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Berklee College of Music

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This article is about the college of music in Massachusetts. For the university in California, see University of California, Berkeley.
Berklee College of Music
File:Berklee Seal.png
MottoEsse quam videri (Latin)
Motto in English
To be, rather than to seem
TypePrivate
Established194
Endowment$197.0 million[1]
PresidentRoger H. Brown
Academic staff
522 [2]
Students4,270 [2]
Location
Boston
,
Massachusetts
,
USA
CampusUrban
ColorsRed and gray            
MascotMingus the Cat
Websiteberklee.edu
File:Berklee logo 200.jpg

Berklee College of Music, located in Boston, Massachusetts, is the largest independent college of contemporary music in the world. Known primarily as a school for jazz and popular music, it also offers college-level courses in a wide range of contemporary and historic styles, including hip hop, reggae, salsa, rock, heavy metal, and bluegrass, in addition to its traditional jazz courses.[3] It offers degrees in composition, contemporary writing and production, film scoring, jazz composition, music business/management, music education, music production and engineering, electronic production and design, music therapy, performance, professional music, and songwriting.[4]

Accreditation

As a college, Berklee College of Music is fully accredited by the New England Association of Schools and Colleges (NEASC). NEASC is the regional accreditation agency for schools and colleges located in the New England region of the United States.

History

File:Lawrence Berk.jpg
Lawrence Berk at the blackboard with students
A View of college from the street

Schillinger House, 1945–1954

In 1945, pianist-composer-arranger and MIT graduate Lawrence Berk, founded Schillinger House, the precursor to the Berklee College of Music.[5] Located at 284 Newbury St. in Boston’s Back Bay, the school specialized in the Schillinger System of harmony and composition. Instrumental lessons and a few classes in traditional theory, harmony, and arranging were also offered.[5] At the time of its founding, almost all music schools focused primarily on classical music, but Schillinger House offered training in jazz and commercial music for radio, theater, television, and dancing. At first, most students were working professional musicians. Many students were former World War II service members who attended under the G.I. Bill. Initial enrollment was less than 50 students,[6] but by 1949 there were more than 500 students.[7] In 1954, when the school’s curriculum had expanded to include music education classes and more traditional music theory, Berk changed the name to Berklee School of Music, after his son Lee Eliot Berk, to reflect the broader scope of instruction.[8]

Berklee School of Music, 1954–1970

Lawrence Berk placed great emphasis on learning from practitioners, as opposed to academics, and generally hired working musicians as faculty members. Several of the school’s best-known musician-educators arrived after the school’s name changed. In 1956, trumpeter Herb Pomeroy joined the faculty, remaining until his retirement in 1996.[9] Drummer Alan Dawson and saxophonist Charlie Mariano became faculty members in 1957.[10] Reed player John LaPorta began teaching in 1962.[11] Like many of Berk’s ideas, this practice continues into the present. Although far more emphasis is placed on academic credentials among new faculty hires than in the past, experienced performers such as Gary Burton, Pat Metheny, Joe Lovano, and Danilo Perez have served as faculty over the years.

Another trend in the school’s history also began the mid-’50s. During this period, the school began to attract international students in greater numbers. For example, Japanese pianist Toshiko Akiyoshi, arrived in 1956.[12] Multiple Grammy-winning producer Arif Mardin came from Turkey to study at the school in 1958.[13] The number of international students has grown steadily to 24.2 percent of total enrollment in 2010.[1]

In 1957, Berklee initiated the first of many innovative applications of technology to music education with Jazz in the Classroom, a series of LP recordings of student work, accompanied by scores. These albums contain early examples of composing, arranging, and performing by students who went on to prominent jazz careers such as Gary Burton, John Abercrombie, John Scofield, Ernie Watts, Alan Broadbent, Sadao Watanabe, and many others. The series, which continued until 1980, is a precursor to subsequent Berklee-affiliated labels. These later releases provided learning experiences not only for student composers and performers, but also for students in newly created majors in music engineering and production and music business and management.[14]

Berklee awarded its first bachelor of music degrees in 1966.[15] During the 1960s, the Berklee curriculum began to reflect new developments in popular music, such the rise of rock and roll, soul and funk, and jazz-rock fusion.[15] In 1962, Berklee offered the first college-level instrumental major for guitar. The guitar department initially had nine students. Today it is the largest single instrumental major at the college. Trombonist Phil Wilson joined the faculty in 1965.[16] His student ensemble, the Dues Band, helped introduce current popular music into the ensemble curriculum, and later as the Rainbow Band, performed world music and jazz fusions.[16] In 1969, new courses in rock and popular music were added to the curriculum, the first ever offered at the college level.[15] The first college course on jingle writing was also offered in 1969.[17]

Berklee College of Music, 1970–present

The school became Berklee College of Music in 1970[18] and bestowed its first honorary doctorate on Duke Ellington in 1971.[19] Vibraphonist Gary Burton joined faculty in 1971, helping to solidify the place of jazz-rock fusion in the curriculum.[20] As Dean of Curriculum from 1985 to 1996,[21] Burton led the development of several new majors, including music synthesis and songwriting, and facilitated the school’s transition to technology-based education.[22] Curriculum innovations during the 1970s included the first college-level instrumental major in electric bass guitar in 1973.,[23] and the first jazz-rock ensemble class in 1974.[24] In 1979, Berklee founder Lawrence Berk stepped down as president.[25] The board of trustees elected his son, Lee Eliot Berk, to replace him.[26]

Under the leadership of Lee Eliot Berk, the school underwent further growth and diversification of its curriculum. The college offered the world’s first undergraduate degree program in film scoring starting 1980.[27] Beginning in 1981, the string department curriculum expands to include many idioms besides classical music.[28] In 1986, the world’s first college-level major in music synthesis was offered,[29] followed by the world’s first college songwriting major in 1987.[30] Instrumental majors also expanded to include the first college hand-percussion major in 1988.[31]

Berklee expanded its community outreach efforts in 1991 with the launch of City Music, a program designed to make music instruction available to underserved youth in the Boston area.[32] On a more global scale, Berklee partnered with selected music schools around the world to form the Berklee International Network in 1993.[33] Another new major, Music Therapy, was offered beginning in 1996. In 2002, the school began offering classes online through Berkleemusic.com.[34] Other curriculum developments included the incorporation of a hip-hop course in 2004.[35]

In 2004, Lee Eliot Berk stepped down as president of the school his father had founded and Roger H. Brown was installed as the college’s third president.[36] Under Brown’s leadership the college's enrollment has grown and diversified while further expansion of the school’s academic offerings have continued. In 2006, mandolin and banjo were accepted as principal instruments for the first time. The college also initiated an Africana Studies program, the Berklee Global Jazz Institute, and an American Roots Music Program.[37]

Demographics

As of the 2010-2011 academic year, total enrollment at Berklee was 4,270. Of students enrolled in degree programs, 30 percent were female. Eleven percent are African American. Ten percent are Hispanic. Students from 85 countries outside the U.S. account for approximately 25% percent of the student population. South Korea, Japan, Canada, Mexico, and Italy are the top five countries of origin. In addition to students attending the Berklee campus in Boston, in the 2009-2010 academic year, approximately 2,500 students took online courses through Berkleemusic.com.[1]

Facilities

File:BerkleePerformanceCenterInterior.jpg
Berklee Performance Center
File:Cafe939.jpg
The Red Room at Cafe 939

Berklee remained at its original location at 284 Newbury Street from its founding in 1945 to 1966, when it moved into the larger 1140 Boylston St. building, the former Hotel Bostonian.[38] Beginning in 1972 an era of more rapid expansion began with the purchase of the Fenway Theater and the adjoining Sherry Biltmore Hotel at 150 Massachusetts Avenue. The theater was renovated and opened as the 1,227-seat Berklee Performance Center in 1976.[39] The former Biltmore Hotel provided additional classroom and practice room spaces and residence halls. It also houses the library, which was renamed the Stan Getz Library and Media Center in 1998.[40] The 150 Massachusetts Avenue building is also the site of the Berklee Learning Center, which when it opened in 1993, was the world’s largest networked computer learning facility for music education.[41]

The Genko Uchida Center at 921 Boylston Street opened in 1997 and houses the offices for enrollment, admissions, scholarships and student employment, the registrar, financial aid, bursar, rehearsal and classroom space, and the 200-seat David Friend Recital Hall.[42] At 939 Boylston Street, Café 939, the nation’s only student-run, all-ages night club, hosts a full program of student performers, local and national acts, and community programs.

As of 2010, Berklee occupies 21 buildings primarily in the Back Bay area of Boston, near the intersection of Boylston Street and Massachusetts Avenue.[1] Among these buildings are 13 recording studios, 5 film/video scoring and editing facilities, and 9 music synthesis facilities.[43] The studios of the five-channel, commercial-free Berklee Internet Radio Network (BIRN), which launched in 2007, are also housed on campus.[44] A new Liberal Arts building at 7 Haviland Street was dedicated in 2010. It houses the Liberal Arts, Music Therapy, and Music Business Departments, as well as the Africana Studies program.[45]

Majors

Berklee offers student musicians courses of study toward a fully accredited four-year baccalaureate degree or diploma. Students may combine many of Berklee's 12 majors, depending on the nature of the program, in order to broaden their course of study, pursue diverse interests, and prepare for a career. The dual major program requires a five-year course of study and is available to both degree and diploma candidates.[4]

Performance

The student majoring in performance will learn skills, concepts, and methodology sufficient to demonstrate a level of proficiency on his/her principal instrument typical of that generally required in professional performance. This is achieved through private lessons, which include proficiency-based final exams, instrumental or vocal labs, and performance studies classes. To demonstrate mastery of these skills, the student will complete a performance portfolio, including a senior recital, that typifies current professional performance standards. This is supported by four recital preparation lessons, the jury, and extracurricular and cocurricular concert performances.

Performance majors will attend recital classes and take specialized courses in ear training and harmonic applications designed to develop improvisational skills; they also will have the opportunity to audit classes given by visiting master performers. Through these activities and interactions, the student will develop an aesthetic and critical understanding of the meaning of quality performance, and will be able both to define quality using technical and interpretive musical criteria and to apply those criteria to his/her own work and to that of others. The student will be able to work effectively with others in situations typically found in the professional performance field. Each performance major will participate in ensembles and public performances in the college's recital halls and the Berklee Performance Center. Additional activities available through the ensemble program may include recording sessions and on- and off-campus concerts, festivals, and tours.

The student will have developed a sufficient theoretical, conceptual, and philosophical background in the area of musical performance to be able to cope with and adjust to changes in the professional music environment.

Music Production and Engineering

The Music Production & Engineering (MP&E) major is notable for attempting to give students an integrated understanding of the recording and production process, rather than focusing on the engineering aspects alone. Courses cover the technologies for documenting music, as well as the collaborative elements of studio work, and the business of recording.[46]

The first recording facility at Berklee was a two-track studio in the basement of Berklee’s main building, 1140 Boylston Street. Joe Hostetter offered the first elective course in Audio Recording in 1972.[47] With the encouragement of producer Arif Mardin, the college built its first 8-track studio in 1974. Within a few years, as enrollment in recording courses increased, a second 8-track studio was added.[48] In 1977 the Department of Audio Recording was formed, with Hostetter as its first Chair.[47]

In March 1982 Berklee Provost Bob Share hired Boston recording studio owner, Wayne Wadhams to recommend whether the school should eliminate the Audio Recording Major or create a new program with new studios and additional faculty. Wadhams recommended a program designed to instruct students in technical aspects of recording and production as well as the collaborative process and business affairs of labels. The Music Production and Engineering Department was established and a new major was offered in January 1983. Don Puluse was named chair of the department in August 1983.[49] The current department chair is Rob Jaczko.[50] The program has continued to expand its facilities, with 13 studios in operation in 2009.[1]

Since 1989, MP&E has released CDs of top student projects. MP&E and Electronic Production and Design student projects are included on a Music Technology Division CD series initiated in 2007. MP&E faculty and students also produced The Darfur Project: We Are All Connected, an album of original music inspired by the humanitarian crisis in Darfur.[51] MP&E students also contribute to the student-run labels, Heavy Rotation Records and Jazz Revelations Records. Student productions air on the commercial-free Berklee Internet Radio Network (BIRN), as well.

In 1985, the Society of Professional Audio Recording Services (SPARS) voted the Department best in the category of Outstanding Institutional Achievement in a Recording Program. Mix magazine presented MP&E with a TEC (Technical Excellence and Creativity) award in 1985, 1986, 1987, and 1992.[52]

Alumni of the Berklee MP&E Department garnered more than 40 Grammies (including 20 Latin Grammies), three Oscars, and four Emmy Awards between 1992 and 2009.[53]

Jazz composition

The student majoring in jazz composition will develop the creative application of the basic musical elements of melody, harmony, and rhythm in the contexts and practices associated with jazz music. Theoretical and compositional study will emphasize the development of contrapuntal skills, melodic and formal development, and techniques of instrumentation and orchestration. The student will demonstrate understanding of these skills and concepts with the completion of a portfolio of jazz compositions for ensembles of varying sizes and types, together with recordings that include public performances of selected pieces.

Through the study of acknowledged masters of jazz composition, as well as by attendance at clinics and concerts, the student will develop aesthetic vision and the critical ability to recognize and discuss quality elements in jazz composition. Interpersonal and situational skills will be developed as the student works with musicians and fellow composers, rehearsing and conducting public performances, and also through work with other students on their projects and concerts.

The jazz composition major will develop sufficient skills to pursue a professional career as a jazz writer, working among colleagues in one of the many cooperative groups dedicated to the production and performance of new music, contributing to the repertoire of established jazz artists as composer and/or arranger, or to gain entry to graduate programs in jazz studies in preparation for a career as an instructor and scholar in the field of jazz theory, composition, and improvisation.

Electronic Production and Design

The Electronic Production and Design (EP/D) major focuses on performance, composition, and orchestration with computer, synthesis, and multimedia technology.[54] It has the highest percentage of graduates of the college working full time in the music industry.[55]

The major has its roots in electronic music courses initially offered by then Harmony Department Chair, Michael Rendich, in 1971. They were the first college-level courses to emphasize mainstream and popular music applications of the technology, as opposed to art music.[56] The college’s first electronic music facility included ARP and ARP Odyssey monophonic synthesizers, and early student projects were realized on tape, using two-track recorders to capture music created from electronically manipulated basic waveforms. As interest in electronic music grew and technology steadily improved, an Electronic Music Major was offered in 1980.[57]

In 1982, the widespread use of synthesizers in pop and jazz prompted the department to add courses covering the use of synthesizers in live performance to the Electronic Music curriculum. Once sampling technology began to appear and all synthesizer manufacturers adopted the MIDI standard in 1983, course expansion in these areas increased. The new courses emphasized a hands-on instructional approach that combined classroom instruction, lab use, ensembles, and concert experience to encompass a complete approach to playing synthesizers. In 1985, a new Music Synthesis Department and major were created, headed by Department Chair David Mash. In addition to the performance track initially spearheaded by Mash, other faculty members developed production and sound design tracks. The three new tracks within the major were initially offered in the fall of 1989.[57]

As electronic dance music genres proliferated in the late 1990s, the computer and studio replaced keyboard-based synthesizers as the principle mode of expression. Student interest in the Music Synthesis Department grew dramatically due to the pervasive use of electronic music in games, film, television, and recordings.[57]

At Berklee, two developments further pushed the Music Synthesis curriculum toward the use of computers. In the early 1990s, Introduction to Music Technology became a required course for all first-semester students. The new course gave students basic knowledge of music technologies applicable to their specialties. Then in 2002, the college established a laptop initiative requiring all entering students to purchase a Macintosh laptop computer. The laptop initiative helped make the Introduction to Music Technology course more project-oriented and better integrated with other core courses. Music Synthesis majors were required to purchase additional hardware and software to integrate with departmental curriculum.[57]

As the Music Synthesis curriculum grew to include computer-based sound design, software design and programming, hardware design, and interactive audio-visual media, the Berklee Music Synthesis Department became the Electronic Production and Design Department in January 2010 to better reflect its mission and curriculum.[55]

Film Scoring

The Film Scoring major at Berklee is the first undergraduate major ever offered in the discipline.[58] The curriculum today emphasizes the technology, collaborative, and business skills that composers need in scoring for visual media, including film, video, and video games.[59] The first course in the principles of dramatic program music, which covered radio in addition to film, was offered at Berklee in 1959. Between 1969 and 1972, Kendall Capps directed an expansion of the curriculum. His successor, Steven Gould, established the school’s first dedicated film-scoring lab. Beginning in 1975, under the leadership of Don Wilkins, the department continued to upgrade its technology and offered a wider range of courses. In 1980, a separate Film Scoring major was offered for the first time.[60] Department Chair Wilkins, along with assistant chair Michael Rendich, oversaw the curriculum transition into the use of new synthesizer and MIDI technologies.[61] In 2007, Dan Carlin, cofounder and CEO of Segue Music, the largest music post-production business in Hollywood and former two-time chair of the National Academy of Recording Arts and Sciences (NARAS), was appointed Chair of the Film Scoring Department.[62] Under his leadership, the college offered its first video game scoring course in 2008. The Video Game Scoring minor was first offered in 2010.[63]

Alf Clausen, Alan Silvestri, and Howard Shore are Berklee alumni who became prominent film and television score composers.

Composition

The student majoring in composition will study tonal harmony, counterpoint and fugue, tonal composition, twentieth-century compositional techniques, instrumentation, and orchestration. Music literature studied will emphasize the concert music repertoire of the twentieth century, but also will include principal composers and styles from the sixteenth to the nineteenth century. The student will demonstrate mastery of these skills and concepts as well as the development of an individual compositional personality and voice, by completing a portfolio of scores that will include (but not be limited to) a number of pieces in smaller forms, a tonal four-part fugue, a composition for solo voice or mixed chorus, a sonata in three movements, and a composition for full orchestra.

The study of acknowledged masterpieces from different historical periods will develop in the student an individual aesthetic vision and the critical ability to recognize and discuss music of quality. The student will gain skills by working with performers, rehearsing them, and conducting and/or producing performances.

The composition major will develop sufficient skills and knowledge to function as a composer of concert music and to gain entry to a graduate program in music theory or composition in order to pursue a career as a teacher, scholar, and practitioner of music theory and composition.

Song Writing

The student majoring in songwriting will develop skills in melody, harmony, and arranging as well as creative approaches to musical composition, lyric writing, and an individual writing style. Students interested in becoming singer/songwriters will choose a curriculum that focuses on both songwriting and performance, culminating in a portfolio of their original songs. Students interested in writing songs for artists other than themselves will have the option of taking more arranging courses and will learn studio and MIDI demo production techniques. To demonstrate mastery of these skills and concepts, the student will complete a portfolio of several songs that typify various current practices of contemporary songwriters. The portfolio will include lead sheets, lyric sheets, and demonstration recordings of each of the songs, equivalent in production quality to those typically presented to music publishers, record producers, and record companies by professional songwriters.

Through the study of acknowledged masterpieces of the songwriter's art, the student will develop the critical skills necessary to recognize and discuss quality elements in musical and lyrical structure. Interpersonal and situational skills will develop through the many collaborative situations that exist in the professional environment, cowriting songs both as composer and as lyricist, working with vocalists and instrumentalists in the production of demo recordings, and working with engineers, artists, and producers in the studio environment.

The songwriting major will have sufficient skills and knowledge to work in the music industry as songwriter, lyricist, singer/songwriter, arranger, and/or demo/MIDI production worker, and will have a sufficient background in stylistic breadth, analysis, and understanding of permanent musical values to work in a variety of situations, environments, and changing stylistic, artistic, and production demands.

Contemporary writing and production

The student majoring in contemporary writing and production will study composition, arranging, scoring, and production techniques and approaches, and will be able to apply those skills and concepts by writing for and overseeing the production of a wide variety of instrumental, vocal, acoustic, and electronic combinations, ranging from small workshop groups to a studio orchestra in live performance situations and recording studio environments. The student will explore contemporary concepts and techniques of arranging and sound production in both the analog and digital domains and will gain valuable experience by being able to create, arrange, and produce projects using MIDI workstations and the Berklee recording studios. Interpersonal and other situational skills will be developed as the student works with performers, "clients" (i.e., instructors and other students), and studio personnel in a variety of creative settings as music writer, conductor, and/or producer.

The student will be presented with many opportunities to develop the ability to recognize, analyze, and evaluate musical concepts of jazz, pop, rock, and other contemporary music idioms and styles through the study of quality compositions and arrangements. Interacting with faculty who are also professional writers, arrangers, producers, and conductors, the student will develop techniques and skills that will enhance the creative adaptation of his/her musical projects. Applying the writing and production concepts and techniques learned, the student will complete a graduation portfolio of at least four pieces, which will demonstrate understanding of traditional and contemporary writing and production styles.

The contemporary writing and production major will develop skills and knowledge to function as a professional writer, arranger, and producer under a wide variety of conditions and music industry environments.

Music Business/Management

The Music Business/Management (MBM) major offers three separate tracks: management, music products industry, and entrepreneurial. In addition to electives within their selected track, students are also required to take core general business courses covering legal and financial topics, as well as artistic and ethical issues. A final project, either an industry internship, participation in one of the college’s ongoing model music industry projects, or both, is also required.[64] A joint MBA is offered through the Suffolk University Accelerated MBA program.[65]

MBM majors have a choice of several model music industry projects to participate in. They help manage all aspects of Heavy Rotation Records, a student-run enterprise established by the college in 1995,[66] and Jazz Revelations Records, founded in 2004.[66] Students also serve as editors and contributors to the Berklee College of Music Music Business Journal, which published its first issue in 2005.[67] Students enrolled in MBM courses also play leadership rolls in the Berklee International Radio Network, a four channel online radio network that began broadcasting in 2007.[66] In addition, Music Business/Management majors are responsible for the booking, marketing, publicity, and promotion of all shows at Café 939, a largely student-run coffeehouse and performance venue that opened in 2008.[68]

Prior to the establishment of the Music Business/Management major, Berklee offered only individual courses in business-related topics. Early courses included a music law course taught by former Berklee president Lee Eliot Berk beginning in 1966, and a General Business of Music course taught by Gary Burton.[69] These courses laid the groundwork for the creation of a full-fledged major in 1992 under founding department chair Don Gorder.[69] Music Business/Management became the major with the highest enrollment at the college in 2005.[66]

Music education

The student majoring in music education will develop skills, concepts, and methodologies in the following areas: music, including music theory and composition, musicianship, history, arranging, orchestration, improvisation, and conducting; teaching with technology; solo performance techniques acquired through private instrumental or vocal study; vocal and instrumental techniques, pedagogy, and literature related to solo and ensemble performance; and the relationship of music to other fields of knowledge. The student will demonstrate these competencies through an actual field experience, a student teaching practicum for one semester in a public school environment. The student will work under a cooperating teacher and a college supervisor, and will be evaluated against the standards for teaching licensing as prescribed by the Massachusetts State Department of Education.

Through study and interaction with instructors and supervisors, the student will develop an aesthetic vision of excellence in teaching that will enable him/her to analyze and think critically about teaching and learning, and in turn to foster students' creative and analytical skills, design various evaluative procedures, and use the results of these procedures to assess the effectiveness of instruction. The student will develop the ability to work effectively in groups through collaborative interaction with peers, students, and instructors, and to communicate clearly, understandably, and appropriately with teachers, students, and parents.

The field of music education is a constantly changing one, and the student will develop sufficient content, and theoretical and pedagogical skills, to cope with and readily adapt to changes in the field due to discoveries of ongoing research in learning as well as social, economic, and cultural changes.

Music Therapy

The student majoring in music therapy will learn skills necessary to practice as a professional music therapist. These include a foundation in music theory, history, composition, arranging, keyboard, guitar, voice, improvisation, and conducting, as well as clinical skills including principles of therapy, exceptionality, and the therapeutic relationship. After course work is completed, the student will engage in 1,040 hours of clinical internship at an approved site and will be evaluated on the skills and competencies listed above. This prepares the student to sit for the Board Certification Examination to earn the MT-BC (Music Therapist - Board Certified) credential. The student will learn to apply critical problem-solving techniques in developing music therapy interventions for a wide variety of clients and patients.

Competencies as a music therapist involve client assessment, implementation of music therapy strategies, evaluation, documentation, termination, discharge planning, and interdisciplinary team work. The student will become familiar with the professional work environment through a series of practica in which the concepts and strategies learned in the classroom are applied to clinical music therapy work with individuals in community settings, including schools, medical centers, nursing facilities, and other agencies serving people of diverse needs. The student will be prepared to adapt to the needs of a quickly changing health care environment and mental health network, and will learn how to develop a music therapy practice, administer programs, and devise treatment programs in a team approach.

The music therapy major will learn and interpret codes of ethical practice standards in the music therapy profession while actually using them in clinical practica and internship settings.

Professional Music Major

The student majoring in professional music will, upon declaration of the major, enter into an advising relationship with departmental staff resulting in the designation of an area of concentration for major study and an individual educational plan for course work leading to mastery in that area. Through this course work, the student will learn the skills, concepts, and methodologies necessary to develop proficiency in the designated area of concentration typical of that found in the professional music industry. The student will complete a major final project in the designated area of concentration whose content and/or enactment is equal in quality and extent to the demands of the current professional music environment.

Interacting with instructors, the student will develop an aesthetic and critical vision of quality work in the designated area of concentration, will be able to define quality using both general and musical criteria, and will be able to apply those criteria to his/her own work and to that of others. By working with teachers and other students on various projects, the student will learn to work effectively with others in groupings typically found in the context of the designated area of concentration within the professional music industry.

The student will develop sufficient background and depth in the chosen area of concentration to enable him/her to cope with and adjust to changes in the professional music environment.

Alumni

Main article: List of alumni of Berklee College of Music

References

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  62. ^ Goodison, Donna, “Berklee Program’s Chief Knows Score, Film Industry,” Boston Herald, September 24, 2007, p. 28
  63. ^ Video Game Scoring Minor, accessed 17 December 2010
  64. ^ Music Business/Management Major, accessed 17 December 2010
  65. ^ Graduate programs, accessed 17 December 2010
  66. ^ a b c d "About Berklee: A Brief History," Berklee website, accessed 17 December 2010
  67. ^ Music Business Journal, Berklee website, accessed 17 December 2010
  68. ^ "Berklee News: Berklee Opens Café 939," Berklee website, 6 March 2008, accessed 17 December 2010
  69. ^ a b Hazell, p. 266

42°20′48″N 71°05′19″W / 42.34669°N 71.088705°W / 42.34669; -71.088705

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