-575 Survey of Recording and Production
COURSES

reverbs. One Lecture hour per week for one quarter. Techniques 1. Building on the information knowledge gained in
Survey of Recording & Production 1, the class now examines
AUDIO-216-ON | MUSIC MASTERING (1) several music production case studies that are considered
Prerequisite: Successful completion of one of the following outside of traditional music production and studio approaches
courses: AUDIO-162 Logic Fundamentals 1, AUDIO-159 Pro including remote recording, “home” recording, loops and
Tools 1, or AUDIO-164 Ableton Live Online 1. Students will libraries, and other contemporary approaches. Two lecture
study the theory, art, and practical applications of mastering hours per week for one quarter.
music. Discussion and practice will include analyzing
stylistic approaches for mastering various genres of music, AUDIO-580-ON | LIVE RECORDING TECHNIQUES (2)
understanding specific technical requirements for mastered Prerequisite: AUDIO-201 Recording Techniques 2. Students
products and the practical applications of typical analog and examine live recording scenarios including live albums, live
digital mastering processors. One lecture hour per week for show broadcast, in-studio broadcast, and other situations
one quarter. where multitrack recording is either not applicable or
unavailable. The class explores such topics as microphone
AUDIO-470-ON | SYSTEMS INTEGRATION & FILE splits, splits via digital networking, how to integrate the
MANAGEMENT (2) audience and/or environment, and what are the unique
Students learn the basic theory and connectivity of workstation challenges facing live audio production and recording. Two
components and industry-standard audio interfaces. File lecture hours per week for one quarter.
management techniques (employed to track the volume of
data generated in modern recording projects) are explored in AUDIO-140-ON | RECORDING STUDIO ETIQUETTE (1)
detail, along with approaches for maintaining accurate data. This course provides a basic understanding of terms used by
The basics of device networking and standard methodologies musicians, engineers and producers, providing the information
for the structuring of metadata are also discussed. One lecture necessary to link these three crucial, but different roles.
hour per week for one quarter. Students learn how to contribute to the songwriting process in
a studio environment and will be exposed to real-world studio
AUDIO-510-ON | BROADCAST MEDIA 1 (1) experiences in order to learn the importance of professional
Broadcast Media is an introduction to the skill sets required for demeanor in getting and keeping work as an engineer or
careers in the television, film, Internet, commercial broadcast, assistant. One lecture hour per week for one quarter.
live event, and video production industries. Explorations include
the fundamentals of radio, television and Internet broadcasting AUDIO-660-ON | STUDIO TECHNOLOGY (2)
(and streaming), in conjunction with both fieldwork and Prerequisite: AUDIO-151 Electronics. This course is
studio productions. Topics include: the use of sector-specific an examination of technologies behind the design and
equipment, as well as staging. One lecture hour per week for maintenance of commercial recording studios. Students learn

378 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

basic acoustic principles in studio design, speaker monitors including employment and corporate-related duties permeating
and power amplifiers, audio grounding schemes, electrical the entertainment industry. By providing an overview of legal
service, as well as electrical protection for equipment. Prior concepts governing all business activities, music creatives
learning of Ohm’s Law, impedance, and cabling are reinforced. and music technicians will learn the essence of functioning
One lecture hour per week for one quarter. in a corporate structure as well as the ability of developing an
independent business from the ground up. With particular
AUDIO-590-ON | FINAL PROJECT 1 (3) emphasis on music business transactions, lectures will cover
Prerequisite: AUDIO-485 Console Theory and Operation concepts such as employment, contractual and fiduciary
4. Synthesizing prior theoretical, practical, and experiential obligations, basic music-related clauses and provisions,
learning; in combination with the critical thinking and subject intellectual property fundamentals, and bargaining agreements.
mastery acquired throughout the program; students work Two lecture hours per week for one quarter.
collaboratively on self-directed, full-cycle music projects. This
is realized through the production of one song, from pre- MUBUS-206-ON | NETWORKING STRATEGIES (1)
production planning through recording and mixing to mastering Success in a changing music industry is determined by the
and final delivery. One supervised lecture hour per week for one strength and longevity of personal contacts: who you know,
quarter. what you know and, most important, who knows you. In this
practical, application-oriented course, students analyze and
AUDIO-690-ON | FINAL PROJECT 2 (3) practice different types of communication, social techniques,
Prerequisite: AUDIO-590 Final Project 1. Building on the and presentation skills important to making personal contacts
premise of the Final Project 1 course, in conjunction with in all strata of the music business and building a professional
ongoing learning from the program’s final quarter core offerings, support network. One lecture hour per week for one quarter.
students continue to work collaboratively on self-directed,
full-cycle, music projects. Focus shifts to production volume MUBUS-308-ON | OWNING & OPERATING A MUSIC
and quality, with students producing two songs-which, when BUSINESS (2)
combined with the end product of Final Project 1, provides Students learn the legal aspects of starting a business,
students with a three-song, capstone completion reel. One including trademark searches and clearances, DBAs, licenses,
supervised lecture hour per week for one quarter. setting up the tax structure, and obtaining business loans and

COURSES
grants. Topics also include: managing daily business operations
PROFESSIONAL DEVELOPMENT // STUDIO RECORDING such as hiring employees, taking inventory, basic business
TECHNOLOGY (ASSOCIATE) accounting, and more. Two lecture hours per week for one
quarter.
MUBUS-0360-ON | BUSINESS PRACTICES FOR MUSICIANS CC-307-ON | GRAPHIC DESIGN FOR ARTISTS 1 (2)
1 (1.5) Students learn how to use Adobe Photoshop to design original
The first in a two-quarter course sequence, designed to provide CD artwork, flyers, promotional tools, and other visual materials
students with an understanding of the entertainment industry, vital to modern artists. Emphasis is on creating exciting and
as it exists today, and essential knowledge for sustaining a expressive designs that directly support music marketing
career in the digital era. In Business Practices for Musicians campaigns. Topics covered in this class include: typography,
1, topics include an overview of industry structure, the artist’s flyer design, album artwork design, image manipulation,
team (manager, attorney, agent, etc.), copyrights and music merchandise design, and more. Two lecture hours per week for
publishing, band partnerships and solo artists, employment one quarter.
agreements, work-for-hire, unions and more. One lecture hour
per week for one quarter. CC-407-ON | GRAPHIC DESIGN FOR ARTISTS 2 (2)
Prerequisite: CC-307 Graphic Design for Artists 1. The Internet
MUBUS-0460-ON | BUSINESS PRACTICES FOR MUSICIANS has opened an enormous opportunity for musicians to promote
2 (1.5) themselves directly to music fans. This course focuses on the
Prerequisite: MUBUS-0360 Business Practices for Musicians technical skills needed to promote music online. Topics include:
1. This course is a continuation of Business Practices for building a strong online presence, creation of a content-rich
Musicians 1, further covering the most important areas and artist website, online marketing tools and strategies, video
aspects of the entertainment industry. Topics include: record editing basics, and social media. Two lecture hours per week
labels (major and indie), types of deals, the DIY market, for one quarter.
distribution, touring, merchandising, and more. S.M.A.R.T. goal
setting is also covered to support students in creating a path to MUSICIANSHIP // STUDIO RECORDING TECHNOLOGY
career success. One lecture hour per week for one quarter. (ASSOCIATE)
AUDIO-375-ON | BUSINESS LAW FOR MUSIC PRODUCERS AUDIO-111-ON | THE EVOLUTION OF AUDIO (1)
(2) This course explores many of the seminal inventions and
This course is designed to help students develop an processes that have evolved over the last century and a half,
understanding of the fundamentals of law and business, which have helped shape recorded and live music, sound

379
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

reinforcement in general, as well as sound to picture. Students for one quarter.

will examine professional and consumer advancements in
equipment, processes, and recording and playback mediums, MUBUS-360-ON | SONG STRUCTURE AND CONTENT (2)
to understand the art form. Topics include how they have Prerequisite MUBUS-260 Musicianship For Business
evolved, sometimes have become extinct, and in some cases, Professionals or AUDIO-106 Musicianship For Industry
how they revolutionized the industry. One lecture hour per week Professionals. A study of the basic elements of popular song
for one quarter. structure, including melody, lyric patterns and construction,
harmony, scales, intervals, rhythm, and form; analysis of
AUDIO-105-ON | CRITICAL LISTENING (2) the structure of successful songs and the application of
Students are exposed to various musical content and those elements to songwriting, including lyric and melodic
production styles. Identifying frequencies and key instruments development, hook recognition, chord structures, and
will be an integral part of this class, along with the equipment accompaniment styles. Includes analysis of songwriting
and processes involved in producing commercial recordings. styles in various genres including pop, rock, country, rap/hip-
Two lecture hours per week for one quarter. hop, R&B/soul, jazz, blues, Latin, children’s, religious, world/
ethnic, and folk/Americana. Through role-playing, students
AUDIO-106-ON | MUSICIANSHIP FOR INDUSTRY develop techniques for communicating on a musical level with
PROFESSIONALS (1) performers, arrangers, engineers, and producers. Two lecture
Students will be introduced to the fundamentals of music hours per week for one quarter.
notation on the staff, including the basics of harmony and
theory that are discussed between producers, engineers, and ELECTIVES // STUDIO RECORDING TECHNOLOGY
musicians in the studio. Upon completion, students will be able
to differentiate between major vs. minor keys, Roman numeral
(ASSOCIATE)
harmony, song form, and the basics of chart creation. Two lab
hours per week for one quarter.
AUDIO-161E-ON | ADVANCED MUSIC PRODUCTION (1)
Prerequisites: Successful completion of one of the following
DAW courses: AUDIO-057 Pro Tools 101, AUDIO-052
AUDIO-051-ON | THE MODERN MUSIC PRODUCER (1)
Logic 1, AUDIO-058 Ableton Live 1, AUDIO-159 Pro
This course exposes students to the “ins and outs” of both
Tools 1, AUDIO-162 Logic Fundamentals 1, or AUDIO-164
COURSES

the business and creative sides of being a modern music

Ableton Live Online 1. Along with Successful completion of
producer. Classes are hands-on, intensive, and based in
AUDIO-106 Musicianship for Industry Professionals or CC-011
real-world situations, covering concepts such as budgeting,
Harmony and Theory 011. Building on the material presented
choosing studios and musicians, working with engineers and
in the Modern Music Producer course, the class focuses on
management, and finessing the best performance out of artists.
concepts of music production and what it takes to create a
Two lab hours per week for one quarter.
final deliverable product to clients. Students analyze previously
recorded projects spanning multiple genres of music. The class
MUBUS-110-ON | MUSIC INDUSTRY HISTORY 1: 1909-1959 is encouraged to take a closer look at their favorite songs in an
(2) effort to discover the elements that make up the productions.
An introduction to the key components of the music business
This course also surveys professional studio session
and a comprehensive historical overview of the recorded
preparation, DAW preparation, session editing, session tuning
music industry from 1909 to the onset of the rock ‘n’ roll era.
and timing adjustments, backups, mix delivery preparation, and
Students listen to and analyze the music of each era, including
mastering delivery preparation. One lecture hour per week for
sources and influences on subsequent trends in the context of
one quarter.
social and cultural movements and political events. In addition,
students are given an overview of the basic concepts and steps
in the recording process, and its evolution from invention to the BACHELOR OF MUSIC IN SONGWRIT-
end of the 1950’s. Two lecture hours per week for one quarter. ING & PRODUCTION
MUBUS-210-ON | MUSIC INDUSTRY HISTORY 2: 1960- MAJOR AREA
PRESENT (2) [Link]-ON | SONGWRITING PRIVATE LESSON 1-12 (2)
Prerequisite: MUBUS-110 Music Industry History 1. An Fostering the development of students “compositional voices”
overview of the evolution of the industry through an era of serves as the main objective within the Songwriting &
increasingly rapid change beginning in the ‘60s and coming into Production lesson program. One private lesson hour per week
the digital age. Includes listening and musical analysis as well per quarter.
as examination of sources and influences on subsequent trends
in the context of social and cultural movements and political
events. Additional topics include the advent and exponential
BACH-S101-ON | SONGWRITING 1: INTRODUCTION TO
growth of new technologies in the recording process as well POP SONGWRITING (1.5)
as with music consumption and formats, and the remodeling This course enables students to develop the analytical,
of business practices and economic structures throughout the compositional and performance skills necessary for
entertainment arena. The course concludes with an overview of successfully navigating contemporary music’s ever changing
industry careers in the modern era. Two lecture hours per week stylistic landscape. Group study of the compositional and

380 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

production components that contribute to authenticity for one quarter.

pertaining to key genres and repertoire serves as the curricular
foundation of these classes. One lecture hour and one lab hour BACH-S306-ON | VOCAL TECHNIQUE FOR SONGWRITERS
per week for one quarter. (1)
This course will instruct students on proper vocal technique so
BACH-S201-ON | SONGWRITING 2: POP AND COUNTRY that even non-vocal songwriters will be able to sing competent
SONGWRITING (1.5) demo versions of their songs. The course will feature breathing,
Prerequisites: BACH-S101: Songwriting 1: Introduction to Pop placement, tone, and pitch control. Students will learn vocal
Songwriting and BACH-S125: Lyric Writing 1: Introduction characteristics across a myriad of different styles. Two lab
to Lyric Writing. This course enables students to develop the hours per week for one quarter.
skills necessary to create, analyze, critique, and revise song
lyrics in the contemporary songwriting market. Students will BACH-S406-ON | GUITAR HARMONY FOR SONGWRITERS(1)
learn important concepts relating to lyrics, including finding This course will instruct students on basic guitar technique in
inspiration, mastering tools of the craft, and tailoring lyrics to order for them to be able to write appropriate guitar parts for
different styles and situations. One lecture hour and one lab their music. The course will focus on open chord shapes (and
hour per week for one quarter. transpositions through use of Capos), strum and fingerstyle
accompaniment patterns, and barre chord shapes. Students
BACH-S301-ON | SONGWRITING 3: FOLK, BLUES, REGGAE, will lean stylistic guitar accompaniment across a variety of
AND EARLY ROCK SONGWRITING (2) genres. Two lab hours per week for one quarter.
Prerequisites: BACH-S201: Songwriting 2: Pop and Country
Songwriting and BACH-S225: Lyric Writing 2. This course BACH-P103-ON | CONTEMPORARY ARRANGING 1 (2)
enables students to develop the analytical, compositional Prerequisite: CC-201 Harmony and Theory 201 and
and performance skills necessary for successfully navigating BACH-P127 Sibelius Notation. This course is an introduction
contemporary music’s ever changing stylistic landscape. to instrumentation, arranging techniques, and notation practices
Group study of the compositional and production components for a live rhythm section. Emphasis is placed on score and parts
that contribute to authenticity pertaining to key genres and preparation and notation in selected contemporary styles. The
repertoire serves as the curricular foundation of these classes. objective is to learn the characteristic usage of each instrument
in the rhythm section, and to prepare an arrangement step-by-

COURSES
Two lecture hours per week for one quarter.
step using a verbal outline, sketch score, and master score.
BACH-S401-ON | SONGWRITING 4: ROCK AND FUSION Two lecture hours per week for one quarter.
SONGWRITING (2)
Prerequisite: BACH-S301: Songwriting 3: Folk, Blues, Reggae, BACH-P203-ON | CONTEMPORARY ARRANGING 2 (2)
and Early Rock Songwriting. This course enables students Prerequisite: BACH-P103 Contemporary Arranging 1. A
to develop the analytical, compositional and performance continuation of rhythm section arranging with the addition of
skills necessary for successfully navigating contemporary brass instruments (trumpet and trombone). Discussion will
music’s ever changing stylistic landscape. Group study of the include transposition, range and idiomatic usage of these
compositional and production components that contribute to instruments in popular styles. The objective is to study the
authenticity pertaining to key genres and repertoire serves as brass family with emphasis on two-part and guide-tone writing.
the curricular foundation of these classes. Two lecture hours Students conduct analysis and learn to build arrangements for
per week for one quarter. a core rhythm section (beat, bass line, chord accompaniment)
and solo voice in four styles- Rap, Rock, Folk, and Reggae. Two
BACH-S125-ON | LYRIC WRITING 1: INTRODUCTION TO lecture hours per week for one quarter.
LYRIC WRITING (2) This course enables students to develop
the skills necessary to create, analyze, critique, and revise song BACH-P303-ON | CONTEMPORARY ARRANGING 3 (2)
lyrics in the contemporary songwriting market. Students will Prerequisite: BACH-P203 Contemporary Arranging 2.
learn important concepts relating to lyrics, including finding Arranging techniques for ensembles including woodwind
inspiration, mastering tools of the craft, and tailoring lyrics to instruments (saxophone, flute and clarinet). Discussion includes
different styles and situations. Two lecture hours per week for transposition, range and idiomatic usage of these instruments
one quarter. in popular styles. The objective is to study the woodwind
family with emphasis on four-part harmonization. Builds on
BACH-S225-ON | LYRIC WRITING 2 (2) core rhythm section by adding instrumental riffs, accents,
Prerequisites: BACH-S101: Songwriting 1: Introduction to Pop counter melody and additional harmony. Stylistic analysis
Songwriting and BACH-S125: Lyric Writing 1: Introduction and arrangement projects in Pop, Hip Hop, Country, and
to Lyric Writing. This course enables students to develop the Electronica. Two lecture hours per week for one quarter.
skills necessary to create, analyze, critique, and revise song
lyrics in the contemporary songwriting market. Students will BACH-P403-ON | CONTEMPORARY ARRANGING 4 (2)
learn important concepts relating to lyrics, including finding Prerequisite: BACH-M303 Contemporary Arranging 3. Course
inspiration, mastering tools of the craft, and tailoring lyrics focuses on string section writing as it applies to contemporary
to different styles and situations. This course will introduce production, with an emphasis on re-harmonization. Basic
advanced story-telling techniques. Two lecture hours per week contrapuntal arranging with voice leading and understanding of

381
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

ranges and color/timbre blending. Two lecture hours per week enables students to create effective vocal arrangements for a
for one quarter. wide variety of textures and voicings. Students will learn how to
create effective homophonic and decorated homophonic SATB
BACH-P503 -ON | CONTEMPORARY ARRANGING 5 (2) vocal arrangements. Students will learn how to create effective
Prerequisite: BACH-P403 Contemporary Arranging 4. Course a cappella vocal Jazz arrangements. Students will learn how
focuses on combined rhythm section, woodwind, brass and to approach creating a career as a vocal arranger. Two lecture
string writing as it applies to contemporary productions. As hours per week for one quarter. Additional production fee
a secondary objective, students learn to analyze scores of required.
contemporary arrangements that include all instruments. Two
lecture hours per week for one quarter. BACH-S910-ON | SENIOR PORTFOLIO PROJECT (2)
Prerequisite: CC-801: Harmony & Theory 801, BACH-P503:
BACH-S710-ON | SOPHOMORE RECITAL (2) Contemporary Arranging 5, BACH-S211: Vocal Arranging 2,
BACH-C601: Harmony & Theory 601, BACH-P203: and BACH-S710: Sophomore Recital. Corequisite: BACH-S.
Contemporary Arranging 2. Corequisite: [Link] PL Songwriting Private Lesson. The senior portfolio serves as
Songwriting Private Lesson. The sophomore recital is designed the final project for all candidates pursuing a Bachelor of Music
to assess the performance and compositional abilities of all degree in Songwriting & Production at Musicians Institute.
candidates pursuing a Bachelor of Music degree in Songwriting All portfolios must include: 1. One ensemble transcription of
& Production at Musicians Institute. Original music and a representative contemporary work, complete with score,
arrangements will be displayed through solo & ensemble ensemble charts and new studio recording, 2. One ensemble
performance across a wide range of contemporary styles to arrangement of a representative contemporary work, complete
serve as the primary method for judging proficiency. Students with score, ensemble charts and studio recording, 3. Two
are responsible for selecting their own personnel, scheduling student compositions complete with score, ensemble charts
rehearsals and writing arrangements (complete with score and and studio recordings (one recording using live instrumentation,
ensemble parts) for all performance selections. Five bi-weekly the other utilizing “virtual instrumentation”). Candidates are
mentoring sessions with an advisor for one quarter, and a final responsible for selecting their own personnel and scheduling
performance at the end of the quarter. rehearsals and studio time. Five bi-weekly mentoring sessions
with an advisor for one quarter, and a final studio recording
BACH-S801-ON | COMPOSITIONAL STYLE & ANALYSIS 1 (2) project requirement due at the end of the quarter. One lecture
COURSES

Corequisite: [Link] Songwriting Private Lesson. hour per week for one quarter, and a final recording project
This course begins with a review of the tools necessary to requirement due at the end of the quarter.
completing a song analysis, including transcription methods,
song arranging, creating charts and musicianship basics. In the MUSICIANSHIP // SONGWRITING & PRODUCTION
second half of the course, students begin to put those tools to
use in their analysis of songs in the musical genres of Blues,
Country, Rock, Reggae, and Hip-Hop. Two lecture hours per CC-101-ON | HARMONY & THEORY 101 (1.5)
week for one quarter. Prerequisite: CC-021 Harmony and Theory 021. This course
presents variations on diatonic structures from Harmony
BACH-S901-ON | COMPOSITIONAL STYLE & ANALYSIS 2 (2) and Theory 2. Highlights include pentatonic and blues
Prerequisite: BACH-S801: Compositional Style & Analysis 1. scales, inverted, extended and non-standard chord types,
This course serves as a continuation of Compositional Style chord symbols and modes, and voice leading and chord
& Analysis 1. Students continue developing their transcription, progressions. One lecture hour and one lab hour per week for
chart design, arranging and analytical skills through the study of one quarter.
songs in the musical genres of Pop, Film Music, Broadway and
Jazz. Two lecture hours per week for one quarter. CC-201-ON | HARMONY & THEORY 201 (1.5)
Prerequisite: CC-101 Harmony and Theory 101. Non-diatonic
BACH-S111-ON | VOCAL ARRANGING 1 (2) melody and harmony. Topics include variations in minor-key
Prerequisites: BACH-C601 Harmony Theory 601, harmony and melody, modal interchange, secondary dominants,
BACH-P303 Contemporary Arranging 3, and BACH-S710 diatonic substitution and modulation. One lecture hour and one
Sophomore Recital. This course enables students to create lab hour per week for one quarter.
effective vocal arrangements for a wide variety of textures and
voicings. This course introduces students to the foundations BACH-C301-ON | HARMONY & THEORY 301 (2)
of vocal arranging for various voice types in unison, 2-part, Prerequisites: CC-201 Harmony & Theory 201. This course
and 3-part harmonies. Students will learn how to choose focuses on topics including: musical textures, irregular
appropriate textures and voicings when vocally arranging resolutions, use of melodic and harmonic sequences and
a song. The students will learn how to use vocal arranging diminished seventh chords. Two lecture hours per week for one
techniques to add production value to their original songs. Two quarter.
lecture hours per week for one quarter.
BACH-C401-ON | HARMONY & THEORY 401 (2)
BACH-S211-ON | VOCAL ARRANGING 2 (2) Prerequisites: BACH-C301 Harmony & Theory 301. This
Prerequisite: BACH-S111 Vocal Arranging [Link] course course covers the analysis and application of the incomplete
major ninth chord, seventh chords in non-dominant harmonic

382 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

function, neighbor chord harmony, ninth, eleventh, thirteen Prerequisite: BACH-C302 Ear Training 302. Continued
and appoggiatura chords. Two lecture hours per week for one development of advanced musical reflexes through the use
quarter. of “movable do solfege”. Topics include: parallel minor scale
harmony in its three basic forms: natural minor, harmonic
BACH-C501-ON | HARMONY & THEORY 501 (2) minor, and melodic minor in all twelve keys. Techniques
Prerequisite: BACH-C401 Harmony and Theory 401. This include note recognition, intervallic structures, melodic
course covers the analysis and application of chromatic altered patterns, identification and arpeggiation of harmonic forms in
chords including the +II7 and +VI7, Neapolitan, augmented all inversions, dictation, transcription, and sightsinging while
sixth chords and chords with lowered and raised fifths. Two conducting. Two lecture hours per week for one quarter.
lecture hours per week for one quarter.
BACH-C502-ON | EAR TRAINING 502 (2)
BACH-C601-ON | HARMONY THEORY 601 (2) Prerequisites: BACH-C402 Ear Training 402. Continued
Prerequisites: BACH-C501 Harmony & Theory 501. This development of advanced musical reflexes through the use of
course covers the analysis and application of the incomplete “movable do solfege.”Topics include: modal harmony that is
major ninth chord, seventh chords in non-dominant harmonic nondiatonic to the major or parallel minor scales in all twelve
function, neighbor-chord harmony, ninth, eleventh, thirteenth, keys. Techniques include note recognition, intervallic structures,
and appoggiatura chords. Continued focus on four-part writing, melodic patterns, identification and arpeggiation of harmonic
figured bass and harmonization. Two lecture hours per week for forms in all inversions, dictation, transcription, and sightsinging
one quarter. while conducting. Two lecture hours per week for one quarter.

BACH-C701-ON | HARMONY THEORY 701 (2) Prerequisites: BACH-C602-ON | EAR TRAINING 602 (2)
BACH-C601 Harmony & Theory 601. This course covers the Prerequisites: BACH-C502 Ear Training 502. Continued
analysis and application of chromatic altered chords, including development of advanced musical reflexes through the
the +II7 and +VI7, Neapolitan chords, augmented sixth chords use of “movable do solfege.” Topics include: altered and
and chords with lowered and raised fifths. Continued focus on symmetrical scale harmony in all twelve keys. Techniques
four-part writing, figured bass and include note recognition, intervallic structures, melodic
harmonization. Two lecture hours per week for one quarter. patterns, identification and arpeggiation of harmonic forms in
all inversions, dictation, transcription, and sightsinging while

COURSES
BACH-C801-ON | HARMONY & THEORY 801 (2) conducting. Two lecture hours per week for one quarter.
Prerequisites: BACH-C-701 Harmony & Theory 701. This
course covers the analysis of late 19th and early 20th century CC-108-ON | KEYBOARD PROFICIENCY 1 (1)
scores. Discussions include: pandiatonicism, serial writing, Keyboard Proficiency 1 serves as an introduction to
polytonality, parallel harmony and, use of symmetrical scales. contemporary keyboard technique. Through the study of
Two lecture hours per week for one quarter physical posture, finger technique, diatonic scales & chord
progressions, this course will enable students to develop the
CC-102-ON | EAR TRAINING 102 (1.5) necessary motor-skills required for using the keyboard both as
Prerequisite: CC-022 Ear Training 022. Concentrates on the a performing instrument and compositional tool. One lecture
recognition and transcription of diatonic minor-key melodies hour and one lab hour per week for one quarter. This course is
and chord progressions. One lecture hour and one lab hour per not available to Keyboard Program students.
week for one quarter.
CC-208-ON | KEYBOARD PROFICIENCY 2 (1)
CC-202-ON | EAR TRAINING 202 (1.5) Prerequisite: CC-108 Keyboard Proficiency 1. This course
Prerequisite: CC-102 Ear Training 102. Concentrates on the further develops the technical skills required for successful
recognition and transcription of diatonic major and minor keyboard performance and musical comprehension. Pop and
melody and harmony, and rhythmic figures including sixteen Classical repertoire performance serves as the main focus of
notes. Includes specific examples drawn from contemporary this course, in addition to further study of chord progressions
popular music. One lecture hour and one lab per week for one and scales. One lecture hour and one lab hour per week for one
quarter. quarter.

BACH-C302-ON | EAR TRAINING 302 (2) BACH-P313-ON | KEYBOARD PROFICIENCY 3 (1)

Prerequisites: CC-202 Ear Training 202. Development of Prerequisite: BACH-P313 Keyboard Proficiency 2. Degree-
advanced musical reflexes through the use of “movable do specific course for non-keyboard majors. This course
solfege”. Topics include: diatonic major scale harmony in all will address very practical skills that should be a part
twelve keys. Techniques include note recognition, intervallic of every professional musician’s toolbox including lead
structures, melodic patterns, identification and sheet interpretation, basic score reading and outlining an
arpeggiation of harmonic forms in all inversions, dictation, arrangement. One lecture hour per week for one quarter.
transcription, and sightsinging while conducting. Two lecture
hours per week for one quarter. BACH-S804-ON | COMPOSERS ENSEMBLE 1 (2)
This course serves as a platform for students to present and
BACH-C402-ON | EAR TRAINING 402 (2) perform their own compositions and arrangements. Weekly live

383
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

performance workshops provide for development of ensemble [Link]-ON | , [Link]-ON | , [Link]-ON | )

writing techniques, improvisational skills and repertoire building SECONDARY APPLIED LESSON (2)
in various styles. All songwriting majors serve as ensemble Prerequisite: BACH-P303 Contemporary Arranging 3. This
members for one another. One lecture hour per week for one course allows students to study privately with an instructor
quarter. on an additional instrument of their choosing. Students may
choose from the following: vocals, guitar, keyboard, bass or
BACH-S904-ON | COMPOSERS ENSEMBLE 2 (2) drums. One private lesson hour per week per quarter.
Prerequisite: BACH-S804: Composers Ensemble 1.
Composers Ensemble II places primary emphasis on the AUDIO-159-ON | PRO TOOLS 1 (2)
presentation, performance and refinement of advanced student This course focuses on the basic concepts and theory involved
compositions for subsequent inclusion in senior portfolio in using a digital audio workstation. Students will understand
projects. Whenever possible, visiting artists are invited to how to set-up an Avid Pro Tools® session for recording,
participate in the group discussion and professional critique importing audio, editing, recording MIDI, backing-up data,
that serves as the intellectual foundation of Composers working with external drives, and more. Two lecture hours per
Ensemble I-II. One lecture hour per week for one quarter. week for one quarter. Pro Tools 1 (online) does not qualify
the student to take the Avid User Certification Exam.
SUPPORTIVE MUSIC // SONGWRITING & PRODUCTION
AUDIO-259-ON | PRO TOOLS 2 (2)
BACH-P127-ON | SIBELIUS NOTATION (1) Prerequisite: AUDIO-159-ON Pro Tools 1. This course
Using Sibelius notation software to create lead sheets, master expands upon the basic principles taught in Pro Tools
rhythm scores and individual parts formatted in a way similar Fundamentals 1 while introducing the core concepts and
to those students will need to create for Arranging 1-5 and techniques students need to competently operate a Pro Tools
Sophomore and Senior juries. One lecture hour per week for system running mid-sized sessions. Students learn to build
one quarter. sessions designed for commercial purposes and improve
the results of their recording, editing, and mixing efforts.
AUDIO-16-ON | LOGIC FUNDAMENTALS 1 (1) Two lecture hours per week for one quarter. Pro Tools 2
This course introduces students to the primary features and (online) does not qualify the student to take the Avid User
Certification Exam.
COURSES

basic user interface of Logic Pro X. The class explores the

process of creating an actual song, from start to finish. Pre-
production using Apple Loops, recording/editing audio and MUBUS-110-ON | MUSIC INDUSTRY HISTORY 1 (2)
MIDI, arranging of tracks, producing drumbeats with a virtual An introduction to the key components of the music business
drummer, as well as basic mixing and automation techniques and a comprehensive historical overview of the recorded
are explored. Logic Fundamentals 1 (online) does not qualify music industry from 1909 to the onset of the rock ’n’ roll era.
the student to take the Logic User Certification Exam. One Students listen to and analyze the music of each era, including
lecture hour per week for one quarter. sources and influences on subsequent trends in the context of
social and cultural movements and political events. In addition,
AUDIO-262-ON | LOGIC FUNDAMENTALS 2 (1) students are given an overview of the basic concepts and
Prerequisite: AUDIO-162 Logic Fundamentals 1. This steps in the recording process, and its evolution from invention
course is a continuation of the Logic Pro X user interface for to the end of the 1950’s. Two lecture hours per week for one
songwriters, composers, producers, and sound engineers.
quarter.
Upon completion, students will understand how to use Logic
Pro’s comprehensive array of software instruments, arranging
of MIDI sequences, as well as editing with Flex Time and Pitch, MUBUS-210-ON | MUSIC INDUSTRY HISTORY 2 (2)
Vari-Speed, Smart Controls, Smart Tempo, Advanced Audio Prerequisite: MUBUS-110 Music Industry History 1. An
and MIDI, Recording/Editing Techniques, Logic Remote app, overview of the evolution of the industry through an era of
troubleshooting. Logic Fundamentals 2 (online) does not qualify increasingly rapid change beginning in the ‘60s and coming
the student to take the Logic User Certification Exam. One into the digital age. Includes listening and musical analysis as
lecture hour per week for one quarter. well as examination of sources and influences on subsequent
trends in the context of social and cultural movements and
BACH-S407-ON | KEYBOARD AND HARMONY FOR political events. Additional topics include the advent and
SONGWRITING 1 (2) exponential growth of new technologies in the recording
Prerequisite: BACH-P313: Keyboard Proficiency 3. This course process as well as with music consumption and formats, and
explores practical techniques and strategies for successfully the remodeling of business practices and economic structures
using the keyboard as a tool for songwriting. Independent and throughout the entertainment arena. The course concludes
group analysis of form, phrasing, chordal voicings and voice with an overview of industry careers in the modern era. Two
leading approaches employed by many of popular music’s most lecture hours per week for one quarter.
prolific songwriters and arrangers will serve as the primary
focus of this course. Two lecture hours per week for one BACH-P123-ON | MH III-1: WESTERN MUSIC: 600-1820 (2)
quarter. A survey of Western art music from the Middle Ages through
the Classical period. The course will include discussion of
BACH-PSL-ON | ([Link]-ON | , [Link]-ON | , major styles and forms in historical context, supplemented

384 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

by representative listening and score analysis. In addition Producer and Mixer. Studio Production & Mixing 1 focuses
to workbook assignments, midterm, and final examinations, on recording theory and pre-production techniques including
students must attend and write a report on a relevant concert microphone types and proper placement, timbral ear-training,
performance as well as make a separate presentation to the rehearsal and recording techniques, microphone, pre-amp
class on a related topic of student’s choice. Two lecture hours and headphone mixes, EQ considerations and general session
per week for one quarter. preparation. Two lecture hours per week for one quarter.
Additional production fee required.
BACH-P222-ON | MH IV WESTERN ART: 1820-21ST CENT (2)
The history of musical styles from Romantic period to the BACH-S210-ON | STUDIO PRODUCTION AND MIXING 2 (2)
present, including cultural contexts and social meaning. Prerequisite: BACH-S110 Studio Production and Mixing 1.
Composers and musical developments in European and This course prepares students for successfully navigating the
American Art Music, orchestral, chord, band, chamber music recording studio and mixing process as vocalist, instrumentalist,
and solo repertoire are combined with the influences of music arranger, producer and mixer. Production II focuses on mixing
from other world cultures. Compositional techniques, style specifics including: signal processing, blending and tuning.
characteristics, and relationships are emphasized. In addition, This course will also inform students how to master and
to workbook assignments, midterm and final examinations, distribute completed tracks. Two lecture hours per week for one
students must attend and write a report on a relevant concert quarter. Additional production fee required.
performance as well as make a separate presentation to the
class on a related topic of student’s choice. Two lecture hours BACH-S112-ON | PRODUCTION MUSIC FOR GRAPHIC
per week for one quarter. DESIGN FOR ARTISTS 1 (2)
Prerequisite: BACH-M487: Business of Composing 2.
BACH-M486-ON | THE BUSINESS OF COMPOSING 1 (1) Introduction to musical analysis from the perspectives
This course explores of the world of music publishing and the of the composer/songwriter and the music supervisor,
how-to of owning and exploiting musical copyrights. Topics including identifying and interpreting aspects of tone, timbre,
include: copyright law and terminology, the online electronic instrumentation, dynamics and motifs within a custom
Copyright Office (eCO) process, publishing rights, how to set composition or song placement for film or television. Students
up a music publishing company, US PROs, public performance are assigned to review a short film from the perspective of a
royalties, how to affiliate with a PRO, cue sheets, songwriter music supervisor, assigning specific aspects of lyric content,

COURSES
contracts and co-publishing agreements, administration melodic tone, dynamics, etc. to significant markers in the film
agreements, sub publishing, joint works, royalty splits, and communicating the desired aspects to the composer. Two
mechanical and synchronization licenses, works made for hire, lecture hours per week for one quarter.
sampling, industry organizations and resources for further
study. One lecture hour per week for one quarter. Whenever BACH-S212-ON | PRODUCTION MUSIC FOR GRAPHIC
possible, visiting artists are invited to participate in the group DESIGN FOR ARTISTS 2 (2)
discussion and professional critique that serves as the Prerequisite: BACH-S112 Production Music for Graphic
intellectual foundation of Composers Ensemble I-II. Two lecture Design for Artists 1. The course is a continued study of
hours per week for one quarter. the relationship between music and visual media from the
perspectives of both the composer and the music supervisor.
BACH-M487-ON | THE BUSINESS OF COMPOSING 2 (1) Professionals in the field explain and demonstrate the role and
Prerequisite: BACH-M486 The Business of Composing 1. requirements of production music libraries by screening film,
This course examines music licensing and the process of TV and ad cues and interpreting the accompanying sound
placing music and songs into film, television, video games, effects, compositions and soundtrack elements. Topics of
commercials and other productions. Topics include: music discussion include the process of custom composing for short
licensing terminology, songwriter co-administration agreements, films, feature films, various TV show formats, ads/commercials,
the importance of music and songs in the film and television corporate events, and religious institutions. Students are
production process, sources of musical content for producers, required to source and select (“place”) existing song material
the “Two Sides” music production libraries and one-stop for use in a commercial, a film trailer and as a TV theme song,
shopping, the role of the music supervisor, source cues, music including researching the availability of material and analyzing
clearance, spotting sessions and a composer’s timing notes, and explaining the musical attributes of selections. Two lecture
temp music, how to negotiate synchronization and master use hours per week for one quarter.
licenses, composer package deals, music production and
sound recordings, union contracts, and how to fill out a cue ELECTIVES // SONGWRITING & PRODUCTION
sheet. One lecture hour per week for one quarter.
BACH-P010E-ON | INDEPENDENT STUDY (2)
BACH-S110-ON | STUDIO PRODUCTION AND MIXING 1 (2) Prerequisites: Permission of program Dean. Provides students
Prerequisites: AUDIO-152 Logic 2 and AUDIO-157 Pro Tools with an opportunity to explore a specific subject area in depth
110. Prerequisites for MI Online sections: AUDIO-262 Logic through independent course work with faculty supervision.
Fundamentals 2 and AUDIO-259 Pro Tools 2. This course One lecture hour per week for one quarter. May be repeated for
prepares students for successfully navigating the recording credit.
studio environment as a Vocalist, Instrumentalist, Arranger,

385
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

BACH-S120E-ON | MUSIC TECHNOLOGY IN LIVE

PERFORMANCE (1) CC-025E-ON | INTRODUCTION TO BASS (1)
This course explores the role of music technology as a tool for Non-bass majors learn how to play appropriate basslines using
enhancing live performance. Curricular topics include click track correct playing techniques and understanding the role of the
programming, backing track production, sound replacement bassist in a band. Covers all essentials of the bass for the non-
techniques, triggers, samples and equalization along with bassist. Not available to Bass Program students. One hour per
additional approaches to timbre modification. One lecture hour week for one quarter.
per week for one quarter.
CC-028E-ON | STYLES SURVEY 1 (1)
BACH-S121E-ON | WEBSITE DESIGN (1) This course provides students with an analytical overview
This course serves as an introduction to web design and self- of styles, chart reading and critical listening as they relate to
promotion, the primary focus being to teach students how to repertoire requirements. Styles covered include: rock, rhythm
build and maintain a fully functional and self-owned professional & blues, jazz, and Latin. One lecture hour per week for one
website, complete with E-commerce capability. One lecture quarter.
hour per week for one quarter.

BACH-S122E-ON | WESTERN SONGWRITING TRADITIONS CC-030E-ON | START YOUR OWN RECORD LABEL (2)
This course details what is needed to start your own label from
(1)
the creative perspective. Topics discussed include defining
This undergraduate level course presents a survey of Western
the label’s genre, finding and signing artists, setting recording
songwriting traditions from the Medieval
budgets, selecting producers and studios, and choosing a
era through present day, with emphasis on the social, political
distributor. Two lecture hours per week for one quarter.
and economic conditions affecting them.
Genres to be discussed include sacred & secular European
traditions, Art songs, American spirituals & Folk music, County
CC-068E-ON | INDIVIDUAL DJ WORKSHOP (2)
Computer-based weekly one-on-one workshop with an
& Western, Blues, Bluegrass, Tin Pan Alley, Broadway,
instructor who guides the student in developing technique,
Jazz, Rock & Roll, R&B/Soul and Pop. One lecture hour per
musicianship, and style in a support of DJ skills. Students
week for one quarter.
learn how to enhance their basic DJ knowledge into dynamic
COURSES

and professional quality performance. Topics include beat

matching, set-building, remixing, turntablism, and more. One
COMMON COURSE ELECTIVES private lesson hour per week for one quarter. May be repeated
Except where students are required to choose electives from for credit.
a program-specific list, students may also fulfill their elective
requirements with the “Common Course Electives” listed CC-075E-ON | HISTORY OF RECORDED POPULAR MUSIC 2:
here. See program descriptions for specific elective credit ELECTRONIC MUSIC
requirements and program-specific elective offerings. Prerequisite: DJ-105 History and Analysis of Recorded Popular
Music 1, or approval from a DJ faculty member via the DJ
VOCAL-012E | EXTREME VOCALS 1 (1) Program Director. This course is an intensive exploration of
Vocalists performing in an extreme style who maintain long the main genres and subgenres of electronic music. Students
careers do so because they apply effective vocal techniques will become familiar with each genre’s history and originators,
that prevent damage to their voices. Techniques taught include identify its unique sound characteristics, and develop a general
“The Gravel” (James Hetfield/Metallica), “The Bobcat” (Phil understanding of how each style is created, using critical
Anselmo/Pantera), “The Drill Sergeant”” (Slayer, Godsmack) listening examples and research via the provided exhaustive
and “The White Scream” (Roger Daltrey/The Who). Note: Due list of example artists for each sub-genre. Under the guidance
to the nature of the techniques taught, students enrolling in this of faculty, students select a sub-genre in keeping with their
class must sign an “Extreme Vocal Release Form.” Two lecture- stylistic identity and conduct independent research to identify
lab hours per week for one quarter. the core elements thereof. One lecture hour per week for one
quarter.
CC-021E-ON | INTRODUCTION TO GUITAR (1) VOCAL-112E | EXTREME VOCALS 2 (1)
Non-guitar majors learn simple note reading, fingerings, and
Prerequisites: VOCAL-012E Extreme Vocals 1. A review of
accompaniment patterns. Great tool for singer-songwriters. Not
various extreme vocal styles followed by extreme-style-specific
available to Guitar Program students. One hour per week for
vocal exercises. Each student is required to prepare a number
one quarter.
of different performances, including a final performance, for
class critique and instructor evaluation. Two lecture/lab hours
CC-023E-ON | INTRODUCTION TO VOICE (1) per week for one quarter.
Non-vocal majors learn to develop techniques for proper
breathing, pitch accuracy, and improving range while protecting
their vocal instrument with application to popular styles in both
CC-114E-ON | GETTING GIGS (1)
Learn the most efficient ways for artists and bands to book live
lead and backup vocal roles. Not available to Vocal Program
shows and tours. Subjects include where to play, checking out
students. One lecture hour per week for one quarter.

386 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

the venue, personal appearance contracts, getting paid, and substitute for a required course. The content and expectations
putting together your own tours. Guest speakers (as available) for each independent study course or program or degree must
include club owners, promoters, booking agents and touring be approved by the Director of Performance Studies and clearly
artists. One lecture hour per week for one quarter. stated to the student in writing before each independent study
begins. When independent study is used to substitute for a
CC-116E-ON | ADVANCED MUSIC PRODUCTION (1) required course, the institution must ensure that the content,
Prerequisites: Successful completion of one of the following scope, depth, and learning expectations of the required course
DAW courses: AUDIO-057 Pro Tools 101, AUDIO-052 are fulfilled by the independent study. One lecture hour per
Logic 1, AUDIO-058 Ableton Live 1, AUDIO-159 Pro week for one quarter. May be repeated for credit.
Tools 1, AUDIO-162 Logic Fundamentals 1, or AUDIO-164
Ableton Live Online 1. Along with Successful completion of
AUDIO-106 Musicianship for Industry Professionals or CC-011
DIGITAL AUDIO WORKSTATIONS (DAW)
Harmony and Theory 011. Building on the material presented
in the Modern Music Producer course, the class focuses on AUDIO-164-ON | ABLETON LIVE ONLINE 1 (1)
concepts of music production and what it takes to create a A practical application of digital recording techniques using
final deliverable product to clients. Students analyze previously Ableton Live, this course provides an overview for songwriters
recorded projects spanning multiple genres of music. The class and artists on the fundamentals of the recording process,
including file and session setup, tracking, arranging, editing,
is encouraged to take a closer look at their favorite songs in an
and mixing. Upon successful completion of the course,
effort to discover the elements that make up the productions.
students will be able to compose, record, and produce music
This course also surveys professional studio session using Ableton Live. One lecture hour per week for one quarter.
preparation, DAW preparation, session editing, session tuning
and timing adjustments, backups, mix delivery preparation, and AUDIO-264-ON | ABLETON LIVE ONLINE 2 (1)
mastering delivery preparation. One lecture hour per week for Prerequisite: AUDIO-164 Ableton Live Online 1. Building on
one quarter. Ableton Live 1, this course provides a more in-depth practical
application of digital recording techniques using Ableton Live,
CC-133E-ON | SERATO (1) including synthesis, building racks, advanced audio effects,
An introduction to one of the industry-standard vinyl emulation dummy clips, remixing, and live performance. Upon successful
computer applications: Serato DJ. The course focuses on the completion of this course, students will have tools to create

COURSES
functionality of the Serato DJ platform, including: playback their own sounds and effects as well as have building blocks to
control, beat matching; absolute, relative and internal modes; perform live. One lecture hour per week for one quarter.
the use of cue points, loops, effects (“FX”), plugins, using
“crates”, playlists and recording. One lab hour per week for one AUDIO-159-ON | PRO TOOLS 1 (2)
quarter. This course focuses on the basic concepts and theory involved
in using a digital audio workstation. Students will understand
CC-134E-ON | TRAKTOR (1) how to set-up an Avid Pro Tools® session for recording,
To ensure a well-rounded familiarity with industry-standard importing audio, editing, recording MIDI, backing-up data,
vinyl emulation software, this course explores one of the most working with external drives, and more. Two lecture hours per
popular platforms in the world: Traktor Pro. The course focuses week for one quarter. Pro Tools 1 (online) does not qualify the
on the functionality of the software, including: loading and student to take the Avid User Certification Exam.
mixing tracks; synching tracks by beat, bar and/or phrase;
cue points and “hot” cues, loops, samples and remix decks, AUDIO-259-ON | PRO TOOLS 2 (2)
equalization (“EQ”), filters, harmonic mixing, effects (“FX”), Prerequisite: AUDIO-159 Pro Tools 1. This course expands
macros, and recording. One lab hour per week for one quarter. upon the basic principles taught in Pro Tools Fundamentals 1
while introducing the core concepts and techniques students
CC-160E-ON | ARTIST DEVELOPMENT: THE SONGS (2) need to competently operate a Pro Tools system running
Success as a contemporary performing artist/songwriter mid-sized sessions. Students learn to build sessions designed
relies on two main ingredients: the quality of the songs and the for commercial purposes and improve the results of their
quality of the live performance. Artist Development: The Songs recording, editing, and mixing efforts. Two lecture hours per
focuses entirely on the development of the student’s original week for one quarter. Pro Tools 2 (online) does not qualify the
material, the quality of their songs. For ten weeks the instructor student to take the Avid User Certification Exam.
and student work intensively on developing original songs from
ideas (at least three) to finished arrangements (at least two), AUDIO-162-ON | LOGIC FUNDAMENTALS 1 (1)
emphasizing the most effective combination of lyrics, melody This course introduces students to the primary features and
and structure. One private lesson-rehearsal hour per week for basic user interface of Logic Pro X. The class explores the
one quarter. May be repeatable for credit. process of creating an actual song, from start to finish. Pre-
production using Apple Loops, recording/editing audio and
CC-P010E-ON | INDEPENDENT STUDY (2) MIDI, arranging of tracks, producing drumbeats with a virtual
Independent study courses are intended to allow specific study drummer, as well as basic mixing and automation techniques
of areas that may not be covered by core MI curricular offerings. are explored. Logic Fundamentals 1 (online) does not qualify
In some instances, Independent Study courses may be used to the student to take the Logic User Certification Exam. One
lecture hour per week for one quarter.

387
 MI ONLINE COURSE DESCRIPTIONS
MI Online course offerings are only available to students enrolled in MI Online programs.

AUDIO-262-ON | LOGIC FUNDAMENTALS 2 (1)

Prerequisite: AUDIO-162 Logic Fundamentals 1. This
course is a continuation of the Logic Pro X user interface for
songwriters, composers, producers, and sound engineers.
Upon completion, students will understand how to use Logic
Pro’s comprehensive array of software instruments, arranging
of MIDI sequences, as well as editing with Flex Time and Pitch,
Vari-Speed, Smart Controls, Smart Tempo, Advanced Audio
and MIDI, Recording/Editing Techniques, Logic Remote app,
troubleshooting. Logic Fundamentals 2 (online) does not qualify
the student to take the Logic User Certification Exam. One
lecture hour per week for one quarter.
COURSES

388 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS (MI ONLINE)
ELIGIBILITY FOR ADMISSION TO alter the program in a substantive manner);
• Sufficient dexterity to perform manual skills related to
MUSICIANS INSTITUTE music performance, instrument and gear manipulation,
In addition to the eligibility requirements listed for each program
offered by the college, Musicians Institute admits only those and related activities;
individuals who, in the opinion of the college, have the capacity • Sufficient physical capacity to lift, hold, carry items of
and ability to function and comport themselves appropriately in differing weights and sizes;
a college learning environment, and to benefit from, successfully • Ability to demonstrate and maintain organizational skills,
meet, and/or perform to all of the requisites and standards time management and professional respect and conduct
required to complete a program as outlined in this catalog. as a human service student, either at practicum site, or in
the community;
• Computer and device literacy sufficient to allow for
TECHNICAL AND PERFORMANCE REQUIREMENTS interaction with MI curricula, communications, and
As noted above, Musicians Institute may only admit individuals
learning management systems;
who, in the estimation of the College, have a reasonable
• Other capacities and skills as related to specific
prospect of benefiting from and completing the programs as
requirements of the discipline, field, profession
they are structured. In relation to this condition of admission,
• Questions about Technical and Performance
and to ensure that all students who are admitted are capable of
Requirements may be submitted to the Office of
meeting the requirements of the programs, the College considers
Admissions.
technical and performance capacities as relevant to ethical and
appropriate admissions standards. This standard is not intended WRITTEN SCHOLASTIC LEVEL EXAM (SLE)
to be exclusive; rather it is designed to ensure that all students Certain Industry programs require SLE testing which is an online
admitted to the programs are able to advance through and scholastic test through third party provider Wonderlic. The exam
receive benefits from the programs as they are designed. will be administered by the Director of the program.
Industry Program SLE Policy
Technical and Performance Requirements vary by program based Programs Requiring SLE:
on the requirements of the discipline/field of study/profession. • Studio Recording (includes Certificate and Associate of
Adaptive equipment and reasonable accommodations are Science programs)
acceptable insofar as these do not substantively alter the • Music Business (includes Certificate and Associate of
Science programs)
GENERAL

program. Technical and Performance Requirements may include

(but are not limited to):
• A working command of the English language; CONDITIONS FOR WHICH A STUDENT MUST TAKE THE
• Reading comprehension skills sufficient to read and SLE
comprehend curriculum, literature, communications, etc.; 1. All new students enrolling in one of the listed programs must
• Sufficient verbal and language skills to support successfully pass the SLE.
communication and collaboration with student, faculty, 2. Students matriculating from a Performance Studies program
staff and others at the College; into any of the listed Industry Studies programs will need to pass
• Communication skills sufficient to perform and engage in the SLE to enroll.
required tasks and assignments;
• Ability to understand and follow both written and oral CONDITIONS FOR WHICH A STUDENT DOES NOT HAVE
instructions;
• Ability to complete requirements for college level classes; TO TAKE THE SLE
• Ability to sustain cognitive integrity in areas of short and 1. Students changing to one of the listed programs will not need
long-term memory, areas of written documentation, and to pass the SLE if the student was previously in a program that
follow through of responsibilities (adaptive equipment and required an SLE for admission. For example, a student changing
reasonable accommodations are acceptable insofar as from Music Business to Studio Recording Technology will not
need to take a second SLE.
these do not alter the program in a substantive manner);
2. EMP, IAP, and A/P/E certificates require an audition for
• Visual acuity sufficient to ensure the safe and appropriate
admittance, they do not require the SLE.
performance of all tasks and requirements of the program
to standards (adaptive equipment and reasonable
accommodations are acceptable insofar as these do not INDUSTRY PROGRAM SLE PROCEDURE
alter the program in a substantive manner); The SLE can be taken 3 times prior to the start of the term for
• Aural/auditory acuity sufficient to distinguish various which the student would like to enroll, for a total of 6 attempts
sounds and noises to ensure safe and appropriate before non-acceptance into any industry program which requires
performance of all tasks and requirements of the program the SLE. Once the “Send SLE” status has been added to the
to standards (adaptive equipment and reasonable Audition review box and sent to the respective Director, the
Director will then send the student an SLE invitation via email to
accommodations are acceptable insofar as these do not
the SLE site, typically within 24 business hours or less.
alter the program in a substantive manner);
• Vocal capacity sufficient to ensure safe and appropriate
performance of all tasks and requirements of the program THE ATTEMPTS PROCESS IS DEFINED BELOW:
to standards (adaptive equipment and reasonable • 1st attempt- if fail:
accommodations are acceptable insofar as these do not • 2nd attempt: can be taken 1 calendar day after the original

389 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS (MI ONLINE)
attempt. • Independent Artist Development
• 3rd attempt: can be taken 7 days after the second • Music Business
attempt. If fail, applicant may not be accepted for the • Songwriting
immediate quarter start. • Studio Recording Technology
• 4th attempt: can be taken 1 quarter after the third • Artist/Producer/Entrepreneur
attempt. If fail, applicant may not be accepted for the
immediate quarter start. PERFORMANCE STUDIES
• 5th attempt: can be taken 2 quarters after the fourth • Bass
attempt. If fail, applicant may not be accepted for the • Drum
immediate quarter start. • Guitar
• After 5 failed attempts, wait a minimum of 2 years before • Keyboard Technology/Performance Track
final attempt. • Vocal

ELIGIBILITY REQUIREMENTS
VERIFICATION OF HIGH SCHOOL COMPLETION All eligibility, application, registration, placement and orientation
An important part of the application process is the submission of requirements for the four-quarter/60 credit-unit Certificate in
the high school diploma or its equivalent. All proof of high school Performance are identical to those described for Associate of
completion must adhere to the following guidelines. Arts Degree in Performance.
• High school diploma or proof of high school equivalency
G.E.D. and HiSET submissions must be official state-
issued high school equivalency credentials. AWARD OF CREDIT FOR PRIOR EXPERIENTIAL LEARNING.
• If the diploma is in a language other than English, an Musicians Institute does not award program credit for prior
English translation of the high school diploma completed experiential learning.
by an education evaluation service such as [Link].
org, [Link], or any member of [Link] must be
provided. APPLICATION PROCESS: CERTIFICATE
• If proof of high school completion is from a foreign Send all of the following items together by mail along with any
country, a translation completed by an education additional items required by the program to which you are
evaluation service must be provided. applying (see below):

GENERAL
• Official, state accredited high school transcripts must be • Completed application form.
provided by home-schooled high school graduates. • $100.00 USD application fee.
• Proof of high school graduation via acceptance to other • High school diploma or proof of high school equivalency
institutions of higher learning is not accepted.
• An associate degree from an institutionally accredited
college or university can be submitted in lieu of a high TRANSFERRING FROM AN AA DEGREE PROGRAM TO A
school diploma. PERFORMANCE CERTIFICATE PROGRAM
• A bachelor’s degree from an institutionally accredited Currently enrolled students seeking to transfer from an Associate
college or university can be submitted in lieu of a high of Arts Degree Program to a Performance Certificate Program
school diploma. with the same instrument major must complete and submit a
• Should proof of high school graduation be deemed Petition for Transfer to the Registrar’s office.
insufficient or possibly untrustworthy, the high school
in question will be contacted via phone and/or email by Students who have withdrawn or been terminated from an
Musicians Institute admissions officials, along with the Associate of Arts Degree Program and are seeking to transfer to
school’s state department of education. a Performance Certificate Program within the same instrument
• Should associate and bachelor’s diplomas and major must contact the Student Records office for instructions.
transcripts be deemed insufficient or possibly For information on transferring to a different instrument major,
untrustworthy, the college or university in question will contact the Admissions Office.
be contacted via phone and/or email by Musicians
Institute admissions officials, along with the school’s state Note: See the Notice Concerning Transferability of Credits and Credentials
department of education and/or accreditor. Earned at Musicians Institute under Additional Information.
• High School Transcripts - Applicants must request
their high school or institution to submit final official CERTIFICATE PROGRAMS - SPECIFIC REQUIREMENTS
transcripts, General Educational Development (GED)
scores, or High School Equivalency Test (HiSET) scores.
If the applicant is currently in their final year of high school STUDIO RECORDING TECHNOLOGY
and has not yet graduated, they can submit an unofficial Application:
copy or scanned copy of their transcripts. They will still In addition to the items listed above under All Programs, you must
need to submit the Final Official Transcript. pass a written Scholastic Level Exam (see application form for
details).
CERTIFICATES (DISTANCE LEARNING) Placement:
ENTERTAINMENT INDUSTRY STUDIES If you are admitted into an Audio Engineering Certificate
• Electronic Music Production Program, you will be given a placement evaluation as part of the
registration process. The evaluation will measure your current
level of knowledge and experience in several fundamental areas.
390
 ADMISSIONS (MI ONLINE)
Placement evaluations will take place during registration week
and you will not be scheduled for classes until your evaluation is
complete. In some cases, a student may be recommended for
ASSOCIATE OF SCIENCE IN STUDIO RECORDING
advanced placement in classes in which he or she may already TECHNOLOGY - SPECIFIC REQUIREMENTS
be proficient. You must pass a written Scholastic Level Exam (see application
form for details).

MUSIC BUSINESS INDUSTRY ASSOCIATE OF SCIENCE

In addition to the items listed above under All Programs, you must
pass a written Scholastic Level Exam (see application form for
DEGREES
The Associate of Science in MI’s Industry Degrees (Music
details).
Business, Studio Recording) are terminal/occupational degrees.
Credits earned in this type of program may not transfer to all
INDEPENDENT ARTIST DEVELOPMENT baccalaureate programs. Policies regarding the transfer of
In addition to the items listed above under All Programs, you must occupational degrees or acceptance of transfer course credit
also submit an original recording (see application form for details). vary by institution. MI cannot guarantee the transferability of
credit to other institutions.

SONGWRITING
A. Submit two original pieces that best represent your styles as ELIGIBILITY REQUIREMENTS
stream-able links or [Link] submit charts for your songs The admissions procedure is selective and based on factors
(Handwritten charts are accepted, charts created using a including:
notation software program are preferred). • Recorded audition or written test (where applicable)
B. Speaking Voice: Record your own speaking voice with a short • Written application
narrative explaining why you wish to attend Musicians Institute. • Prior experience
• Evidence of desire for career advancement and
ASSOCIATE DEGREES commitment to an intensive educational program
ASSOCIATE OF ARTS IN PERFORMANCE Each applicant is individually reviewed, taking into consideration
• Bass
GENERAL

his or her experience, achievements, aptitude, attitude, and

• Drum
• Guitar potential for growth. Prospective students still enrolled in
• Keyboard Technology high school are encouraged to follow a college preparatory
• Vocal curriculum and to take as many music and music-related courses
as are practical prior to attending MI.
ASSOCIATE OF SCIENCE IN INDUSTRY Students applying for admission to an Associate of Arts Degree
• Music Business
Program (Combined Emphasis) must meet the eligibility
• Studio Recording Technology
requirements of both the instrument study portion (see AA
Degree requirements) and the additional emphasis portion
ASSOCIATE OF ARTS PERFORMANCE // (see Entertainment Industry Certificates). All other application,
COMBINED EMPHASIS registration, placement, and orientation requirements are
Combined Emphasis in Primary Instrument Plus One Non- identical to those described for the Associate of Arts Degree in
Performance Emphasis: Performance.
• Electronic Music Production
• Independent Artist Development
• Music Business APPLICATION PROCESS: ASSOCIATE DEGREES
• Songwriting Please send all of the following items together by mail or email
• Studio Recording Technology (additional items are also required; check below under the
The Associate of Arts Degree in Performance is a terminal/ specific program to which you are applying):
occupational degree. Credits earned in this type of program may • Completed application form.
not transfer to all baccalaureate programs. Policies regarding • $100.00 USD application fee.
the transfer of occupational degrees or acceptance of transfer • High school diploma or proof of high school equivalency
course credit vary by institution. MI cannot guarantee the • One Letter of Recommendation
transferability of credit except between its own degree programs • Must come from a music teacher or music industry
(See Transfer credits from MI Associate of Arts to Bachelor of professional
Music Program). • Include in body of email or as attachments (Word or
PDF)
ASSOCIATE OF SCIENCE IN MUSIC BUSINESS - SPECIFIC • Not required for Songwriting, Music Business and
Studio Recording
REQUIREMENTS • An audio recording of yourself playing or singing (see
You must pass a written Scholastic Level Exam (see application application for details, does not apply to Associate of Science in Music
form for details). Business and Associate of Science in Studio Recording).

391 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS (MI ONLINE)
BACHELOR OF MUSIC IN SONGWRITING
APPLICATION REVIEW AND NOTIFICATION & PRODUCTION
Class sizes are limited and placement priority is given to students ELIGIBILITY REQUIREMENTS
in the order of acceptance. Fully completed applications are 1. Satisfactory completion of an accredited secondary school
reviewed for acceptance on an ongoing basis. Accepted program (high school) or its equivalent. Students are
applicants will be notified by mail and/or telephone. Applicants advised to follow a college preparatory curriculum with four
who are not accepted will be notified by mail. years of English, three years of Social Sciences and as
many music courses as are practical.
2. At least three years of study on the primary instrument
TUITION DEPOSIT (Bass, Guitar, Keyboard, Drums, or Vocal).
Upon acceptance to all degree and certificate programs,
3. Music reading ability in both treble and bass clef.
admitted students are required to submit a refundable deposit
4. Knowledge of and interest in contemporary styles.
in the amount of $300.00 USD to secure their placement (see
5. Working knowledge of keyboard harmony.
Letter of Acceptance for details). The deposit is applied toward
the first quarter’s tuition and is completely refundable in the event
of cancellation of enrollment (students are encouraged to submit APPLICATION PROCESS: BACHELOR OF MUSIC
the deposit along with the application fee). The admissions procedure for Bachelor of Music consists of
three parts:
1. Completed application with all required documents
REGISTRATION 2. Theory and Ear training tests: You will receive the test link
• Students are expected to attend registration and
via your email address used for application.
orientation during the week period prior to the start of
Music Theory
classes. Students who fail to register at their assigned
Notating all major and minor scales (bass and treble clefs)
registration appointment will be assessed a late
Key signatures, time signatures (simple and compound)
registration fee of $100.00 USD. Applicants may register
Intervals, triads, and seventh chord construction
after the first week of classes only with permission from
Basic harmonic analysis using both treble clef and grand
the program director.
staff
• Students who need housing/roommate assistance should

GENERAL
arrive at least four weeks prior to the start of classes. Daily
Ear Training
housing meetings and new student tours will take place
Hearing and identifying diatonic scale members and
during registration week. intervals
PLACEMENT EVALUATION Hearing basic chord qualities
After you are admitted to the Associate of Arts Degree Program, Hearing and notating basic rhythms
you will be given a placement evaluation that will measure your Hearing and notating basic chord progressions
current level of knowledge and experience in several fundamental
musical areas. Placement evaluations take place during 3. Complete the following for the program to which you are
registration week and you will not be scheduled for classes until applying:
your evaluation is complete. In some cases, a student may be a. Bachelor of Music in Performance Applicants: Please
recommended for advanced placement in courses in which he submit the performance video as required the test
or she may already be proficient. Does not apply to Associate of - performing Chords, Scales, Reading, and three
Science Degree. performace videos (one unaccompaniment piece)
b. Bachelor of Music in Composition Applicants: Audio
recording (digital format) of three examples of
NEW STUDENT ORIENTATION music in any style written by the applicant (solo or
Orientation will be held on the Thursday prior to the start of ensemble, instrumental or vocal) accompanied by
classes. During this time, you will learn about school policy and notation (lead sheet, score or piano reduction).
procedures, Student Affairs, LPW sign-ups and other school- If your audio recording submission is produced with
related topics. a DAW, please follow this instruction:
Submit your compositions as stream-able links
or MP3s emphasizing composition techniques,
BACHELOR OF MUSIC DEGREES accompanied by screenshots of your DAW. The
BACHELOR OF MUSIC IN COMPOSITION demo must be recorded in your DAW (no voice
(Scoring For Visual Media Program) memos). You will be graded on structure, melody,
harmony, melodic development, and fluidity. The
BACHELOR OF MUSIC IN bounces should be the proper length with sufficient
rough mix levels. Each composition should be at
PERFORMANCE least 2.5 minutes long.
(Contemporary Styles) c. Bachelor of Music in Songwriting & Production
Bass, Drum, Guitar, Keyboard, Vocal Applicants: Audio Recording (digital format) of three
examples of music in any style with lyrics written by

392
 ADMISSIONS (MI ONLINE)
the applicant accompanied by notation (leadsheet, submitted as an International Money Order, Postal Money
score or piano reduction). If the lyrics are not in Order, Bank Wire Transfer, or Credit Card for U.S. funds.
English, please submit them with the phonetics and • If a student’s principal language is not English, he or she
translation into English. must present verification of English language proficiency
If your submission is produced with a DAW, please through a Test of English as a Foreign Language (TOEFL),
follow this instruction: International English Language Testing System (IELTS),
Submit your songs as streamable links or MP3s Pearson Test of English Academic (PTEA), or Duolingo.
emphasizing songwriting techniques, accompanied The minimum TOEFL acceptance score is 61 (Internet-
by screenshots of your DAW. Song submissions based), 500 (paperbased) or 173 (computer-based).
should be full demos with lyrics and music. The The minimum test score on the IELTS is a score of 6.
demo must be recorded in your DAW (no voice The minimum acceptance score on the PTEA is 51. The
memos). You will be graded on structure, chords, minimum test score for Duolingo is 100.
melody & lyrics. The bounces should be the proper ◦ TOEFL/IELTS/PTEA/Duolingo test scores are not
length with sufficient rough mix levels. required of international applicants if either of the
All songs should contain vocals, have complete following conditions are met:
structures, and be at least 2.5 minutes long. All • Student has graduated from an MI AA Program
content - melody, background, and lyrics - must be • Student is a Foreign National.
original and written by the applicant alone. • Resident Foreign National applicants must take either
ESL or SAT/ACT tests for admittance to the college.
After your written application is received, reviewed, and • A non-immigrant student F-1 Visa is required for all degree
approved, you will receive a written Bachelor of Music entrance programs (see International Student Information for
test by email. This must be completed and returned along with details).
an unedited video recording of yourself performing specific For more information, see the International Student Information
instrumental playing requirements (details provided with entrance section.
test).

Please send all of the following items together by email: APPLICATION PROCESS:
• Completed application form. MASTER OF MUSIC IN PERFORMANCE
GENERAL

• High school diploma or equivalent from an accredited 1. Document Review

institution. Please provide an official English translation if • Resume: Please include a copy of your most recent
the original is not in English resume.
• $100.00 USD application fee. Previous academic study (college institutions, dates,
• A 250-word written essay describing why you want to degree(s) awarded), Private study (subjects, instructor(s),
attend Musicians Institute. dates), Relevant performance experience, awards, and
• Two Letters of Recommendation participation in festivals and/or Summer programs, if
• One Academic Letter of Recommendation and one applicable.
Music Letter of Recommendation • Personal Statement: The personal statement (two to three
• Include in body of email or as attachments (Word or type-written pages, in English docx or pdf format) provides
PDF) applicants with the opportunity to introduce themselves
• Domestic students: SAT/ACT Scores - Due to disruptions to both the admissions committee and graduate faculty. In
in testing schedules caused by COVID-19, prospective addition to music, what are you passionate about? Hobbies?
first-year students may apply to Musicians Institute for Other interests? How has your background influenced your
the 2021-2022 academic year without submitting SAT or musical endeavors? What are your professional plans for
ACT scores, though students may still choose to submit the future? How does obtaining a graduate degree play in to
SAT or ACT scores if they wish. your plans?
• Transcripts - Applicants must request their high school • Transcripts: Please include a scanned copy of all official
or institution to submit final official transcripts, General college transcripts (“unofficial” or “student copies”
Educational Development (GED) scores, or High School permitted). Grades and the names of both student and
Equivalency Test (HiSET) scores. If the applicant is institution must all be legible. If your transcript is not in
currently in their final year of high school and has not yet English,
graduated, they can submit an unofficial copy or scanned please provide a translated copy.
copy of their transcripts. They will still need to submit the • Letters of Recommendation: Please provide two letters of
Final Official Transcript. recommendation, one being from your most recent private
• Transfer credit information from prior college or university instructor. Please include recommender’s phone number(s)
(if applicable). and email address at the end your resume.
• English Proficiency Requirement: Please provide official
scores to either TOEFL (Test of English to Speakers of
INTERNATIONAL APPLICATION PROCESS: Other Languages), IELTS (International English Language
BACHELOR OF MUSIC Testing System), PTE-Academic (Pearson Test of English),
• The $100.00 USD application fee, which must be or Duolingo if:
• English is NOT your native language.

393 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS (MI ONLINE)
• You received an undergraduate degree from a college • Please include one arrangement OR original composition,
or university OUTSIDE the United States where English is complete with pdf score & mp3 audio-file (Sibelius score
NOT the primary language. preferred, if possible).
• Musicians Institute does not offer conditional admission for **Vocal Candidates submitting sonically enhanced videos
applicants who have not earned a passing TOEFL/IELTS/ (compression, auto-tune, rhythm alignment, EQ, punch-ins, edits,
Duolingo score. etc.) will not be considered for admission. **
• The score report is required before application processing
can be completed. 3: Result Notification
TOEFL: The minimum overall TOEFL score required for Prospective students will be notified by email of Performance
admission to graduate study at Musicians Institute is a 75 on review results within two weeks of their completed document
the TOEFL internet-based test (iBT). TOEFL scores expire (Step 1) & performance review submissions (Step 2). Candidates
after two years. Scores that are older than two years will not who successfully pass the audition process (Steps 1 & 2) will
be accepted by Musicians Institute. be invited to Musicians Institute to meet the faculty and tour the
IELTS Scores: As an alternative to the TOEFL, you school, along with completing required performance and written
may submit scores from the Academic Modules of placement tests. Upon email notification of your acceptance,
the International English Language Testing System please contact your advisor to reserve a Placement Testing Day
(IELTS) designed by the University of Cambridge Local & time-slot. Students must respond to offers of acceptance
Examinations Syndicate and administered by the British within one week (7 business days) to guarantee placement for
Council worldwide. Their website address is [Link] the upcoming quarter.
[Link]. The minimum overall band score required for
admission to graduate study at Musicians Institute is 6.5. 4: Placement Testing Days
IELTS scores expire after two years. Scores that are older During Placement Testing Days, admitted students will perform
than two years will not be accepted by Musicians Institute. together in various ensemble formats, take meetings with
PTE (Pearson Test of English) Academic: Musicians Institute faculty, tour the campus and complete performance and written
accepts PTE Academic scores. The university is still in placement tests (music theory, history, ear-training and keyboard
the process of determining minimum scores for ISE Exam proficiency). As outlined in Interview Day email notifications,
exemption, so these test scores will be reviewed on a case- prospective students will be expected to spend the full day on
by-case basis. campus.

GENERAL
DUOLINGO is also accepted with the minimum score of
100. Fully completed applications will be reviewed with placement
*English-Language Test Waiver: International applicants are priority given to students in the order of accepted application.
exempt from submitting English-proficiency scores under Accepted applicants will be notified by mail and telephone.
the following circumstances: Applicants who are not accepted will receive notification by mail
You hold a bachelor’s degree completed in its entirety in the only, along with the specific reasons for non-acceptance.
United States or another Anglophone (English speaking)
country.
The bachelor’s degree should be earned at a regionally
GENERAL EDUCATION
accredited university located in the United States, or at an GENERAL EDUCATION TRANSFER AGREEMENT
officially recognized university in another country where The two main components of the Bachelor of Music Degree are
English is both the language of instruction and the only the music coursework and the general education requirements.
officially recognized language of the country. Please note To fulfill the general education degree requirements, students
that the entire program needs to have been completed must complete 45-quarter units or 30 semester-units in liberal
in the qualifying country. Note: Dual-degree holders who arts subjects. Musicians Institute offers general elective courses
completed part of their degree in the U.S. do not qualify for selectively throughout the year. At the same time, Musicians
this waiver. Institute has a partnership with Los Angeles City College
Your native language is English. This applies to native (LACC). Students can take all required general education
English speakers from countries such as the United courses, including a wide selection of subjects in English,
Kingdom, Australia, New Zealand, and Canada (except mathematics, natural science, social science and humanities
Quebec), where English is both the only official language of from nearby LACC campus or other colleges. See Bachelor
the country and the language of instruction. of Music Degree requirements in this catalog for a summary of
2: Performance Review required general education credit distribution.
Please Submit Four Pre-screening Videos (MP4 format)
• Please prepare four contrasting, un-edited selections Students may also transfer up to the maximum number of
that highlight your performance & improvisational abilities required general education units from other colleges and the
across a range of styles (i.e.: Rock, Jazz, Fusion, R&B, credits will be reviewed by MI Registrar department and the
Funk, Country, Latin, World, etc.). Live performance utilizing Dean. Acceptance of coursework will be based on standards set
instrumentation of your choosing is required for all pre- by the National Association of Schools of Music and Musicians
screening materials. Play-along tracks are not permitted. Institute.
Be sure to label selections: Your name & instrument, song
title, composer/arranger, style. Recordings need not be LATE REGISTRATION POLICY FOR GENERAL EDUCATION
professional quality.

394
 ADMISSIONS (MI ONLINE)
COURSES: Transfer students who enter Musicians Institute with missing
Students may enroll into MI’s general education courses after the official transcripts or classes in progress must meet with the
first day of the scheduled class only after receiving permission Dean of Baccalaureate Programs during their first quarter to
from the instructor and Chief Academic Officer (CAO). Students confirm the transfer of those credits. The Admissions Office must
should contact the Chief Academic Officer after the first day of receive all transcripts before the end of the student’s first quarter
the quarter. Enrollment into the course after the first day the class of enrollment at Musicians Institute.
has met is not guaranteed and subject to review by instructor and
Note: see the Notice Concerning Transferability of Credits and Credentials
Chief Academic Officer. Consideration for late registration into Earned at Musicians Institute under Additional Information.
general education courses will conclude at the end of Thursday
of Week 2.
The process to enroll after the first day of the scheduled class is ABILITY TO BENEFIT NOTICE
as follows: Musicians Institute does not participate in Ability to Benefit
1. Student contacts instructor and CAO, Dr. Rachel Programs. As such, all students must meet minimum admissions
Yoon at rachel@[Link] for permission to enroll. requirements.
2. If instructor and CAO approve, student will be
notified of approval via email.
REQUIREMENTS FOR MI ASSOCIATE DEGREE STUDENTS
3. Dr. Yoon will enter permission into student account.
4. After receiving permission, student visits Registrar APPLYING TO THE BM PROGRAM
Services. Registrar will review permission and enroll Applicants who complete an Associate of Arts in Performance
student. in Bass, Guitar, Drums, Keyboard Technology, or Vocals at
5. Student is now registered for the General Education Musicians Institute with a minimum cumulative GPA of 3.30, while
course. meeting all other Bachelor of Music admission requirements, will
6. Student is responsible to contact the instructor to be admitted to the Bachelor of Music Program. Each admitted
obtain notes or information from any missed student will be given a placement test in Harmony, Theory and
class session(s). Ear Training and placed at the appropriate level in those subjects
(in some cases, remedial coursework may be required).
ATTENDANCE POLICY FOR GENERAL EDUCATION
GENERAL

Students who complete an Associate of Arts Degree at MI with a

COURSES: GPA lower than 3.30, or students who complete an Associate of
Given the high credit weight and length of each meeting for Arts Degree (Combined Emphasis), will be required to complete
general education courses, students may be excluded or dropped additional tests as part of the Bachelor of Music application
by the instructor if they have enrolled for a general education class process. Acceptance for admission will be subject to meeting
and do not attend or are absent from the first meeting. minimum test requirements.

If you know you will not be able to attend the first meeting,
please contact your instructor and Chief Academic Officer
TRANSFER CREDITS FROM MI ASSOCIATE TO BM
as soon as possible so that you are not excluded or dropped PROGRAM
from the general education course. Students are expected Applicants who have completed MI’s Associate of Arts Degree
to attend every class for which they are registered. In rare in Performance (Bass, Guitar, Keyboard Technology, Drum,
cases, an absence may be excused. Please also see to the or Vocal), and have been accepted to the Bachelor of Music
Excused Absence Policy, located inside the College Catalog for Program, may transfer the following credits (for passed courses)
information on excused absences. toward their Bachelor of Music Degree completion requirements:
• Instrument Study: 12 credits
MUSIC TRANSFER CREDITS Additional credits from upper-level Associate classes may be
The maximum number of transfer credits that may be applied transferred based on results of Bachelor of Music entrance
to satisfy music coursework requirements varies according to evaluation. These credits may include:
the student’s initial placement in the areas of Private Lessons, • Private Lesson: up to 8 credits
Ensembles, Harmony & Theory, Ear Training, and Reading. In no • Ensembles: up to 4 credits
case may the total number of transfer credits (music and general • Electives: up to 9 credits
education combined) exceed the maximum allowed under the Transfer credits for students who are admitted to the Bachelor
Residency/Transfer of Credit Requirement (see Policies). of Music Program after completing the Associate of Arts
Performance Degree will be evaluated on a course-by-course
basis.
APPLYING FOR TRANSFER CREDIT
Provide official transcripts and course catalogs of all college NON-CERTIFICATE PROGRAMS
studies that are relevant to the desired transfer credits to:
SUMMER SHOT MUSIC CAMP
Musicians Institute Office of Admissions One-Week Courses in Performance Studies (Bass, Drums,
6752 Hollywood Boulevard Guitar, Keyboard Technology or Vocal) and Entertainment
Hollywood, CA 90028 Industry Studies (Independent Artist, Recording, Guitar Building
and more).

395 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMISSIONS (MI ONLINE)
ELIGIBILITY:
ELIGIBILITY: The following prerequisites apply to those applying for the Pro
There are no specific academic entrance requirements for Tools Certification courses:
Summer Shot. Please visit [Link] for more • Minimum Age: 16 (High School diploma/GED is not
information. required)
• Basic computer knowledge including the ability to use
a keyboard, mouse and an Apple or Windows based
HOW TO APPLY TO SUMMER SHOT operating system.
Please send the following items together by mail or email: • Stereo Headphones (Student will need to bring to the
• Completed application form first day of class)
• $50.00 USD application fee

SUMMER SHOT SCHEDULING/REGISTRATION/ HOW TO APPLY

Please visit: Pro [Link]
ORIENTATION: 1. Complete the application form under the “Sign Up” Tab.
Summer Shot students are expected to arrive prior to the start of 2. $100.00 (USD) application fee is required.
classes for Scheduling, Registration, and Orientation. Students
who need housing and/or roommate assistance should arrive at
MI as early as possible prior to the start of classes. For updated PRO TOOLS SCHEDULING/REGISTRATION/
information, visit [Link]. ORIENTATION:
Pro Tools students are expected to arrive prior to the start of
MI SELECT classes for Scheduling, Registration, and Orientation. Students
(Non-certificate training in music) who need housing and/or roommate assistance should arrive at
MI as early as possible prior to the start of classes. For updated
Bass, Drum, Guitar, Keyboard, Vocal information, visit Pro [Link].
ELIGIBILITY
There are no specific academic entrance requirements for the INTERNATIONAL STUDENT

GENERAL
MIO Select. Each applicant is individually reviewed, taking into INFORMATION
consideration his or her experience, past achievements, aptitude Musicians Institute is authorized under Federal law to enroll non-
and potential for growth. immigrant Foreign National students. Musicians Institute follows
a policy of equal opportunity in all of its educational activities,
admissions and employment; and does not discriminate because
of race, color, national origin, religion, sex, sexual orientation, age,
APPLICATION PROCESS: MIO SELECT physical handicap, or marital status.
Please send the following items together by mail or email:
• Completed application form.
MI’s International Student Office assists international students in
• $100.00 USD application fee.
immigration and personal matters. A few important regulations
applying to all international students include:

APPLICATION REVIEW AND NOTIFICATION

Class sizes are limited and placement priority is given to students APPLICATION FEES
in the order of accepted application. Fully completed applications Any application fees must be submitted as an International
are reviewed for acceptance on an ongoing basis. Accepted Money Order, Postal Money Order, Bank Wire Transfer, or Credit
applicants will be notified by mail or telephone. Applicants who Card for U.S. funds. Make and setup your payment on [Link].
are not accepted will be notified by mail or telephone. com.

SUFFICIENT FUNDS
SCHEDULING/REGISTRATION/ORIENTATION All international students must submit an official letter from the
MIO Select students are expected to arrive prior to the start of student’s, parent’s or sponsor’s bank certifying that there are
classes for Scheduling, Registration, and Orientation. Students enough funds available for payment of tuition and living expenses
who need housing and/or roommate assistance should arrive at during the study period. All funds sent to MI must be in U.S.
MI as early as possible prior to the start of classes. dollars.

PRO TOOLS CERTIFICATION ENGLISH LANGUAGE FLUENCY

The Avid Pro Tools® certification courses are non-accredited Notice to students for whom English is a second or other
courses designed for those who wish to acquire their Avid language: Musicians Institute does not provide English Language
User and/or Operator Certification through weekend classes at courses or support. All courses and correspondence takes place
Musicians Institute in Hollywood, CA.

396
 ADMISSIONS (MI ONLINE)
in English. As such, a general fluency in English is necessary in
order to benefit from your time at MI. A request for deferring admission may be considered on a case-
by-case basis.
Please note requests for deferments are granted solely at
ENGLISH DOCUMENTS
the discretion of the Director of Admissions, and relevant
All documents must be in English or accompanied by a certified
documentation may be required. Scholarships awarded by the
English translation of the document.
Scholarship committee will be deferred for a maximum of one
year, if the deferment request is approved.
ENGLISH LANGUAGE PROFICIENCY
English Language Proficiency tests (TOEFL, IELTS, PTEA,
Duolingo) are only required for admission to our Bachelor DISCLAIMER
Program and Masters Program; however, all classes are taught While Musicians Institute provides no guarantee that employment
in English and students must have a working competence in the will result from attending or completing any program offered by
English language in both spoken and written communication the institution, we are dedicated to assisting students in finding
at the level of a Graduate of an American high school as professional opportunities. For more information on Artist &
demonstrated by the possession of a high school diploma or its Career Services, visit [Link].
equivalent, GED, or passage of a high school proficiency exam.

DIVERSITY STATEMENT
STUDENT VISAS Musicians Institute is committed to fostering an inclusive and
A non-immigrant F-1 student visa is required for all programs diverse environment for the community it serves. Members of the
except MIO Select. Musicians Institute will assist students MI community include students, faculty, administration, families,
in obtaining such visas and will confirm student status with and visiting artists. As an institution that is dedicated to preparing
inquiring agencies. An I-20 immigration form will be issued to the students for careers in the diversified music and entertainment
student upon meeting all entrance and financial requirements. industry, MI strives to cultivate talented individuals from across all
The student must take the I-20 form to the U.S. Embassy or backgrounds with conscious efforts to enrich the global public.
Consulate in his or her country of residence to obtain a student
GENERAL

visa in order to enter the United States.

FULL-TIME STATUS RELATIONSHIPS WITH DOMESTIC INSTITUTIONS OF
All international students must maintain “full-time” status in order HIGHER EDUCATION
to satisfy student visa requirements. 1500 Sound Academy, Inglewood, CA USA.
Musicians Institute and the 1500 Sound Academy have
established a friendly academic relationship in order to facilitate
ADDITIONAL INFORMATION the exchange of information on educational programs, teaching
NOTICE CONCERNING TRANSFERABILITY OF CREDITS materials, and facilities. Specific courses completed at 1500
Sound Academy have been established as accepted for transfer
AND CREDENTIALS EARNED AT MUSICIANS INSTITUTE to Musicians Institute.
The transferability of credits you earn at Musicians Institute is at
the complete discretion of an institution to which you may seek
to transfer. Acceptance of the degree or certificate you earn in DISTANCE LEARNING AT MUSICIANS INSTITUTE
your program is also at the complete discretion of the institution Distance learning programs at Musicians Institute fall under the
to which you may seek to transfer. If the credits, degree, or heading, MI Online (MIO). MI Online courses take place in real
certificate that you earn at this institution are not accepted at the time, therefore, MIO students receive their class materials when
institution to which you seek to transfer, you may be required to they gain access to the college’s learning management system.
repeat some or all of your coursework at that institution. For this Real time attendance is not required for MIO students, as their
reason, you should make certain that your attendance at this course engagement is measured by many factors which include
institution will meet your educational goals. This may include the attendance of live Zoom lectures, viewing of recorded class
contacting an institution to which you may seek to transfer after lectures, completion of discussions and tests, and submission of
attending Musicians Institute to determine if your credits, degree, completed assignments and projects. MI Online (MIO) course
or certificate will transfer. offerings are only available to those students enrolled in an MI
Online program or MIO Select. Some online courses are not
available for MIO Select enrollment.
DEFERRALS
Accepted students may request a deferment of enrollment
up to one year beyond the date when they were scheduled to
begin their program. If the one-year time period is exceeded,
the student must submit a new application, application fee
and possible admissions requirements. The deferral must be
requested in writing before the start of the quarter for which the
student was originally accepted.

397 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 TUITION & FEES (MI ONLINE)
TUITION
CERTIFICATE QUARTERS PER QUARTER TOTAL CREDITS PER CREDIT TOTAL
PERFORMANCE : GUITAR, BASS, DRUMS, KEYBOARD, 4 $8,025.00 60 $535.00 $32,100.00
VOCAL
ARTIST / PRODUCER / ENTREPRENEUR 4 $8,025.00 60 $535.00 $32,100.00

MUSIC BUSINESS 2 $8,025.00 30 $535.00 $16,050.00

SONGWRITING 2 $8,025.00 30 $535.00 $16,050.00

INDEPENDENT ARTIST 2 $8,025.00 30 $535.00 $16,050.00

ELECTRONIC MUSIC PRODUCTION 2 $8,025.00 30 $535.00 $16,050.00

STUDIO RECORDING TECHNOLOGY 2 $8,025.00 30 $535.00 $16,050.00

CERTIFICATE – PART-TIME
PERFORMANCE : GUITAR, BASS, DRUMS, KEYBOARD, 8 $8,025.00 60 $535.00 $32,100.00
VOCAL
ARTIST / PRODUCER / ENTREPRENEUR 8 $8,025.00 60 $535.00 $32,100.00

MUSIC BUSINESS 4 $8,025.00 30 $535.00 $16,050.00

SONGWRITING 4 $8,025.00 30 $535.00 $16,050.00

INDEPENDENT ARTIST 4 $8,025.00 30 $535.00 $16,050.00

ELECTRONIC MUSIC PRODUCTION 4 $8,025.00 30 $535.00 $16,050.00

GENERAL

STUDIO RECORDING TECHNOLOGY 4 $8,025.00 30 $535.00 $16,050.00

ASSOCIATE DEGREES
PERFORMANCE: GUITAR, BASS, DRUMS, KEYBOARD, 6 $8,025.00 90 $535.00 $48,150.00
VOCAL
// COMBINED EMPHASIS 6 $8,025.00 90 $535.00 $48,150.00
MUSIC BUSINESS 6 $8,025.00 90 $535.00 $48,150.00
STUDIO RECORDING TECHNOLOGY 6 $8,025.00 90 $535.00 $48,150.00

ASSOCIATE DEGREES – PART-TIME

PERFORMANCE: GUITAR, BASS, DRUMS, KEYBOARD,
12 $8,025.00 90 $535.00 $48,150.00
VOCAL
// COMBINED EMPHASIS 12 $8,025.00 90 $535.00 $48,150.00
MUSIC BUSINESS 12 $8,025.00 90 $535.00 $48,150.00

STUDIO RECORDING TECHNOLOGY 12 $8,025.00 90 $535.00 $48,150.00

BACHELOR OF MUSIC (PERFORMANCE: GUITAR, BASS, DRUMS, KEYBOARD, VOCAL, SONGWRITING & PRODUCTION)
ALL STUDENTS 12 $8,025.00 135 $535.00 $72,225.00

GENERAL EDUCATION CREDITS 12 (VARIES) 45 $363.00 $16,335.00

TOTAL TUITION COSTS FOR BACHELOR OF MUSIC / / / / $88,560.00

NON-CERTIFICATE
MIO SELECT PROGRAM 1 $535.00 N/A $535.00 (VARIES)

NOTE: Published program lengths are based on optimal course load at 12 credits per quarter for Baccalaureate Programs and 15 credits per quarter for all other programs. Please
see Enrollment Status for further information; GE units average 3.75 per quarter. Tuition costs vary by quarter based on number of credits.

398 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 TUITION & FEES (MI ONLINE)
FEES APPLICATION EQUIPMENT MATERIALS OTHER FEES ACADEMIC TOTAL
COST
(Non-Refundable) SUPPORT FEE PROGRAM FEE
CERTIFICATE $190/QTR

PERFORMANCE: GUITAR, BASS, DRUMS, $100.00 $0.00 $409.78 $0.00 $760.00 $1,269.78
KEYBOARD, VOCAL
ARTIST / PRODUCER / ENTREPRENEUR $100.00 $0.00 $0.00 $0.00 $760.00 $860.00
ELECTRONIC MUSIC PRODUCTION $100.00 $0.00 $0.00 $0.00 $380.00 $480.00
INDEPENDENT ARTIST DEVELOPMENT $100.00 $0.00 $0.00 $0.00 $380.00 $480.00
MUSIC BUSINESS $100.00 $0.00 $0.00 $0.00 $380.00 $480.00
SONGWRITING $100.00 $0.00 $39.98 $0.00 $380.00 $519.98
STUDIO RECORDING TECHNOLOGY $100.00 $30.00 $45.00 $0.00 $380.00 $555.00

CERTIFICATE – PART-TIME
PERFORMANCE: GUITAR, BASS, DRUMS, $100.00 $0.00 $409.78 $0.00 $1,520.00 $2,029.78
KEYBOARD, VOCAL
ARTIST / PRODUCER / ENTREPRENEUR $100.00 $0.00 $0.00 $0.00 $1,520.00 $1,620.00
ELECTRONIC MUSIC PRODUCTION $100.00 $0.00 $0.00 $0.00 $760.00 $860.00
INDEPENDENT ARTIST DEVELOPMENT $100.00 $0.00 $0.00 $0.00 $760.00 $860.00
MUSIC BUSINESS $100.00 $0.00 $0.00 $0.00 $760.00 $860.00
SONGWRITING $100.00 $0.00 $39.98 $0.00 $760.00 $899.98
STUDIO RECORDING TECHNOLOGY $100.00 $30.00 $45.00 $0.00 $760.00 $935.00

GENERAL
ASSOCIATE DEGREES
PERFORMANCE: GUITAR, BASS, DRUMS, KEYBOARD, $100.00 $0.00 $554.63 $0.00 $1,140.00 $1,794.63
VOCAL
// COMBINED EMPHASIS $100.00 $0.00 $409.78 $0.00 $1,140.00 $1,649.78
MUSIC BUSINESS $100.00 $0.00 $0.00 $0.00 $1,140.00 $1,240.00
STUDIO RECORDING TECHNOLOGY $100.00 $30.00 $45.00 $0.00 $1,140.00 $1,315.00

ASSOCIATE DEGREES – PART-TIME

PERFORMANCE: GUITAR, BASS, DRUMS, KEYBOARD, $100.00 $0.00 $554.63 $0.00 $2,280.00 $2,934.63
VOCAL
// COMBINED EMPHASIS $100.00 $0.00 $409.78 $0.00 $2,280.00 $2,789.78
MUSIC BUSINESS $100.00 $0.00 $0.00 $0.00 $2,280.00 $2,380.00
STUDIO RECORDING TECHNOLOGY $100.00 $30.00 $45.00 $0.00 $2,280.00 $2,455.00

BACHELOR OF MUSIC
SONGWRITING & PRODUCTION $100.00 $0.00 $0.00 $0.00 $2,280.00 $2,380.00

NON-CERTIFICATE
MIO SELECT $100.00 $0.00 $0.00 $0.00 $190.00 $175.00

†† Multiply technology fee by number of quarters referenced on the previous page.

399
 TUITION & FEES (MI ONLINE)
STATE OF CALIFORNIA STUDENT
TUITION RECOVERY FUND
The State of California established the Student Tuition Recovery To qualify for STRF reimbursement, the application must be
Fund (STRF) to relieve or mitigate economic loss suffered by a received within four (4) years from the date of the action or event
student in an educational program at a qualifying institution, who that made the student eligible for recovery from STRF.
is or was a California resident while enrolled, or was enrolled
in a residency program, if the student enrolled in the institution, A student whose loan is revived by a loan holder or debt collector
prepaid tuition, and suffered an economic loss. Unless relieved after a period of noncollection may, at any time, file a written
of the obligation to do so, you must pay the state-imposed application for recovery from STRF for the debt that would have
assessment for the STRF, or it must be paid on your behalf, if otherwise been eligible for recovery. If it has been more than four
you are a student in an educational program, who is a California (4) years since the action or event that made the student eligible,
resident, or are enrolled in a residency program, and prepay all or the student must have filed a written application for recovery
part of your tuition. within the original four (4) year period, unless the period has been
extended by another act of law.
You are not eligible for protection from the STRF and you are not
required to pay the STRF assessment, if you are not a California However, no claim can be paid to any student without a social
resident, or are not enrolled in a residency program.” security number or a taxpayer identification number.

(b) In addition to the statement required under subdivision (a) Students who have exhausted all other possible ways to recover
of this section, a qualifying institution shall include the following lost tuition expense may file STRF claim application. You may
statement in its school catalog: download a STRF claim application by visiting our website
[Link]
“It is important that you keep copies of your enrollment agreement,
financial aid documents, receipts, or any other information
that documents the amount paid to the school. Questions
regarding the STRF may be directed to the Bureau for Private
Postsecondary Education, 1747 N. Market Blvd. Suite 225,
Sacramento, CA 95834, (916) 574-8900 or (888) 370-7589.
GENERAL

To be eligible for STRF, you must be a California resident or are

enrolled in a residency program, prepaid tuition, paid or deemed
to have paid the STRF assessment, and suffered an economic
loss as a result of any of the following:
1. The institution, a location of the institution, or an educational
program offered by the institution was closed or discontinued,
and you did not choose to participate in a teach-out plan
approved by the Bureau or did not complete a chosen teach-out
plan approved by the Bureau.
2. You were enrolled at an institution or a location of the
institution within the 120 day period before the closure of the
institution or location of the institution, or were enrolled in an
educational program within the 120 day period before the
program was discontinued.
3. You were enrolled at an institution or a location of the
institution more than 120 days before the closure of the institution
or location of the institution, in an educational program offered
by the institution as to which the Bureau determined there was a
significant decline in the quality or value of the program more than
120 days before closure.
4. The institution has been ordered to pay a refund by the
Bureau but has failed to do so.
5. The institution has failed to pay or reimburse loan proceeds
under a federal student loan program as required by law, or has
failed to pay or reimburse proceeds received by the institution in
excess of tuition and other costs.
6. You have been awarded restitution, a refund, or other
monetary award by an arbitrator or court, based on a violation of
this chapter by an institution or representative of an institution, but
have been unable to collect the award from the institution.
7. You sought legal counsel that resulted in the cancellation of
one or more of your student loans and have an invoice for services
rendered and evidence of the cancellation of the student loan or
loans.

400 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FINANCIAL AID
ADMINISTRATIVE FEES parents.
Re-Application Fee $50
Credit by Examination/Test Out Fee $40 per course Payment plans must be established at the beginning of each
Lost or Renewed Student ID Card Fee $10 quarter of enrollment; they do not rollover into the following
Transcript Fee $35 quarter, nor do auto payments continue into a subsequent
quarter.
COURSE-RELATED FEES: Payment plans must be paid in full before a student can continue
Some courses require additional fees for supplies and/ in a subsequent quarter of study.
or equipment. Course-related fees must be paid at the time
of Registration. Courses with related fees are noted under For Federal Financial Aid students whose payment is pending,
Course Descriptions. Fees may change without notice; current they must make a payment of $150 by no later than Monday of
information will be provided at the time of registration. week three to ensure their commitment to beginning / continuing
their program.
TUITION PAYMENT PLAN
Musicians Institute offers to all students a tuition and fees Checks returned for non-payment will result in the student
payment plan that divides the total cost of enrollment, tuition and account being assessed a $25 service fee.
fees without interest, for one quarter of study into three equal
payments. Students will receive the invoice for their quarter of Students who have graduated, been terminated, or have
study two weeks before the first day of the quarter. Tuition and withdrawn with outstanding balances will be notified of the risk
fees can be paid in two or three equal installments, with the of their account being sent to a collection agency.
first payment being due on the first day of scheduled classes,
Monday of week one of the quarter.
BOOKS AND MATERIALS
Payment plans are created as follows. Dates can be adjusted
by the Student Billing department to meet the student’s specific BOOKS, DEVICES AND SUPPLIES
needs, however, adjustments need to be requested before the
first payment is due. Plan due dates can vary from quarter to For a complete list of all books/materials, as well as prices and
quarter. purchasing information, please visit:
GENERAL

[Link]
Three installment plan:
• First payment due on or before Monday of week one with a
five day grace period. The first payment must be made in full by BYOD POLICY
Friday of week one. If the payment isn’t made by Wednesday of Each student at Musicians Institute must have a device that
week two, a hold will be placed on the student account. allows for access to our Learning Management System (LMS)
• Second payment due on or before Monday of week five. If the and corresponding materials. This is a requirement of enrollment
payment isn’t made by Friday of week five, a hold will be placed at Musicians Institute. Musicians Institute has made every effort
on the student account. to ensure that this material is available on a multitude of different
• Third and final payment due on Monday of week ten. If the devices/operating systems.
payment isn’t made by Thursday of week ten, a hold will be
placed on the student account. As such, you will need a device that meets the following
specifications below:
Two installment plan:
• First payment due on or before Monday of week one with a
five day grace period. The first payment must be made in full by GENERAL REQUIREMENTS:
Friday of week one. If the payment isn’t made by Wednesday of • A smart phone, tablet or laptop computer
week two, a hold will be placed on the student account. • Internet connection for device/computer (wi-fi or ethernet
• Second and final payment due on or before Wednesday of recommended).
week five, one month after the initial payment. If the payment • Built-in or external speakers, headphones, or similar for
isn’t made by Friday of week five, a hold will be placed on the audio playback.
student account.
Apple Devices:
A “hold” placed on a student account will result in the MI iPad (iPad2 or newer recommended*)
Hollywood student’s ID badge being flagged upon scanning, iPad Mini (Retina display suggested*)
preventing them from entering the campus. MI Online students iPhone (4s or newer recommended*)
will be denied access to the learning management system (LMS) iOS 7 or above is recommended.
should a “hold” be placed on their account, preventing them
from attending their online class meetings and accessing course *All device versions are technically compatible with the delivery
materials held within the LMS. All “holds” on student accounts application. However, older devices may be limited by memory
are lifted once tuition and fees payments that are due have been and CPU requirements of a given book/file size. It is likely that
paid via the Billing office. students with iOS devices pre-iPad 2/iPhone 4 will experience
diminished functionality of the delivery application.
Debit and credit cards can be placed on automatic payment for
the agreed upon dates for the convenience of students and/or Android Devices:

401 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FINANCIAL AID
Phone & tablet devices utilizing the Android OS are compatible Aid (FAFSA). The FAFSA may be completed online at
with the delivery application. Due to the wide variety of [Link]. Assistance with the FAFSA can be provided
manufacturers and models, a standardized list of actual devices to applicants by contacting their assigned financial aid
cannot be issued. Android OS 4.4 or above is recommended. advisor. The U.S. Department of Education will send an email
to the applicant within 1-3 business days to notify them that
Desktop Readers (Mac and Windows): their application was processed. The information collected
These desktop reader applications require Adobe AIR to be on the FAFSA is used to calculate a family’s Expected Family
installed and current on the machine. All tech specifications Contribution (EFC). This EFC is used by the MI Financial Aid
are related to same minimum requirements for Adobe AIR Office to determine each individual student’s eligibility for
installation: [Link] federal and state financial aid.
html.
The Financial Aid Office receives notification from the U.S.
Windows Department of Education electronically regarding a student’s
2.33GHz or faster x86-compatible processor, or Intel Atom™ FAFSA in the form of an Institutional Student Information
1.6GHz or faster processor for netbook class devices Report(ISIR). Applicants selected for a process called
Microsoft® Windows Vista® Home Premium, Business, “verification” may be contacted by the Financial Aid Office
Ultimate, or Enterprise (including 64 bit editions) with Service to provide additional documents, such as student and/ or
Pack 2, Windows 7, or Windows 8 Classic parent tax transcripts, verification of untaxed income, or
512MB of RAM (1GB recommended). benefits or other documents required to determine eligibility.
Failure to do so will result in loss or non-receipt of aid.
Mac OS Student financial assistance is awarded for an academic
Intel® Core™ Duo 1.83GHz or faster processor year (up to three quarters). Students may need to complete
Mac OS X v10.7, v10.8, or v10.9 a FAFSA for two or more award years to continue receiving
512MB of RAM (1GB recommended) financial aid throughout the duration of their program. Your
Questions about your device’s specifications and requirements financial aid advisor will inform you if/when an additonal
may be directed to Instructional & Information Technology FAFSA is required.
Services at helpdesk@[Link].
For all other inquires, please contact your Program Chair or the A student’s eligibility for need-based financial assistance

GENERAL
Student Affairs Department at studentaffairs@[Link]. is determined by subtracting the EFC from the cost of
attendance for the course of study. A student’s cost of
We have made every effort to ensure that this material is attendance includes tuition and fees, books and supplies,
available on a multitude of different devices and operating housing, personal, and transportation costs. Charges for
systems. Please see [Link]/byod for details on your tuition and fees can be found in the Tuition & Fees section
device’s requirements. of this catalog. Other costs are based on a standard
expense budget as determined by the California Student Aid
Much of MI’s course and curricular content is delivered solely Commission (current figures are also shown in the Tuition
in an electronic format, so each student must possess a & Fees section of this catalog; these costs are subject to
device that allows for access to our Learning Management annual updates).
System (LMS) and corresponding course materials. This is a
requirement of enrollment at Musicians Institute. Financial aid funds are disbursed quarterly throughout the
duration of the program of attendance. Funds from the
For a complete list of all books/materials, as well as prices and various financial assistance programs (described herein) are
purchasing information, please visit [Link] not always disbursed in the same way or at the same time.
financial-aid/tution-fees/ and click on the Textbook and Federal and State financial aid funds are sent to the school
Equipment header. via electronic funds transfer. Students will be notified of
​ Federal loan disbursements via email.

BACHELOR DEGREE PROGRAM: Note: All Financial Aid documents must be submitted no
The cost of books and supplies averages approximately $325 later than one week prior to registration.
per quarter for students enrolled in a full-time course of study.
Actual costs will vary depending on specific courses and credit
loads. STUDENT LOAN RESPONSIBILITIES
If a student obtains a loan to pay for an educational program,
the student will be responsible for repaying the full amount
FEDERAL AND STATE FINANCIAL of the loan plus interest, less the amount of any refund or
ASSISTANCE PROGRAMS returns paid back to the lender by the school. If the student
Student financial assistance is available to qualified U.S. has received federal student financial aid funds, the student
citizens and eligible non-citizens with a valid high school is entitled to a refund of the monies not paid from federal
diploma (or equivalent). Students applying for student student financial aid program funds.
financial assistance begin the application process by
completing the Free Application for Federal Student

402
 FINANCIAL AID
FINANCIAL ASSISTANCE Unsubsidized Loans have an annual limit of $20,500 for
graduate or professional students. These amounts may be
PROGRAMS OFFERED AT prorated if enrolled for programs of study that are less than
MUSICIANS INSTITUTE an academic year in length or have fewer than 36 quarter
FEDERAL PELL GRANT units left to complete their program. Repayment begins six
The Federal Pell Grants are awarded to undergraduate months after the students last date of attendance (LDA) with
students who demonstrate exceptional need, have not a minimum monthly payment of $50.00 USD per loan.
used up their PELL lifetime eligibility, and do not have a
baccalaurate degree. This grant does not need to be repaid. Parent Loans for Undergraduate Students (PLUS) are non-
The Department of Education uses the information provided need based loans and are for parents of dependent financial
on the Free Application for Federal Student Aid (FAFSA) to aid applicants. The Parent PLUS loan is credit-based, offers
determine eligibility for this grant. a fixed interest rate determined by Congress annually, and
allows parents to borrow up to the cost of attendance, minus
other student aid awarded.
FEDERAL SUPPLEMENTAL EDUCATIONAL
OPPORTUNITY GRANT (FSEOG) Direct PLUS Loans (Grad PLUS) for Students are non-need,
The FSEOG is for undergraduate students with exceptional credit based loans that graduate students may borrow on
need and is not repaid. This program is funded by the their own behalf. Repayment begins within sixty days after
Department of Education and administered by the school’s the loan is fully disbursed or may be deferred until six months
financial aid office. Please note that these funds are limited after the student graduates or drops below half-time status,
and awards are offered on a “first come / first served” basis. when requested by the student. Students may borrow up to
the cost of attendance (COA) less any other financial aid.
LOANS
Student loans must be repaid. There are two categories of BORROWERS RIGHTS AND RESPONSIBILITIES
educational loans available: Students borrowing a Direct Loan have the right to a grace
• Need-Based (Subsidized Federal Direct Stafford period before repayment period begins. The grace period
loans) begins after the last date of attendance or after a drop below
GENERAL

• Non-Need Based (Unsubsidized Federal Direct half-time status as defined by the school. The exact length
Stafford loans, Parent PLUS loans, and Direct PLUS of the grace period will be shown on the promissory note
(Grad) loans. provided by the Department of Education.
• Borrowers must be given a repayment schedule that
specifies when the first payment is due as well as the
FEDERAL DIRECT LOANS number, frequency and amount of all payments
Borrowers are required to repay these loans even if they do • Borrowers must be given a list of deferment and
not complete their education. For students who demonstrate
cancellation conditions.
a need for a subsidized Direct Loan, the government will pay
the interest on the loan during the student’s enrollment period
of at least half-time and the specified grace period. Students THE FOLLOWING LIST IS REQUIRED FOR ALL STUDENT
who have a calculated need (for less than the maximum on the
Direct Loan) may borrow the difference in an Unsubsidized LOAN BORROWERS
Direct Loan, and will be responsible for the entire interest on
that portion of the loan. By signing a promissory note, students agree to repay their
loans according to the terms of the note. This note is a
Subsidized Federal Direct Stafford Loans are need- binding legal document. This commitment to repay includes
based loans. Interest does not accrue while a student is in repaying the loan even when the educational program is not
school, during grace period, or during in-school deferment. completed, the student does not get a job after completing
Students can borrow from $3,500-5,500 depending on year the program, or is dissatisfied with the program.
in school (grade level). These amounts may be prorated if
enrolled for programs of study that are less than an academic Failure to repay the loan on time, or according to the terms
year in length or have fewer than 36 quarter units left to in the promissory note, may result in loan default, which has
complete their program. Repayment begins six months after very serious consequences.
the students last date of attendance (LDA) with a minimum
monthly payment of $50.00 USD per loan. Loan payments must be paid even if the student did not
receive a bill. Billing statements and coupon books are sent
Unsubsidized Federal Direct Stafford Loans are non as a convenience, but are not an obligation.
need-based loans. Interest accrues while students are • Borrowers that have applied for a deferment must
enrolled in school and during the six-month grace period. continue to make payments until the deferment is
Annual maximums vary depending on whether the student processed. Failure to make payments may result
is considered a dependent or independent. Loans range in default. Always maintain copies of all deferment
from $5,500 to $12,500 per year, depending on your year request forms and document all contacts with the
in school(grade-level) and your dependency status. Direct organization that holds the loan(s).

403 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FINANCIAL AID
• The organization that holds the loan(s) must be • Not owe a refund on any state or federal grant or be in
notified if any of the following occur: graduation, default on a student loan
withdrawal from school, dropping below half-time • Not be incarcerated
status, name or address change, or Social Security • Maintain the Satisfactory Academic Progress
number change, or transfer to another school. standards as established by the school.
• Before receiving a first disbursement, students must Recipients who do not meet the standards are ineligible
complete a loan entrance interview. Students are also for Cal Grant payment and will not use eligibility during the
required to complete a loan exit interview, which must terms they are ineligible for payment.
be sent to them by no later than 30 days from their
last date of attendance.
CAL GRANT INCOME & ASSET CEILINGS
FEDERAL STUDENT LOAN
2023-24 Cal Grant Program Income Ceilings
REPAYMENT INFORMATION
Before leaving school, students must receive the following Tables For New And Renewing Cal Grant Recipients
information about their Federal Student Loan(s) in an exit
interview: 2022-23 Cal Grant Programs General Eligibility
• The average monthly repayment amount based on the Requirements
total amount borrowed.
• The name of the organization that holds the loan(s), CAL GRANT DEADLINE DATES
where to send loan payments, and where to write for MARCH 2: The most important deadline for Cal Grants is
loan questions. March 2. Be sure you submit your FAFSA and your verified
• The fees expected during the repayment period. Cal Grant GPA by the March 2 Cal Grant application
• A description of deferment and cancellation deadline.
provisions.
• A description of repayment options, such as SEPTEMBER 2: If you’ll be attending a California
prepayment, refinancing and consolidation loans. Community College in the fall and missed the March 2
• Debt management advice (if requested). deadline, you have a second deadline of September 2. There
• Updated contact information (collected from student).

GENERAL
are only a limited number of awards available for those who
apply in the fall, so try to meet the March 2 deadline.
STATE GRANTS
OCTOBER 1: The FAFSA and CA Dream Act Application
CAL GRANTS open for the following school year. Be sure to submit your
Musicians Institute (MI) has been approved by the California
application and GPA by the March 2 deadline.
Student Aid Commission to award Cal Grants to eligible
students attending the Los Angeles campus. A Cal Grant is
free money for college you don’t have to pay back. CALIFORNIA DREAM ACT
California Dream Act allows undocumented and documented
To qualify, you must apply for the Free Application for students who meet the nonresident tuition exemption
Federal Student Aid (FAFSA) or California Dream Act eligibility requirements to:
Application (CADAA) by the deadline and meet the eligibility • Apply for and receive non-state funded scholarships
and financial requirements as well as any minimum GPA for public colleges and universities
requirements. MI financial aid staff are available to answer • Apply for and receive state-funded financial aid such
any questions regarding the Cal Grant program but for as Cal Grant, Chafee Grant, CCC fee waiver, and
immediate information, visit [Link]. institutional grants

Please visit:
CAL GRANT ELIGIBILITY REQUIREMENTS [Link]/undocumented-dreamer-students
• Submit the FAFSA or CADAA application and your
verified Cal Grant GPA by the deadline
• Be a US citizen or eligible noncitizen or meet AB540
CALIFORNIA CHAFEE GRANT PROGRAM
eligibility criteria
The Chafee Grant Program is state funded annually and is
• Be a California resident for one year
subject to availability of funds each year.
• Attend a qualifying California college
• Not have a bachelor’s or professional degree To qualify, you must meet the following criteria:
• Have financial need at the college of your choice • Be a current or former foster youth who was a ward
• Have family income and assets below the minimum of the court, living in foster care, for at least one day
levels set forth by the California Student Aid between the ages of 16 and 18.
Commission • If you are/were in Kin-GAP, a non-related legal
• Be enrolled or plan to enroll in a program leading to guardianship, or were adopted, you are eligible only
an undergraduate degree or certificate if you were a dependent or ward of the court, living in
• Be enrolled or plan to enroll at least half time

404
 FINANCIAL AID
GENERAL

foster care, for at least one day between the ages of One-Page Essay
16 and 18. Explaining why you should be considered for the MI
• Have not reached your 26th birthday as of July 1st of Development Scholarship.
the award year. You may include your musical background, aspirations,
• Have not participated in the program for more than 5 financial situation, or any other factors that you consider
years (whether or not consecutive). relevant.

For more information on Chafee Grants, or to download Copy of Official Transcript

an application, please log on to [Link]. A copy of your official high school or college transcript.
You may also contact the Financial Aid Office for more A minimum of 24 semester units or 36 quarter credits is
information. Please be advised, the California State Grants required for college transcripts.
awards are tentative and subject to annual State budget
approval. Copy of Tax Return
A copy of your tax return or other income verification for the
previous year.
SCHOLARSHIPS If 24 years of age or younger, a copy of parents’ tax return is
also required.
DEVELOPMENT SCHOLARSHIP
Musicians Institute offers Development Scholarships in order
Musicians Institute Acceptance Letter
to encourage the educational development of musicians and
Welcome Letter or Acceptance Letter from the Musicians
music industry professionals. Development Scholarships may
Institute Admissions Department
be applied to any Musicians Institute Certificate or Degree
program.
MUSICIANSHIP SCHOLARSHIP
Application checklist: Musicianship Scholarships are available to students

405 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FINANCIAL AID
enrolled in Associate of Arts Degree in Performance and Registrar’s Office to inform them of their SAP Warning
Certificate in Performance programs. Up to 20 scholarships Status. Students in SAP warning status are encouraged
per year (ten per program start, two per instrument major) to meet with a Student Affairs counselor to request free
are awarded to applicants demonstrating outstanding tutoring services offered on campus. Students in SAP
musicianship. Individual awards will be granted to students warning status will continue to be eligible for financial aid.
who successfully complete each quarter of their enrollment.
Musicianship Scholarships are available to both U.S. and Note: Online registration privileges will be revoked. All
non-U.S. citizens. changes to schedule and/or academic plan must be made in
person through the Registrar Services Department.
To be considered for a Musicianship Scholarship, you must
take the following steps:
• Complete a Musicianship Scholarship application for SAP PROBATION STATUS
the program to which you are applying (applications Students that fail to meet SAP for two consecutive quarters
are available from MI’s Admissions Office). will be contacted via Musicians Institute student email by
• Submit an essay explaining why you should be the Registrar’s Office to inform them of their SAP Probation
considered for the scholarship. Status. An academic plan will be established by the
• Submit a video recording of you performing on your Registrar’s Office that must be followed by the student.
major instrument. Video requirements vary by program Students in SAP probation status will be ineligible for
(see application for details). financial aid; however, they can appeal to have their financial
aid reinstated. Appeals may be approved or denied.

THE MUSICIANS FOUNDATION SCHOLARSHIPS Students appealing to have their financial aid reinstated
Several additional scholarships are available to students after receiving their SAP probation notice will receive a
enrolled in Associate of Arts and Bachelor’s Degree in SAP appeal form from the Registrar’s office that they must
Performance, as well as Certificate programs. Please refer complete and return to the Registrar’s office. The form will
to [Link] for the most up-to-date information on be reviewed by the Registrar’s Office and forwarded to the
these scholarship opportunities, applications and application Financial Aid office. Every SAP appeal form must address
deadlines. All scholarship applications and application the following issues concerning the student’s academic

GENERAL
deadlines are available in PDF format on the [Link] website. progress: (1) why the student failed to meet satisfactory
Please refer to this site for additional scholarships that may academic progress, and (2) what has changed in the
become available. student’s situation that will allow the student to demonstrate
satisfactory academic progress at the next evaluation. Every
SATISFACTORY ACADEMIC SAP appeal form must also include (3) an academic plan
PROGRESS (SAP) (provided by the registrar’s office), and (4) an anticipated
Federal regulations require all institutions that participate graduation date (provided by the registrar’s office).
in Title IV aid programs to define and monitor satisfactory
academic progress (SAP) for all financial aid recipients. Approved appeals will result in a reinstatement of the
The standards must meet all Federal requirements and student’s financial aid eligibility. Denied appeals will result
be equal to or more stringent than the SAP standards for in a loss of the student’s financial aid eligibility. Students
non-financial aid recipients. All students, regardless of that are not receiving financial aid will be contacted by the
whether they receive financial aid or not, are required to Registrar Services office to complete both an appeal form
meet both qualitative and quantitative academic standards and academic plan.
while attending Musicians Institute. Satisfactory Academic
Progress (SAP) is calculated for all active students at the Note: Online registration privileges will be revoked. All
completion of every quarter. This policy insures that students changes to schedule and/or academic plan must be made in
are progressing through their programs of study and person through the Registrar Services Department.
identifies students who may be at risk of failing.
SAP TERMINATION
SAP DEFINED Students that fail to meet SAP for three consecutive
Students with a cumulative GPA (Grade Point Average) of quarters are reviewed for successful completion of their
less than 2.0 in their active program of study or students academic plan. Students that failed to meet the requirements
that have completed less than 66.66% of their cumulative specified in their academic plan will no longer be eligible
attempted units in their active program of study have not for student financial assistance and will be terminated from
met the minimum requirements for Satisfactory Academic their program of study at MI. Students who wish to re-enroll
Progress (SAP) for that program. after SAP termination must petition for reinstatement and,
if approved, may be subject to a waiting period and may
also be required to create and adhere to an academic plan
SAP WARNING STATUS through the office of Student Affairs prior to returning to MI.
Students that fail to meet SAP for one quarter will be
contacted via Musicians Institute student email by the

406
 FINANCIAL AID
IV program funds that the school was required to return. The
NON-U.S. CITIZENS calculated amount of the “Return of Title IV Funds” that is
Students who are planning to attend Musicians Institute required for students affected by this policy are determined
with an M-1 or F-1 Student Visa are ineligible to receive according to the following definitions and procedures, as
U.S. financial assistance. We recommend that international prescribed by regulation.
students contact the Department of Student Financial
Assistance in their home country for information on financial The Institution has 45 days from the date the institution
aid offered by that country. determines that the student withdrew to return all unearned
funds for which it is responsible. The school is required
U.S. financial aid programs are only available to U.S. citizens to notify the student if they owe a repayment via written
or students who are in one of the following categories: notice. The school must advise the student or parent that
• U.S. permanent residents who have an Alien they have 14 calendar days from the date the school sent
Registration Receipt Card (I-151 or I-551). the notification to accept a post-withdrawal disbursement.
• Other eligible non-citizens with a Departure Record If a response is not received from the student or parent
(I-94) from the U.S. Immigration and Naturalization within the permitted time frame or the student declines
Service showing specific designations. the funds, the school will return any earned funds that the
school is holding to the Title IV programs. A post-withdrawal
VETERANS disbursement offer for loan funds must occur within 30
Veterans of the U.S. Armed Forces applying to this school who days of the determined withdrawal date. A post withdrawal
are NOT receiving the Post 9/11 GI Bill® or Veteran Readiness disbursement of grants must occur within 45 days. All credit
& Employment (Chapter 31), must make arrangements to pay balances that result from R2T4 calculations/post withdrawal
tuition through means other than veterans (VA) benefits (e.g., disbursements will issued to student/parent within 14 days.
cash or financial aid). Students receiving Post 9/11 benefits
(Chapter 33) or Veteran Readiness & Employment (Chapter The Return of Title IV Funds (R2T4) regulation does
31) will have any eligible tuition payments paid directly to the not dictate the institutional refund policy, however. The
school. All housing allowances (BAH) will be paid directly to calculation of Title IV funds earned by the student has no
the student. relationship to the student’s incurred institutional charges.
GENERAL

Students receiving other forms of VA benefits (Chapters 30, Title IV funds are awarded to a student under the assumption
35, 1606 /1607) will receive their monthly benefits directly from that he/she will attend school for the entire period for which
the Department of Veteran Affairs. the assistance is awarded. When a student withdraws
from all his/her courses, for any reason including medical
Students may apply for VA benefits online at [Link]. withdrawals, he/she may no longer be eligible for the full
Paper forms are available for download on this site as well if amount of Title IV funds that he/she was originally scheduled
needed. to receive.

Students receiving VA benefits must submit transcripts from A school is required to determine the earned and unearned
any previously attended college(s) for the evaluation of credits. Title IV aid a student has earned as of the date the student
Any allowable transfer credits will be recorded, and the length ceased attendance based on the amount of time the student
of the program will be shortened proportionately. was scheduled to be in attendance.

Musicians Institute can assist veterans with the application If the student withdraws from all his/her courses prior to
process, but cannot determine eligibility, and accepts no completing over 60% of a quarter, he/she may be required
responsibility for payments made directly to students. Please to repay a portion of the federal financial aid that he/
contact the Veterans Benefits Coordinator for any additional she received for that term. A pro rata schedule is used to
questions. determine the amount of federal student aid funds he/she
will have earned at the time of the withdrawal. Federal aid
GI Bill® is a registered trademark of the U.S. Department of Veterans includes Federal Direct Loan (subsidized and unsubsidized),
Affairs (VA). More information about education benefits offered by VA Parent Plus Loan, Graduate PLUS Loan, Pell Grants, SEOG
is available at the official U.S. government Web site at [Link]
Grants, and any other Title IV funds.
[Link]/gibill.

REFUND & RETURN OF TITLE IV RETURN OF TITLE IV PROVISIONS

All institutions participating in the Federal Student Aid (FSA)
FUNDS POLICIES Programs are required to use a federally recognized payment
The return of Title IV funds is administered by the Financial
period to determine the amount of SFA Program Funds a
Aid Office at Musicians Institute (MI). This policy applies to
student has earned when he or she ceases attendance
students who withdraw (official, unofficially) or are dismissed
based on the payment period the student was in attendance.
from enrollment at MI. Therefore, the student may still owe
A payment period at this institution is one quarter.
funds to the school to cover unpaid institutional charges. The
school may also attempt to collect from the student any Title

407 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FINANCIAL AID
processed, MI completes an institutional calculation to
RETURN OF TITLE IV PROCEDURES determine if a student’s prorated charges have been paid for
This applies to:
(see Withdrawal from a Program section later in this catalog).
• Students who were awarded Title IV loans and/or
If, per the institutional calculation, the student is due a
grants in the quarter in which they have withdrawn.
refund, the student will be given the choice of receiving a
This includes funds that were or could have been
refund check or returning the excess funds to their financial
disbursed under federal regulations, as students may
aid fund sources. For students who choose to have the
be entitled to a Post-Withdrawal Disbursement for
excess funds returned to their financial aid fund sources, the
funds they were eligible for, but were not disbursed
funds will be refunded in the following order:
prior to the withdrawal.
1. Federal Loans (same order as above)
• Students who withdraw before the 60% point of the
2. Federal Grants (same order as above)
quarter. The percentage is calculated by dividing
3. State Financial Assistance
(a) the number of days from the first day of school
4. Private Lender
to and including the withdrawal date by (b) the total
5. Student/Parent
number of days in the quarter from the first day to and
6. Other
including the last day of quarter*.
Refunds are made within 45 days of termination or
Number of days completed = Percentage completed
withdrawal.
Number of days in period (rounding the third decimal place
up if the fourth decimal place is 5 or more)
MUSICIANS INSTITUTE FINANCIAL AID STAFF CODE OF
*Scheduled breaks of at least five consecutive days are CONDUCT
excluded from the total number of calendar days in a Musicians Institute (MI) financial aid staff are expected to
payment period (numerator) and the number of calendar always maintain exemplary standards of professional conduct
days completed in that period (denominator). Days in which in all aspects of carrying out his or her responsibilities,
a student was on an approved leave of absence are also not specifically including all dealings with any entities involved
included in the calendar days from the payment period or in any manner in student financial aid, regardless of whether
period of enrollment. such entities are involved in a government sponsored,

GENERAL
subsidized, or regulated activity.
RETURN OF UNEARNED FSA PROGRAM FUNDS In doing so, all financial staff personnel at MI should refrain
The school must return the lesser of the amount of FSA from taking any action for his or her personal benefit; refrain
program funds that the student does not earn or the amount from taking any action he or she believes is contrary to law,
of institutional cost that the student incurred for the payment regulation, or the best interests of the students and parents
period, multiplied by the percentage of funds that was not he or she serves; ensure that the information he or she
earned. If the institution must return federal funds received provides is accurate, unbiased, and does not reflect any
by students who withdrew prior to completing the 60% of a preference arising from actual or potential personal gain; and
given payment period, the student may owe the school for be objective in making decisions and advising students at MI
the portion of funds returned that the institution is otherwise regarding relationships with any entity involved in any aspect
entitled to, based on the school’s approved and applicable of student financial aid.
refund policy. Return of Title IV Worksheets are available
upon request from the Financial Aid Office. MI staff will refrain from soliciting or accepting anything
of other than nominal value from any governmental entity
RETURN OF TITLE IV FUNDS CALCULATION (R2T4) (such as the U.S. Department of Education) involved in the
making, holding, consolidating or processing of any student
MANDATED REFUND PRIORITY loans, including anything of value (including reimbursement
Title IV funds will be returned by MI and/or the student as
of expenses) for serving on an advisory body or as part of
applicable, according to federal regulations and deadlines.
a training activity of or sponsored by any such entity. MI
Federal regulations require that funds be returned to their
staff must disclose in such manner as MI may prescribe,
original source in the following order:
any involvement with or interest in any entity involved in any
1. Federal Unsubsidized Direct Loan Program
aspect of student financial aid.
2. Federal Subsidized Direct Loan Program
3. Federal PLUS Loan Program
4. Federal Pell Grant Program MUSICIANS INSTITUTE STATEMENT OF ETHICAL
5. Federal SEOG Grant Program PRINCIPLES
6. Other Title IV Aid The primary goal of the MI Financial Aid office staff is to help
students achieve their educational potential by providing
INSTITUTIONAL REFUNDS AFTER R2T4 REFUNDS appropriate financial resources. To this end, this Statement
DETERMINED provides that the MI Financial Aid office staff shall:
After the Return of Title IV Funds Calculation (R2T4) is
completed and any necessary refunds determined and • Be committed to removing financial barriers for those

408
 FINANCIAL AID
who wish to pursue postsecondary learning.
• Make every effort to assist students with financial
need.
• Be aware of the issues affecting students and
advocate their interests at the institutional, State, and
Federal levels.
• Support efforts to encourage students to aspire to
and plan for education beyond high school.
• Educate students and families through quality
consumer information.
• Respect the dignity and protect the privacy of
students, and ensure the confidentiality of student
records and personal circumstances.
• Ensure equity by applying all need analysis formulas
consistently across the full population of MI student
financial aid applicants.
• Provide services that do not discriminate on the basis
of race, gender, ethnicity, sexual orientation, religion,
disability, age, or economic status.
• Recognize the need for professional development and
continuing education opportunities.
• Promote the free expression of ideas and opinions,
and foster respect for diverse viewpoints within the
profession.
• Commit to the highest level of ethical behavior and
refrain from conflict of interest or the perception
thereof.
• Maintain the highest level of professionalism,
GENERAL

reflecting a commitment to the goals of MI.

WITHDRAWAL FROM A COURSE (W)

The letter “W” on the transcript indicates that a student was
permitted to withdraw from a course after the normal drop-add
period, but within the first six weeks of classes. Withdrawals
are not factored into the GPA. Students wishing to withdraw
from a course after the normal drop/add period must contact
the Department of Student Affairs. Withdrawal from a course
after the sixth week of classes is not permitted; students who
stop attending a class after the sixth week will receive a grade
of F for that course, which will be factored into their GPA. The
Student Affairs Office notifies the Financial Aid Office of late
withdrawals.

409 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ARTIST & CAREER SERVICES

ARTIST & CAREER SERVICES • General Affiliations and Discounts

• Alumni Engagement
MISSION STATEMENT
The Artist & Career Services Department (ACS) is an
GENERAL

extensive resource center designed to engage students and INTERSTRIDE OVERVIEW

alumni with active professional & personal development to Interstride is an integrated platform to support students and
succeed in today’s competitive entertainment industry. alumni at every step of the way, from admissions through
graduation.
ACS specializes in a multitude of social sciences, alongside
various professional items including (but not limited Job and Gigs
to): Online/Offline Marketing, Entrepreneurship, Brand Looking for a job or gig? Students and alumni can create
Development, Career Advising, Musicianship, Social- a career game plan while they view opportunities via the
Acclimation as well as several other fields connected to platform and can filter them based on location, field of
student/alumni success. interest, visa status and more.

*MI offers no guarantee that professional employment will

CORE VALUES result from registering with Interstride or from enrolling
• Networking
in, attending, or completing any MI program. MI reserves
• Integrity
the right to alter the features of or to interrupt or cancel
• Commitment
operation of Interstride at any time without prior notice.
• Collaboration
• Development
Network
Musicians Institute is not only a great place to improve your
craft, it’s also a place that gives students an opportunity
HOW WE HELP YOU SUCCEED to meet and work with fellow students outside of their
TODAY AND BEYOND field of study. Students can post on Interstride to connect
Our team of active industry professionals provide each and collaborate with other students on and off campus.
student and/or alumni with the necessary guidance to Interstride offers the ability for students to create groups
enhance their academic and professional careers. Whether and discuss topics of interest within the music industry.
on-campus, off-campus or online, ACS is present on all Additionally, students can buy, sell, trade unwanted items and
platforms and ready to serve those who are engaging the musical gear with fellow students and alumni.
industry around them.
• Artist & Career Development Resources
• MI Connects Students will be able to view career related resources
• Career & Industry Mentoring including career readiness guides, webinars, resume
• Workshops & Seminars building, videos, visa information, and more.

410 THIS CATALOG APPLIES TO ACADEMIC YEAR 2021/2022: OCTOBER 2021 – SEPTEMBER 2022.
ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS
 ARTIST & CAREER SERVICES
Register INTERNSHIPS
Current MI students should check their MI email for an The ACS Internship Program provides MI students with real-
invitation from Interstride, then register with Interstride world experience in the music industry through internships
utilizing their MI email. MI alumni will be invited to join in music-related companies. Students in the Music Business
Interstride via the alumni newsletter. Program are required to complete an internship, while
Common Course and Audio Engineering majors are able to
WORKSHOPS & SEMINARS sign up to be interviewed and considered for the elective
A variety of career and industry related workshops are program. Internships are for college credit and enrolled
hosted by ACS year-round to maximize student experience students only. Students in good academic standing can
and knowledge in the current entertainment industry. Event sign up for an interview during weeks 4 through 6 after the
topics can vary quarter to quarter due to the availability of completion of at least one quarter of their respective program
working professionals in the industry. Students and alumni at MI.
are highly encouraged to participate to enhance their
professional development and network with their peers. *MI provides no guarantee regarding the future availability
of internships at specific companies or in specific positions
Placement is subject to availability and student qualifications
RÉSUMÉ, COVER LETTER, EPK AND MOCK INTERVIEW
SERVICES STUDENT WORKERS
ACS staff is available to assist in the review and Interested in working on campus? Fill out an application to
development of students and alumni: résumés/cover letters, get the process started in Weeks 1-4 of each quarter.
EPKs, interview skills, and any promotional material. Stop by
ACS to make an appointment or schedule an appointment *Employment is not guaranteed
via the available links in MI connects.

ACS business hours are Monday through Friday (excluding DISCOUNTED ENTERTAINMENT TICKETS AND
holidays), 9am-5:00pm. AFFILIATE PROGRAMS

GENERAL
Discounted tickets to Universal Studios Hollywood, Six Flags
AUDITION WORKSHOPS/MOCK AUDITIONS Magic Mountain & Six Flags Hurricane Harbor, AMC Movie
Audition workshops & mock auditions are designed to Theatres, The Taxi Rally, ASCAP “I Create Music Expo,”
introduce and develop the fundamental skills needed to have NAMM, Grammy U, etc., more information is available in the
a successful audition in a professional setting. Students ACS office.
begin their journey with audition workshops where they
learn the basics and etiquette of auditioning. Once they Special discounts from MI partners at: Guitar Center, Sam
have mastered the audition workshop, they advance to mock Ash, Sweetwater and several other participating vendors.
auditions where they perform and are critiqued by MI’s A&R
professionals. *Subject to availability and while supplies last

HEADSHOTS ALUMNI ENGAGEMENT

Having professional promotional material alongside talent ACS services continue to be available once a student
is crucial in today’s entertainment industry. ACS offers graduates from their respective MI program. Alumni can
graduating students the opportunity to schedule a photo stay connected to MI and the music industry through:
shoot slot with MI’s professional photography team. clinics, events, mentors, advising booking and specialized
Students will receive raw (untouched) images after their networking opportunities.
scheduled appointment. Turn-around time averages one
week for the edited photos. In addition, students have the JOB PLACEMENT SERVICES
opportunity to use the services of a professional makeup Although Musicians Institute does offer opportunities for
artist prior to going in front of the camera. These photo students and alumni to interface with those entertainment
shoots happen weeks 10 and 11 (days vary depending on industry entities who are seeking to hire through its Artist
student reservations). & Career Services department, the college does not offer
formal job placement services.
CAREER/INDUSTRY MENTORING ([Link])
Students and alumni have the opportunity to meet one-on-
one with ACS staff for feedback and anything dealing with
career guidance. In addition, they can meet successful
industry-working mentors to receive personalized career
advice on their progress and current projects outside of the
ACS support staff. ACS strives to keep a diverse mentor list
based on the mentor’s: specialized field, musical genre and
availability.

411
 DEIMI
GENERAL

DIVERSITY, EQUITY AND INCLUSION AT MUSICIANS INSTITUTE

(DEIMI)

MISSION STATEMENT
The Committee on Diversity, Equity, and Inclusion at Musicians Institute (DEIMI) is committed to supporting
diversity by creating safe environments that allow all people to be heard, communicating on behalf of our
community on issues that affect our campus, the music industry at large, and the world, educating our
community on how to be more inclusive, and advocating for changes at Musicians Institute to make our
educational experience more equitable for all.

VISION STATEMENTS
Create an environment that values listening and communication by creating regular opportunities for faculty,
administration, students, and alumni to voice any issues related to diversity, equity, and inclusion.

Represent the community as a whole in matters of diversity, equity, and inclusion as students, faculty, and
administrators to ensure equity and inclusion at all levels of the organization.

Lead and develop educational efforts that will foster a culture of inclusivity in our day-to-day life both on and off
campus.

Communicate the priorities of the committee and address any issues related to our campus and the world.

412 THIS CATALOG APPLIES TO ACADEMIC YEAR 2021/2022: OCTOBER 2021 – SEPTEMBER 2022.
ADDITIONS AND CHANGES TO THE CATALOG OCCUR FREQUENTLY. PLEASE VISIT [Link]/CATALOG FOR UPDATES AND ANNOUNCEMENTS
 STUDENT SERVICES

GENERAL
STUDENT SERVICES ADDITIONAL SERVICES
Our approach provides you with a built-in support system
that will help you throughout your academic studies, LOCKERS
professional development, and into your career. Furthermore, Lockers are available on Campus, and students can sign up
MI’s advisors provide each student with the tools needed to in the Artist & Career Services office. All lockers must be
enhance their campus experience and promote success both shared between two students, come with the person you’ll
be sharing a lock with and the lock that you will be using.
in and out of the classroom.

HOUSING
STUDENT AFFAIRS OFF-CAMPUS HOUSING
The Student Affairs Office is here to provide support and
MI is dedicated to assisting students who are seeking housing
guidance during your transition to MI and throughout the
that is safe, comfortable, convenient and affordable. MI’s
length of your program. Our mission is to ensure that you
housing coordinator maintains regularly updated listings of
have access to the resources you need to be a successful
apartments within walking distance to the main campus as well
student. Our dedicated staff is committed to assisting you
as additional listings of apartments within the two-mile radius
with any issues which may arise as you familiarize yourself
of the MI shuttle service. Outside of the two-mile radius, the
with your new environment. The Student Affairs Office offers
number of apartment listings expands into the hundreds. The
a wide range of services, including:
Housing office offers a wide range of services, including:
• Personal counseling
• Apartment Vacancy Listing Services
• Health and wellness offerings
• Roommate Referral Service and Housing Meetings
• Tutoring requests
• Student Housing Guide
• Academic Appeals and Changes
Monthly rents range from $400 to $2,100 depending on size,
INTERNATIONAL STUDENT ADVISING location, amenities, and whether or not you are sharing the
Our International Student Affairs office can counsel students in cost of expenses. For more questions on housing options,
regards to Student Visas, I-20’s, F-1 extensions, transfers, OPT please contact our housing coordinator at housing@[Link] or
work permits, and other student visa related topics. Culture 323.860.1108.
shock and adjustment counseling is also available for those
students having difficulties adjusting to a new environment. Currently, MI does not have any dormitories under its control.

413
 POLICIES
ACADEMIC POLICIES AND ATTENDANCE POLICY
DEFINITIONS Attendance in most courses is required and is reflected as
a portion of your overall grade. With specific exceptions,
ACADEMIC CALENDAR attendance is recorded in this manner:
All degree and certificate programs operate on a year-round
quarterly academic calendar, with each quarter consisting Present (P): In class 0 – 4:59 minutes late
of 10 weeks of classes and one week of testing, followed by Tardy (T): arriving 5 – 14:59 minutes late
two weeks of break. Absent (A): arriving more than 15 minutes late, or not in
attendance
ACADEMIC HONESTY/INTEGRITY Three (3) Tardy (T) records = One (1) Absent (A)
All students have an obligation to behave honorably and Missing more than 50% of a class is considered
respect the highest ethical standards in carrying out their Absent (A) regardless of above attendance status.
academic assignments. Academic dishonesty is defined as
any form of cheating, falsification, and/or plagiarism. In cases NOTE: Some classes have different attendance processes.
where academic dishonesty or falsification of academic Please refer to course syllabi and/or your instructor for
information is proven to have occurred, students may receive specific rules for each class.
a failing grade and are subject to additional disciplinary
actions up to and including termination from the program.
EXCUSED ABSENCES
Students are expected to attend every class for which
ACADEMIC PROBATION they are registered. In rare cases, an absence may be
Satisfactory Academic Progress is reviewed quarterly and excused. All requests for planned excused absences must
students showing a cumulative GPA of less than 2.0 are be submitted to the Office of Registrar Services for review.
placed on Probationary Warning status. A cumulative GPA Examples of reasons for excused absences, which must be
of less than 2.0 for two consecutive quarters results in the documented and are subject to review, include:
student being placed on Official Academic Probation status. Jury or military duty
A continued cumulative GPA of less than 2.0 for three Emergency circumstances (medical, family, other)
GENERAL

consecutive quarters results in loss of Financial Aid funding

and termination from the program. Unplanned excused absence requests must be submitted
to the Registrar Office with accompanying documentation
within seven school days after the student’s return to class.
APPEALS/REQUEST FOR ACADEMIC REVIEW Requests submitted after this period and/or after Friday of
A student has the right to appeal any change in status Week 10 will be denied. The maximum number of excused
or grades that may affect his or her grade point average absences per quarter is five days. The maximum number of
or ability to graduate. All such requests must be made in excused absences per quarter for a specific day of the week
writing (forms/instructions are available in the Registrar’s is three. The maximum number of excused absences per
Office) and submitted to Student Affairs. Students will be quarter for a specific class is three.
contacted about the committee decision within one week of
submission. Submission of such a review does not exempt
students from any school regulations, processes, or common AUDITING
procedure. Attendance by students in courses in which they are not
registered is not permitted, unless there is prior approval
from the respective Director.
ATTENDANCE REQUIREMENTS
MI HOLLYWOOD MI ONLINE
Regular attendance is required and recorded in all Regular attendance is recorded but not required in all
classes and lessons, and is factored into final course classes and lessons, however, regular engagement in
grades. Students who show poor classroom or private classes and lessons is required. Regular engagement in
lesson attendance will be contacted and counseled by online courses is measured by attendance in live lectures
their respective program director. Continued absence delivered via Zoom teleconferencing software and the
from a class may result in a failing grade for that class completion of coursework that may include discussion
(see the course syllabus for specific information on questions, projects, homework assignments, and exams.
attendance). Absence from school for three consecutive Students who show poor engagement in their online class
weeks will result in termination from the program. will be contacted and counseled by their respective
program director. A lack of engagement in all online
Both scan-in records and classroom attendance will be courses for three consecutive weeks will result in the
used to determine school and facility use/attendance, student’s termination from the program. The only
and will be factored into any change of status and exception to the rule of engagement for the MI Online
withdrawals. programs concerns private lessons. Students are required
to attend their private lessons.

414 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
ATTENDANCE POLICY To complete the Bachelor of Music Degree within three
Not applicable to MI Online. calendar years or an Associate Degree within 18 months,
students must successfully complete an average of 15
credit-units per quarter of continuous enrollment (including
EXCUSED ABSENCES General Education credits).
Not applicable to MI Online.

AUDITING MAJOR AREA/REQUIRED COURSES

Attendance by students in courses in which they are not Major Area courses are required for all students attending
registered is not permitted, unless there is prior approval a given program. All Major Area courses must be passed in
from the respective Director. order to meet overall degree or certificate requirements.

CANCELLATION OF ENROLLMENT COURSE REPETITION

A student receiving an overall course grade below C- (70) in
DEGREE AND CERTIFICATE PROGRAMS a required course will be required to re-enroll in and pass the
course in order to complete their degree requirement. Such
BUYERS RIGHT TO CANCEL: The student has the right to re-enrollment may require student to attain approval, adhere
cancel the Student Enrollment Agreement and receive a full to guidelines set forth in an academic plan, and/or enroll in
tuition refund, less any non-refundable fees by submitting a a remedial course in advance of re-enrolling in the course.
written notice of cancellation to Musicians Institute’s Student Full tuition will be charged and normal grading standards
Records Office prior to the first day of instruction. The will apply. Students may not enroll in the same required
written notice of cancellation becomes effective as of the course more than three times. Financial Aid may not apply
date of the postmark. toward courses repeated more than twice. A student who
has passed a course and earned credit may not re-take the
Written notice of cancellation should be sent to: same course for additional credit unless the catalog course
Musicians Institute, Registrar’s Office description states “may be repeated for credit.”
6752 Hollywood Boulevard

GENERAL
Hollywood, CA 90028
CREDIT-HOUR/CREDIT-UNIT
If a student attends the first day of a course of instruction, A credit-hour/credit-unit measures the quarterly academic
and withdraws by submitting a written notice of cancellation weight given to a particular course (e.g. Inside Studio
to Musicians Institute’s Registrar before the end of the Drumming = 1 credit-unit). A quarter credit-hour represents
business day on the first day of instruction, or withdraws either of the following:
seven calendar days after enrollment (whichever is later); he • One hour of classroom or direct faculty instruction
or she will receive a complete tuition refund within 30 days of and a minimum of two hours of out-of-class student
cancellation, less the application fee. work each week for 10 weeks, or the equivalent
amount of work over a different time;
• At least an equivalent amount of work as required
NON-CERTIFICATE PROGRAMS / MI SELECT above for other academic activities as established by
An applicant may cancel his or her enrollment in writing any Musicians Institute.
time before the end of business on first day of instruction, or
the seventh day after enrollment (whichever is later). Written
notice of cancellation should be sent to the Registrar’s ELECTIVES
Office (see address above). Electives are courses other than core requirements
chosen by the student from an approved course offering.
All money paid to Musicians Institute will be refunded within In programs with elective requirements, students must
30 days of cancellation, less the application fee. Remember, successfully complete the total number of required elective
an applicant must cancel in writing, not by telephoning or by credits in order to qualify for the degree or certificate.
not coming to class.
ENROLLMENT STATUS
CLASS STANDING Completion of an optimal 15 credits per quarter is required
Class standing is determined by the number of credits to complete all programs within the shortest possible time
completed toward graduation. Class standing is calculated frame.
as follows: • Full-time 12 or more units
• Freshman 0-45 credits • Three-quarter-time 9 - 11.5
• Sophomore 46-90 credits • Half-time 6 - 8.5
• Junior 91-135 credits • Less-than-half-time 5.5 or less
• Senior 136-180 credits

415
 POLICIES
CHANGES IN ENROLLMENT STATUS GRADUATION REQUIREMENTS
Musicians Institute programs are designed to provide BACHELOR OF MUSIC DEGREE
students the best possible educational experience in as GENERAL EDUCATION REQUIREMENTS
expedited a time frame as is appropriate. As such, it is Musicians Institute offers general education (GE) courses
generally not advisable for students to enroll in courses in selectively throughout the year. At the same time, students
excess of the optimal course load of 15 units per quarter. may also transfer up to the maximum number of required
Regardless of the foregoing, in certain cases, it may be general education units from other colleges and the credits
necessary for students to enroll in course loads in excess will be reviewed by the MI Registrar department and the
of this optimal course load. In these rare cases, students Chief Academic Officer. Acceptance of coursework will
may be required to meet with and request approval from be based on standards set by the National Association
academic advisors prior to adding extra courses in order to of Schools of Music and Musicians Institute. A total of 45
best ensure student success. GE quarter-units or 30 semester-units are required for
graduation.
Note: Such requests may be denied in cases in which
student success, based on course load or courses requested,
is deemed unlikely.
BACHELOR OF MUSIC IN
PERFORMANCE
Students should be aware that diminished course loads may (CONTEMPORARY STYLES)
result in diminished access to MI campus and facilities. Bass, Drums, Guitar, Keyboard, Saxophone, Trombone,
• Bachelor Degree students are expected to maintain Trumpet, Vocal
full-time status, insofar as is possible, until they have (DISTANCE LEARNING)
completed 90 credit-units, including transfer credits Bass, Drums, Guitar, Keyboard, Vocal
and General Education credits. Bachelor students in • Complete 180 required credit-units, including 135
good academic standing after completing 90 credit- Major Area, Supportive Music, and Elective credits,
units may be considered for three-quarter or half-time
and 45 General Education credits
status.
• Maintain minimum 2.0 GPA.
• Less-than-half-time status is only available to students
• Complete all requirements for graduation in a period
requiring less-than six units to complete a program.
GENERAL

no longer than 150% of the published length of the

educational program, as defined by percentage of
STUDENT ACCESS TO FACILITIES credit units attempted vs. completed
• Students with full- and three-quarter-time status have • Pay all tuition and fees.
full access to MI facilities.
• Students with half-time and less-than-half-time status BACHELOR OF MUSIC IN
have access to facilities only during those hours when PERFORMANCE (CONTEMPORARY
their scheduled classes are in session.
STYLES WITH A MINOR IN AUDIO
• Students must be at least three-quarter-time to get
access to MI Vocal and Drum Labs. PRODUCTION OR MINOR IN MUSIC
• Vocal and Drum Labs are not available to students INDUSTRY STUDIES)
from other programs. Bass, Drum, Guitar, Keyboard, Vocal
• Audio Engineering and IAP studios are not available to • Complete 205 required credit-units, including 135
students from other programs. Major Area, Supportive Music, and Elective credits,
• DJ Practice rooms are available to IAP students and 25 Minor Area disciplines, and 45 General Education
any student enrolled in a DJ lesson or class credits.
• Maintain minimum 2.0 GPA.
• Complete all requirements for graduation in a period
RESIDENCY/TRANSFER OF CREDIT REQUIREMENT no longer than 150% of the published length of the
Musicians Institute will make appropriate efforts to educational program, as defined by percentage of
acknowledge work completed at other institutions of higher credit units attempted vs. completed
learning. Credits from other institutions, should they be • Pay all tuition and fees.
accepted, may be applied only in pursuit of a Bachelor’s
Degree at Musicians Institute. Credits may be transferred for
courses applicable to the MI Bachelor’s Degree for which a
BACHELOR OF MUSIC IN
student has earned a grade of C or above at an institutionally COMPOSITION (SCORING FOR VISUAL
accredited institution. Credits transferred in will count as MEDIA)
credits completed and credits attempted. In order to receive • Complete 180 required credit-units, including 135
a Bachelor’s Degree from Musicians Institute, a student must Major Area, Supportive Music, and Elective credits,
complete the majority (at least 51%) of all credits applied and 45 General Education credits.
toward the Bachelor Degree. • Maintain minimum 2.0 GPA.
• Complete all requirements for graduation in a period
no longer than 150% of the published length of the
educational program, as defined by percentage of

416 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
credit units attempted vs. completed Recording Technology).
• Pay all tuition and fees. • Maintain minimum 2.0 GPA.
• Complete all requirements for graduation in a period
BACHELOR OF MUSIC IN no longer than 150% of the published length of the
educational program, as defined by percentage of
SONGWRITING AND PRODUCTION credit units attempted vs. completed
(ON-CAMPUS & DISTANCE LEARNING) • Pay all tuition and fees.
• Complete 180 required credit-units, including 135
Major Area, Supportive Music, and Elective credits,
and 45 General Education credits.
CERTIFICATE IN ENTERTAINMENT
• Maintain minimum 2.0 GPA. INDUSTRY PROGRAMS
• Complete all requirements for graduation in a period 30 CREDITS
no longer than 150% of the published length of the Audio Engineering; Electronic Music Production;
educational program, as defined by percentage of Independent Artist Development; Music Business;
credit units attempted vs. completed Songwriting
• Pay all tuition and fees. Distance Learning: Electronic Music Production;
Independent Artist Development; Music Business;
Songwriting; Studio Recording Technology
MASTER OF MUSIC IN • Complete 30 required credit-units (varies by program).
PERFORMANCE (CONTEMPORARY • Maintain a minimum 2.0 GPA.
STYLES) • Complete all requirements for graduation in a period
Bass, Guitar, Keyboard Technology, Drum, Vocal no longer than 150% of the published length of the
• General Education credits. educational program, as defined by percentage of
• Maintain minimum 2.7 GPA. credit units attempted vs. completed
• Pay all tuition and fees. • Payment of all tuition and fees.

ASSOCIATE DEGREES 60 CREDITS

Artist/Producer/Entrepreneur; Live Music Event Production;
Associate of Arts in Performance (Bass, Drum, Guitar,

GENERAL
Studio Recording
Keyboard Technology/Performance, Keyboard Technology/ Distance Learning: Artist/Producer/Entrepreneur
Production, Vocal) • Complete 60 required credit-units (varies by program).
Associate of Science in Music Business • Maintain a minimum 2.0 GPA.
Associate of Sciene in Studio Recording, • Complete all requirements for graduation in a period
Associate of Arts in Performance (Distance Learning) (Bass, no longer than 150% of the published length of the
Drum, Guitar, Keyboard Technology, Vocal) educational program, as defined by percentage of
Associate of Science in Music Business (Distance Learning) credit units attempted vs. completed
Associate of Science in Studio Recording Technology • Payment of all tuition and fees.
(Distance Learning)
• Complete 90 required credit-units.
• Maintain minimum 2.0 GPA. CERTIFICATE IN PERFORMANCE
• Complete all requirements for graduation in a period Bass, Drum, Guitar, Keyboard Technology, Keyboard
no longer than 150% of the published length of the Technology/Production, Vocal
educational program, as defined by percentage of Distance Learning: Bass, Drum, Guitar, Keyboard
credit units attempted vs. completed Technology, Vocal
• Pay all tuition and fees. • Complete 60 required credit-units.
• Maintain a minimum 2.0 GPA.
• Complete all requirements for graduation in a period
ASSOCIATE OF ARTS DEGREE IN no longer than 150% of the published length of the
PERFORMANCE (COMBINED EMPHASIS) educational program, as defined by percentage of
• Complete 90 required credit-units, including: credit units attempted vs. completed
◦ 60 Performance emphasis credit-units (Bass, Drum, • Payment of all tuition and fees.
Guitar, Keyboard Technology, Vocal). COMMENCEMENT
◦ 30 Entertainment Industry emphasis credit-units College commencement ceremonies take place at the end of
(Audio Engineering; Electronic Music Production; each quarter. Students must petition to graduate through the
Independent Artist Development; Music Business; Office of the Registrar in order to ascertain whether they are
Songwriting). eligible for graduation/commencement.
• Complete 90 required distance learning credit-units,
including: Participation in commencement ceremonies is encouraged
◦ 60 Performance emphasis credit-units (Bass, Drum, but not required. Students wishing to take part in
Guitar, Keyboard Technology, Vocal). commencement ceremonies must have completed all of the
◦ 30 Entertainment Industry emphasis credit-units requirements of their degree or certificate in advance of the
(Electronic Music Production; Independent Artist date of graduation. Students taking part in commencement
Development; Music Business; Songwriting, Studio

417
 POLICIES
ceremonies must pay a fee covering cap and gown ends on the Friday of Week 2.
rental, ticket prices and administrative costs. Graduating
participants are required to wear a cap and gown of a style/ • Tuition and Refunds
color designated by Musicians Institute. Musicians Institute’s ◦ Credits added to the schedule will be charged at
Player Supplies will facilitate the rental of a cap and gown for the applicable tuition rate.
graduating students. Graduating students will be awarded a ◦ Payment is due immediately upon adding credits.
limited amount of tickets at no charge. Students may request ◦ Full tuition will be refunded for credits dropped
and purchase extra tickets (if available) through the Office of during the drop-add period. 50% of tuition will be
Student Affairs. refunded for classes dropped during Week 3.
◦ No tuition will be refunded for classes dropped
CHANGING PROGRAMS from the fourth week on.
TRANSFER FROM MI ONLINE TO MI HOLLYWOOD • Withdrawals and cancellations
PROGRAMS ◦ Withdrawals after the second week but before
Students pursuing a degree program through MI Online can the seventh week will appear on the student’s
transfer their enrollment to the same program on campus at transcript as a “W.”
Musicians Institute in Hollywood CA. Student can transfer ◦ Withdrawals after the seventh week will be
as many allowable credits earned through MI Online into the assigned a grade based on course requirements
same program in residency after completing one academic met up to that point.
year (3 quarters) online. Students must have earned a 70% ◦ Under-enrolled courses are subject to cancellation
or better for the course to be eligible for transfer. No refunds at any time before Week 2 with full tuition refund to
will be issued for tuition or fees paid. enrolled students

Further Information on withdrawing completely from a

TRANSFER FROM MI HOLLYWOOD TO MI ONLINE program can be found under Withdrawal from a Program in
PROGRAMS this catalog.
Students pursuing a degree program at Musicians Institute
in Hollywood CA can transfer their enrollment to the same • Notification of schedule changes
program through MI Online. Student can transfer as many ◦ Financial Aid recipients must notify the Financial
allowable credits earned in residence at MI into the same Aid Office of any schedule changes.
GENERAL

program in Online after completing one academic year (3 ◦ International students must notify the International
quarters) in residence. Students must have earned a 70% or Student Advisor of any schedule changes.
better for the course to be eligible for transfer. No refunds
will be issued for tuition or fees paid. HOLIDAYS, CALENDAR AND SCHOOL CLOSURES
Musicians Institute does not reschedule, make up, or
Students who wish to change their course of study from one otherwise replace classes, lessons or other events that fall
program to another before completing their current program on holidays, during school closures or on other occasions on
must: which the school is not open. Please refer to the most recent
Academic Calendar for information on such closures.
1. Apply to the new program through Admissions.
2. Audition for the new program (where applicable).
3. If accepted, register for the new program and pay all LEAVES OF ABSENCE (LOA)
applicable tuition and fees. Students must meet LOA eligibility requirements to take a
leave of absence. Students who find they must take a Leave
Note: No student may enter a third program without having
graduated from or satisfactorily completed one of the first two. If of Absence (LOA) must submit a written request to the Office
either of the two incomplete programs is the MI Select, then the of Student Affairs. The request must be mailed or personally
student must have passed two-thirds of the credits taken while delivered to the Office of the Office of Student Affairs, 6752
in MI Select Programs with a Cumulative GPA of 2.0 or better Hollywood Boulevard, Hollywood, CA, 90028. The request
in order to begin a third program. Transfer of credits from one should contain the student’s expected date of return.
program to another will be determined on a case-by-case basis
during registration. Leave of Absence (LOA) Policy*:
• The maximum length of an LOA is 90 calendar days, or one
DROPPING OR ADDING COURSES academic quarter term.
Students are allowed to drop or add any class without fees • Students are only allowed to take one LOA within 12
or penalties by submitting a Drop / Add form to the Registrar months and one LOA per program.
by Friday of Week 2. Students wishing to drop classes below • No LOA extension and/or exemption can be made within
12 credit-units per quarter must seek counseling/approval a 12-month period regardless of reason, including those
through the Office of Student Affairs. that are medically related (scholarship exemptions can be
made).
• Drop/Add Period - A drop/add period is the period • To qualify for a LOA, students must have a cumulative GPA
of time at the beginning of each quarter during which of 2.0 or above at the end of the current term, they must
registered students may drop or add classes without
have a zero balance (Student Account/Billing) by the last
late registration penalties. The drop/add period for
each course begins on the first day of the quarter and day of the current quarter, and they must have a cumulative

418 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
average of 66.67% course completion rate. • Bachelor of Music: 270 units
• Students must return to MI the following quarter (i.e., if • Associate of Arts: 135 units
taking Summer off, must return in the Fall) • Associate of Science 135 units
• If approved for a LOA, MI will keep international students’ • Certificate in Performance: 90 units
I-20s active. • 30-unit 2qtr Certificate Programs: 45 units
• Students must return to their current program. Students • 45-unit 3qtr Certificate Programs: 67.5 units
cannot change their program upon completing an LOA.
• An LOA must be requested during Weeks 9-13. Students MINIMUM UNIT COMPLETION
will not be permitted an LOA for any quarter in which they REQUIREMENTS
have attended class.​​ To maintain Satisfactory Academic Progress, all students
• International students must have completed three must complete (i.e. pass with a grade of C- or above, B- for
consecutive quarters of the same program to take a leave Master program students) a minimum number of units within
of absence. a certain period of time depending on their program and
• Students cannot take leave in their last quarter. enrollment status. Minimum unit completion requirements for
• Students must have completed all the final exams and final each program and status are listed below.
projects for the current term.
• Students will not be permitted campus access during their
LOA term, even if invited as guests or currently enrolled BACHELOR OF MUSIC AND
students. ASSOCIATE DEGREES
The minimum unit completion requirement per academic year
• *Students must meet all the above eligibility requirements (three quarters) for each enrollment status is as follows:
in order to be approved for a LOA. • Full-time (12 or more units per quarter)*:
30 units
• Three-quarter time (9-11 units per quarter): 23 units
• Withdrawal Policy:
• Half-time (6-8 units per quarter): 15 units
• Students have up to two academic years from their last
• Less-than-half-time (less-than 6 units per quarter):
date of attendance to return to MI and finish their program 3 units
without reapplying. They must return within two academic
years. Students can continue in their program and do not

GENERAL
Note: Mixed enrollment - See the Financial Aid office for
have to start from the beginning. your minimum unit requirement.
• Returning students will start on a new track of their
program. If the program requirements have changed since CERTIFICATE IN PERFORMANCE
the student’s withdrawal or termination, the student will be The minimum unit completion requirement per academic year
subject to those change(s). (three quarters) for each enrollment status is as follows:
• Students must complete an exit counseling session • Full-time (12 or more units per quarter)*:
with the Financial Aid Office if the student has received 20 units
Financial Aid/VA funds (Domestic Students) • Three-quarter time (9-11 units per quarter): 15
• Students receiving a scholarship(s) will have their units
scholarship rescinded, but they may reapply for their • Half-time (6-8 units per quarter): 10 units
scholarship(s) upon their return to MI (please check • Less-than-half-time (less-than 6 units per quarter):
2 units
eligibility section).
• If applicable, the international student’s OPT work permit
Note: Mixed enrollment - See the Financial Aid office for
can be affected. your minimum unit requirement.
• For international students, MI will terminate the student’s
I-20 and the student must leave the country in 15 days *Students wishing to enroll in fewer than 12 units per quarter
upon withdrawal from MI. must request approval through the Office of Student Affairs.
• Students will be charged a prorated tuition for
withdrawals/terminations during weeks one through six. *Associate and Certificate students who need fewer than 15
After week six, the student will be charged 100% of the units to complete their program may register for said units
tuition. through the Office of the Registrar.
• Students will receive a zero refund and zero letter grades if
withdrawn after week six. Students should be aware that diminished course loads may
result in diminished access to MI campus and facilities.
MAXIMUM ALLOWABLE UNITS
Students who fail to complete a program before reaching 30-UNIT (TWO-QUARTER)
the maximum allowable number of units attempted will CERTIFICATE PROGRAMS
be terminated from the program. Units counted as units The minimum unit completion requirement every quarter for
attempted per evaluation period include units transferred each enrollment status is as follows:
into the program, units completed, courses receiving letter • Full-time (12 or more units per quarter)*: 10 units
grades of D or F, and courses designated on the transcript
• Three-quarter time (9-11 units per quarter): 7 units
as “I,” “W,” “NC,” and “NR.” The maximum allowable number
• Half-time (6-8 units per quarter): 4 units
of units that may be attempted for each program is:

419
 POLICIES
• Less than half time (less-than 6 units per quarters): 1 6752 Hollywood Boulevard
unit Hollywood, CA 90028

Note: Mixed enrollment - See the Financial Aid office for The request must include the student’s full name (maiden
your minimum unit requirement. name if applicable), Social Security Number, program, date
of attendance, and a transcript fee of $45.00 USD per
*Students wishing to enroll in fewer than 12 units per quarter transcript payable to Musicians Institute (check or money
must request approval through the Office of Student Affairs. order only). See Students’ Right to Know for information
regarding privacy of student records.
*Associate and Certificate students who need fewer than 15
units to complete their program may register for said units Email: registrar@[Link]
through the Office of the Registrar.

Students should be aware that diminished course loads may GRADING

result in diminished access to MI campus and facilities.
GRADE POINT
A number used to measure academic achievement in a
credit unit course (4.0 = A+, 0.0 = F). Grades are calculated
REGISTRATION based on a combination of factors that may include
All students are required to register for classes prior to
attendance, participation, assignments and tests (see each
every quarter of enrollment. All registration procedures are
course syllabus for specific grading standards). All and
coordinated through the Registrar’s Office. The following
Elective requirements must be met with a grade of C-, or
rules apply to all students, whether new or returning:
better (1.7). Tuition will be charged for all repeated courses.
• All tuition and fees are due and payable at registration
To successfully complete the course work and earn the
(see Tuition and Fees for more information about costs
degree, a Master’s Program student is required to attain a
and payment options).
grade higher than B-.
• Students will not be permitted to enter MI facilities
until required tuition and fees have been paid.
GRADE POINT AVERAGE (GPA)
GENERAL

An average of all grade points awarded for all courses

NEW STUDENTS attempted, calculated by dividing the number of grade points
Permission to register for classes is granted to new students
by the number of units attempted. Students enrolled in all
only if they have been fully and completely processed through
programs are required to have earned a cumulative GPA of
the Admissions Office and have completed placement
at least 2.0 at the end of the third quarter for Bachelor of
testing where applicable (see Academic Calendar for dates).
Music and Associate of Arts Degree students; at the end of
Instructions and materials for registration will be made
available at the times designated for new student registration. the second quarter for Certificate in Performance students;
and at the end of the first quarter for all 30-unit, two-quarter
certificate program students. Students failing to achieve
CONTINUING STUDENTS minimum GPA requirements will be placed on probation and
All continuing students are required to register for classes must correct the problem within a specified time period to
for their next quarter during the designated re-registration avoid possible termination.
period. Continuing students who register after the end of the
re-registration period will be assessed a late registration fee GRADING STANDARDS AND REPORTING
(see Tuition & Fees). Failure to officially confirm attendance The Grade Point Average (GPA) will be used to measure a
for the next quarter will result in courses and lessons (where student’s Satisfactory Academic Progress. This is calculated
applicable) being dropped from those students’ schedules. by dividing the number of grade points by the number of units
attempted. A passing grade of C- (70) or better is required
to earn credit in all core and elective course work except
STUDENT RECORDS Master’s. Master of Music program students are required to
Student records are updated and maintained in digital achieve “B-” or better grade to earn credit for MM courses.
format throughout a student’s tenure at Musicians Institute.
Musicians Institute retains student transcript information
including degree, certificate, diploma, courses, units, grades, THE DEAN’S LIST
and dates of enrollment/graduation indefinitely. Other Each quarter, Musicians Institute publishes the Dean’s List to
student record items such as address, phone numbers, email honor students excelling academically. Students must earn
information are retained for a period of five years at minimum. a GPA of 3.75 or above for the quarter to be named to the
Thereafter, they may be stored digitally or at an off-site Dean’s list.
location.

Students may request copies of their academic transcript by

submitting a request to:
Musicians Institute, Registrar’s Office

420 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
enroll in a class requiring that course as a prerequisite.
GRADING POLICIES
The following grading standards will be applied to all credit
unit requirements: NO CREDIT (NC)
See Pass/No Credit.

NO RECORD (NR)
The letters “NR” on the transcript indicate that there is no
record of an overall course grade on file in the Registrar’s
Office. This indication is for administrative purposes only and
is changed to the appropriate letter grade once the issue has
been resolved.

PASS (P), NO CREDIT (NC)

Some course credits may be earned by meeting requirements
other than those stipulated in course descriptions/on syllabi
(such as Challenging out “Pass/Fail” courses). The status
of these courses is designated on your transcript as either
“P” (Pass: course requirements met and credit earned) or
“NC” (No Credit: course requirements not met and credit not
earned). These designations do not affect a student’s GPA,
but any required course receiving “No Credit” must be passed
in order to complete the requirements necessary to achieve a
degree or certificate.

GENERAL
SATISFACTORY ACADEMIC PROGRESS (SAP)
All students are required to meet minimum standards for
Satisfactory Academic Progress as reviewed in the following
areas (refer to the respective headings in this section of the
catalog):
• Grade point average (GPA).
• Minimum unit completion requirements.
• Maximum allowable units.

Satisfactory Academic Progress is reviewed at the completion

of each quarter. After course grades have been posted,
students with a cumulative GPA (Grade Point Average) of less
than 2.0 or students that have completed less than 66.66%
of cumulative attempted units will be placed on SAP Warning.
Students placed on SAP warning will be notified via Musicians
Institute student email of their SAP Probation status.

Students that fail to meet SAP for two consecutive quarters will
INCOMPLETE (I) be notified via Musicians Institute student email of their SAP
A grade of Incomplete will be approved only if the student Probation status. Financial Aid will be suspended until the SAP
is making satisfactory progress in the course but cannot probationary status is appealed. Students appealing to have
complete the final project or examination due to justifiable, their financial aid reinstated after receiving their SAP probation
and documented reasons including but not limited to: a notice must complete an SAP Appeal form and submit it to the
personal emergency; an illness; or a documented family Registrar’s Office. Every SAP appeal form must address the
emergency. All incomplete course work must be made up following issues concerning the student’s academic progress:
before the end of the first week of the following quarter (1) why the student failed to meet satisfactory academic
unless an extension is granted due to verifiable injury or progress, and (2) what has changed in the student’s situation
illness. When course work is completed to the satisfaction that will allow the student to demonstrate satisfactory academic
of all established requirements of the course, a grade will be progress at the next evaluation. Every SAP appeal form must
submitted by the course instructor to the registrar to replace also include (3) an academic plan (provided by the registrar’s
the “I” on the student’s transcript. Failure to complete the office), and (4) an anticipated graduation date (provided by the
course work within the maximum allotted time will result in a registrar’s office).
grade of “F” replacing the “Incomplete.” An Incomplete on a
The completed SAP appeal form must be submitted to the
prerequisite course must be resolved before the student can

421
 POLICIES
Registrar’s Office for review. Approved appeals will result in by completing an evaluation of their knowledge of course
a reinstatement of the student’s financial aid eligibility. Denied material (placement test) with a minimum score of 90%.
appeals will result in a loss of the student’s financial aid Advanced placement tests are allowed only before or during
eligibility. Students whose appeals have been accepted will be the normal add period at the beginning of the program for
notified of their SAP Appeal status. Students in SAP Appeal which the student has enrolled. In the case of sequential
status that fail to follow their academic plan will lose their classes, prerequisite courses may not be skipped over via
eligibility for student financial assistance and will be dismissed test-out once the original placement has been determined.
from attendance. Students are not allowed to test out of courses previously
taken and failed. If a student meets the requirements for
Students on non-SAP Warning or Probation status who wish to
testing out of a course, a designation of “P” (Pass) is entered
switch to a new program may be required to submit a request
on the transcript, “non-course equivalency” is entered within
for such to a panel for review. If approved, the student will
begin the new program in non-SAP Warning status and will be the student’s record, and course credit is granted towards
required to adhere to an academic plan. graduation requirements. Credits are counted toward units
completed but are not factored into the GPA.

WITHDRAWAL FROM A COURSE (W) NON-COURSE EQUIVALENCY

The letter “W” on the transcript indicates that a student was Musicians Institute will grant non-course equivalency for
permitted to withdraw from a course after the normal drop-add eligible core courses in which the student has demonstrated
period, but within the first six weeks of classes. Withdrawals proficiency of the subject matter through successful
are not factored into the GPA. Students wishing to withdraw completion of a placement test, or of the same or similar
from a course after the normal drop/add period must apply in course. Decisions concerning non-course equivalency are
writing to the Registrar. Withdrawal from a course after the made by the Office of Academic Affairs and reported to the
sixth week of classes is not permitted; students who stop Registrar’s Office.
attending a class after the sixth week will receive a grade of
F for that course, which will be factored into their GPA. The
Registrar notifies the Financial Aid Office of late withdrawals. STUDENT CONDUCT
STUDENT CONDUCT CODE
GENERAL

Musicians Institute is dedicated to providing a safe and orderly

TESTING environment in which students may pursue their educational
ADVANCED PLACEMENT goals. This requires that students, teachers, and staff foster
See Testing Out an atmosphere of respect toward each other and their
surroundings.

CHALLENGING COURSES In order to ensure that these processes and policies apply
See Testing Out fairly to all, the term ‘student’ in the student conduct policy shall
apply to current, former, and prospective students. In addition,
the discipline and conduct portions of the student conduct
RESCHEDULED TESTING policy may be applied to any and all visitors and guests at
Students requesting late testing for missed final exams due the Musicians Institute campus and at events sponsored by
to emergencies or other unforeseen/unavoidable events, or Musicians Institute.
for grades of “I” (Incomplete), must submit the proper form
to the Student Affairs Department in advance whenever Students are expected to abide by ordinary rules of
possible, and pay a fee of $50.00 per exam. Following responsible and courteous behavior. Musicians Institute holds
approval, the student will need to complete his or her all students, teachers and staff responsible for carrying out and
retesting within Week 1 of the following quarter. monitoring compliance with this commitment. If you become
aware of any violation of an ethical or legal obligation, or any
Students who wish to request a retest for an exam missed unfair or improper treatment of a fellow student or teacher or
due to a documentable emergency situation may do so staff member, you should report the matter immediately to the
through the process above and supply documentation to Director of Student Services so that it may be investigated and
Student Affairs for investigation. Approval of such request the appropriate action taken. By making it the responsibility
will result in the student receiving their actual grade for the of all members of the MI community, including students, to
course (as opposed to the maximum of C-, as above). take an active role in policing compliance with these ethical
standards, we can continue to not only maintain our creative
environment, but also our reputation in the community.
TESTING OUT The following conduct is prohibited and will not be tolerated by
Students wishing to test out of a course must first gain Musicians Institute. This list is illustrative only; other types of
approval from the appropriate member of the Office of conduct that threaten security, personal safety, staff or student
Academic Affairs. In order to test out of a course, a student welfare, or the school’s operations also may be prohibited.
must demonstrate a level of knowledge/proficiency equivalent
to the outcomes of the course, which can be accomplished
VIOLATIONS OF POLICY
422 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
Violation of any part of these policies may result in instructor(s) or any other individual whose visual
disciplinary action up to and including expulsion. representation is captured by the recording is
prohibited. Sharing of any audio/video recordings
1. Intimidation, Threats, Disorderly, Lewd or Violent Acts of any class, lesson, performance, or other event on
include but are not limited to: MI premises (including Internet posting, file sharing,
• Intimidating, threatening, or hostile behavior. network uploading) without the express prior consent
• Stalking, whether carried out physically, by of Musicians Institute Management is prohibited.
telephone, mail, electronic mail, via online social
networks, or any other means. 4. Breach of Peace Conduct that is disorderly, disruptive,
• Physical abuse of people or property. lewd, or indecent as defined by laws, MI management
• Lewd and/or lascivious behavior. or its designees is prohibited, as is aiding or abetting
• Disorderly acts. such behavior by another person anywhere on MI’s
• Arson. premises, at functions sponsored by or participated in
• Vandalism. by MI, or elsewhere.
• Sabotage.
• Carrying weapons of any kind. 5. Computer Violations Theft or other abuse of personal
• Any other act Musicians Institute deems or MI computers is prohibited, including but not
inappropriate. limited to:
• Modifying system or network facilities, or attempting
2. Alcohol and Illegal Substances to crash systems or networks.
Musicians Institute, in compliance with the Federal • Using personal software on college computers.
Drug-Free Schools and Communities Act Amendment • Using network resources which inhibit or interfere
of 1989, prohibits the use, possession, sale or with the use of the network by other students.
distribution of alcohol, narcotics, dangerous or illegal • Using, duplicating, or transmitting copyrighted
drugs, or other controlled substances as defined by material without first obtaining the owner’s
California statutes on school property. Students may permission, in any way that may reasonably be
obtain information pertaining to the health risks and expected to constitute an infringement, or that
effects associated with alcohol and narcotics or other exceeds the scope of a license, or violate other

GENERAL
dangerous or illegal drugs from the Student Affairs contracts.
Office. The Student Affairs Office will also assist • Tampering with software protections or restrictions
in referring students to recovery and/or treatment placed on computer applications or files.
programs. Specific school policies prohibit: • Using college information technology resources for
• Use, possession, sale, distribution, and/ personal for-profit purposes.
or production of alcoholic beverages, acting • Sending messages that are malicious or that a
as an accessory, liaison, or facilitator for any reasonable person would find to be harassing.
of the above except at a time, location and • Sending personal messages from the college
circumstance expressly permitted by MI and network that are threatening in nature.
government regulations. • Subverting restrictions associated with computer
• Public intoxication anywhere on MI’s premises accounts.
or at functions sponsored by or participated in • Using information technology resources to obtain
by MI. unauthorized access to records, data, and other
• Illegal substances: Use, possession, sale, forms of information owned, used, possessed by,
distribution, and/ or production of narcotics or or pertaining to the college or individuals.
other controlled substances, including related • Accessing another person’s computer account
paraphernalia, or acting as an accessory, liaison, without permission.
or facilitator for any of the above. • Intentionally introducing computer viruses, worms,
Trojan Horses, or other rogue programs into
Disciplinary action for a violation of this policy can range from information technology resources that belong to,
oral and written warnings up to and including suspension, are licensed to, or are leased by the college or
expulsion, and/or termination of employment, depending on others.
the circumstances. • Physically damaging information technology
resources.
Note: Responsibility is not diminished for acts in violation of • Using, or encouraging others to use, information
Musicians Institute rules and regulations or other laws that technology resources in any manner that would
are committed under the influence of alcohol or any illegal violate this or other college policies or any
drugs or controlled substances. applicable State or Federal law.
• Telephone Violations Tapping telephone or cable
3. Unauthorized Video Recording/Sharing Video recording lines, altering another’s phone message, harassing by
of any class, lesson, performance or other event telephone, unauthorized use of MI telephones, or theft
on MI premises without the explicit permission of of telephone service is prohibited.

423
 POLICIES
false identification is prohibited.
6. Harassment Disturbing, tormenting, bothering, annoying
of others including, but not limited to slurs, jokes, 13. Violation of Law
statements, emails, gestures, pictures or cartoons Any violation of Federal, State, or local laws on MI
based on such factors as race, color, religion, national property or at events sponsored by or participated in
origin, ancestry, age, physical disability, medical by MI or elsewhere is prohibited.
condition, marital status, sexual orientation, family care
leave status, or veteran status, as well as harassment 14. Loitering or Squatting
based on gender, pregnancy, childbirth or related Use of any MI facilities as a domicile to sleep and/
medical conditions is prohibited. or store personal property or for anything other than
educational purposes is prohibited.
Sexual Harassment includes all these prohibited
actions as well as other unwelcome conduct such 15. Violation of Copyright Infringement Policy or the
as stalking, requests for sexual favors, conversation Academic Use and Acknowledgment Statement
containing sexual comments, and unwelcome sexual Violation of the Musicians Institute Copyright
advances. Infringement Policy set forth in the Musicians
Institute school catalog or the Academic Use and
7. Health and Safety Violations Acknowledgment Statement.
Conducting oneself in a manner that endangers or
threatens the health and safety of oneself or others 17. Other Violations
within the MI community and is prohibited. Violation of any other published Musicians Institute
policies, rules, or regulations, including those
8. Unauthorized Entry/Use of Keys/Identification Badges implemented during the academic year
Unauthorized or improper possession or duplication
of keys to MI premises, and unauthorized or improper
entry to or use of MI facilities is prohibited. REPORTING PROHIBITED CONDUCT
Students, teachers and other Musicians Institute employees
9. Possession of Weapons, Explosives and Dangerous are obligated to report any incident of prohibited conduct to
GENERAL

Items Possession of any type of firearm, BB or pellet the Director of Student Services.
gun, facsimile of a gun, knives, explosives, ammunition,
dangerous chemicals, martial arts weapons, fireworks Any student who receives a threat of violence by a student,
or any other weapons/items banned by law or teacher and/or member of staff, and any student who
considered dangerous is prohibited on MI premises becomes aware of a threat, direct or implied, by any student,
or at events sponsored by or participated in by MI. teacher and/or staff member on Musicians Institute campus,
(Musicians Institute restrictions on such weapons or should report the matter to the Director of Student Services.
items supersede any and all permits obtained from
All threats of violence are considered serious matters
any issuing authority which allows private citizens to
and will be thoroughly investigated. To the greatest extent
possess, carry, or conceal guns or other weapons.)
possible, confidentiality will be maintained. Musicians
Institute may, at its discretion, file criminal charges against a
10. Property Damage, Vandalism, and Theft violating student or assist another person in filing charges.
• The following are all prohibited by MI:
• Destruction, damage, misuse and/or defacing of Musicians Institute prohibits retaliation, including but not
personal or public property. limited to making any threatening communication by verbal,
• Attempted or actual removal of property without written and/or electronic means, against any individual
prior permission. who reports and/or provides any information concerning
unlawful discrimination, harassment and/or other violations
Note: Musicians Institute is not responsible for reimbursing of MI policies, rules and standards of conduct. Any student
or requiring others to reimburse a student for destruction, or employee found engaging in retaliation will be subject to
damage, misuse, or theft of personal property. It is strongly disciplinary action up to and including suspension and/or
recommended that students obtain private insurance for their termination of employment.
personal possessions.
STUDENT DISCIPLINE PROCEDURES
11. Failure to Comply The procedures outlined in this section, based on
Failure to comply with lawful directions of MI officials, common rules of fairness and due process, represent the
including but not limited to security guards, teachers, steps employed to reach a resolution in cases of alleged
or administrative personnel acting in performance of misconduct. Questions concerning these procedures may
their duties, is not tolerated by MI. be addressed to the Office of Student Affairs.
12. Failure to Provide Identification A. Referral of Complaints
Failure to identify oneself with appropriate Complaints involving alleged misconduct by students
identification when requested to do so or providing

424 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
will be referred to the Office of Student Affairs. be placed on Hold and the student will be notified
Such complaints should be made within one month that this action has been taken. The placement of a
following discovery of the alleged misconduct, unless Hold may result in suspension of access to school
an exception is granted by the Office of Student functions or facilities, prevention of the student
Affairs. The Office of Student Affairs will refer the from registering and from obtaining transcripts,
report to a Musicians Institute Designee (School verifications, certificates, or degrees from Musicians
Designee) or may provide information about other Institute. The Hold will be removed only when the
campus or community resources which may be student either attends a scheduled meeting with
of assistance in resolving the matter outside the the School Designee, or requests in writing that the
Musicians Institute Student Conduct Code. case be referred to the Student Conduct Committee
for a hearing.
Complaints regarding sexual harassment or sexual 5. That no degree may be conferred on a student until
misconduct may be made to any of the individuals any pending disciplinary charges against a student
listed below. Handling of all such complaints will be are fully resolved.
monitored by the Title IX Coordinator for compliance
with standards and appropriate measures. In addition, the School Designee may direct the student
to act or refrain from acting in a manner specified by the
Title IX Coordinator - Jonathan Newkirk School Designee. These directions may include directing the
(titleix@[Link]) (323) 860-1158 student not to intentionally contact, telephone, or otherwise
Security Manager – Robert Caven disturb the peace of others specifically named for a specified
(cavenr@[Link]) (323) 860-1119 period of time. Violation of these directions is separate
Public Safety: (323) 860-1127 misconduct (Failure to Comply).

B. Letter of Admonition D. Meeting(s) with the School Designee Assigned to

A Musicians Institute Designee may provide notice to the Case - At the initial meeting with the student, the
a student that his or her alleged behavior may have School Designee assigned to the case will:
violated Musicians Institute policy or regulations and 1. Ensure that the student has been provided
that, if repeated, such behavior may be subject to the information on how to access the Musicians

GENERAL
disciplinary process. Institute Student Conduct Code.
2. Discuss confidentiality; inform the student that the
C. Investigation and Notice to Student content of this and all subsequent communication
Upon receiving the complaint of the alleged with the School Designee regarding information
violation(s), the Musicians Institute Designee (School not relevant to the case will, insofar as allowed
Designee), may consider information acquired from by law, be treated confidentially, unless such
a complainant and may augment that information confidentiality is waived by the student; and that
through further investigation in order to determine information relevant to the case may be divulged to
if there is a reasonable suspicion to believe that a those who have a legitimate educational interest,
violation may have occurred. If the School Designee including but not limited to the Student Conduct
determines that there is a reasonable suspicion Committee.
to believe that a violation may have occurred, the 3. Provide the student with an opportunity to inspect
School Designee will give notice to the student of the all documents relevant to the case which are in
following: the possession of the school at the time of the
1. The nature of the conduct in question, including a meeting, at the student’s request.
brief statement of the factual basis of the charges; 4. Describe to the student as completely as possible
the time, date, and place it is alleged to have the nature of the conduct in question, and the
occurred; and Musicians Institute rules and/or MI rules and/or regulation(s) allegedly violated,
regulations allegedly violated. hear the student’s defense to such charges, and
2. The nature of the student conduct procedures (to be counsel the student as appropriate.
accomplished by providing the student access to the 5. Provide the student with copies of the documents
Musicians Institute Student Conduct Code). relevant to the case, at the student’s request.
3. That the student has seven days from the date notice Should the case be referred to the Student
was given to contact the School Designee for the Conduct Committee, the School Designee will
purpose of scheduling an initial meeting. Meetings provide the student with copies of all documents at
are to be scheduled within 10 days of the student the time the case is referred. Relevant documents
contacting the School Designee. This schedule may received thereafter will be shared with the student.
be amended as a result of school breaks, closures, 6. Although meeting with the School Designee
and holidays. provides the student with an opportunity to resolve
4. That if the student does not contact the School the case without a hearing before the Student
Designee within the seven-day period, or fails to Conduct Committee, the student may opt to
keep any scheduled appointment, the student will forgo a meeting with the School Designee by

425
 POLICIES
requesting, in writing, that the case be forwarded student to disciplinary action by the school.
to the Student Conduct Committee for a hearing 6. An Agreement of Resolution includes but is not limited to
as defined below. such terms as:
• Agreement by the student to refrain from specific
E. Disposition by the School Designee - After conducting behaviors, and/or to refrain from contacting others
any further necessary investigation, the School involved in the case;
Designee assigned to the case may take one of several • Agreement by the student to participate in specified
actions listed below. Regardless of the action taken, educational programs, counseling, and/or reconciliation
the School Designee will confirm his or her disposition processes such as mediation.
of the case in a notice to the student within seven days The Agreement of Resolution will be retained in the case
of the action. Additionally, the results of any disciplinary file in the Office of Registrar Records for seven years from
action or Agreement of Resolution by Musicians the date of the Agreement. During that time, should the
Institute regarding an allegation of sexual harassment, school have a reasonable basis to believe that the student
sexual assault, sexual misconduct, or other sex offenses has engaged in misconduct related in nature to the conduct
will be disclosed to the alleged victim by the School which occasioned the Agreement, both cases may be the
Designee. The scope of information to be provided subject of Musicians Institute disciplinary action.
under this provision will be:
• The school’s final determination with respect to F. Sanctions
the alleged sexual harassment, sexual assault, When a student admits responsibility or is found in violation
sexual misconduct, or sex offense; and of Musicians Institute policies or regulations, the School
• Any sanction that is imposed against the alleged Designee may impose one or more of the sanctions listed in
offender with respect to the alleged sexual this Section; any sanction may be effective retroactively.
assault, sexual misconduct, or sex offense.
Any sanction imposed will be appropriate to the violation,
1. Imposing Sanctions - If the student does admit taking into consideration the context and seriousness of
responsibility, and if the School Designee the violation, and may include required enrollment in and
concludes that there is sufficient information to completion of educational programs, classes, activities, or
sustain a finding of responsibility, the School workshops, which in the judgment of the School Designee will
GENERAL

Designee may impose or defer one or more of the be beneficial to the student.
sanctions listed herein.
2. Referral to the Student Conduct Committee - If the Where it is more likely than not that a violation of Musicians
student does not admit responsibility, and if the Institute policies or regulations has been committed against
School Designee concludes that an Agreement of any person or group because of the person’s or group’s race,
Resolution (see below) is not appropriate, and that color, religion, ancestry, national origin, disability, gender, or
there is sufficient information to sustain a finding sexual orientation, or because of the perception by the student
that it is more likely than not that the student has charged with the violation that the person or group has one
violated the Musicians Institute Student Conduct or more of those characteristics, the recommendation or
Code, the School Designee will refer the case to imposition of sanctions will be enhanced, and usually will result
the Student Conduct Committee for a hearing. in Suspension or Dismissal.
3. At any time until the Student Conduct Committee
Recorder makes report of the hearing decision, the Sanctions include but are not limited to:
student may make an admission of responsibility • Exclusion from Musicians Institute Campus, Facilities or
to the School Designee assigned to the case. The Official Functions
School Designee may then impose or defer one or • Exclusion of a student as part of a disciplinary action
more of the sanctions listed herein. This disposition from specified areas of the campus or Musicians
is binding and terminates all Student Conduct Institute-owned, -operated or -leased facilities, or other
Committee proceedings. facilities located on Musicians Institute or affiliated
4. Insufficient Evidence - If the School Designee property, or from official Musicians Institute functions
concludes that there is insufficient information to when there is reasonable cause for Musicians Institute
find the student responsible, the case will not be to believe that the student’s presence there will lead
referred to the Student Conduct Committee for a to physical abuse, threats of violence, or conduct that
hearing. threatens the health or safety of any person on Musicians
5. Agreement of Resolution - When the School Institute property or at official Musicians Institute
Designee and the student agree that the above functions, or other disruptive activity incompatible with
dispositions are not appropriate, an Agreement of the orderly operation of the campus.
Resolution may be used to conclude the matter. • Loss of Privileges and Exclusion from Activities -
This Resolution, while not considered to be a Exclusion from participation in designated privileges
finding of responsibility, is binding. If the student and extracurricular activities for a specified term or
fails to abide by the terms of the Agreement terms. Violation of any conditions in the notice of loss
of Resolution, that failure may be regarded as of privileges and exclusion from activities or violation
actionable misconduct and may subject the of Musicians Institute policies or regulations during the

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 POLICIES
period of the sanction may be cause for further » The student meets the deadlines for filing
disciplinary action. all necessary applications, including
• Restitution - A requirement for restitution in those for readmission, registration, and
the form of reimbursement may be imposed enrollment.
for expenses incurred by Musicians Institute or ◦ Suspension may include a prohibition against
other parties resulting from a violation of the entering specified areas of the campus.
Musicians Institute Student Conduct Code. Violation of the conditions of Suspension or
Such reimbursement may take the form of of Musicians Institute policies or regulations
monetary payment or appropriate service to during the period of Suspension may be cause
repair or otherwise compensate for damages. for further disciplinary action.
Restitution may be imposed on any student who • Dismissal - Dismissal is the termination of student
alone, or through group or concerted activities, status for an indefinite period and may include
participates in causing the damages or costs. an exclusion from specified areas of the campus.
Musicians Institute shall not be responsible for Readmission to the Musicians Institute campus,
collecting restitution assessed to or incurred by facilities, or properties after Dismissal may be granted
any parties other than Musicians Institute. only under exceptional circumstances and requires
• Warning/Censure - Notice or reprimand to the the specific prior approval of Musicians Institute.
student that a violation of specified Musicians • Revocation of Awarding of Degree - Should it be
Institute policies or regulations has occurred found that a degree, certificate, or award was
and that continued or repeated violations obtained by fraud, such degree, certificate, or award
of specified Musicians Institute policies or is subject to revocation. Such revocation is subject to
regulations may be cause for further disciplinary review on appeal by Musicians Institute.
action, normally in the form of Disciplinary
Probation, and/or Loss of Privileges and G. Posting of Suspension or Dismissal on Academic
Exclusion from Activities, Suspension, or Transcript When, as a result of violations of the Student
Dismissal. Conduct Code, a student is suspended or dismissed,
• Disciplinary Probation - A status imposed for the fact that the discipline was imposed must be
a specific period of time in which a student posted on the academic transcript for the duration of

GENERAL
must demonstrate conduct that conforms to the Suspension or Dismissal.
Musicians Institute standards of conduct.
Conditions restricting the student’s privileges H. Appeal of the Sanction
or eligibility for activities may be imposed. If the School Designee imposes a sanction of
Misconduct during the probationary period or Suspension or Dismissal, the student may submit
violation of any conditions of the probation may a written appeal of the imposed Suspension or
result in further disciplinary action. Dismissal to the Director of Student Affairs within
• Hold on Musicians Institute Records - A hold seven days of the date of notice from the School
may be placed on the student’s Musicians Designee of his or her action. The imposition of a
Institute records for either a stated period sanction of Suspension or Dismissal may be deferred
or until the student satisfies any conditions during such appeal.
imposed as part of another sanction. The
placement of a Hold on the student’s Musicians If, as a result of an appeal, it is determined that the
Institute records may, for example, prevent the student was improperly disciplined, the Office of
student from registering and from obtaining Registrar will, if requested by the student, have the
transcripts, verifications, or a degree from record of the hearing sealed and have any reference
Musicians Institute. to the disciplinary process removed from the student’s
• Suspension - Suspension is the termination of record. In such case, the record of the hearing may be
student status for a specified academic term used only in connection with legal proceedings.
or terms, to take effect at such time the School
Designee or Musicians Institute decides. I. The Student Conduct Committee
◦ After the period of Suspension, the student When a case is referred to the Student Conduct
will be reinstated if: Committee for a hearing, the following will be provided
» The student has complied with all to the student to ensure a fair hearing:
conditions imposed as part of the • Written notice, including a brief statement of the
Suspension; factual basis of the charges, the Musicians Institute
» The student is academically eligible; policies or regulations allegedly violated, and the
» The student meets all requirements time and place of the hearing, within a reasonable
for reinstatement including, but not time before the hearing;
limited to, removal of Holds on records, • The opportunity for a prompt and fair hearing
payment of restitution where payment is a where the school will have the responsibility of
requirement of reinstatement; and proving that it is more likely than not that a violation

427
 POLICIES
occurred; presented;
• The opportunity to present documents, defense and b. Whether, in the opinion of a majority of the
witnesses; Committee, the student has violated one or
• A written report including a summary of the findings more of the Musicians Institute policies or
of fact, and, at the request of the student, access to regulations that the student has been charged
a copy of a record of the hearing; with violating; and
• An appeal process. c. A decision of sanction based on those
conferred in similar cases and in any previous
1. Referral of Cases to the Student Conduct cases of misconduct by the accused student
Committee - A hearing will be provided for all on file with the Office of Registrar Records.
cases referred to the Student Conduct Committee Such sanction shall be carried out by all
under the Musicians Institute Student Conduct relevant parties on the timeline decided by the
Code. Committee.
2. Composition - The Student Conduct Committee J. Appeal by Student
will consist of three individuals possibly including, 1. When a student has appealed in writing a
but not limited to, a member of faculty, a member decision or sanction by Musicians Institute,
of Musicians Institute management, a member the final decision regarding the outcome will
of Musicians Institute staff, and a member of be made by Senior Management, which will
Musicians Institute Directorship. One member of review the evidence and findings and may
the Committee will act as Hearing Recorder. engage in further research to ensure that the
3. Scheduling of Hearing - It is the intention of the process above has been carried out fairly and in
Musicians Institute Student Conduct Code that accordance with due process. Within 20 days of
hearing will be set as soon as reasonably possible the submission of appeal, Senior Management
after referral to the Student Conduct Committee. will notify the student as to the decision on the
Events such as holidays, school closures, of appeal. The decision of Senior Management will
forces of nature may require an extended timeline. be final and complete.
4. Hearing Procedures and Standards - Hearings 2. When reviewing a student’s appeal of a sanction
will be held in accordance with generally accepted of Suspension or Dismissal, decision may be
GENERAL

standards of procedural due process. If a student based upon:

absents himself or herself from the disciplinary a. Any written appeal submitted by the
process, or has withdrawn from Musicians student regarding the sanction; and
Institute while subject to pending disciplinary b. Information from the Office of Registrar
action, the case may proceed to disposition Records regarding sanctions imposed in
without the student’s participation. Attendance similar cases and any previous cases of
at such hearings will be at the discretion of misconduct by the student on file.
Musicians Institute. 3. The written decision will be delivered to:
5. Continuing Resolution between the Student and a. The student and his or her representative,
Musicians Institute - Until the Student Conduct if any;
Committee publishes its decision to Musicians b. The Musicians Institute Office of Registrar;
Institute Senior Management and the student; the and
student may make an admission of responsibility c. Other Musicians Institute departments/
to the School Designee assigned to the case. The employees as necessary to carry out
School Designee may then impose or defer one or sanctions.
more of the sanctions listed herein. Any sanction
may be effective retroactively. This disposition of The results of any hearing in which sexual harassment, sexual
the matter will bind all parties and terminate all assault, sexual misconduct, or sex offenses are alleged will
proceedings. be disclosed to the alleged victim by the School Designee.
6. Reports of Student Conduct Council Hearing The scope of information to be provided under this provision
Decision to Musicians Institute Senior will be:
Management and Student - Within 15 days after I. Musicians Institute’s final determination with
the conclusion of a hearing, the Student Conduct respect to the alleged sexual harassment, sexual
Committee Recorder will submit a notice of the assault, sexual misconduct, or sex offense; and
Committee decision to Musicians Institute Senior II. Any sanction that is imposed against the alleged
Management and the student. This notice will offender with respect to the alleged sexual
include: assault, sexual misconduct, or sex offense.
a. A summary of the allegations and the K. Interim Suspension
outcome of the Committee examination Before final determination of an alleged violation,
of the information concerning the alleged Interim Suspension may be imposed by the School
misconduct, including the positions of the Designee.
parties and a summary of the evidence • Interim Suspension may include exclusion from the
Musicians Institute campus, facilities, classes, or from

428 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
other specified activities. A student will be restricted and/or Dismissal, both imposed and deferred, or
to the extent necessary when there is reasonable the revocation of the awarding of a degree. Should
cause to believe that the student’s participation in the requesting party seek broader disclosure of a
Musicians Institute activities or presence at specified student’s discipline record, the Office of Registrar will
areas of the campus will lead to physical abuse, not provide additional records or information.
threats of violence, or conduct that threatens the
health or safety of any person on Musicians Institute M. Amendment and Modification
property or at official Musicians Institute functions, or Amendment of the Musicians Institute Student
other disruptive activity incompatible with the orderly Conduct Code may be made by Musicians Institute
operation of the campus. at any time. Before adoption, Musicians Institute will
• Upon imposition of the Interim Suspension, the review any and all measures, rules, and policies for
School Designee will notify the student under the consistency with common academic policies (where
Interim Suspension of the charges against him or her, appropriate) as well as with State or Federal policies.
the length and conditions of the Interim Suspension
and the opportunity for a hearing. Musicians Institute will not refund tuition to students
• Appeals concerning the contention that the Interim for lost privileges or lost access to MI’s campus and
Suspension is unnecessary or that its conditions facilities or classes, tests, performances, lessons,
should be modified shall be made in writing to the appointments, or other activities and events resulting
School Designee and decisions thereon shall be from a disciplinary action except as required by State
based on information contained therein and upon or Federal policies.
whether there is reasonable cause to believe that the
student’s participation in Musicians Institute activities
or presence at specified areas of the campus
STUDENT RIGHTS
Musicians Institute is licensed to operate in the State of
will lead to physical abuse, threats of violence, or
California through the Bureau for Private Postsecondary
conduct that threatens the health or safety of any
Education. If you have any complaints, questions, or
person on Musicians Institute property or at official
problems, you are encouraged but not required to try to
Musicians Institute functions, or other disruptive
resolve them directly with the school. At any time, you may
activity incompatible with the orderly operation of the

GENERAL
write or call:
campus.
• Disciplinary proceedings involving students on Interim
Mailing Address:
Suspension will follow normal procedures provided in
Bureau for Private Postsecondary Education
the Musicians Institute Student Conduct Code.
P.O. Box 980818
West Sacramento, CA 95798-0818
L. Privacy and Records Retention
Student discipline records are confidential. The
Physical Address:
disclosure of information from such records is subject
Bureau for Private Postsecondary Education
to the Musicians Institute Policies Applying to Campus
1747 North Market Blvd., Suite 225
Activities, Organizations and Students, the California
Sacramento, CA 95834
Information Practices Act ([Link]
gen/reg/ferpa/[Link]), and the Family Educational
Phone: (916) 574-8900
Rights and Privacy Act ([Link]/policy/gen/
Toll Free: (888) 370-7589
reg/ferpa/[Link]).
Website: [Link]
The Office of Registrar retains student discipline
records for seven years from the date of the notice NON-DISCRIMINATION POLICY
of final disposition. When there have been repeated Musicians Institute is committed to creating and maintaining
violations of the Musicians Institute Student Conduct a community in which all persons who participate in MI
Code, all student discipline records pertaining to an programs and activities can work together in an atmosphere
individual student will be retained for seven years from free of all forms of harassment, discrimination, exploitation
the date of the final disposition in the most recent or intimidation on the basis of race, religion, national
case. In those cases where the final disposition is origin, sexual orientation, disability or sex, including sexual
Dismissal, the student’s discipline records will be harassment. It is the intention of MI to take whatever action
retained indefinitely. may be needed to prevent, correct, and, if necessary,
discipline behavior that violates this policy. MI prohibits
Upon receipt of a request from professional schools, discrimination against members of the MI community by
graduate programs, employers, or others, for the any student, staff, faculty, or third-party contractors brought
disciplinary records of a student, after the student on campus for the purpose of conducting business with
provides an appropriate confidentiality waiver, the MI. Discrimination of any kind is against MI policy and is
Office of Registrar will only report and/or release prohibited under State and Federal laws.
records where violations resulted in Suspension Any student who believes that he or she has been the victim

429
 POLICIES
of sexual harassment or other discrimination should contact the basis of sex or gender, and criminal and discriminatory
the Title IX Coordinator: behavior, a mandatory reporting requirement has been
handed down from the USDOE. This mandate requires
Title IX Coordinator: Jonathan Newkirk certain individuals (“Mandatory Reporters”) to report to their
Musicians Institute College of Contemporary Music supervisor, HR or the MI Title IX Coordinator any knowledge
6752 Hollywood Boulevard of, or information relating to, harassment or misconduct on
Hollywood, CA 90028 the basis of sex or gender, and/or criminal and discriminatory
(titleix@[Link]) (323) 860-1158 behavior involving MI faculty, MI staff and/or MI students.
Such reports must take place within twenty-four (24) hours
Note: Comprehensive information on sexual harassment of learning of the incident. In any such cases, the Title IX
policy and procedure can be obtained in the Student Affairs coordinator must be notified of the report/issue within forty
Office. Complaints may be submitted to the Student Affairs eight (48) hours.
Office or delivered to the Title IX coordinator at the address
above. Students may also make verbal complaints directly to Mandatory Reporters:
the Title IX Coordinator (or other MI personnel). Complaints of • Vice Presidents, Directors, Supervisors
illegal sexual harassment must be received within one year of • Any employee in a supervisory or management role
the date of the last alleged incident. Complaints to the Office • Faculty members
of Civil Rights at the Office of Academic Affairs must be made • MI Security Officers and any contracted security
within six months of the date of the last alleged incident. personnel
Students may also make report to the individuals below and/or • Any employee who has the authority to take action to
to any MI employee. redress the harassment, who has the duty to report
sexual harassment to appropriate school officials, or an
Security Manager: Robert Caven individual who a student could reasonably believe
(cavenr@[Link]) (323) 860-1107 has this authority or responsibility.
Title IX Coordinator: Jonathan Newkirk • Any other employees who frequently come in contact
(titleix@[Link]) (323) 860-1158 with students.
Director of Student Affairs: Jackie Segura
(studentaffairs@[Link]) (323) 860-1158 Issues Necessitating Report:
GENERAL

Public Safety (323) 860-1127 • All acts of non-consensual physical sexual conduct,
such as (but not limited to): rape, sexual assault
(including threats) sexual battery, and sexual coercion
TITLE IX MANDATORY REPORTING POLICY (pressure)
Title IX of the Education Amendments of 1972 prohibits • Other unwelcome contact of a sexual nature
discrimination on the basis of sex, gender, sexual orientation, • Sexual/Gender-based bullying, stalking, or hazing
or pregnancy status in education programs or activities • Relationship violence
operated by recipients of Federal financial assistance. As • Sexual/Gender-based vandalism, arson, etc.
such a recipient school, these regulations apply to and guide • Program equity decisions motivated by sex/gender--
Musicians Institute (MI) in addressing such issues. such as admissions, class participation, hiring, firing,
promotion, etc.
According to the United States Department of Education • Other sexual/gender-based inconsistencies in policy/
(USDOE), sexual harassment is defined as unwelcome decision/behavior
sex-based conduct that creates a hostile environment
by limiting or denying a person’s ability to participate in Failure to Report/Act
or benefit from a school’s education program or activity. Failure to report/act upon incidents/behaviors such as
This includes (but is not limited to): unwelcome sexual those detailed herein allows for the possible continuation/
advances, requests for sexual favors, other verbal, nonverbal, repetition of such incidents/behaviors. Such an eventuality
or physical conduct of a sexual nature, as well as acts of is neither ethical nor permissible in an institution of higher
sexual violence. Sexual harassment, which is a form of sex education. Furthermore, failure to correct such actions
discrimination prohibited by Title IX, interferes with students’ exposes an institution (and by proxy its employees) to legal
right to receive an education free from discrimination, and, in ramifications—ramifications up to and including financial
the case of sexual violence is a crime. penalty and possible institutional closure. As such, failure of
Mandatory Reporters to report such incidents/knowledge/
Note: to be sex or gender-based, conduct must either be issues is a serious infraction and may result in disciplinary
directed at someone because of their actual or perceived action up to and including termination.
sex (female, male) or gender (masculine, feminine, or non-
binary). This also includes discriminatory conduct on the A Note on Student Employees:
basis of a person’s sexual orientation and their pregnancy Because student employees interact with students in their
status. everyday academic and personal lives, it may be challenging
to determine their responsibilities in relation to Title IX. In
Due to the gravity of these issues, and in the interest of order to clarify this, the following apply to MI/CH student
protecting individuals from harassment or misconduct on

430 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
employees: • Make any judgment/overt assertions of punishment,
• Student employees are considered mandated reporters promises, etc.
for Title IX issues of which they become aware while on • Tell them that it is their responsibility to make a report,
duty / during their working hours (as assigned by their • Tell them that others may be victimized if they don’t
supervisor or the College). make a report,
• Student employees may, but are not required to report • Apologize or express culpability on behalf of the school
such issues if they become aware of them while not on
duty / outside of their working hours. For all non-Title IX issues, student complaints may be
• Student employees should be aware that, as with all submitted to the Student Affairs Office or delivered to the
Title IX reports, the College may be required to take Title IX Coordinator at the address below. Students may also
action/follow up on any report of sex/gender-based make verbal complaints directly to the Title IX Coordinator
discrimination. (or other MI personnel). For formal complaints, students
• Student employees are required to make reports for must submit a written statement, along with any supporting
issues that they are made aware of relating to their documentation. Once a formal student complaint has been
position at the College regardless of when/where/how received, student affairs will schedule a meeting with the
they become aware. student to go over the nature of the complaint. If there is a
safety concern, MI’s Director of Operations will be involved
How Do I Make a Report? and if academically related, the respective Director will
Contact one of the following: be present. All concerned parties will be interviewed and
written statements gathered, as needed. Once concluded,
Title IX Coordinator student affairs will either call another meeting with the
Jonathan Newkirk student or send the student an email to go over any findings
Senior Director and any actions on MI’s behalf, if warranted.
newkirkj@[Link]
(323) 860-1158 Musicians Institute College of Contemporary Music
6752 Hollywood Blvd. 6752 Hollywood Boulevard Hollywood, CA 90028
Los Angeles, CA 90028 titleix@[Link] (323) 860 – 1177

GENERAL
Title IX Investigator
Casey Burgess LIABILITY DISCLAIMER
Director of Library Services Musicians Institute is not responsible for loss of, or damage
burgessc@[Link] to, personal property and/or personal injury that may occur
(323) 860-1186 while on the Institute’s premises.
6752 Hollywood Blvd.
Los Angeles, CA 90028
STUDENTS’ RIGHT TO KNOW
How Do I Respond to a Report/Complaint? MI is committed to providing current and prospective
DOs students as well as the campus community with full
• Inform the individual that you have a requirement to disclosure of all consumer information as required by
report this to Title IX personnel, Federal regulations. The laws are intended to allow students
• Tell them about their right to file a Title IX complaint with the opportunity to make fully informed choices about the
the school, institution they wish to attend. Crime statistics are available
• Tell them about their right to file a complaint with law on the website and at Campus Security Office. Completion
enforcement, Statistics and Transfer Out Rate are shown on the School
• Tell them about the availability of confidential employees Performance Fact Sheet available in the Registrar’s Office.
to assist in filing complaints,
• Ensure that they understand that Musicians Institute may
have to follow up, SAFETY ON CAMPUS
• Listen without judgment—don’t say “that person sounds Campus security information is provided to prospective
like a terrible jerk!” students via mail in their acceptance package. Currently
• Offer support, enrolled students receive email notification in October each
• Tell them about the resource availability: Campus year that the updated campus security report is available on
Hollywood resources for counseling, medical, and the MI website. Additional information, including the Crime
academic support, Statistics Report, may be obtained by a visit or written
• Thank them for the report request to the Student Affairs Office.

DON’Ts
• Question their report,
GRADUATION RATE INFORMATION
Information on graduation and completion rates is sent to
• Discourage their report,
prospective students via mail along with their acceptance
• Start an investigation/press for details,
letters, or can be accessed online at [Link]

431
 POLICIES
collegenavigator. Currently enrolled students receive an the student’s right to a hearing regarding the request
email notification in July to review the annual completion rates for amendment. Additional information regarding the
on the college navigator website. Students may also request hearing procedures will be provided to the student
a hard copy from the Registrar’s Office. when notified of the right to a hearing.
3. The right to request, in writing, that Musician’s
Institute not disclose personally identifiable records,
DRUG-FREE SCHOOLS AND COMMUNITY ACT except to the extent that FERPA authorizes disclosure
Drug and alcohol abuse prevention information is given to all to school officials with legitimate educational
students at the time of registration and is also available from interests. A school official is: a person employed by
the Student Affairs and/or Admissions Department upon Musicians Institute in an administrative, supervisory,
request. academic or research, or support staff position
(including law enforcement unit personnel and health
staff); a person or company with whom Musicians
FINANCIAL AID INFORMATION Institute has contracted as its agent to provide a
Information about financial aid that is not already provided service instead of using Musicians Institute employees
in the current Course Catalog may be obtained from the or officials (such as an attorney, auditor, or collection
Financial Aid Office. agent); a person serving on the Board of Trustees; or
a student serving on an official committee, such as
FAMILY EDUCATIONAL RIGHTS AND PRIVACY ACT a Disciplinary or Grievance Committee, or assisting
another school official in performing his or her tasks.
(FERPA) A school official has a legitimate educational interest
This Act entitles students to specific privacy rights with
if the official needs to review an education record in
respect to their academic records and student directory
order to fulfill his or her professional responsibilities
information. Student directory information is considered to
for the school.
be name, address, telephone number, and certain school-
4. The right to file a complaint with the U.S. Department
related information. At Musicians Institute, student records and
of Education concerning alleged failures by Musicians
information may only be provided to the student or specific
Institute to comply with the requirements of FERPA.
parties authorized in writing by the student, a Musicians
The name and address of the office that administers
GENERAL

Institute employee, representatives of Federal or State

FERPA is:
agencies, accrediting organizations, auditors, or other officials
authorized under the Act. FERPA information is provided to
Family Policy Compliance Office
students during the enrollment process. Currently enrolled
U.S. Department of Education
students may obtain FERPA information upon request from the
400 Maryland Avenue, SW,
Registrar’s Office. For additional information please refer to
Washington, D.C. 20202-5901
the MI Student Handbook maintained on the Student Affairs
section of the student portal.
WITHDRAWAL, TERMINATION &
NOTIFICATION OF STUDENT RIGHTS UNDER FERPA REINSTATEMENT
FOR MUSICIANS INSTITUTE WITHDRAWAL FROM A PROGRAM
The Family Educational Rights and Privacy Act (FERPA) A student who has completed less than 60% of his/her
affords students certain rights with respect to their education quarterly enrollment has the right to withdraw from a program
records. These rights include: and receive a pro-rated refund (based on a weekly
1. The right to inspect and review the student’s education attendance calculation & less any registration fees, non-
records within 45 days of the day that Musicians refundable fees and/or charges for unreturned equipment,
Institute receives a request for access. A student should materials, or textbooks) by providing written notice to
submit to the Registrar a written request that identifies Student Affairs by close of business on Friday of Week
the record(s) that the student wishes to inspect. The 6. NOTE: Attendance in any class meeting/session (and/
designated official will make arrangements for access or swipe-in attendance) within a week (Monday-Sunday) is
and notify the student of the time and place where the considered as attendance for that week.
records may be inspected. • Any monies owed to Musicians Institute are due and
2. The right to request the amendment of the student’s payable on the date of the withdrawal.
education records that the student believes are • A withdrawal is effective on the date it is received
inaccurate, misleading, or otherwise in violation of the by Student Affairs, whether personally delivered
student’s privacy rights under FERPA. A student who or postmarked (if mailed). No withdrawals will be
wishes to ask Musicians Institute to amend a record accepted by telephone.
should write the Registrar, clearly identify the part of • Refunds are calculated based on the last recorded
the record the student wants changed, and specify why date of attendance (either classroom attendance or
it should be changed. If Musicians Institute decides scan-in). The calculation is based on the length of the
not to amend the record as requested, the student completed portion of the quarter relative to its total
will be notified in writing of the decision as well as length (10 weeks of instruction effective on the official

432 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
start date of the term). No refunds will be issued after Students who have been terminated from a program for SAP
Week 6. are not eligible to continue in said program. Students in such
• Deadline to withdraw: Friday, Week 6 (4PM) situations may reapply as a new student for admission to said
programs after a minimum two-year hiatus.
Students who have been inactive for two or more years may be
SAMPLE OF REFUND CALCULATION: required to complete a placement exam prior to re-enrolling.
For example, if a student withdraws after three weeks in the A performance evaluation may result in advanced placement
Audio Engineering Program, the refund calculation is shown depending on the performance level of the individual student.
below: Program requirements are revised periodically in response
to changes in industry standards and in an effort to provide
Tuition cost $9,015.00 the best education possible. As such, prior to re-enrolling,
STRF fee ($.50 per $1,000 tuition)(Non Refundable) $4.50 returning students must meet with Academic Advising for a
Application fee $100.00 degree audit evaluation. The Academic Advising team will
Materials fee $75.00 assess which courses completed previously are relevant to the
Per quarter technology fee $45.00 current program as well as which requirements remain in order
Course facility fee $378.00 for the student to graduate.
Total tuition cost $9,617.50
Tuition retained by College 3 weeks completed) $2,704.50
Application fee retained by College $100.00
Material fee retained by College $75.00 COPYRIGHT INFRINGEMENT
Technology fee retained by College $45.00 POLICY
Facility fee retained by College $113.00 INTRODUCTION
Total amount retained by College $3,037.50 Copyright infringement is the act of exercising, without
Refund issued to student $5,880.00 permission or legal authority, one or more of the exclusive
rights granted to the copyright owner under section 106
Musicians Institute discloses education records without a of the Copyright Act (Title 17 of the United States Code).
student’s prior written consent under the FERPA exception These rights include the right to reproduce or distribute a
for disclosure to school officials.

GENERAL
copyrighted work. In the file-sharing context, downloading
or uploading substantial parts of a copyrighted work without
TERMINATION FROM A PROGRAM: (UNOFFICIAL) authority constitutes an infringement.
A student may be terminated from a program for reasons
including but not limited to the following: The Higher Education Opportunity Act of 2008 (HEOA)
• Violation of student conduct policies. includes provisions that are designed to reduce the illegal
• Failure to pay tuition or fees. uploading and downloading of copyrighted material through
• Continuous absence from a program for three peer-to-peer sharing.
consecutive weeks. Title IV students will be terminated • Institutions make an annual disclosure that informs
within 14 calendar days from last date of attendance, students that the illegal distribution of copyrighted
unless student notifies school of their plan to return in materials may subject them to criminal and civil
the third week. penalties, and describes the steps that institutions
• Three consecutive quarters of non-satisfactory will take to detect and punish illegal distribution of
academic progress (see Satisfactory Academic copyrighted materials.
Progress). • Institutions publicize alternatives to illegal file sharing.

For information on returning to Musicians Institute after This document outlines Musicians Institute’s plan to comply
termination, please see Reinstatement to Musicians Institute. with these requirements.

PLANS TO “EFFECTIVELY COMBAT” THE

REINSTATEMENT TO MUSICIANS INSTITUTE UNAUTHORIZED DISTRIBUTION OF COPYRIGHTED
Terminated students wishing to return to MI must apply for
reinstatement. Requests for reinstatement will be reviewed MATERIAL
by a panel consisting of members of Musicians Institute Musicians Institute currently employs bandwidth-shaping
management. Decisions will be made based on the reason for technology to prioritize network traffic, and blocks students’
termination, the needs of the college and students as well as ability to access certain sites from the student computer
the student’s overall performance. Reinstatement to the college networks. Musicians Institute responds promptly to legitimate
may be contingent upon adherence to conditions and/or plans notices or letters of illegal copyright infringement based on
as stipulated by Musicians Institute—such as academic or the requirements of the Digital Millennium Copyright Act, and
payment plans, safe conduct provisions, etc. Failure to adhere directs both our Information Technology and Compliance
to these conditions/plans may result in termination from the departments to investigate and respond.
program.

433
 POLICIES
27-2099 Entertainers and Performers, Sports and Related
SANCTIONS Workers, All Other
Musicians Institute will cooperate fully with any investigation 41-9011 Demonstrators and Product Promoters
by public authorities related to illegally downloaded
copyrighted information. Students found guilty will be subject Certificate in Independent Artist Development
to the full extent of fines and penalties imposed, as well as Certificate in Independent Artist Development (Distance
facing automatic loss of Musicians Institute network access, Learning)
and possible suspension. Certificate in Artist/Producer/Entrepreneur
Penalties for copyright infringement include civil and criminal Certificate in Artist/Producer/Entrepreneur (Distance
penalties. In general, anyone found liable for civil copyright Learning)
infringement may be ordered to pay either actual damages 25-1121 Art, Drama, and Music Teachers, Postsecondary
or “statutory” damages affixed at not less than $750.00 25-9031 Instructional Coordinators
and not more than $30,000 per work infringed. For “willful” 27-1019 Artists and Related Workers, All Other
infringement, a court may award up to $150,000 per work 27-2041 Music Directors and Composers
infringed. A court can, in its discretion, also assess costs and 27-2042 Musicians and Singers
attorney fees. For details, see Title 17, United States Code, 27-2099 Entertainers and Performers, Sports and Related
Sections 504, 505. Workers, All Other
41-9011 Demonstrators and Product Promoters
Willful copyright infringement can also result in criminal
penalties, including imprisonment of up to five years and fines Certificate in Music Business
of up to $250,000 per offense. Certificate in Music Business (Distance Learning)
Associate of Science in Music Business
For more information, please see the website of the U.S. Associate of Science in Music Business (Distance Learning)
Copyright Office at [Link], especially their FAQs 13-1011 Agents and Business Managers of Artists,
at [Link]/help/faq5. Performers, and Athletes
13-1121 Meeting, Convention, and Event Planners
MAINTENANCE OF THIS PLAN 13-1199 Business Operations Specialists, All Other
25-9031 Instructional Coordinators
GENERAL

Musicians Institute will review this plan each year to ensure

it is current and maintains the appropriate and necessary 39-3099 Entertainment Attendants and Related Workers, All
information to effectively combat illegal file sharing, as well Other
as update the methods employed as new technological
deterrents become available. Certificate in Songwriting
Certificate in Songwriting (Distance Learning)
25-1121 Art, Drama, and Music Teachers, Postsecondary
U.S. DEPARTMENT OF LABOR’S 25-9031 Instructional Coordinators
STANDARD OCCUPATIONAL 27-1019 Artists and Related Workers, All Other
CLASSIFICATION CODES 27-2041 Music Directors and Composers

Musicians Institute prepares its graduates for the following Certificate in Live Music Event Production
job classifications listed below, per program(s). 13-1121 Meeting, Convention, and Event Planners
25-1121 Art, Drama, and Music Teachers, Postsecondary
Certificate in Audio Engineering 25-9031 Instructional Coordinators
Certificate in Studio Recording Technology (Distance 27-4011 Audio and Video Technicians
Learning) 27-4012 Broadcast Technicians
Certificate in Studio Recording 27-4014 Sound Engineering Technicians
Associate of Science in Studio Recording 27-4015 Lighting Technicians
Associate of Science in Studio Recording (Distance
Learning) Certificate in Performance (Bass, Drum, Guitar, Keyboard
25-1121 Art, Drama, and Music Teachers, Postsecondary Technology/Performance Track, Keyboard Technology/
25-9031 Instructional Coordinators Production Track, Saxophone, Trombone, Trumpet, Vocal)
27-4011 Audio and Video Technicians Certificate in Performance (Bass, Drum, Guitar, Keyboard
27-4012 Broadcast Technicians Technology/Performance Track, Vocal) (Distance Learning)
27-4014 Sound Engineering Technicians Associate of Arts in Performance (Bass, Drum, Guitar,
41-9011 Demonstrators and Product Promoters Keyboard Technology/Performance Track, Keyboard
Technology/Production Track, Saxophone, Trombone,
Certificate in Electronic Music Production Trumpet, Vocal)
Certificate in Electronic Music Production (Distance Associate of Arts in Performance (Bass, Drum, Guitar,
Learning) Keyboard Technology, Vocal) (Distance Learning)
25-1121 Art, Drama, and Music Teachers, Postsecondary Bachelor of Music in Performance (Contemporary Styles)
27-1019 Artists and Related Workers, All Other (Bass, Drum, Guitar, Keyboard, Vocal)
27-2041 Music Directors and Composers

434 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 POLICIES
Bachelor of Music in Performance (Contemporary Styles) 27-2042 Musicians and Singers
(Bass, Drum, Guitar, Keyboard, Vocal) (Distance Learning) 27-2099 Entertainers and Performers, Sports and Related
Master of Music in Performance (Bass, Drum, Guitar, Workers, All Other
Keyboard, Vocal) 27-4011 Audio and Video Technicians
25-1121 Art, Drama, and Music Teachers, Postsecondary 27-4012 Broadcast Technicians
25-9031 Instructional Coordinators 27-4014 Sound Engineering Technicians
27-1019 Artists and Related Workers, All Other 41-9011 Demonstrators and Product Promoters
27-2041 Music Directors and Composers
27-2042 Musicians and Singers Bachelor of Music in Performance (Contemporary Styles)
27-2099 Entertainers and Performers, Sports and Related (Bass, Drum, Guitar, Keyboard, Vocal) with Minor in Music
Workers, All Other Industry Studies
41-9011 Demonstrators and Product Promoters 13-1011 Agents and Business Managers of Artists,
49-9063 Musical Instrument Repairers and Tuners Performers, and Athletes
13-1121 Meeting, Convention, and Event Planners
Associate of Arts in Performance (Bass, Drum, Guitar, 13-1199 Business Operations Specialists, All Other
Keyboard Technology /Performance Track, Keyboard 25-1121 Art, Drama, and Music Teachers, Postsecondary
Technology/Production Track, Saxophone, Trombone, 25-9031 Instructional Coordinators
Trumpet, Vocal) combined emphasis with Audio Engineering, 27-1019 Artists and Related Workers, All Other
Electronic Music Production, Independent Artist 27-2041 Music Directors and Composers
Development, Music Business or Songwriting. 27-2042 Musicians and Singers
Associate of Arts in Performance (Bass, Drum, Guitar, 27-2099 Entertainers and Performers, Sports and Related
Keyboard Technology, Vocal) combined emphasis Workers, All Other
with Electronic Music Production, Independent Artist 39-3099 Entertainment Attendants and Related Workers, All
Development, Music Business, Songwriting, or Studio Other
Recording Technology (Distance Learning) 41-9011 Demonstrators and Product Promoters
13-1011 Agents and Business Managers of Artists,
Performers, and Athletes Bachelor of Music in Songwriting & Production
13-1121 Meeting, Convention, and Event Planners 25-1121 Art, Drama, and Music Teachers, Postsecondary

GENERAL
13-1199 Business Operations Specialists, All Other 25-9031 Instructional Coordinators
25-1121 Art, Drama, and Music Teachers, Postsecondary 27-1019 Artists and Related Workers, All Other
25-9031 Instructional Coordinators 27-2041 Music Directors and Composers
27-1019 Artists and Related Workers, All Other 27-2042 Musicians and Singers
27-2041 Music Directors and Composers 27-2099 Entertainers and Performers, Sports and Related
27-2042 Musicians and Singers Workers, All Other
27-2099 Entertainers and Performers, Sports and Related 27-4014 Sound Engineering Technicians
Workers, All Other 41-9011 Demonstrators and Product Promoters
27-4011 Audio and Video Technicians
27-4012 Broadcast Technicians A complete list of occupational codes including occupation
27-4014 Sound Engineering Technicians profiles and employment and wage statistics can be found at
39-3099 Entertainment Attendants and Related Workers, All [Link]
Other
41-9011 Demonstrators and Product Promoters
49-9063 Musical Instrument Repairers and Tuners

Bachelor of Music in Composition (Scoring For Visual Media

Program)
25-1121 Art, Drama, and Music Teachers, Postsecondary
25-9031 Instructional Coordinators
27-1019 Artists and Related Workers, All Other
27-2041 Music Directors and Composers
27-2099 Entertainers and Performers, Sports and Related
Workers, All Other

Bachelor of Music in Performance (Contemporary Styles)

(Bass, Drum, Guitar, Keyboard, Vocal) with Minor in Audio
Production
25-1121 Art, Drama, and Music Teachers, Postsecondary
25-9031 Instructional Coordinators
27-1019 Artists and Related Workers, All Other
27-2041 Music Directors and Composers

435
 ADMINISTRATION
OWNERSHIP INSTRUCTIONAL & INFORMATION
Owner – Hisatake Shibuya TECHNOLOGY SERVICES (IITS)
IITS Supervisor – Tim Metz
SENIOR ADMINISTRATION Web Design/Application Developer/IT Support Technician –
Chief Executive Officer – Todd Berhorst Keita Akutsu
Chief Academic Officer – Dr. Rachel Yoon Senior Programmer – Pavel Grigoryants
Senior Director – Jonathan Newkirk Software Engineer – Roberto Manongdo
Senior Director of Enrollment – Steve Lunn Helpdesk Coordinator – Laura Gavia

INSTRUCTIONAL & INFORMATION

GOVERNING BOARD TECHNOLOGY SERVICES
Board Chairmen – Evan Skoop
Board Member – Bruce Kulick
(IITS) STUDIO & CLASSROOM
Board Member – Toshihiko Fujimori TECHNOLOGY OFFICE
Board Member – Masanori Yamada Studio & Classroom Technology Manager – Kevin Estrada
Studio Technician – Arturo Castro Lopez
Studio Technician – Dylan Wright
ACADEMIC AFFAIRS Studio Support Specialist – Rodolfo Rodriguez
Chief Academic Officer – Dr. Rachel Yoon Studio Support Specialist – Hongbin Xu
Senior Director – Jonathan Newkirk Studio Support Specialist – Daniel Castro
Director of Industry Programs and Faculty – Lacey Harris Studio Support Specialist – Justin Bender
Director of Performance Programs – Daniel Levin
Institutional Director Guitar Craft Academy Nashville – Mike LIBRARY SERVICES
Revis Director of Library Services – Casey Burgess
Academic Scheduler – Lola Quintana Reprographics Coordinator – Jie Liu

MARKETING
ADMISSIONS
GENERAL

Senior Director of Enrollment – Steve Lunn

Director of Admissions – Martha Torres Copywriter/Social Media Manager – Daniela Cabrera
Senior Admissions Advisor – Brenda Budhram Senior Product/Graphic Designer – Colin Goodridge
Senior Admissions Advisor – Michael Coleman Production Project Manager – Ronen Gordon
Senior Admissions Advisor – Eduardo Ramirez
Senior Admissions Advisor – Paul Weinstein
Admissions Advisor – Joseph Alvarez OPERATIONS/CAMPUS SECURITY
Admissions Advisor – Chase Carpenter Director of Operations – Robert Caven
Admissions Advisor – Robert Carpenter Facility Manager – Roy Diaz
Admissions Advisor – Cameron Penny Drum Services Coordinator – Jason Fahn
Admissions Coordinator – Ariadna Urban
PRODUCTION
ARTIST & CAREER SERVICES Production Manager – Evan Parker
Director of Artist & Career Services – Carolann Mota Production Member – Jonathan Robaina
Artist & Career Services Coordinator – Gabrielle McCormick Production Member – Chris Tom-Hoon
Industry Outreach Assistant – Jazmine Thomas Production Member – Matthew Thompson

BUSINESS & FINANCE REGISTRAR/ACADEMIC

Director of Accounting – Kyle Denne ADVISING
Accountant – Rafael Gutierrez Registrar Services Supervisor – Phillip Williams
Accountant – Evad Fromme Campus Hollywood Records Manager – Shaun Vieten
Online Student Support Administrator – Marcia James
COMPLIANCE Student Services / Registrar Coordinator – Angie Wang
Director of Accreditation and Compliance for Campus
Hollywood – Ron Dziubla STUDENT BILLING SERVICES
Student Billing Supervisor – Alma Cuevas
Student Billing Coordinator – Angel Lopez
FINANCIAL AID
Director of Student Financial Services / VASCO – Melissa
Cuesta-Booker
STUDENT SERVICES
Director of Student Affairs – Jackie Segura
Financial Aid Officer – Erick Gonzalez
Director of International Student Affairs – Dan Diaz
Financial Aid Officer – Ana Singh
Student Services Coordinator/DSO – Melinda Parker

436 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 ADMINISTRATION
TITLE IX
Title IX Coordinator – Jonathan Newkirk
Title IX Investigator - Casey Burgess

GENERAL

437
 FACULTY BIOS
BACHELOR / MASTERS CREDITS: Written music for NBC, CBS, ABC, The Discovery Channel, SYFY, Comedy
Central, HBO Films, Radio Shack & more

HONORS & EDUCATION: UCLA Film Scoring Program, The New School, Pitzer/
YOON, RACHEL Scripps College
CHIEF ACADEMIC OFFICER; ADMINISTRATOR

SPECIALTIES: Educator, Composer, Orchestrator, Arranger, Performer, Music
Director
GORDON, AMY
COURSES: Theory, Arranging, Private Lessons (Composition)
CREDITS: Executive Music Director of national project Stellar Whisper in Seoul,
SPECIALTIES: Composer, Singer-Songwriter, Educator
Korea. Worked with Yellowjackets and Shapes. Performances at Walt Disney Concert
CREDITS: Self-Published Singer-Songwriter, CSULB Laptop Ensemble, LMU Gamelan
Hall and Hollywood Bowl.
Kembang Atangi, Music Rhapsody, The Hills Academy of Music & Art
HONORS & EDUCATION: Ph.D. in Music Composition (U.C.L.A.), Master of Music &
HONORS & EDUCATION: Master of Music, California State University, Long Beach;
Bachelor of Music - Music Composition (Seoul National University)
Bachelor of Arts, Loyola Marymount University, Finalist in Song Door International

Songwriting Competition
BAGG, JOSEPH
COURSES: Ear Training, Keyboard Voicings, Groove, Keyboard Reading, Keyboard
Performance
HUME, PETER
COURSES: Arranging, Conducting, Single String Improvisation, Reading, Jury Prep,
SPECIALTIES: Jazz Musician, Educator, Recording Artist
Private Lessons
CREDITS: Option 3, Bobby Hutcherson, Larry Coryell, Alphonse Mouzon, Jack
SPECIALTIES: Musical Director, Arranger, Conductor, Guitarist, Producer, Educator
Sheldon, Anthony Wilson, Madeleine Peyroux, Lea Delaria, Arthur Blythe, Marvin
Credits: Melissa Manchester. Performed on film scores for Disney, Universal, PBS,
“Smitty” Smith
and more
HONORS & EDUCATION: Masters Degree (Mason Gross School of the Arts,
HONORS & EDUCATION: Professional Music Diploma, Berklee College of Music
Rutgers). Appeared in Downbeat Magazine’s Critics & Readers Polls

BURGOS, FRANCISCO “PANCHO” LEVIN, DANIE
DIRECTOR OF PERFORMANCE STUDIESL
COURSES: Scoring, Composers Ensemble, Private lesson
COURSES: Theory, Composition Private Lessons, Scoring, Composers Ensemble
SPECIALTIES: Composer, Performer, Arranger, Producer and Conductor
SPECIALTIES: Composer, Orchestrator, Pianist
CREDITS: 2009-2017 FEATURE FILMS: The Christmas Gift (2017, Comedy), Killing
GENERAL

CREDITS: Orchestrations for Winnipeg Symphony, Santa Fe Symphony, Sarah

Diaz (2017, Comedy), Tournament (2017, Comedy), Love’s Last Resort (2017, Comedy),
McLachlan, Hayley Westenra, and Andrea Corr
Shred America (2017, Documentary), The Engagement Clause (2016, Comedy), People
HONORS & EDUCATION: Master and Bachelor of Music, Indiana University Jacobs
You Know (2016, Drama), Anonymous Killers (2016, Thriller), Pass The Light (2015,
School of Music; Awards from DownBeat magazine, Turner Classic Movies Young Film
Drama), Construction (2015, Comedy), Who Is Billy Bones (2015, Documentary), Stand
Composers Competition, San Francisco Song Festival
Alone Crazy (2015, Documentary) Death: A Love Story (2014, Horror), The Broken

Legacy (2014, Drama), Wheels (2013, Drama), The A-Lister (2011, Documentary), Not
Quite College (2010, Feature. Comedy)”
MEDEIROS, LYMAN
COURSES: Funk Performance, Prince Performance, Upright Bass Workshop, R&B
HONORS & EDUCATION: Bachelor of Music in Music composition - Berklee
LPW, American Songbook LPW, Private Lessons
College of Music
SPECIALTIES: Freelance Bassist, Arranger, Producer, Educator
CREDITS: Michael Buble, Steve Tyrell, Diane Schuur, Lou, Soloff Gabriel Johnso
BUZEA, CHRIS HONORS & EDUCATION: Bachelor of Music, Ball State University. Masters of
COURSES: Ear Training, Theory, Computer Music Applications-Sibelius, Private
Music, Western Michigan University. Endorsed by Dean Guitars & Lemur Music.
Lessons
SPECIALTIES: Guitarist, Educator
HONORS & EDUCATION: Bachelor of Music in Performance, Contemporary Styles
(Guitar) - Musicians Institute, Master of Music in Film Scoring - Shepherd University
PARK, EVET
COURSES: Pat Metheny Ensemble, Keyboard Technique, Keyboard Reading,
Keyboard Performance, Keyboard Proficiency, Billboard LPW, Modern Rock LPW,
CHO, MICHELLE Private Lessons
COURSES: Ear Training, Keyboard Proficiency, Bach Keyboard Reading,
SPECIALTIES: Musician, Educator
Counterpoint, BACH Keyboard Private Lesson, Independent Study
CREDITS: Evet has performed as a keyboardist at renowned venues such as the
SPECIALTIES: Keyboardist, Educator, Arranger
Mint and the Baked Potato in LA and has played in various live performances with
CREDITS: Los Angeles Chamber Choir, California Children’s Choir, Bethel Choir at
prominent Korean singers at Ebell Theatre and Shrine Auditorium. She has also
YNC of Los Angeles, Shepherd University
performed at the Edison Jazz Festivals, Denton Jazz Festivals, Pat Metheny Jazz
HONORS & EDUCATION: Master of Music University of Southern California,
Ensemble in Texas and at several musicals, including Bye Bye Birdie, Sweeney Todd
Professional Diploma in Music at Berklee College of Music, Bachelor of Music (Seoul
and more. She is currently directing the church choir and the church band, as well as
National University)
composing, arranging, and producing albums.

HONORS & EDUCATION: Masters of Music in Jazz Piano Performance, University
FLIGSTEN, ADAM of North Texas. 2015. Outstanding Musician award from Musicians Institute.
COURSES: Scoring, Private Lessons
SPECIALTIES: Composer for TV, Commercials, Films and Games
RAITT , DONOVAN

438 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FACULTY BIOS
COURSES: Acoustic Guitar performance, Private lesson 101 and 201, Ear Training 102 and 202
SPECIALTIES: Fingerstyle Guitarist SPECIALTIES: Bassist-Upright and Electric
HONORS & EDUCATION: Bachelor of Music In Studio/Jazz Guitar Performance - CREDITS: Riverside Symphony Orchestra
.Master of Music in Performance (Jazz Studies) - California State University Long Beach HONORS & EDUCATION: Bachelor of Music. California State University, Northridge.
Masters Degree in Music, UCLA.
ROSSER, KEN
COURSES: World Music History, Rock & Roll History, Performance class, Acoustic LOPEZ, GEORGE
Guitar performance, Private Lessons, Guitar Reading, Bachelor Ensemble COURSES: Performance, Latin Bass, LPWs, Private Lessons
SPECIALTIES: Guitarist, Ethnomusic performer, Acoustic Guitarist SPECIALTIES: Bassist-Upright and Electric
CREDITS: Smokey Robinson, John Cage, Sussan Deyhim, Andrea Morricone, The CREDITS: Tito Puente, Celia Cruz, Azteca, El Chicano, Dave Valentine, Poncho
Grand Mothers Of Invention, Glenn Branca, Bobby Bradford, Sanchez, Norman Brown.
PETER ERSKINE, NELS CLINE, DAVID TORN, PRINCE DIABATE, MIKE EINZIGER HONORS & EDUCATION: Musicians Institute
(INCUBUS), TODD RUNDGREN”
HONORS & EDUCATION: Bachelor of Arts in Music - California State University, Los MEDEIROS, LYMAN
Angeles, Master of Music in Classical Guitar Performance - California State University COURSES: Funk Performance, Prince Performance, Upright Bass Workshop, LPWs,
Private Lessons
ROBBINS, IAN SPECIALTIES: Bassist-Upright and Electric
COURSES: Bachelor Ensemble, Rhythm Guitar, Blues Based Rock Performance, CREDITS: Michael Buble, Steve Tyrell, Diane Schuur, Lou Soloff, Gabrielle Johnson
Fusion Performance, Riff Based Speed Punk Performance, K POP LPW, Private Lessons HONORS & EDUCATION: Masters of Music, Western Michigan University. Bachelor
SPECIALTIES: Musician, Educator of Music, Ball State University
CREDITS: Barry Manilow, Bonnie Raitt, Bruce Eskovitz Jazz Orchestra, Wynton
Marsalis, Toni Tennille, Louis Belson, Peter Erskine, Scott Henderson, Ernie Watts, Bill SIMPER, JAY
Watrous, Kurt Elling, Eric Marienthal, Brian Bromberg. Founder of the punk rock band COURSES: Bass & Vocals, LPWs, Private Lessons
Get Out. SPECIALTIES: Bassist- Electric
HONORS & EDUCATION: Bachelor of Music in Studio/Jazz Guitar Performance, CREDITS: Author of “The Beginning Bass Guitar Instructional Book,” “First Bass” &
University of Southern California. 1997 NARAS Grammy All Star Jazz Combo, 1996-97 “Second Bass.” Freelance bassist with various artists
GENERAL

SCSBOA Jazz All Star Band. Outstanding Musician award from Berklee College of HONORS & EDUCATION: Honors from Musicians Institute
Music.
VILLANO, THOMAS SKLJAREVSKI, ALEXIS
COURSES: Mechanics of Score Production ll COURSES: Bass Technique, Blues Bass, Electives (Tower of Power, Beatles, Led
SPECIALTIES: Music Editor, Music Supervisor Zeppelin) Project Recording, Private Lessons.
CREDITS: David Newman, Basil Poledouris, Tyler Bates, Craig Richey, Michael Kamen, SPECIALTIES: Bassist- Electric
Joel McNeely, Dave Porter CREDITS: Crosby, Stills & Nash, Manhattan Transfer, Jackson Browne, Dweezil &
HONORS & EDUCATION: Bachelor of Arts CSUDH, Emmy Awards for “Lonesome Ahmet Zappa, Albert Lee, Carole King, Rita Coolidge, Johnny Rivers, Martha Reeves
Dove” & “Young Indiana Jones,” MPSE Awards for “Anastasia” & “The Temptations” and Chuck Berry. Performed on The Tonight Show with Jay Leno, The Late Show with
David Letterman. Author of instructional video “The Slap Bass Program” and co-
KENNETH ZAMBELLO produced “Fingerstyle Funk” by Tower of Power bassist Francis Rocco Prestia. Writer for
COURSES: History of Rock & Roll, Performance, Vocal Performance, Bass Player magazine, author of “Bass Playing Techniques: The Complete Guide.”
SPECIALTIES: Arranger, Performer, Music Director HONORS & EDUCATION: Musicians Institute “Outstanding Achievement” Graduate
CREDITS: Arranger and Conductor for the concerts of Steven Tyler, Gloria Estefan,
Chaka Kahn, Phil Collins, Annie Lennox, Phillip Bailey ( Earth, Wind & Fire), Ben E. King, VERLOOP, MAURICE
Paula Cole, Lalah Hathaway, Susan Tedeschi, Livingston Taylor, Valerie Simpson ( SPECIALTIES: Bassist- Electric, Curriculum Development
Ashford & Simpson), Angelique Kidjo, David Foster CREDITS: Zakk Wylde, Alessandro Cortini, Ray Luzier, Shannon Larkin, Carl Anderson,
HONORS & EDUCATION: Bachelor of Music in Professional Music - Berklee Reba McIntyre. Endorsed by Ashdown Engineering (amps) and Moollon Basses.
College of Music HONORS & EDUCATION: Honors grad from MI, Instructor of the Year (twice) and
Outstanding Student Awards.

BASS WEISS, GREG
COURSES: LPWs, Harmony & Theory , Ear Training, Priv Lessons
APERGIS, JUSTIN SPECIALTIES: Bassist- Electric
COURSES: Bass Reading, Upright Bass Workshop, Odd Meter Bass CREDITS: Performed clinics at MI with Kirk Hammett (Metallica), Ray Luzier (Korn, David
SPECIALTIES: Bassist-Upright and Electric Lee Roth), and Tony Royster, Jr. (Jay-Z)
CREDITS: Joe Sample, Bass Player Live, NAMM’s Museum of Making Music HONORS & EDUCATION: Miami Dade C.C. South, Musicians Institute Honors
HONORS & EDUCATION: University of North Texas, Berklee College of Music Graduate

HONG, STEVE WITT, TOM
COURSES: Reading, Fretboard, Upright Workshop, Private Lessons, Harmony Theory COURSES: LPWs, Keyboard Bass, Slap Bass, Private Lessons

439 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FACULTY BIOS
SPECIALTIES: Bassist- Electric SPECIALTIES: Drummer, Instructor
CREDITS: Javier, Missing Persons, American Idol Live!, Enrique Iglesias, Andrae CREDITS: Lauryn Hill, Bobby McFerrin, Darmon Meader, Stefon Harris, Eldar, Shawn
Crouch, Fantasia, Jennifer Hudson, Impromp2, Pepe Aguilar. “Thunder” Wallace, Charles Laster, Liz Mikel, Mozella
HONORS & EDUCATION: Berklee College of Music HONORS & EDUCATION: Graduate of Western Michigan University

DRUM MCINTYRE, TIM
COURSES: Reading, Jazz, Private Lessons and Open Counseling
JEAN, STEWART SPECIALTIES: Drummer, Instructor
DIRECTOR OF PERFORMANCE PROGRAMS AND FACULTY CREDITS: Endorsed by Canopus drums. Performs with the Dave Hill Group.
SPECIALTIES: Drummer, Keyboardist, Curricular Development HONORS & EDUCATION: Bachelor of Music Degree, University of Calgary-Alberta
CREDITS: Raul Midon, Bruce Kulick, Bo Diddley, Preston Smith, Jimmy Buffett.
Endorsed by Vic Firth drumsticks, Remo drumheads, Beato cases, Kickport and Paiste PALMIERI, GIANLUCA
cymbals. Can be heard on “Contact” soundtrack. COURSES: Performance, Latin, LPW, Private Lessons, Open Counseling
HONORS & EDUCATION: Bachelor of Music, University of Miami SPECIALTIES: Drummer, Instructor
CREDITS: Greg Howe, Marigold, MTV Total Request Live and SuperSix TV.
AKUTSU, KEITA Endorsements with Yamaha, Vic Firth, Paiste, Evans
COURSES: Jazz, Digital Drumming, Keyboard, Harmony Theory, Ear Training, HONORS & EDUCATION: Graduate of Musicians Institute
Rhythm Reading Workout, Private Lessons, Open Counseling
SPECIALTIES: Instructor, Digital Drumming Curricular Development SALINAS, DAVID
CREDITS: CJS Quintet COURSES: Funk, LPW, Private Lessons and Open Counseling
HONORS & EDUCATION: Bachelor and Masters of Arts, California Institute of the SPECIALTIES: Drummer, Instructor
Arts CREDITS: Paulina Rubio, Snapdragon, Jim Brickman, Jason Reeves and In The Red
Ministries. Endorsed by Paiste and Regal.
BOLOGNESE, STEPHEN HONORS & EDUCATION: Graduate of Musicians Institute
COURSES: LPW, Private Lessons, Open Counseling
SPECIALTIES: Drummer, Instructor TERRY, ROBERT

GENERAL
CREDITS: Into Eternity, Incurable Tragedy, various recordings for Roadrunner, Metal COURSES: Electronic Drum, Open Counseling
Blade, and Century Media Records. SPECIALTIES: Drummer, Instructor, Digital Drumming Curricular Development
HONORS & EDUCATION: Endorsed by Pearl Drums. Credits: Wang Chung, Artist and product consultant for YAMAHA/DTX

BONACCI, ALBE
COURSES: Drum Tuning, Jazz, LPW, Private Lessons and Open Counseling GUITAR
SPECIALTIES: Drummer, Instructor
CREDITS: Larry Hart, Desmond Child, Diane Warren, and Jack Segal. Writer for NEWLON, TRAVIS
Modern Drummer. Clinician at PASIC, Sam Ash and Musicians Friend. SPECIALTIES: Technique, Theory, Solo Guitar
HONORS & EDUCATION: Graduate of Musicians Institute and Drummers CREDITS: Performed and/or recorded with: Latin Grammy Winner Gaby Moreno,
Collective. Allison Self, The Hot Club of North Hollywood. Recorded for TV and Film. Contributor
to various books and magazines.
BOWDERS, JEFF HONORS & EDUCATION: Bachelor of Music from Musicians Institute
COURSES: Fill Fest, Private Lessons, Open Counseling
SPECIALTIES: Drummer, Instructor BONHOMME, AL
CREDITS: Paul Gilbert, Justin Derrico, Puddle of Mudd, The Voice. Author of COURSES: Core Classes, Country Guitar, Surf/Spy Guitar, Acoustic Guitar, Country
“Double Bass Drumming-The MirroredGroove System,” “Essential Drumset Fills-The LPW, Private Lessons, Open Counseling
Component Rhythm System,” “Essential Rock Drumming Concepts-An Encyclopedia SPECIALTIES: Country, Fingerpicking and Acoustic Styles, Roots Music and
of Progressive Rhythmic Techniques” and “Jeff Bowders-Double Bass Drumming Americana
Workshop” DVD. CREDITS: Dwight Yoakum, Pete Anderson, the Bull Durham Band, Mark Collie, Tracy
HONORS & EDUCATION: Graduate of Musicians Institute Lawrence and Disney Entertainment. Performed at the Grand Old Opry and on TNN’s
“Crook & Chase.”
DINKINS, FRED HONORS & EDUCATION: Musicians Institute Alumni. Voted Guitarist of the Year by
COURSES: Timekeeping, LPW, Private Lessons, Open Counseling the California Country Music Association in 1988.
SPECIALTIES: Drummer, Instructor
CREDITS: Sinbad, The Emotions, Deniece Williams, Hugh Masekela. Clinician at CARLSON, ERIK
PASIC. Endorsed by PDP, Vater, REMO, Sabian and Kickport. COURSES: Harmony Theory and Ear Training, 1-4; Intro to Guitar
HONORS & EDUCATION: Graduate of Musicians Institute SPECIALTIES: Harmony Theory and Ear Training, Guitar Performance
CREDITS: Toured with Jeff Hershey and the Heartbeats. Montreal Jazz Festival
HUNTER, JEVIN appearance with For the Record: Tarantino in Concert
COURSES: LPW, Private Lessons and Open Counseling HONORS & EDUCATION: Bachelor of Music from Musicians Institute

440
 FACULTY BIOS
HONORS & EDUCATION: Bachelor of Arts in Commercial Music, MI’s Guitar &
DESAI, PATHIK Recording Programs, Logic 9 Master Pro, Pro Tools 11
COURSES: Core Classes, Funk Guitar, Advanced Groove Concepts, Slide Guitar
(SUB), Studio Skills, Private Lessons, Reading 1&2 KOLB, THOMAS
SPECIALTIES: Pop, Funk and Studio Guitar COURSES: Core Classes, Melodic Soloing, Classic Rock LPW Leader, Open
CREDITS: Kelly Clarkson, Westlife, David Archuleta, Nick Lachey, Anastasia, American Counseling, Private Lessons
Idol, Tonight Show with Jay Leno, Today Show, Good Morning America, Live with SPECIALTIES: Guitar Instructor specializing in Rock, Blues, Funk, Country, Jazz, Folk,
Regis, Jimmy Kimmel R&B, and Soul.
HONORS & EDUCATION: Graduated from Berklee College of Music. Played on CREDITS: Edgar Winter, Mark Lindsay, Tom Jones, Eric Johnson, Jan and Dean,
Kelly Clarkson’s #1 hit “A Moment Like This.” Mitch Ryder, and Pete Seeger. Author of nine guitar method books & featured in over
40 instructional videos. Writer for Guitar One, Guitar World, Guitar Edge, and Premier
GILBERT, DANIEL Guitar.
COURSES: Core Classes, Jazz Workshop, Guitar Workout, Eclectic Electric Guitar, HONORS & EDUCATION: Graduated Musicians Institute with Vocational Honors
Applied Technique, Fusion LPW, Private Lessons, Open Counseling and Student of the Year Award. Studied Music at CA State University Hayward.
SPECIALTIES: Jazz, Fusion, General Guitar Technique and Knowledge
CREDITS: Mr. Invisible (YT Records), performed with Cone of Silence and Terri and MARLIS, BETH
the T-Bones. Co-author of “Guitar Soloing” (Hal Leonard) COURSES: Open Counseling. Vice President, Industry/Community Relations.
HONORS & EDUCATION: Musicians Institute Alumni. Queensborough Community Executive Director, The Musicians Foundation.
College and Brooklyn Conservatory of Music. Private studies with Pat Martino, Howard SPECIALTIES: Jazz, R&B. Leader in fundraising for MI scholarships and fostering
Morgan, and Ronnie Lee positive community relationships
CREDITS: Jackie DeShannon, Helen Reddy, John5, Brownie McGee, Barbara
HENDERSON, SCOTT Morrison. Clinician, Author, Panelist, Interviewer
COURSES: Open Counseling HONORS & EDUCATION: Master of Music, USC. Bachelor of Music, UC Santa Cruz.
SPECIALTIES: Jazz Fusion and Blues MI Guitar Program (GIT) - Vocational Honors
CREDITS: Released numerous critically acclaimed solo albums, instructional videos
and books, Tribal Tech, Joe Zawinul, Vital Tech Tones, Chick Corea, Jean Luc Ponty, MARSHALL, JEFFERY
GENERAL

etc. COURSES: Core Classes, Guitar Studio Skills, Private Lessons

HONORS & EDUCATION: MI Alumni, numerous awards in international magazines SPECIALTIES: Blues, Classic Rock, Country, Fusion, Recording/Production/
Songwriting
HILL, DAVID CREDITS: Rick Monroe, Lisa Hayes and the Violets, Ashley Jay, Bleeding Harp, The
COURSES: Core Classes, Fusion Masters, Private Lessons, Open Counseling Jeff Kollman Band, Tizer. Released 2007 solo album. Writer for Studio 51 and Xray Dog
SPECIALTIES: All Styles, Emphasis on Jazz and Fusion music libraries & Guitar World Magazine.
CREDITS: Toured U.S., Canada and Europe, including Montreux Jazz Festival. Played HONORS & EDUCATION: MI Graduate
with Dave Hill Group, Cone of Silence, Frank Gambale, Jimmy Earl, Three Dog Night,
The Coasters, and Al Wilson. Staff transcriber for REH Instructional Videos. MENEZES, ARTUR
HONORS & EDUCATION: Musicians Institute Alumni COURSES: Blues Guitar, Slide Guitar, Blues Rock LPW, Private Lessons, Open
Counseling
HINDS, ALLEN SPECIALTIES: Blues, Blues-Rock
COURSES: Private Lessons & Open Counseling CREDITS: Winner of the Gibson/Albert King Award for Best Guitarist by the Blues
SPECIALTIES: Variety of guitar styles, soloing over chord changes, comping, Foundation and 3rd place at the International Blues Challenge 2018. Instructor for
mentoring in general Jam Track Central and JamPlay. Featured speaker at TEDx. Has shared the stage with
CREDITS: Gino Vannelli, Randy Crawford, Crusaders, Roberta Flack, Natalie Cole, Joe Satriani, Buddy Guy, opened for the Grammy Award winner Bobby Rush, and
BeBe Winans, Hiroshima, Patti Austin. TV show appearances with Rickey Minor numerous others. Released four albums under his own name.
backing Stevie Wonder, Lionel Richie, Maya, Mary J. Blige and Sheena Easton. Released
4 solo albums. Featured articles in Guitar Player Magazine, the Guitarist, Guitar OZAKI, JINSHI
Techniques, Premier Guitar. Author of “Liquid Legato” instructional book. Endorsed COURSES: Acid Jazz, Funk LPW, Private Lessons & Open Counseling
by Xotic, bV pedals at gtrwrks, Bogner,Vertex, Jackson Amp Works, Bob Burt pedals, SPECIALTIES: Jazz improvisation, composing & arranging, acoustic solo guitar
Anthology straps and accessories, Curt Mangan strings and Ernie Ball strings. CREDITS: Toured around the world with Kirk Whalum, Jody Watley, Keiko Matsui,
HONORS & EDUCATION: Winner of Guitar Player magazine’s Larry Carlton Jimbo Akira, and Scott Kinsey. Veteran session guitarist for TV shows and studio work.
Scholarship. MI Graduate. Berklee College of Music HONORS & EDUCATION: Bachelor’s Degree, Berklee College of Music. Private
studies with Ted Greene.
HOMEYER, ERNST
COURSES: Private Lessons, Guitar Heroes Of The 80s, Recording Guitar, Studio TAGLIARINO, BARRETT
Skills, Guitar Tracking Tactics, Modern Rock LPW, I Love the 80’s LPW COURSES: Private Lessons & Open Counseling
SPECIALTIES: Rock, Metal, Shred, Neoclassical, Fusion SPECIALTIES: Improvisation, theory, blues, classic rock, jazz
CREDITS: EGH, King Crazy, Jacob Armen, X-Loop. Companies: MXL, Audio Technica, CREDITS: Performing with John Zipperer, Severin Browne, Dave Morrison. Released
Warwick, Framus, Joe Meek three solo albums, author of instruction books and DVDs. Editor/author for over 100

441 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FACULTY BIOS
Hal Leonard projects Mint and the Baked Potato in LA and has played in various live performances with
HONORS & EDUCATION: MI Graduate prominent Korean singers at Ebell Theatre and Shrine Auditorium. She has also
performed at the Edison Jazz Festivals, Denton Jazz Festivals, Pat Metheny Jazz
WIDEGREN, LENNART Ensemble in Texas and at several musicals, including Bye Bye Birdie, Sweeney Todd
COURSES: Core Classes, Rock Lead guitar, Rock Rhythm Guitar, Alternative Guitar and more. She is currently directing the church choir and the church band, as well as
Heroes, Hard Rock LPW, private lessons composing, arranging, and producing albums.
SPECIALTIES: Rock, Hard Rock, Punk, Alternative, Slide Guitar HONORS & EDUCATION: Masters of Music in Jazz Piano Performance, University
CREDITS: Recorded five albums, toured U.S. and Europe, featured in film “Get Him To of North Texas. 2015. Outstanding Musician award from Musicians Institute.
The Greek.”
HONORS & EDUCATION: Bachelors of Music, Musicians Institute. Winner of Best SALAS, ALBERTO
Rock Band, All Access Magazine Awards. COURSES: Keyboard Technique, Latin Workshop, Brazilian Keyboards, Afro-Cuban
Keyboards, Latin LPW, Brazilian LPW, Private Lessons
ZIFF, STUART SPECIALTIES: Producer, Arranger, Keyboardist, Percussionist specializing in Afro-
COURSES: Blues Guitar, Slide Guitar, Blues LPW, Private Lessons and Open Cuban styles
Counseling CREDITS: Santana (Supernatural), Angelique Kidjo, Ozomatli, Mana, Los Lobos, Bebe
SPECIALTIES: Rock & Roll, R&B, Funk, Blues Winans, Poncho Sanchez, Alex Acuña, Israel Cachao Lopez, Raul Malo, Rick Trevino,
CREDITS: Wilson Pickett, Charles Brown, War. Co-wrote the #1 single “Thinkin’ Los Super Seven, Andrae Crouch, the Luckman Jazz Orchestra, the Nashville Chamber
Problem” with country artist David Ball. Orchestra, Christina Aguilera
HONORS & EDUCATION: Bachelor of Arts in Guitar Performance, Berklee College HONORS & EDUCATION: Grammy-Winning producer
of Music

VOCAL
KEYBOARD TECHNOLOGY
CHUNG, ANN
BYRON, CARL COURSES: K-Pop LPW, Private Lessons
COURSES: Voicings 1-4, Groove 5, Jam Band LPW SPECIALTIES: Singer, Songwriter, Producer

GENERAL
SPECIALTIES: Instructor, Sideman, Recording Musician, Composer, Music Director, CREDITS: Released two albums in South Korea as Ann One. Producer and
Independent A&R Consultant, Music Critic, Author collaborator with Drunken Tiger JK, Tasha, The Pharcyde, Kurtis Blow, Dumbfoundead
CREDITS: Michelle Shocked, Jim Lauderdale, Young Dubliners, Mike Stoller, Bo and Breezy Lovejoy
Diddley, Spencer Davis Group, Warren Zevon. Interscope Records, Messenger HONORS & EDUCATION: Won 2008 Korean Grammy for R&B Song of the Year.
Records, Taxi Music Songs used in South Korean schools and talent competitions (“Superstar”)
HONORS & EDUCATION: Bachelor of Music Composition, Cal State University,
Northridge HUTCHISON, TITA
COURSES: Vocal Performance, Sightsinging, Image Development, Classic Rock
KIM, HYUN LPW, Billboard Hot 100 LPW, Private Lessons
COURSES: Groove 1, Reading 1, Reading 2, Contemporary Praise & Worship SPECIALTIES: Recording Artist and Session Singer
Performance CREDITS: Shooter Jenning, P.J. Olsson, Rick Rubin, Herbie Hancock. Worked
SPECIALTIES: Player, Music Director, Arranger, Composer, Private Lesson on commercials, TV, radio and film productions for Calvin Klein, Fox and ABC
CREDITS: Abraham Laboriel, Korean Singers Jin Sub Byun, Kyung Min Hong and Mi Family, Capitol, Columbia. Co-author of “Advanced Vocal Technique: Middle Voice,
Kyung Park, Ali. Teacher at Seoul Contemporary Music High School, World Mission Placement and Styles” (Hal Leonard)
University HONORS & EDUCATION: Musicians Institute graduate
HONORS & EDUCATION: Bachelor’s Degree in Music Composition, Dan Kook
University in South Korea. Outstanding Student Award at Musicians Institute KLIKOVITS, CHRISTIAN
COURSES: Keyboards for Vocalists, Digital Notation & Arranging, Keyboard
LEE, EUN JUNG Improvisation, Ear Training, Hip Hop LPW, Vocal Performance, Jazz Vocals
COURSES: Private Lesson, 80’s LPW, Assistant for Fusion Performance, Latin SPECIALTIES: Keyboard instructor, Chart Writing, Sibelius, Accompanist
Worshop, Bachelor Ensemble, Vocal Performance. CREDITS: Ellen Greene, Chaka Khan, Gloria Gaynor, Thelma Houston, Donna De
SPECIALTIES: Keyboard Instructor at MI, Music Director/Keyboardist at Church. Lory
CREDITS: Arranging/Recording soundtracks for MBC broadcasting in Korea HONORS & EDUCATION: Bachelor Degree in Jazz Piano, The Conservatory of
HONORS & EDUCATION: Masters of Music the City of Vienna

PARK, EVET REID, COLIN
COURSES: Pat Metheny Ensemble, Keyboard Technique, Keyboard Reading, COURSES: Rock Repertoire, Jam Band and Country LPWs
Keyboard Performance, Keyboard Proficiency, Billboard LPW, Modern Rock LPW, CREDITS: Played with ex-Megadeth Drummer Nick Menza in the band Deltanaut,
Private Lessons toured with Blacklist Union, released a full-length album as a solo artist, and was the
SPECIALTIES: Musician, Educator former Music Director at Rock Nation school in Agoura Hills, CA
CREDITS: Evet has performed as a keyboardist at renowned venues such as the HONORS & EDUCATION: Bachelor of Music in Performance, an Associate of Arts

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in Vocals and an Audio Engineering Certificate from Musicians Institute. Awarded the University, NY.
Musicianship Scholarship and Outstanding Student award for the Vocal Program at MI.
Bachelor of Arts from the University of British Columbia CHILCOAT, THOMAS
COURSES: Music Video Bootcamp, iMovie and Final Cut Editing
SHARPE-TAYLOR, DEBORAH SPECIALTIES: Music Video Directing, Editing, Screenwriting
COURSES: Jazz Vocals, R&B Vocals, Image Development, Vocal Performance, CREDITS: Former Director of Development at Pellington Films (award winning music
Private Lessons video director)
SPECIALTIES: Vocalist, Voice Instructor, Choral Director, Actor, Recording Artist EDUCATION: Bachelor of Arts, University of Maryland.
CREDITS: Michael Jackson, Soul II Soul, The Supremes, Barry White, Andre Crouch,
Harry Belafonte. Broadway shows The Wiz, Violet, Little Shop of Horrors. Vocal DESANTIS, MARKO
Director for It Ain’t Nothin’ But The Blues. Appeared on “American Idol” COURSES: Artist Development: The Songs, Artist Development: The Show
HONORS & EDUCATION: Bachelor of Science in Telecommunications, Oral SPECIALTIES: Instructor, Artist Development
Roberts University. Master of Business Administration, University of Phoenix CREDITS: Sugarcult (V2/Fearless Records). Bad Astronaut (Fat Wreck Chords).
Composer for Nickelodeon, MTV Networks
WILLIAMS, BRIAN HONORS & EDUCATION: Bachelor of Arts, University of California at Santa
COURSES: Art of Success, Extreme Vocals, BACH Vocal Performance, Hard Rock Barbara
LPW, Punk LPW, Private Lessons
SPECIALTIES: Rock Vocals, Extreme Vocals, Mimicking Styles, Songwriting, Career FORBES, KATERI
Guidance, Performance, Goal Setting and Achievement COURSES: Graphic Design for Artists 1 and Graphic Design for Artists 2
CREDITS: Vocalist with Racer X, Otto, Damn Hippie Freaks, Commercial Free, SPECIALTIES: Graphic Design and Web Site Design
Deltanaut (ex-Megadeth drummer Nick Menza). TV performances on “2014 Superbowl CREDITS: The Smashing Pumpkins, Billy Corgan, Don Bolles, The Strawberry Alarm
Halftime,” Golden Globes, Burn Notice, The Mentalist, Smash, The Life and Times of Clock, Steven Antin, Jesse Dylan, Phillip Atwell, Diane Keaton, Mod/Op Films, Bonch,
Tim, Sons of Anarchy Form, Tate USA, Geronimo Films, Maverick Records, Staretone Records, Milan Records
HONORS & EDUCATION: Bachelor of Arts, UCLA. Musicians Institute Vocal HONORS & EDUCATION: Bachelor of Fine Arts in Art Education and Painting with
Program a Minor in Art History, Kresge Art Center, Michigan State University. Compumatics
Computer Training Certificate.
GENERAL

COMMON COURSE/HORN GONZALEZ, JAVIER

COURSES: Trumpet Private Instruction, Master Classes
BILLINGS, SEAN SPECIALTIES: Trumpet performance
COURSES: Trumpet Core Curriculum, Trumpet Private Instruction, The Horn Section CREDITS: Principal trumpet for Dancing with the Stars house band. Additional live
(HORN-350) television award show credits include American Idol, The Voice, Grammy Awards,
SPECIALTIES: Trumpet performance, composition, music contracting Latin Grammy Awards, American Music Awards, BET Awards, Primetime Emmy
CREDITS: Jungle Fire, Brian Setzer Orchestra, Gloria Trevi, Alejandra Guzman, Awards, and the Billboard Awards. Partial studio television and film credits include The
U2, Bright Eyes, 5 Seconds of Summer, Selena Gomez, Pitbull, Broken Bells, Cage Simpsons, America’s Got Talent,The X Factor, The Tonight Show with Jay Leno, Jimmy
the Elephant, The Pacific Symphony. Performance with Elton John at the 2020 Kimmel Live, Fargo, Chuck and many others. Cameo in the Oscar Nominated musical
Academy Awards. Original compositions with Jungle Fire can be heard on worldwide La La Land. Recorded trumpet on Damian Marley’s Stony Hill album which won the
advertising campaigns with Nike, Starbucks, Levi’s, and ESPN. Grammy Award for Best Reggae album of 2018.
HONORS & EDUCATION: Bachelor of Arts in Business Administration, California HONORS & EDUCATION: Bachelor of Fine Arts - Jazz Trumpet, Masters in Fine
State University, Fullerton. Private trumpet study with Wayne Bergeron and David Arts - Jazz Trumpet; California Institute of the Arts
Washburn. Yamaha Brass Artist.
GRALLE, JULIANE
CALLY, MARK COURSES: Trombone Private Instruction, Master Classes
COURSES: Intro to Guitar, Artist Development: The Songs, SPECIALTIES: Bass Trombone, Tenor Trombone, Tuba performance
SPECIALTIES: Harmony Theory and Ear Training, Jazz guitar CREDITS: Live performances include Adele, Lady Gaga, Jessie J, Dave Matthews
CREDITS: Royal Crown Revue; Music Copyist for TV (Battlestar Galactica), Movies Band, Trisha Yearwood, Michael Bolton, Lady Antebellum, Dirty Projectors, Bob
(DeathRace), and Video games (Batman) Mintzer, Andrea Bocelli, Tori Amos, Celine Dion, “Beauty and the Beast” LIVE at the
HONORS & EDUCATION: Guitar study with Jim Hall and Bucky Pizzarelli. Wrote Hollywood Bowl, “The Little Mermaid” LIVE at the Hollywood Bowl, and many more.
the song “Mr. Zoot Suit” (Blast From The Past) Recording credits include Golden Globe Awards, Fortnite, Wreck It Ralph 2, Bad Times
At The El Royale, Once Upon A Time (TV), Spiderman - Far From Home, SHAFT (2019),
CASALE, NICK The GRAMMYs, What/If, Agent Carter, Baywatch 2, The Little Mermaid LIVE on ABC,
COURSES: Graphic Design for Artists 1 & 2, Promotional Media and many more.
SPECIALTIES: Graphic Design, Album Art, Promotional Materials, Web Graphics, HONORS & EDUCATION: Bachelor of Music - Jazz Bass Trombone, Master of
Logo Creation & Branding, Photo Editing Music - Jazz Bass Trombone; Conservatory of Amsterdam
CREDITS: [Link], Black Arts Toneworks, Mojo Hand Effects, Hal Leonard
Publishing JEDEIKIN, JIM
HONORS & EDUCATION: Bachelor of Fine Arts in Graphic Design, Oswego State COURSES: Transposition Skills (HORN-240/CC-240E), Horn Section Technique 110

443 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FACULTY BIOS
and 210 (HORN-110 and HORN-210), Private Saxophone Instruction HONORS & EDUCATION: Bachelor of Music in Jazz Studies and Contemporary
SPECIALTIES: Saxophone, flute, and clarinet performance. Arranging. Media, Eastman School of Music
CREDITS: World tours with Royal Crown Revue, Bette Midler, Ebi Hamedi and Star
Wars in Concert. Performed and/or recorded with Jon Batiste, Barbara Morrison, Seth PENDER, MARK
MacFarlane, Diane Schuur and Bobby Caldwell, and the soundtracks to Malcolm in the COURSES: Trumpet Private Instruction, Master Classes
Middle and Trolls 2. SPECIALTIES: Trumpet performance, Vocal performance, Composition
HONORS & EDUCATION: Bachelor of Music, San Francisco State University. CREDITS: Late Night with Conan O’Brien and The Tonight Show with Conan O’Brien
Private study with John Handy, Lee Konitz, Jaki Byard, Gary Foster and Greg Dufford as a member of The Max Weinberg 7 and The Tonight Show Band; Southside Johnny,
Little Steven, and Bruce Springsteen. As a member of The Miami Horns he has toured
KAMP, TED and/or recorded with Diana Ross, Gary U.S. Bonds, Joe Cocker, Darlene Love, Robert
COURSES: Songwriting for Artists 1 and 2, Advanced Songwriting for Artists 1 and 2, Cray and Bon Jovi. As an individual he has sessioned with David Bowie, They Might Be
Artist Development: The Songs Giants, and Buster Poindexter.
SPECIALTIES: Songwriter, Producer, Bass Player. HONORS & EDUCATION: B & S Buffet Trumpet Artist.
CREDITS: Solo Artist with records charting in the U.S. & Europe. Sideman to artists
Shooter Jennings and Wilson Phillips RANDALL, ROBIN
HONORS & EDUCATION: Bachelor of Arts, State University of New York in COURSES: Artist Development: The Songs, IAP Project Advising; Private Keyboard
Binghamton Lessons
SPECIALTIES: Songwriting, Keyboard Performance, Harmony & Theory and Ear
KIM, JEAN Training
COURSES: Music Video Bootcamp, Final Cut Pro X CREDITS: Wrote hits for Starship, Agnetha Faltskog of ABBA, Roxus. Songs written for
SPECIALTIES: Cinematography, Camera Operation, Editing TV show Baywatch
CREDITS: Cinematography on the feature film “Showing Up” (directors Riad Galayini HONORS & EDUCATION: Certificates in Composition and Keyboard, Dick Grove
and James Morrison) and the short film “Amigas with Benefits” (director Adelina School of Music. Emmy Judge for the Academy of Television Arts & Sciences. Finalist
Anthony). in the American Idol Songwriting Competition.
EDUCATION: Master of Fine Arts in Film and Television Production, University of
Southern California. Film Independent Fellow. RICH, ALLAN

GENERAL
COURSES: Career Development Counselor
MANKOWSKI, FORREST “WOODY” SPECIALTIES: Advice on songwriting and the business of songwriting
COURSES: Saxophone Technique 011 and 021, Horn Section Technique 310, CREDITS: Barbara Streisand, Tina Turner, Rod Stewart, Luther Vandross, Dolly Parton,
Saxophone Private Instruction Patti LaBelle.
SPECIALTIES: Saxophone, Flute, Recording Artist/Singer-Songwriter, Composer, HONORS & EDUCATION: Two time Academy Award, Grammy, and Golden Globe
Arranger nominated songwriter. Written songs for Natalie Cole, Whitney Houston
CREDITS: Live performances at the Cannes Film Festival and IAJE festival in Chicago;
2012 WAMI (Wisconsin Are Music Industry) Award: Instrumentalist of the Year; Wrote SCHIFF, RONNY
and engraved over 100 Instruction, Transcription, and PVG (Piano-Vocal-Guitar) books COURSES: Career Development Counselor
for Hal Leonard Corporation; Vocal and Instrumental soloist with several major U.S. SPECIALTIES: Produces & licenses music books; music programming for airlines
symphonies (including Boston and Chicago) with “The Baseball Music Project”; Vocals CREDITS: Produced books and/or interviewed with Quincy Jones, Herbie Hancock,
and/or saxophone featured on commercial jingles for “Miller Lite”, “Turner Classic Pat Metheny, Stevie Ray Vaughan.
Movies”, “Benadryl”, and approximately 500 others. HONORS & EDUCATION: Avion Awards: Best Airline Music 2001; President,
HONORS & EDUCATION: Bachelor of Music in Instrumental Performance, California Copyright Conference
University of Wisconsin-Green Bay
SQUIRE, BARRY
MARGO, KIRK COURSES: Starting Your Music Career, Hiring Hall, and Audition Workshops
COURSES: Harmony Theory & Ear Training, Musicianship, Reggae LPW SPECIALTIES: A&R specialist, advising young musicians on getting gigs
SPECIALTIES: Harmony Theory and Ear Training, LPW CREDITS: Client list includes John Mayer, Weezer, Guns N’ Roses, Kelly Clarkson,
CREDITS: Guitarist with Mexican pop-rock singer-songwriter, Gloria Trevi, for five Smashing Pumpkins, Justin Timberlake.
years. HONORS & EDUCATION: Teaches Music Business at UCLA Extension. Worked as
HONORS & EDUCATION: Studied composition and music theory at Cal State an A&R exec for Warner Bros., Geffen, and Columbia Records.
Northridge. Studied guitar with Ted Greene, Jimmy Wyble
TORRES, JR., RICARDO
NAVARRO, ERM COURSES: Artist Development: The Songs; Artist Development: The Show; Rock
COURSES: Trombone Core Curriculum, Skills in Spontaneity for the Contemporary Repertoire LPW, Coffee House LPW
Horn Player (HORN-140/CC-140E), Trombone Private Instruction, SPECIALTIES: Songwriting, Musical Direction, Guitar, Composition
SPECIALTIES: Trombone performance CREDITS: The Smart Set, Supreme Beings of Leisure. Guitarist for the English Beat.
CREDITS: Panic at the Disco, Jonas Brothers, Bobby Womack, Pitbull. TV Written music for J.C. Penney, MTV
appearance include: American Idol, The Voice, Jimmy Fallon, GMA, Late Night with HONORS & EDUCATION: Voting member of the National Academy of Recording
Conan O’brien, Ellen, Today Show, MTV Wonderland, Late night with Seth Meyers Arts and Sciences.

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University, Auckland, New Zealand

INDEPENDENT ARTIST DJ PERFORMANCE

DEVELOPMENT
BELL, MARK
CORNE, ERIC COURSES: Beat Matching, Music Production Workshop, Set Building, Project
COURSES: Recording Techniques for Songwriters & Producers 1 and 2 Advising, Music Industry History, Song Structure and Content
SPECIALTIES: Sound Engineering, Music Production, Songwriting, Arrangement, Pro SPECIALTIES: Production, Arranging, Composition, Mixing, DJing, Logic
Tools, Music Business CREDITS: Chaka Khan, New Order, A Tribe Called Quest, Jamiroquai, M-People,
CREDITS: John Mayall, Joe Bonamassa, Joe Walsh, Lucinda Williams, DeVotchKa, Moloko, Manuel Tur, King Britt, DJ Sneak, Doc Martin
Kim Deal (The Pixies), True Blood, Underworld 2, Crazy Stupid Love HONORS & EDUCATION: Mercury Award winner
HONORS & EDUCATION: Bachelor of Arts in Political Science, Chief Engineer Mad
Dog Studios (2004-2008), NPR Album of the Year Nominee (KaiL Baxley), Rolling Stone FREDERICKS, TERENCE
Country Album of the Year 2017 (Jaime Wyatt), 2012 iTunes Blues Song of the Year COURSES: Ind. DJ Workshop, Turntablism, DJ-Driven and Hip Hop LPWs, Set
(Walter Trout), 2016 Blues Rock Album of the Year/Song of the Year (The Blues Music Building, other DJ courses
Awards - Walter Trout), Six top 5 Billboard Blues albums SPECIALTIES: As DJ Jedi, has appeared in Russell Simmons’ Def Poetry Jam, Digable
Planets, daKAH Hip Hop Orchestra
DAYE-ALBERSON, ALEXX CREDITS: Emmy Award-winning DJ. Nominated for the L.A. Weekly Theatre awards
COURSES: Vocal Private Lessons, Project Advising, LPW and the NAACP awards for the musical BASH’D.
SPECIALTIES: Vocals, Songwriting, Live/Studio Sessions (Gospel/Blues/Soul/Funk/
RnB/Pop/Rock) HARRIS, LACEY
CREDITS: Patti Labelle, Red Hot Chili Peppers, Christina Aguilera, Ne-Yo, Engelbert DIRECTOR OF INDUSTRY STUDIES
Humperdinck COURSES: Beat Matching, Traktor, Serato, History of Recorded Popular Music,
Project Advising, DJ Tech 1, DJ Tech 2, Serato DJ, Traktor, Individual DJ Workshop
HARKNESS, ROBERT SPECIALTIES: DJing, Production
COURSES: Music Analysis, Recording Project, Plugin Processing, Live Drum CREDITS: DJ Colette, Concurrent Recordings
GENERAL

Programming, Music Productin Workshop, Logic HONORS & EDUCATION: UCLA, Musicians Institute
SPECIALTIES: Producer, Arranger, Engineer, Mixer
CREDITS: Kobalt Music, Sony/ATV Music Publishing MARKMAN, BRIAN
HONORS & EDUCATION: Bachelor of Music, Music Production & Engineering, COURSES: Ableton Live, Beat Matching, Music Production Workshop, Project
Berklee College of Music, Magna Cum Laude Advising, Logic Pro X
SPECIALTIES: Ableton Live, Production, Engineering, Electronic Live Performance
PARDINI, LAUREN CREDITS: Presha Crew, WreckIgnition
COURSES: Project Advising, Artist Development, Vocal Private Lessons, Bachelor’s HONORS & EDUCATION: Bachelor of Science in Business, University of Phoenix;
Vocal Performance Associate of Science in Recording Arts, Full Sail Music & Media Production Center
SPECIALTIES: Vocal Producer, Vocal Instructor, Songwriter, Singer, Keyboardist,
(Hip-Hop, Electronica, Pop) POCHON, ARTHUR
CREDITS: Columbia, Sony/Epic, Island Def Jam, Atlantic, E, MTV, Oxygen, Lifetime, COURSES: IAP Project Advising
Sony Playstation, HBO SPECIALTIES: Composition, Production, Arranging, Mixing, Performance (Piano and
HONORS & EDUCATION: NYU, USC Saxophone), DJ
CREDITS: Art Bleek, Ursula Rucker, Fitz & The Tantrums, Zoowax
POCHON, ARTHUR HONORS & EDUCATION: Diploma, Conservatoire National de Région, Paris,
COURSES: Project Advising France
SPECIALTIES: Composition, Production, Arranging, Mixing, Performance (Piano and
Saxophone), DJ
CREDITS: Art Bleek, Ursula Rucker, Fitz & The Tantrums, Zoowax AUDIO ENGINEERING
HONORS & EDUCATION: Conservatoire National de Région, Paris, France
NEWKIRK, JONATHAN
HANNAH “KAT” MCDOWELL SENIOR DIRECTOR
COURSES: Social Media Branding SPECIALTIES: Responsible for instructor performance and providing ongoing
SPECIALTIES: Social Media and Branding, Music Video Creation, Songwriting, Live curricular development.
Performance CREDITS: Dishwalla, Slash, Roger Daltry, Epitaph Records, Carmine Appice
CREDITS: SONY Japan/Avex, finalist in the Guitar Center Singer-Songwriter HONORS & EDUCATION: Executive MBA (EMBA) from USC.
competition, winner in Youtube’s Next Up Class of 2016. Has shared the stage with
Switchfoot and Colbie Caillat. BINIKOS, MICHAEL
HONORS & EDUCATION: Bachelors of Performing Arts, Jazz Music, Auckland COURSES: Console Operation 1: Neve, Console Operation 2: API, Console

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 FACULTY BIOS
Operation 3: SSL, Live to 2 Track Microsoft, Activision, EA, SCEA
SPECIALTIES: Record Producer, Engineer, Writer and Arranger HONORS & EDUCATION: Berklee College Of Music (BM Degrees in Music
CREDITS: LeAnn Rimes, Snoop Dogg, Brie Larson, Kane West, The Grammys, Jon Productions & Engineering | Synthesis,) MP&E Academic Scholar - Multiple MPSE
Secada, Tanya Tucker Golden Reel Awards, TEC Nomination, G.A.N.G. Award, Billboard Song Contest
HONORS & EDUCATION: Represented by the CAA agency
HELMERICH, TODD
BLAISDELL, TED COURSES: Console Operation 3: SSL, Recording Techniques, Mixing Essentials,
COURSES: Console Operation 1: A&H Avantis, Console Operation 2: Yamaha QL5 Vocal Production
SPECIALTIES: Score Mixer, Film Mixer, Live Sound Engineer SPECIALTIES: Engineer, Producer, Shrapnel Recording Artist, Guitarist, Vocalist
CREDITS: Voiceovers, sound design and mixing for commercials. Kenny Loggins, CREDITS: Stanley Clark, Ronnie Wood, Victor Wooten, Zappa Plays Zappa, Virgil
Alanis Morrisette, Bette Midler Donati
HONORS & EDUCATION: Three-time Grammy winning engineer HONORS & EDUCATION: Grammy Nominee

BRADLEY, NELSON HUMPHREY, CARTER WILLIAM

COURSES: Intro to Live Sound, Ableton Live 1 and 2, Logic Fundamentals 1 and 2, COURSES: Studio Technology, Final Project 1 and 2
Lighting SPECIALTIES: Engineer, Mixer, Producer
SPECIALTIES: Live Sound CREDITS: Brian Wilson of the Beach Boys, Rod Stewart, Julie Andrews, Queen
CREDITS: Snoop Dogg, Ice Cube, Stevie Wonder, Bad Religion, Nofx, The Roots, Latifah
Gwar HONORS & EDUCATION: Bachelor of Science: Music Recording from USC.
HONORS & EDUCATION: LA Recording School Grammy Nominated and awarded for Rod Stewart’s Great American Songbook series,
Volumes 1-5
BUCKLEY, FRANCIS
COURSES: Advanced Recording 1 and 2, Cons Operation: API, Evolution of Audio KAGAN, ADAM
SPECIALTIES: Mixing Engineer, Producer, Educator COURSES: Music Mastering, Project Studio Design, Broadcast Media 1 and 2
CREDITS: Quincy Jones, Alanis Morissette, Aerosmith, Celine Dion, Black Flag SPECIALTIES: Engineer, Mixer, Producer, 5.1 Mixing for Film, Studio Designer
HONORS & EDUCATION: Aassociate of Arts Degree Music, Multiple Gold and CREDITS: Gladys Knight, Kanye West, Usher, Elton John, Jeff Beck, Disney’s High

GENERAL
Platinum records, Grammy Award for Best Engineering Quincy Jones “Q’s Jook Joint”. School Musical, EA Sports
HONORS & EDUCATION: Engineered or produced 15+ Grammy Nominated and
CLISSEN, WALTER Gold and Platinum albums. B.A. University of Miami
COURSES: Logic 1, Logic 2, Intro to Live Sound, Small Footprint Dig. Cons., Cons. Op.
Avid S6L, various LMEP MORALES, JOSHUA
SPECIALTIES: Live Sound Engineer, Recording Studio Engineer/Producer , Sound COURSES: Interactive Audio Emerging Technologies
Design/Post Prod. Engineer Q-Factory, FOH Mixer, Certified Pro Tools Instructor, SPECIALTIES: Live Sound Engineer
Curriculum Course writer CREDITS: Jaden Smith, John Fullbright, Susan Enan, The Green Note, Prospect
CREDITS: 100+ releases /Jose Feliciano, Mixing, Co-Prod.,FOH Mixer-TD / Les Theater, Advantage Productions, exp3d
Paul Trio w Feliciano at The Iridium Jazz Club/Arno Raunig performs Mozart castrati HONORS & EDUCATION: Master of Arts in Sonic Art, Middlesex University,
arias/ Christopher Tin - Seirenes/ Graceland Season 2, Post/ Fancy Pants Orch./Vice Bachelor of Music: Music Composition, Oral Roberts University
President : Spatial Cognitive Metronome LLC
HONORS & EDUCATION: National Higher Institute for Theatre and Performing, RASHID, ORLANDO
Arts in Brussels-Belgium, Audio-Video-Editing, BFA-MFA ( Eq.) , Pro Tools 2023 ACI COURSES: Analog & Digital Signal Processing, Console Theory 1-4, Audio
Certification Foundations
SPECIALTIES: Field Recordist, engineer, songwriter
DE TOGNI, MAURIZIO CREDITS: Jamie Foxx
COURSES: Avid Pro Tools 101/110, Pro Tools 1 and 2, Logic 1 & 2 HONORS & EDUCATION: Experienced audio engineer and producer whose
SPECIALTIES: Composer for TV, Mentor to Grammy-winning producers, Pro Tools/ credits include local and international bands
Logic Pro Guru, Author
CREDITS: Paramount Studios, [Link] & [Link] (Maroon 5), UCLA, REID, MIKAL
Stanford, John Lennon ETB, MacWorld COURSES: Mixing Essentials 1, Vocal Production
HONORS & EDUCATION: Logic Pro X Certified Pro/Trainer, Certified Pro Tools SPECIALTIES: Engineer, Producer, Songwriter
HD11 Expert/Instructor (46 certifications). CREDITS: Mick Jagger, Ben Harper, Brother Cane, Bo Bice, Kenny Wayne Sheppherd,
Dynamite Walls
HAINER, GREGORY HONORS & EDUCATION: Wrote & produced for Dr Phil show, producer/engineer
COURSES: Audio For Video Games, Intro to Post, Surround Sound Mixing and Dolby for Flock of Seagulls
Atmos, Pro Tools (101,110,130,201,210M, Dolby Professional)
SPECIALTIES: Post Sound Editing and Mixing, Sound Design, Music Production & SCHTONOV, ZAHARI
Engineering, Music Synthesis, Keyboards, Voice Over COURSES: AVID Pro Tools 101, 110, 201, 210M; Pro Tools 3 & Pro Tools 4 Online
CREDITS: Warner Bros, Walt Disney, Universal Studios, Soundelux Todd-AO, Courses, Intro to Post, Audio Post Essentials, Mixing for Film and Television,

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 FACULTY BIOS
Backgrounds & Sound Effects Editing, Dialog Editing, Electronics, System Integration EDWARDS, TIMOTHY
and File Management, Mac Basics COURSES: Music Licensing & Supervision, Music Publishing & Licensing 4,
SPECIALTIES: Re-recording Mixer, Audio Mixer, Sound & Picture Editor. Production Music For Graphic Design for Artists 1 & 2
CREDITS: Paramount, Walt Disney, E!Entertainment, MTV, Bravo, HBO, Jeff Goldblum, SPECIALTIES: Composition and music supervision for visual media, production
Teri Polo, Bad Girls Club, Real World, Keeping Up With The Kardashians music libraries
CREDITS: Paramount, Walk Disney, E! Entertainment, MTV, Bravo, HBO, Jeff CREDITS: Warner Bros., Paramount, Universal, Lionsgate; over 100 film trailers. TV:
Goldblum, Bad Girls Club, Keeping up With the Kardashians. Keeping Up…Kardashians, The Bachelor, Ellen, TMZ, Extra (theme); Vampire Diaries,
HONORS & EDUCATION: Associate of Science in Recording Arts, AVID Certified Smallville (songwriting); Creative Director - Move Music LLC
Expert ICON Mixer (310i), AVID Certified Professional (Pro Tools Music 210M, Pro Tools HONORS & EDUCATION: Bachelor of Music, Berklee College of Music (Cum
Post 210P, Pro Tools Dolby ATMOS 210D), AVID Certified Instructor (ACI), Audinate Laude), Chair, Composer Advisory Committee - Production Music Association
DANTE Certified Level 2, Microsoft Certified Professional Technician (MCP), CompTIA
A+ Certified Computer Technician ESRA, RITCH
COURSES: Record Labels, Your Music Business Career, News & Industry Trends
SILVA, RICK Specialties: Publisher, Music Business Registry (contact information for the music
COURSES: Mixing Essentials 1, 2, and 3, Advanced Digital Signal Processing, and industry); Educator
Recording Techniques 2 CREDITS: Major & indie companies for Music Registry; Clive Davis/Arista Records,
SPECIALTIES: Engineer, Producer, Developer A&R; A&M Records, Promotions 

CREDITS: Jeff Richman, Paul Gilbert, Dweezil Zappa, Mike Kenealy, Scott Henderson,
Joe Elliot, Jeff Bowders, Gaby Moreno, Michael Elsner FLETCHER, CHRIS
HONORS & EDUCATION: Graduate of Musicians Institute’s Guitar, Audio COURSES: Personal Management/Personal Management & The Artist’s Team,
Engineering, and Film programs Getting Gigs, The Touring Musician, Making Money in New Music Markets, Planning
Your First Tour
TESTAI, JOSEPH SPECIALTIES: Management/Artist Development, Touring, Booking (colleges &
COURSES: Musicianship, Pro Tools, Console Operation festivals), Endorsements/Sponsorships
SPECIALTIES: Engineer, Guitar Player, Producer CREDITS: Harold Payne, Faith Rivera (Emmy Winner), BB Chung King, Wonderboy,
CREDITS: Dweezil Zappa, Dennis Chambers, Virgil Donati, Jeff Bowders, Sigur Ros The Ravyns, Affinity Records
GENERAL

HONORS & EDUCATION: 30+ years in the industry HONORS & EDUCATION: Bachelor of Arts in Business Administration, Temple
University. Certificates, CA Arts Council & Western Arts Alliance. NACA member.
WAY, JASON
COURSES: Console Operation 1, Recording Techniques, ProTools 101, ProTools 110, JONES, JR., THORNELL
Mac Basics COURSES: Digital Marketing, Independent Artist Marketing, Music Business Marketing
SPECIALTIES: Engineer, Producer, Writer, Guitarist & Social Media 1 - 5
CREDITS: Fox, HBO, CMT, MTV, Jamie Foxx, Carl Verheyen SPECIALTIES: Product Development and Marketing, Branding and Artist
HONORS & EDUCATION: 15 years in the industry Development
CREDITS: Jill Scott, Diana Ross, Mint Condition, Sounds of Blackness, RML TV Series
YOUTH, SHAUN HONORS & EDUCATION: Voting Member of The Recording Academy, 13 Grammy
COURSES: Console Operation III: Euphonix Certificates, B.A. Economics Wesleyan University
SPECIALTIES: Engineer, Producer
CREDITS: Anthony Kilhoffer (Kanye West, Eminem), Jamie Foxx, Max Weinberg, KOÇ, SUZAN
Assemble the Skyline COURSES: Music Publishing, Music Publishing & Licensing 2
HONORS & EDUCATION: Pro Tools 11 Certified Instructor, Apple Logic Certified SPECIALTIES: Music Publishing, International Music Publishing, Songwriting Coach,
Pro, Waves Gold certified Song Plugger
CREDITS: Worked at Warner Chappell France, Hit & Run NY&LA, BMG, Taxi Music,

MUSIC BUSINESS worked with songwriters Shelly Peiken (Grammy Nominee), Wally Gagel, Xandy Barry,
Jean Baptiste, busbee, David Gamson (Grammy Nominee)
HONORS & EDUCATION: Bachelor in Law, Université de Genève
BARI, ANDREA
COURSES: Law and Contracts and Business Law for Music Producers LOUIS, KARL
SPECIALTIES: Music Law and Business COURSES: Personal Management/Personal Management & The Artist’s Team, Music
CREDITS: Warner Bros, Paramount, Touchstone Pictures, Playtone, 20th Century Distribution, Social Media & Fan Management
Fox. Represented labels such as SideOneDummy, Kiefer Sutherland’s Ironworks and SPECIALTIES: Personal Management, A&R, Artist Development, Marketing,
Matthew McConaughey’s J.K. Livin. Live production credits include George Clinton Distribution, Promotions, TV/Film Synch
and the P Funk, Coolio, and Digital Underground. CREDITS: Warren Entner Mgmt (Rage Against The Machine, Deftones, Faith No
HONORS & EDUCATION: JD and BA from the University of California, More), Flip Records (Limp Bizkit, Staind)
certifications in business law and music business also from the University of California,
and professional musician certification from MI. MEZA, AARON
COURSES: Music Publishing, Music Licensing and Supervision, The Business of

447 THIS CATALOG APPLIES TO ACADEMIC YEAR 2024/2025: JULY 1, 2024 – JUNE 30, 2025
 FACULTY BIOS
Composing 1 and 2, Music Publishing & Licensing 1, 3 and 4
SPECIALTIES: Owner of Amazon Ear Productions, Meza Music Publishing (ASCAP),
Voice Talent and Narrator
CREDITS: Former Director American Guild of Authors & Composers, author of
“You’ve Written A Song, So Now What?”
HONORS & EDUCATION: Bachelor of Arts, UCLA; Certificates, USC Law Center &
UCLA Extension. Cindy, Aurora & Telly Awards. Clifton Webb Endowment

SHAW, AL
COURSES: Tour Management, Adv. Tour Management, Concert Promotions,
Marketing & Social Media 2, Media Relations, Music Distribution, Business Writing
SPECIALTIES: Communications/PR/Music Mgmt Consulting, Artist Mgmt and
Development, Booking and Tour Mgmt
CREDITS: GusGus, Högni Egilsson, Juan Atkins, Greg Gow, Doug Rasheed, Whitey,
Dust Traxx Distribution, Gigolo Records Booking, Friendselectric Artist Mgmt
HONORS & EDUCATION: Bachelor of Arts, Public Relations - Marketing
Communications, Columbia College Chicago

GENERAL

448