Graduate Courses

The final masters project in Music Technology reflects some contribution to the field, and will bring together the student's class work experience and interests during the two year Masters program. Possible directions include documented performance techniques, analysis or software applications/development to music.

The final masters project in Music Technology reflects some contribution to the field, and will bring together the student's class work experience and interests during the two year Masters program. Possible directions include documented performance techniques, analysis or software applications/development to music.

A supervised and individualized study culminating in a professional portfolio of recorded works, analysis, and documentation that represent the skills and expertise of the Tonmeister Studies. A panel of experts in the fields of sound recording and music production will review the portfolio. Successful completion of the Advanced Certificate in Tonmeister Studies requires a positive evaluation of the portfolio and written documentation.

Weekly meeting time for graduate students or participation in workshops and concert production etc.

A series of analyses of the history, theories, techniques, and results of propaganda in society with special focus on the relationship between interaction (sociological) propaganda and communication in our increasingly technological society; case studies drawn from public relations, commercial advertising, social movements, and the mass media.

A series of analyses of the history, theories, techniques, and results of propaganda in society with special focus on the relationship between agitation (political) propaganda and communication in our increasingly technological society; case studies drawn from national and international sources.

Course examines past and current studies on language, communication theories, speech perception, and other aspects of verbal and nonverbal behavior. Students relate these studies to how gender, race, culture and sexual orientation are developed and reflected in society in both personal and professional relationships.

This course provides a forum for the presentation of research by eminent researchers in the field of communication sciences and disorders and related disciplines. Students and professional participants are invited to comment, ask questions, and engage in an array of topics in basic science as well as clinical areas. Research papers will be read in advance to prepare for upcoming colloquia. Students in the course will develop their writing skills and learn to formally and concisely write papers about research in CSD.

Course focuses on fostering community building through tee performing arts and takes place in abroad sites. Students will learn and perform traditional dances, study the pedagogic practices of the region, and participate in collaborative teaching and learning with students, teachers professional dancers, and children from the local area.

Community Music is an emerging field of music education that challenges many traditional assumptions and forms of music teaching and learning. This course examines the conceptual, cultural, historical, sociological and pedagogical foundations of community music from a global perspective.

This year-long mentored experience accompanies the post-residency first-year paid teaching assignment. The approach to mentoring will follow closely the practices of the New Teacher Center, which include a formative assessment system based on the Danielson Framework, self-directed inquiry and professional growth planning, attention to teaching artifacts like student work, videos of practice, and synchronous as well as asynchronous online protocols to guide collective learning conversations about how to improve participants' teaching practice. Participants, under the guidance of the NYU faculty mentor, will attempt to solve real-time problems, share resources, improve existing teaching tools and develop new ones, observe best practices, and learn from master teachers.

This year-long mentored experience accompanies the post-residency first-year paid teaching assignment. The approach to mentoring will follow closely the practices of the New Teacher Center, which include a formative assessment system based on the Danielson Framework, self-directed inquiry and professional growth planning, attention to teaching artifacts like student work, videos of practice, and synchronous as well as asynchronous online protocols to guide collective learning conversations about how to improve participants' teaching practice.Participants, under the guidance of the NYU faculty mentor, will attempt to solve real-time problems, share resources, improve existing teaching tools and develop new ones, observe best practices, and learn from master teachers.

Review and analysis of the cultural context, rationale for, and applications of complementary and alternative nutritional therapies for acute and chronic conditions. The course emphasizes critical evaluation of scientific and other evidence for safety and clinical efficacy of products and methods, and of library, internet, and popular resources on this topic.

Students attend weekly presentations from composers, and concerts. Composer guests introduce the students to their aesthetic world by discussing, analyzing, and playing recordings of some of their most relevant works. Students will have the opportunity to network with a diverse range of visiting composers, which will help them to create contacts for their professional development. Some of the classes include attending concerts in which works from living composers are featured, including NYU students and faculty.

Rehearsal techniques and special problems in ensemble performance.

This course, taught in small groups of students, serves to polish and develop composing skills in an environment that stimulates discussion. During the small group discussions, students present some of their work, which is critiqued by the instructor and the other students in the group. Through this process of critique and discussion, students refine their composition skills and techniques.

Technology-based methods for transcription and analysis of language samples in the assessment of communication disorders. How the analysis of language samples collected during spontaneous speech production plays an important part in the assessment of such disorders and provides a key feature of research involving this population. Students will video-record an interaction between two speakers, learn to use digitized image and sound for transcription of language samples, and use a computerized method (the SALT program) for analyzing language samples collected during spontaneous speech.

Course emphasizes concert promotion and facilities management. Content to include large venues and club outlets, box office and crowd management, labor relations, production techniques (i.e. sets, lights, sound, costumes, etc.), special events, tour planning and coordination, contracts and riders. Case histories to display investment capital pursuits, administration/staffing, market identification, objectives, sequencing and strategies, budgeting, and break-even from an entrepreneurial perspective.

This course prepares students to participate in NYU Steinhardt's Fall Dance Concert. Explore dance production from an educational perspective, with a focus on using a professional concert model as a basis for creating productions in a variety of settings. Guest lectures in lighting and stage management as well as required elements for participation as a choreographer for the concert.

This course guides and supports students as they develop their choreographic work for NYU Steinhardt's Fall Dance Concert. Creates an open dialogue among choreographers to develop their skills in processing feedback and evaluating their own work. Students work in committees to co-produce aspects of the concert including publicity and press, documentation and reception, and programming and scheduling. Students share works in progress informally in class, semi-formally at faculty/staff showing, and formally onstage in the Loewe Theatre.