You’re in luck! The Tisch School of the Arts offers January Term courses to all NYU and visiting undergraduate students. This is an opportunity for students to take courses to complete degree requirements or simply to pursue personal interests. The exposure to the cultural resources of New York City is sure to inspire creative, artistic expression.
NYU students can just register for courses on Albert as they would any other semester. The first step for Non-NYU students should be to submit a visiting student registration form.
For more information about taking courses in Recorded Music during the Winter 2013 term, please contact Tisch-Special Programs, or visit them online. We hope to see you in January!
INSTRUCTOR: Jonathan Perl
Jan 7, 2013 – Jan 26, 2013
Students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations through a weekly, lab-based workshop. An emphasis will be made on file management, and system configurations. Students will then start using Pro Tools and Logic Pro, learning the operating modes and tools, gain structure and multi-tracking techniques, using overdubs to build an arrangement. The semester will round out with techniques for editing and “comping”, consolidating tracks and preparing the files for the mix session.
INSTRUCTOR: Rich Pagano
Jan 7, 2013 – Jan 26, 2013
Drum sounds have the potential to exhibit as much personality on a recording as a vocalist or soloist. However, a great drum sound can be difficult to obtain. Through this course, the creative student will learn the techniques necessary to expand their acoustic drum-sound “library.” This hands-on studio course covers techniques of instrument and head selection, micing, tuning, and recording the “classic” drum sounds typified by Ringo Starr, Phil Spector’s Wall of Sound (Hal Blaine), Rudy Van Gelder’s jazz sound (Miles Davis), Motown, drum sounds of the early 70s and John Bonham. The workshop will be complemented with extensive historical documentation culled from personal interviews with engineering legends Geoff Emerick (Beatles), Elliot Scheiner (Steely Dan), Chris Huston (Led Zeppelin), session set-up sheets and photos.
***VIDEO HIGHLIGHT: http://www.youtube.com/watch?v=JLhGPYuAQ34
INSTRUCTOR: Hector Castillo
Jan 7, 2013 – Jan 26, 2013
As recording budgets shrink, so to has the size and grandeur of the traditional recording studio. Even with this decrease, digital audio has enabled us to improve creative functionality with a much smaller real estate footprint and upfront investment. This course will introduce students to the concepts, gear, and techniques necessary to facilitate a pragmatic and economical hybrid integration of analog processing and “in-the-box” DAW-based recording technology. Students will develop a personal approach to building and customizing their own affordable and scalable project studios that meet their sonic and aesthetic needs. Topics will include analog summing mixers, A/D and D/A conversion, customizing signal flow and signal processing, and MIDI and DAW controllers.
INSTRUCTOR: Ashley Kahn
Jan 7, 2013 – Jan 26, 2013
Dazzlingly inventive and consistently cool – whatever musical style he was busy inventing – Miles Davis stands as one of the most courageous and influential musicians of the 20th Century. His career is a road map of the history of modern jazz, and reveals how one man could change the path of an entire genre – as he did six or seven times! This course will cover Miles’ first 15 years in New York City, a period that included one of the most fertile and pivotal periods in modern music, and which culminated trumpeter’s enduringly popular recording Kind of Blue – which continues to be one of the best-selling jazz albums of all time. This course will look at Miles’ singular career from a variety of perspectives: socially, musically, and business-wise.
The course objectives are ambitious for just six classes: an understanding of Davis’s restless, intrepid genius and the initial, defining steps of his career; a familiarity of modern jazz as a whole; an embrace of a multitude of approaches to examining recorded music in general; and a grasp of the ideas and vocabulary to describe jazz and musical performances. With readings, listenings, documentaries and guest speakers – plus visits to area jazz clubs – we will accomplish exactly that.
INSTRUCTOR: Vivien Goldman
Jan 7, 2013 – Jan 26, 2013
Often described as “a prophet,” the pioneer Bob Marley transcended the genre he helped develop, Jamaican reggae, to become a musical and revolutionary leader of the 20th Century. On the way, the bi-racial Marley smashed restrictions of race and class imposed on his generation by the colonial system. How did Marley, an effectively fatherless child from a tiny village, achieve his rise to global authority and influence, musically, socio-politically, spiritually, personally and in terms of the industry?
Vivien Goldman was Bob Marley’s trusted chronicler and has written two books about him. We will examine the history of Jamaica, its culture and connection with Britain; Marley’s evolution as a writer and musician; his creative partnerships with artists like The Wailers and dubmaster Lee Perry; his lifelong battle to control the business of his music; and his commitment to pan-Africanism and Rasta as a way of life. There will be Special Guests and Screenings. Experience this rare opportunity to learn about Bob Marley from someone who first worked with him at his record company, Island, then wrote about him at home, on the road and in the studio.
With seventeen number one singles and over 100 million singles and albums sold combined, Sean Garrett is the only active R&B/Pop songwriter and producer mentioned on the Billboard list of producers with the most number one hits…and he’ll be visiting Recorded Music to discuss how he broke into the industry, what makes good songwriting, how to craft a hit record, and what the record labels look for in a songwriter!
Garrett is responsible for a series of chart-topping compositions: Usher’s “Yeah!,” Beyoncé’s “Ring the Alarm” and “Video Phone,” Ciara’s breakout track “Goodies,” Mario’s single “Break Up,” Nicki Minaj’s “Massive Attack,” Pussycat Dolls’ hit single “Buttons,” Britney Spears’ “Toy Soldier,” Fergie’s “London Bridge” and Enrique Iglesias’ “Dimelo” to name a few.
This is not something you wanna miss, ReMu!
Date: Friday, November 16th
Location: Dennis Riese Recording Studio 510 (194 Mercer Street, 5th Floor)
Jingle Punks’ The Swiss Army Knife Master Class
Jingle Punks, a music talent agency, a crowd-sourced composer resource and a digital talent aggregation model rolled up in a 21st century media company, provides a palette of sound that can be heard knocking down the doors of Advertising, Television and Film. With their recent, game-changing Sonic Branding and Composing wins for companies like Chevy and Nike, Networks like NBC and History, and a panoply of partners throughout the digital landscape, Jingle Punks has redefined the listenable landscape of every platform of content.
Now, Jingle Punks CEO “Jingle” Jared is offering a rare insight into the real-world challenges and insanity that will face any composer looking to carve out a career for themselves in the media space. This non-stop [possibly record-breaking] composing session has to be experienced to believe. You will walk into the session as a composing “rookie” (regardless of how much composing experience you may think you have) and walk out a Judo Zen Master of many different styles.
This experience will be part boot camp, part practical knowledge, and part “client-from-hell” training. The master class will be broken down so Jared can provide insight into his typical workflow when he is working on various projects ranging from Reality shows, to major motion pictures, to million dollar ad campaigns. Come one, come all, and come ready to ROCK!!
Date/Time: Saturday, October 13th from 11am-6pm
Place: Jingle Punks Headquarters: 20 West 22nd St, Suite 905, New York, NY 10010
Master Class Details:
11:00am – 12:00pm Arrive/Introductions & Presentations
General introductions by Jingle Punks Team
Presentation by Jared Gutstadt (CEO) and Bill Markt (Director of Catalog)
Presentation by Studio Composers
12:00pm – 12:45pm Lunch
1:00pm – 3:00pm Song Assignment 1
3:00pm – 6:00pm Song Assignment 2
In both of these sessions:
What You Need To Bring:
Laptop with DAW (Logic, Pro Tools etc)
Audio Interface (Mbox, Duet etc)
Compact Midi Controller if possible
This is only open to 20 students – first come, first served.
**RECORDED MUSIC STUDENTS ONLY** No Exceptions.
Visit http://jinglepunksmasterclass.eventbrite.com to register for a spot. Please note: you must be able to attend the FULL day.
Event Date and Time: Saturday, November 3, 2012 / 4-6pm
Location: 19 University Place, Room 102
Legendary electronic music pioneers DJ Richie Hawtin and Loco Dice along with tINI, and Ean Golden will join us for a unique seminar experience presented by The Clive Davis Institute of Recorded Music and Dubspot, celebrating the convergence of electronic music, culture & technology. The event will focus on the techno and technology aspects of modern-day electronic music, presenting the more futuristic and underground side of the genre, as championed by Hawtin and Dice and their peers for the last two decades, while also speaking to the roots of the music and the history of the global movement. The day will be moderated by Dubspot’s Chris Petti. Discussion topics include:
DJ Richie Hawtin, Loco Dice, tINI, and Ean Golden will then perform at Webster Hall at 10pm. Those who attend the seminar portion are invited to purchase tickets to this exclusive performance for half-off!
To learn more about this event and to register for the lecture portion of this event, visit: http://thecntrltour.eventbrite.com
PLEASE NOTE THAT THIS EVENT IS ONLY OPEN TO NYU STUDENTS WITH A VALID NYU ID. NO EXCEPTIONS.
To purchase tickets to the Webster Hall performance, please visit: http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=3134144&pl=webhall&REFID=whsite
The password for your discount ticket is “NYU”.
Leading international headphone brand Sennheiser has aligned with the CNTRL tour as official ‘Partner in Sound.’ CNTRL has also partnered with DUBSPOT as official ‘Partner in Education’. Other partners include Native Instruments and Traktor, Elektro, Onebeat.TV, Beatport, Paxahau, DJ TechTools plus M-nus and Desolat.
On November 6th, VP Records will release a 4-CD box set of 100 of the most significant hit songs to emerge from the first fifty years of Jamaican independence, curated by Edward Seaga (Jamaican Prime Minister 1980 – 1989). In honor of the occasion, Mr. Seaga, who played a key role in the birth and development of the Jamaican music industry while serving as Minister of Culture will talk to our very own Vivien Goldman about his unparalleled role in the development of Jamaica’s government and its music industry. His track selection and liner notes for this historic collection will be the foundation of the discussion.
For over three decades, Dyana Williams has remained a constant force in the entertainment industry. Her career spans from broadcasting, community activism, print journalism, television producing/reporting, artist development/media coaching and lecturing. Williams has expanded her portfolio to include celebrity strategy with a past and present roster of high profile individuals. Among them: Justin Bieber, Rihanna, Usher, Chris Brown, Black Card’s Pete Wentz, members of the Dave Matthews Band, The Zac Brown Band, four American Idols, and numerous other luminaries.
During her time at Recorded Music, Ms. Williams will speak about her long and esteemed career and specifically about her work as a celebrity strategist specializing in artist development and media coaching. She’ll give insight on how to build your personal brand, stay true to that brand, and successfully communicate that brand with the media and your fans.
More about Dyana Williams:
Affectionately named “The Ambassador of African-American Music” by American Express’ Departures magazine, the Harlem, New York native began her career at WHUR-FM in the Nation’s Capitol and later, journeyed back home to the top-rated station, WBLS-FM. After making history as the first African-American woman to join an on-air team in Rock radio at WRQX-FM, she landed her first on-camera position as an entertainment reporter on “PM Magazine,” which aired on Washington, D.C.’s CBS affiliate, WUSA. In 1980, Williams made Philadelphia her home with a coveted on-air position at WDAS-FM. Additionally, she organized the station’s community-based activities. Her responsibilities were coupled with a position as News & Entertainment Reporter for BET and Music Consultant for VH1’s “The Soul of VH1.”
Her commitment to the community and entertainment industry shadows her career. In 1991, she co-founded the International Association of African-American Music. In her role as a music activist, Ms. Williams co-authored House Concurrent Bill 509 as a means to give credence to the contributions of African-American music as a viable cultural and economic entity. She rallied alongside Congressman Chaka Fattah to pass the bill. Dyana was invited to the White House during the Jimmy Carter and Clinton administrations. During Black Music Month 2007 at the White House, President George W. Bush recognized her for her work in the music industry.
The recipient of two academic scholarships, Williams earned a Bachelor of Arts Degree in Radio, Television and Film, and graduated cum laude, from the Annenberg School of Communications at Temple University and has been honored with a Liberty Bell from Mayor John Street and the City of Philadelphia, as well as a citation from the Pennsylvania State House of Representatives. Dyana is a member of SAG-AFTRA, NABFEME and serves on the board of governors for the Philadelphia chapter of NARAS (better known as The Recording Academy or the Grammy’s organization).
Her writing has graced the pages of Billboard, The Philadelphia Tribune, The Philadelphia New Observer. She’s been profiled in VIBE, Essence, Black Enterprise, Ebony, Jet, Upscale,The Philadelphia Sun and The Philadelphia Weekly. Dyana has been a featured guest on CNN where she was interviewed by Anderson Cooper, spotlighted on CNN Headline News as one of the top African American leaders in the country and appeared on PBS, MTV and The Tom Joyner Morning Show. Dyana has been a commentator on TV One’s NAACP Award winning music documentary series, Unsung, as well as a co-executive producer for the Teddy Pendergrass episode. She has also served as a consultant to media maven, Cathy Hughes’ show TV ONE ON ONE on the TV One network.
Dyana has also delved into the realm of documentary film with “Message in the Music: Gamble & Huff’s Sound of Philadelphia,” a project she’s producing with noted film maker/author, Nelson George. Currently, Williams co-hosts “Soulful Sunday,” with Derrick Sampson, a weekly show broadcast via Radio One adult contemporary station 100.3 WRNB-FM Philadelphia, deftly weaving vintage sounds from Motown to Stax to The Sound of Philadelphia –and every classic artist in between. She was awarded the “Achievement in Radio Award for Best Weekend Show” in Philadelphia for 2006.
Ever mindful of the importance of family, Williams is most proud of her role as mother to her three children from her former union with acclaimed producer and songwriter, Kenny Gamble – Caliph, Salahdeen and Princess Idia. Dyana Williams splits her time between her home in the Philadelphia area and her sanctuary in the Treme neighborhood of New Orleans.
From Folk to Rock: How America’s Young Became a Mass Underground
WHEN: Thursday, March 22, 11:15AM-12:15PM
WHERE: Bobst Library, LL151 (lower level, room 151 @ 70 Washington Square South)
This talk, drawn from a course that surveys American pop music, looks closely at the transition from the Newport Folk Festival to Woodstock, from acoustic to electric Dylan, and from rock and roll to rock. How did it happen that, by the end of the 1960s, the single largest consumer public for American music, principally white and middle class, came to think of itself as an oppositional counterculture? What changed to position rock and roll, the music of Elvis Presley and Little Richard, as rock, the music of the Rolling Stones and Led Zeppelin? This quick history of a pivotal transition, hinged around two Dylan songs and two Dylan cover versions, makes a few key arguments. First, the New Left folk music of the early 1960s was a nonconformist critique of “Little Boxes” and celebration of outsider roots genres, rather than a “Which Side Are You On?” workers’ folk. Second, Top 40, in its ability to make America a land of 1000 dances and multiple kinds of people dancing together, incorporated folk easily, because Top 40 was innately more populist than the new folk. Third, rock synthesized the nonconformity and outsider rhetoric of folk with the populism of Top 40, creating a short-lived but culturally enduring revolution. Too often, that revolution is treated as a utopia betrayed afterwards–this lecture is an attempt to explore why rock’s self-definition was problematic from the onset.
Eric Weisbard teaches American Studies at the University of Alabama. A former Village Voice music editor and Spin senior editor, his edited books include the Spin Alternative Record Guide, This is Pop, Listen Again, and Pop When the World Falls Apart, he authored a monograph on the Guns N’ Roses albums Use Your Illusion for the Continuum 33 and 1/3 series, and he has also written for The New York Times, Slate, and GQ. He is Vice-President of the popular music organization IASPM-US, associate editor of The Journal of Popular Music Studies, and the organizer since its founding in 2002 of the annual Experience Music Project Pop Conference.
RSVP is required. This event is open to all NYU students, faculty, staff & alumni.
A valid NYU ID is required for entrance to the building.
WHEN: Tuesday, March 6, 12:45-1:45 pm
WHERE: 721 Broadway, Room 006
For most of music business history, artists remained serfs; suffering financially until they sold at a superstar-level. In the 1990s and 2000s, hip-hop artists and industry advocates transformed the relationship between master and servant. In this lecture, we’ll explore the roles of four key players in this transformation: the Wu-Tang Clan, Cash Money Records, Roc-A-Fella (Jay-Z and Damon Dash), and a little-known activist and artist advocate named Wendy Day.
Dan Charnas is the author of The Big Payback: The History of the Business of Hip-Hop (New American Library/Penguin) and the coauthor of Def Jam: The First 25 Years of the Last Great Record Label (Rizzoli). Charnas was one of the first writers for The Source and part of a generation of young writers who helped create hip-hop journalism; he also served as VP of A&R for Rick Rubin’s American Recordings. Charnas is currently Editorial Director for InteractiveOne and an adjunct professor at Columbia University’s Graduate School of Journalism.
RSVP is required. This event is open to all New York University students, faculty, staff, & alumni. A valid NYU ID is required for entrance to the building. Seating is first-come, first-served.
Friday, March 9th from 4:00PM – 5:30PM
194 Mercer Street, Dennis Riese Family Recording Studio 510
Sound and music influence, enrich and are an integral part of most aspects of our daily life. They are almost always part of a visual experience. During this workshop, we will take a short video and add to it sonic elements from musical instruments, voices, various natural or industrial sources. These sounds will then be manipulated to create different “soundtracks” conveying various moods to the visual depending on their arrangements and juxtaposition to it. We will also make sure during the entire process that we are getting proper audio levels. Students will be encouraged to participate and express their creativity.
Patrick composes, produces, performs, records and mixes a wide range of innovative and cross-cultural styles of music. He has worked with many artists, including Erikah Badu, Jeff Buckley, De La Soul, Barry Manilow, and Charles Mingus Band to name a few, and his music has been featured in films, TV (Discovery and Travel Channels) and jingles (Burger King, McDonald’s). In addition to teaching and chairing multiple committees, Patrick also works as the FOH engineer if major US clubs, including Summerstage (Central Park, NYC).
The Clive Davis Institute is an innovative undergraduate leadership training program for aspiring creative music entrepreneurs, housed at Tisch School of the Arts, New York University. Students who dream of becoming leading executives, recording artists, record producers and music journalists come to us to learn the art and business of creating and selling hit music.