music schools
Whether you’re a math-and-science whiz or an intuitive creative, there’s a prestigious audio engineering program that can prepare you for a career as a producer — or for whatever studio path you might follow — while emphasizing a well-rounded education in the process.
Here’s a selection of some of the best academic programs, along with sage professional advice from those who lead them.
Belmont University Audio Engineering Technology
The program: Heavy on math and science, the curriculum teaches students to design systems, components and processes and prepare for careers as recording-studio and live-sound engineers and audio-software designers. “If it makes a noise or records a sound, somebody has to think about it, create it, program it, build it, use it, apply it,” program chair Michael Janas says.
The skills producers need most now: “Motivation. If they’re trying to force themselves as a square peg into a round hole, they’re going to struggle.”
Berklee College Of Music Music Production and Engineering
The program: Working with artists, writers and other engineers, students learn technical skills (microphone placement, signal flow) and personal skills (critical listening, communication). “Reading the room, leveraging the strengths of artists, how you speak to people, deliver bad news — these are incredibly sensitive, difficult things,” program chair Rob Jaczko says. (Alums include Charlie Puth and Abe Laboriel Jr., Paul McCartney’s longtime drummer.)
The skills producers need most now: “Understanding the business landscape. We all need to have a better understanding of how we monetize our work.”
Clive Davis Institute of Recorded Music, New York University
The program: With six available studios, students here learn everything they need to know about becoming a producer or engineer — except for heavy-duty technical instruction. “We want to get them up and running and confident,” says Nick Sansano, program chair. “We’re not necessarily teaching them all the mathematics and circuitry.”
The top issues facing producers now: “Lack of access to money. You need some support to get things off the ground.”
Drexel University Recording Arts and Music Production
The program: Students learn the basics of recording, production, arranging, composition, postproduction, mixing and mastering. In one sound-recording course, experienced artists (recently, members of John Legend’s band) work with students directly. After their sophomore year, students spend the summer working in live-sound engineering or another music-business sector. “They can go out and explore an area,” says Ryan Moys, who oversees the RAMP curriculum. “Sometimes you figure out what you don’t like.”
The skills producers need most now: “Knowing different software platforms: We teach Pro Tools, Ableton and Logic. And great communication skills. It all comes back to you’ve got to be a cool person to hang out with.”
Fredonia, State University of New York (SUNY)Sound Recording Technology
The program: Drawing from European “tonmeister” curricula of the 1940s, which combine technical and musical instruction, the 35-year-old SRT program offers training in studio hardware, live sound, recording, editing, signal processing and sound reinforcement. “[Bachelor’s of science students] have a fairly good handle on the science side of the recording business,” says Bernd Gottinger, the professor who oversees the degree.
The top issues facing producers now: “Responsibility and trust. Gaining that trust is probably the most difficult achievement you can look at as a producer. Usually, it gets established by long years of working in a different world, until the band says, ‘Listen, you’ve been doing these recordings for us for 20 years, why don’t you actually produce them for us?’”
Frost School Of Music, University Of Miami Music Engineering
The program: Developed in 1977, Frost centers on a recording studio with three full-size consoles. “Half our students end up at a company, like Dolby or Bose or Amazon Lab126 or Shure,” department chair Christopher Bennett says. “They work on the innards of devices that end up in the studios.”
The skills producers need most now: “The more you can learn under the hood, the better engineer or producer you’ll be. If they understand things like room acoustics and theory, it empowers them to make more creative choices.”
Jacobs School Of Music, Indiana University Bloomington Audio Engineering and Sound Production
The program: Among IU’s 1,600 music students, prospective engineers and producers get hands-on experience in pursuit of their 80-recording-hours-per-semester standard as part of this 41-year-old program. “That level of responsibility makes a big difference,” department chair Michael Stucker says.
The skills producers need most now: “Signal flow is a concept that’s really important to us. Physics and acoustics as well.”
Middle Tennessee State University Audio Production
The program: With five recording studios, plus a postproduction studio and separate labs for mixing, mastering and electronic music, students learn mixing and sound reinforcement and put on end-of-semester shows for live audiences. “We don’t really think of ourselves as training people for a job as a music producer,” says Bill Crabtree, director of the master of fine arts program in recording arts and technologies. “That’s not the kind of entry-level job you’re going to get right after college. It takes a while.” (Alums include Luke Laird, who has written No. 1 hits for Carrie Underwood and Eric Church, among others.)
The top issue facing producers now: “Artificial intelligence has the potential to disrupt a lot of things. However, it will be a tool. Having those skills — we think that’s important.”
Ontario Institute of Audio Recording Technology (OIART)
The program: OIART emphasizes highly technical skills for careers in music production and audio engineering and recording. “We’re not selling dreams of gold records. We’re very realistic with our employment goals and the types of careers students can expect,” says Lee While, OIART’s chief operating officer.
The skills producers need most now: “The student group has aspirations to work in a major studio and be a producer. But somebody who aspires to be a hip-hop producer suddenly discovers they have a real talent for sound design for video games.”
Peabody Institute, Johns HopkinsMusic Engineering and Technology
The program: Bachelor’s degree programs range from highly technical, five-year studies emphasizing electrical engineering, math, science and computer science to a two-year graduate program working with classical ensembles and rock bands. “Some find, ‘I’m interested in how loudspeakers are designed or getting into programming with signal processing,’ ” program chair Scott Metcalfe says. “Others embrace their composition side.”
The skills producers need most now: “Musicianship. Understanding the goal of the artist and what the market is.”
Purchase College, State University Of New York Studio Production
The program: With nine studios at their disposal, students get hands-on experience, from arranging their own pieces to engineering sound in the Dolby Atmos format, in genres from classical to hip-hop. “We want them to be able to do everything. We don’t want people to be button-pushers,” says Peter Denenberg, coordinator of the music and technology program. (Alums include Grammy Award-winning jazz singer Samara Joy.)
The top issue facing producers now: “Being forced to deliver projects in spatial audio is an incredibly difficult ask. It just adds a level of complexity and difficulty.”
Steinhardt School Of Culture, Education And Human Development, New York University Music Technology
The program: Director Paul Geluso says graduates of the program are “skilled professionals” who know hardware and software product design, audio engineering, and performance and composition: “The students do a little bit of everything their first two years and [then] they gravitate to one area.”
The skills producers need most now: “Our students take theory and history. We’re definitely music-first in our approach to our engineering side.”
Thornton School Of Music, University Of Southern California Music Technology
The program: Offering a bachelor’s degree in music production and minors in production and recording, Thornton emphasizes songwriting. “We build this program around our students being strong musicians with a technical inclination,” program chair Rick Schmunk says. “They can write the song, arrange it, produce it, record, edit, mix, master.”
The skills producers need most now: “Arranging and songwriting. We don’t have much trouble finding students with enough technical skills to be effective.”
A version of this story originally appeared in the Oct. 7, 2023, issue of Billboard.
The UCLA Herb Alpert School of Music launched a new Bachelor of Arts (B.A.) music industry degree this fall, it was announced Tuesday (Oct. 3).
Dubbed as the lone program of its kind in the University of California system, the new degree will prepare graduates for careers in artist and label management, publicity, finance, live-music promotion, digital marketing, music supervision, music publishing and licensing and more. The degree will also offer creative instruction in audio technology, musicianship, songwriting and production. Courses will be taught by new and longtime UCLA faculty as well as working industry professionals.
The B.A. program “builds on the success of the School of Music’s popular undergraduate minor,” according to a press release, which states that more than a quarter of the U.S.’s music industry job postings are in California while seven of the top 10 U.S. cities employing music professionals are located within 50 miles of the school’s Westwood campus. In addition to the fundamentals, the school will focus on such burgeoning topics as new global markets, streaming algorithms, generative artificial intelligence and musical activism.
“Our goal and responsibility is to empower a diverse community of exceptional students as nextgeneration transformational thinkers in the music industry,” said Eileen Strempel, inaugural dean of the Herb Alpert School of Music, in a statement. “The success of our previous programs built our credibility and infrastructure, while providing us the time to assemble a powerful 12-member advisoryboard chaired by Warner Records visionary Tom Corson to guide us in building this new major’s curriculum.”
“What sets UCLA’s offering apart from other music industry degree programs is the integration of direct skills engagement such as internships, apprenticeships, and student-led projects with the liberal arts curriculum of a major research institution,” added Robert Fink, founding chair of the school’s music industry degree program. He continued that students will be “challenged to take a critical view of the formative effects music industry and technology has had on musical practices around the world.”
Warner Records co-chairman/COO Tom Corson will serve as the inaugural chair of the dean’s board of advisors at the school.
“UCLA’s School of Music is closely affiliated with our industry and knows it well,” said Corson in a statement. “Every business needs people who have the passion and the training that this program will provide. We need future professionals who’ve seriously considered many aspects of the music industry — cultural impact, creative innovation, and operational reality — and bring a fresh, informed point of view to the business.”
Permanent faculty members at The Herb Alpert School of Music will include Thomas Hodgson, who specializes in data science, algorithmic justice and the global music business; Catherine Provenzano, who focuses on new technologies; and David MacFayden, a Soviet popular music authority who will bring his expertise to bear in instructing students on how to understand new models of music distribution and economic value. Students will also receive instruction from working professionals such as songwriter Amy Kuney (Kelly Clarkson, Adam Lambert, Akon), who also performs as gender-complex artist AMES; and Lauren Spalding, co-founder of Femme House, a nonprofit collective dedicated to forging new opportunities for women, gender-expansive, BIPOC and LGBTQIA+ creatives.
Since its founding in 2018, The Herb Alpert School of Music has regularly appeared on Billboard‘s Top Music Business Schools list.
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