If you are interested in creating sound for some of today’s top media, a Music Engineering program is for you. Music Engineers and sound designers work behind the scenes and around the world, playing a key role in many films, video games, and theaters. Sound designers add sound to make a production more believable and realistic, creating a more enjoyable experience for everyone.
Sound design happens when someone creates sound professionally, often for a film, television show, radio, commercial, or other multimedia need. Sound design differs from composition in a key way: while composition is the creation of sound for the purposes of playing a musical song, sound design can be applied to a wider variety of contexts. Sound designers have used not only every kind of instrument out there, but musical software and regular household objects for their sound as well.
Sound design programs have grown alongside the advent of new entertainment technologies. For hundreds of years, sound was created off-stage to add to the audience experience of theatrical productions. In the early days of radio, sound designers used a variety of implements to create sounds that would enhance the production. Film began as a silent genre, but when movie production advanced to the “talkies,” sound designers became an integral part of Hollywood. These days, Foley sound designers work as specialists who use common household objects (like leather gloves or cornstarch) to create realistic, common sounds for movies and television. If you’re consuming a major multimedia production, it’s likely that it was produced with the help of a sound designer.
Music Engineering programs encourage students to understand nuance as well as whether a sound is realistic and appropriate. The appropriate music or sounds for different situations will also be different. Practicing creative and detail-oriented skills will help you prepare for a career in sound production. All musicians need to be able to key into pitch and tone, but music engineers must have the ability to judge the world’s more unusual sounds. What is the sound of a newspaper hitting cement? Does the music match the emotional moment in a television episode? Critical thinking is an essential skill for any sound designer.
One of the brightest aspects of a career is the variety of opportunities. Sound designers work for film studios, radio stations, and in television production and theatre. From Hollywood to Broadway to Miami, sound designers are working in major cities across the country, creating the sounds that we hear everyday. Some sound designers even run their own independent studios. What you do as a sound designer all depends on your unique interests.
Before you apply to any program, it’s in your interest to do your homework. You want to make sure that the school is a place you can see yourself thriving in. The following list includes some of the top considerations you should think about before you begin to apply:
Any prior experience related to sound, music, theater, or related fields will strengthen your application. While you don’t need to have extensive experience already in music engineering specifically (you are going to school to pursue this field for the future, after all), you will need to show the school that you have both interest and potential.
The Frost School of Music at the University of Miami uses the distinctive Frost Method™, a mode of teaching that incorporates individual learning from both the instructor and from a driven cohort of peer musicians. At The Frost School, you will enter an established program where you dreams for sound design can flourish. With a prime location, excellent pool of successful alumni, and distinguished instructors, The Frost School helps you pursue your sound design career.
Audio. Software. Acoustics. AI. Recording. The Music Engineering Technology program provides a multidisciplinary four-year Bachelor of Music and Bachelor of Science degrees within a music school setting. All students learn the art and science of: while pursuing traditional music studies in performance, history, and theory. In addition, their studies in electrical engineering and computer science provide them with elite technical skills.
Christopher Bennett Tom Collins Susan Green Dave Poler
Chair and Associate Professor. Research interests include digital audio, psychoacoustics, bio+acoustic technologies, machine learning, and audio system design.
Associate Professor. Research in music AI, computational creativity, music information retrieval, and musical originality scoring.
Assistant Professor of Practice. Research in immersive audio and embodied performance, human-centered design, expressive controllers, and creative audio practice.
Adjunct Lecturer. Recording engineer, producer, and educator with extensive industry experience in music production and studio practice.
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