SHORELINE COMMUNITY COLLEGE
MUSIC TECHNOLOGY
PROGRAM REVIEW
Fall 2010
Prepared by Karen Demetre, Consultant
TABLE OF CONTENTS
PURPOSE.........................................................
3
METHODOLOGY……………………………...
4
CONSULTANT REPORT
Findings on Program Review Elements
Assessment ……………………………………..
Program Information……………………………
Student Data Trends……………………………
Curriculum……………………………………….
Faculty…………………………………………….
Resources………………………………………..
Schedule of Classes……………………………
Partnerships……………………………………..
Support Services……………………………… .
Revenue Potential………………………………
The Virtual College……………………………..
Competition………..…………………………….
Program Access………………………………...
Labor Market Opportunities………….……….
5
7
9
27
30
32
34
35
36
37
38
39
40
41
Analysis of Findings
Institutional Issues………………………….......
Program Strengths………………………….......
Recommendations………………………….......
42
43
44
APPENDIX
Faculty Report……………………………………
Student Survey Results…………………..........
Advisory Committee Survey Results…………
1
20
45
PURPOSE
2
The purpose of the program review process at Shoreline Community College is
continuous quality improvement. This process is scheduled on a five year cycle
across all instructional areas at the college.
This process serves to meet standards established by the State Board for
Community and Technical College Education and the Northwest Commission on
Colleges and Universities. Relevant accreditation standards are listed below:
4.A Assessment
4.A.1 The institution engages in ongoing systematic collection and analysis of
meaningful, assessable, and verifiable data – quantitative and/or
qualitative, as appropriate to its indicators of achievement – as the basis
for evaluating the accomplishment of its core theme objectives.
4.A.2 The institution engages in an effective system of evaluation of its
programs and services, wherever offered and however delivered, to
evaluate achievement of clearly-identified program goals or intended
outcomes. Faculty have a primary role in the evaluation of educational
programs and services.
4.A.3 The institution documents, through an effective, regular, and
comprehensive system of assessment of student achievement, that
students who complete its educational courses, programs, and degrees,
wherever offered and however delivered, achieve identified course,
program, and degree learning outcomes. Faculty with teaching
responsibilities are responsible for evaluating student achievement of
clearly-identified learning outcomes.
4.A.4 The institution evaluates holistically the alignment, correlation, and
integration of programs and services with respect to accomplishment of
core theme objectives.
METHODOLOGY
3
First Committee Meeting
(orientation to process with full-time faculty, division dean,
workforce dean, institutional researcher, and consultant)
Qualitative Information Collected
 College website, planning guides, brochures
 Master Course Outlines
 Schedule of Classes
 Class Cancellations and Wait Lists
 Full-Time Faculty Input (written assignment)
 Student Surveys (currently in program)
 Advisory Committee Surveys
 Full-Time Faculty Interview
 Division Dean Interview
 Advisory Committee Roster + Meeting Minutes
 Program Review Reports (2000 + 2005)
 2006-07 Music Tech Instructional Goals + Assessment Plan
Quantitative Information Collected
 Faculty teaching loads (full-time and part-time)
 Division budget figures
 Annualized FTES, Headcount, and % of Enrollment
(by program and by certificate + degree)
 Student demographics (age, gender, ethnicity, academic +
economic disadvantage)
 Completion of degrees and certificates
 Student grade distributions
 State and college comparative data on S:F ratios
 State employment data on former students
Final Committee Meeting
(discussion of preliminary report and faculty feedback)
Completion + Distribution of Final Program Review Report
CONSULTANT REPORT
Music Technology – Fall 2010
4
ELEMENTS REVIEWED, FINDINGS, + ANALYSIS
1. ASSESSMENT
(FAC. REPORT Pg 1)
( faculty feedback, student survey, and advisory committee survey)
TOOLS TO ASSESS PROGRAM OUTCOMES
1.1
Program outcomes have been established for each degree and certificate option
and are clearly stated on the program website. At the present time there is no
formal system for tracking aggregate data on indicators/measures that
demonstrate achievement of program outcomes. This is unfinished
business from the 2005 program review report, but the student portfolio
project has been a positive development since that time. Faculty monitors
student performance in their classes, reviews capstone projects, and receives
feedback from advisory committee members as well as current and former
students to assess program outcomes. Follow-up with graduates consists of
occasional conversations or contacts.
Faculty indicates that class learning outcomes support program outcomes; and
therefore they consider students passing classes and completing portfolios or
capstone projects as indicators that program outcomes have been achieved.
The advisory committee reviews proposed curriculum changes, but a survey of
members revealed a lack of clarity about published program outcomes. Faculty
receives helpful student data from the new institutional researcher which also
supports ongoing assessment of program outcomes. The faculty interview
revealed interest in pursing a systematic approach to assessment of program
outcomes by identifying measures/indicators and tracking aggregate data.
1.2
Published outcomes for the various degrees and certificate option do not
mention skills in entrepreneurship and self-promotion. The advisory
committee has emphasized that these skills are critical for future success of
graduates working on a freelance or contract basis. Faculty shares this
awareness and will need to revise program outcomes to reflect it.
1.3
A large sample of student respondents (73) gave a range of reactions about
how well their individual learning needs were met. Almost two-thirds (62%)
provided above average ratings and only a few (5) gave below average
ratings. Student perceptions about preparation for employment were similar
(60% gave above average ratings for the knowledge and skills they gained in the
program and only two gave lower ratings). Although self-perception does not
equate to actual measurement of student learning, it is an indication that the
majority of current students are satisfied with the education provided by this
program and are confident it gives them adequate preparation for working in the
field. More feedback from former students would further validate these
perceptions. Advisory committee members state that emphasis on music theory
in the curriculum (along with technology and performance) better prepares
5
graduates for employment success. This view is supported by anecdotal
responses from employers and alumni.
1.4
Post-graduation surveys of students in digital audio engineering and
electronic music/MIDI options show about 25% to 30% are employed one
year after leaving the college. Faculty reports numerous types of positions and
impressive examples of clients who employ graduates doing freelance work.
Although the reported percentage of graduates working in the field seems
modest, it is under-reported due to the difficulty of tracking many individuals who
are self-employed in a variety of settings. Follow-up is particularly problematic
for graduates who work in performance and merchandising fields, although
anecdotal evidence is positive.
TOOLS TO ASSESS GENERAL EDUCATION OUTCOMES
1.5
Master course outlines identify general education outcomes addressed in each
course; however, specific guidelines/criteria or performance levels for
assessing achievement of general education outcomes have not been defined by
the college. Music Technology faculty are skilled at assessing student learning in
their discipline; and they utilize a variety of assessment methods including many
hands-on, authentic assessments such as repeat demonstrations, simulations,
performances, portfolios, and capstone projects. Since many courses and
assignments or projects include multiple learning outcomes it is sometimes
difficult to isolate and collect assessment data on individual general education
outcomes. Although it is assumed that passing grades demonstrate satisfactory
achievement of general education outcomes, this area of assessment could be
further refined as shown in the following chart:
General Education Outcomes
Learning
Outcome
Assessment
Measure
List here the measures
the program uses to
assess progress toward
the outcome (GPAs,
portfolios, student
surveys, placement
data, retention
statistics, alumni
surveys, etc.)
Data
Collected
List here the
specific data
collected
Evaluation of Data
Describe here what the
data mean.
Actions Taken
Describe the actions
taken, based on the
evaluation of the
data
Quantitative
Reasoning
Communication
Multicultural
Understanding
Information
Literacy
Gen. Intellectual
Abilities
Global Awareness
EVIDENCE OF ACTION BASED ON ASSESSMENT FINDINGS
6
1.6
Faculty continually evaluates student learning in their classes, reviews student
feedback, and makes changes as appropriate. Authentic assessment of
student abilities and job-related performance is prevalent throughout the
curriculum and many opportunities are provided to apply knowledge and learn
through experiential and “real life” experiences.
1.7
Student success is monitored by faculty and identified problems sometimes lead
to recommendations for curriculum development. One example of curriculum
change is the approval of MUSTC 106 (The Acoustics of Music) for the
quantitative reasoning/math requirement. In the past CIS 105 (Computer
Applications) was the designated course, but it was problematic for students.
This would be a prime area for tracking student success in the future.
2. PROGRAM INFORMATION
(FAC. REPORT Pg 3)
(Website, catalog, planning guides, program descriptions, brochures)
ACCURACY
2.1
Academic planning guides on the website are generally accurate and
complete. One point of clarification is needed on the website description for
Digital Audio Engineering, where Degree Prerequisites states “students without
secure knowledge of music fundamental and keyboard ability should take Music
100 & 110 or Music 200 & 127 before taking Music 101.” Since Music 101 has
been changed to MUSIC& 141, this requires updating. It is also confusing when
the planning guide states Music 100 & 120 (versus 110) should be taken before
MUSC& 141.
2.2
The website states book costs for every degree and certificate are “variable and
approximately $200 per quarter”. Since curricula vary greatly among degrees
and certificates, individualized estimates would be more helpful to students
RELEVANCY
2.3
Current students gave a range of ratings on helpfulness of program
information (website and printed materials). More than half of the current
students surveyed (57%) rated it as good or excellent, while 33% rated it as
fair; and 4% indicated “not so good”.
2.4
Program descriptions on the website and brochure provide helpful information
about employment opportunities associated with each degree and certificate.
Due to the changing nature of the field, greater emphasis may be needed to point
out that employee positions are competitive and limited, but there are many
opportunities to be successfully self-employed or work on a freelance basis for
graduates with strong entrepreneurial and business skills.
2.5
CIS 105 is still listed as the quantitative reasoning requirement on academic
planning guides and this will need updating to reflect approval of MUSTC 106 for
the requirement (along with its prerequisite of Math 080 or an acceptable score
on the Algebra COMPASS test). The program coordinator is aware of this and
anticipates curriculum committee approval for revised planning guides.
7
2.6
Since the majority of music technology courses are offered only once per year
(and many are part of a three course sequence) the students’ academic planning
would be improved by highlighting this fact. A consistent symbol used on each
planning guide could be used to identify courses that are offered once per year.
This would better support students’ academic planning.
CURRENCY
2.7
Program information on the website, brochure, and planning guides has been
recently updated (summer 2010). Periodic updating is managed by the public
information office as well as the music technology faculty and technician.
2.8
Student surveys indicate some updating may be required for the SCC
Recording Studio website (i.e. equipment available at different workstations,
upcoming events and concert information).
CONGRUENCE
2.9
The website provides a consistent presentation of headings for each
program option (i.e. quarterly costs, program description, etc.). Each academic
planning guide presents sample class schedules, which help students with
academic planning. Courses are tagged as general education or related
instruction for communication, computation, and human relations in all degree
options. This approach differentiates technical courses from transfer courses (or
courses that apply general education concepts to the field); and it clearly
documents that accreditation standards are met.
2.10
Content is generally consistent between the website, program brochure,
and hard copies of academic planning guides.
ACCESSIBILITY
2.11
Most program information is accessed through the internet, which attracts
potential and current students from diverse populations and many locations.
2.12
The Music Technology Program is not identified separately in the website A-Z
index. It is necessary to go through the Music Department listing or the link for
Professional-Technical Programs to find the Music Technology Program and the
SCC Recording Studio website. Student surveys reveal that the college website
is difficult to navigate.
2.13
A list of music electives offered is not easy to locate without searching through
the online catalog. This is especially true since elective courses for MIDI and
Merchandising are not explicit in the academic planning guides.
2.14
Limited copies of the printed college catalog are available, but the website
provides access to the same information. Other printed materials include
program brochures and academic planning guides available in the Division office
and Advising Center.
3. STUDENT DATA TRENDS
(FAC. REPORT Pg 4)
8
NOTE:
Issues affecting accuracy of students’ program intent codes may
impact some institutional data used in this review.
THREE YEAR ENROLLMENT – ANNUALIZED STATE FTES
3.1
Annualized state-funded FTES for the Music Technology Program has declined
somewhat over the last three academic years to 190 AnFTES for 2009-10.
(Note: one annualized full-time equivalent student = 45 credits/year) Modest
declines in all degree options are apparent for the three year period; however,
the program remains one of the largest prof-tech programs at the college.
3.2
Factors negatively impacting enrollment include increased tuition and fees,
limited space and equipment availability, and budget constraints that make it
difficult to add class sections.
160
140
120
100
80
60
40
20
0
A78
A89
MUSIC TECH.M.I.D.I.PROD AAAS
MUSIC TECHPERFORMANCE AAAS
MUSIC TECH MERCHANDISINGAAAS
DIGITAL PERF:
DIGITAL AUDIO
A90
DIGITAL/AUDIO
ENGINEERINGAAAS
Annlzd. FTES
Music Tech:Annualized State FTES by Deg/Cert
2821
282
2832
2831
282B
Music Tech
Year
A78
A89
A90
Dig/Audio
Merchandising MIDI
Performance Dig/Perf Grand Total
148.08
9.78
41.27
28.44
227.57
141.72
7.93
36.11
23.20
0.31
209.28
131.44
7.89
28.53
21.87
0.31
190.04
THREE YEAR ENROLLMENT: STUDENT HEADCOUNT and
PERCENTAGE OF PROGRAM ENROLLMENT
3.3
A three-year comparison of annual student headcount reveals fewer students in
9
all areas during 2008-09 followed by increased numbers of students in 200910 for Digital Audio , Merchandising, and Performance options. The only
area experiencing a three year decline in student headcount is the MIDI option.
3.4
Although annualized FTES for the last three years have declined for all degree
options, student headcount has increased in all areas except MIDI. It
appears that more students are enrolling but completing fewer credits.
Comparing fall quarters, the percentage of part-time students increased between
2008-09 and 2009-10 (from 27% to 30%). This trend may relate to increased
costs, more economically disadvantaged students, and financial aid issues.
3.5
Most of the program enrollment in 2009-10 was concentrated in the Digital Audio
Engineering AAAS option (63% of student headcount), followed by MIDI (17%)
and Performance (14%). The Merchandising degree and certificate option are
quite small by comparison.
Enrollment
Music Tech: Enrollment within Program
300
200
100
0
A78
A89
A90
Dig/Audio
Merchandising
MIDI
Performance
Dig/Perf
Program
Music Tech:% Enrollment within Program
70%
Percentage
60%
50%
40%
30%
20%
10%
0%
Dig/Audio
A78
A89
A90
Merchandising
ENROLLMENT COUNT
EPC_TITLE
A78 A89 A90
Dig/Audio - AAAS
259
238 241
MerchandisingAAAS
17
15
19
MIDI
Program
Performance
Dig/Perf
PERCENTAGE
EPC_TITLE
A78
A89
A90
Dig/Audio
62%
64%
63%
Merchandising
4%
4%
5%
10
MIDI AAAS
Performance AAAS
Dig/Perf - Certificate
Grand Total
3.6
89
55
1
420
72
48
1
374
67
55
2
383
MIDI
Performance
Dig/Perf
21%
13%
0%
19%
13%
0%
17%
14%
0%
The overall student to faculty ratio for the Music Technology Program has
increased steadily over the last three years (2007-08 through 2009-10).
This reflects strong demand for the program as well as the faculty’s efforts to
improve efficiency. Limited space and equipment make it difficult for the program
to accept more students until these constraints can be addressed by the college.
MUSTC - S:F Ratio Year
25
20
15
S:F Ratio
10
5
0
A78
A89
A90
A78
S:F Ratio
3.7
A89
20.1
A90
20.6
21.7
By comparison the fall quarter only student-to-faculty ratios are noticeably higher,
which indicates higher class fill-rates at the beginning of the academic year.
11
MUSTC - S:F Ratio Fall quarters
30
25
20
15
S:F Ratio
10
5
0
A452
S:F Ratio
3.8
A562
A672
A782
A892
A902
A452
A562
A672
A782
A892
A902
24.0
24.6
22.8
22.1
21.6
23.3
A three-year comparison of student-to-faculty ratios for the individual degrees
and certificate in music technology show distinct differences by area. These
ratios are higher than those listed above for all Music Tech courses, because the
degrees include courses outside of the department such as general education
courses.
12
STUDENT-TO-FACULTY RATIO
Prog EPC
282
2821
2831
2832
282B
A89
A87
MIDI
Digital Audio
Engineering
Merchandising
Performance
Dig Performer
Certificate
A90
21.4
22.6
22.6
19.7
30.4
24.3
19.9
28.9
25.3
22.6
20.1
21.7
20.1
19.6
STUDENT GENDER: ENROLLMENT COUNT AND PERCENTAGE
3.9
Male students constitute the vast majority in the Music Technology Program
(around 81% of student headcount in 2009-10), which is typical in the music
industry. Comparing only fall quarters, the overall percentage of female students
increased in 2008-09, but then dropped in 2009-10 (from 16.2% to 12.9%). The
number of women in the program has declined every fall quarter for the last five
academic years (2005-6 through 2009-10).
3.10
Although females are under-represented in the overall program some gains
are apparent. Compared to 2007-08 the percentage of females in 2009-10 was
significantly higher for MIDI (from 8% to 16%) and Merchandising (from 21% to
32%). The largest number and percentage of females are presently enrolled in
the Digital Audio Engineering option with a relatively stable percentage (11% to
13%) over the last three years
3.11
Gender balance varies greatly among different program options. During the
last three years the percentage of females dropped in the Performance option
(from 43% to 31%), however this is a higher percentage than some other areas.
Digital Audio:Gender
250
200
150
100
Enrollment Count
50
F
0
A78
A89
A90
Di g/Audi o
Di g/Audi o
Di g/Audi o
M
Year
13
3.12
A variety of strategies have been implemented to improve recruitment and
retention of female students, including an organized women’s group and support
from grants. One factor that might be examined is whether the climate is
comfortable for female students with regard to the language and inclusive
attitudes exhibited by male students in the program (refer to student survey).
Midi:Gender
F
En
ro
ll
m
e
nt
100
0
A78
Year
A89
A90
M
Enrollment Count
Performance:Gender
40
35
30
25
20
15
10
5
0
F
M
A78
A89
A90
Performance
Performance
Performance
Year
14
Merchandising:Gender
14
12
Enrollment Count
10
8
6
F
M
4
2
0
A78
A89
A90
Merchandi s i ng
Merchandi s i ng
Merchandi s i ng
Year
Digital Performance:Gender
2
0
Enrollme
nt count
A89
Dig/Perf
Year
Year F
A78
A89
A90
A89
A90
A78
A89
A90
A78
A89
A90
A78
A89
A90
PERCENTAGE
M
28
29
25
1
1
3
4
6
7
13
11
23
22
17
M
Dig/Perf
ENROLLMENT COUNT
MainGroup
Dig/Audio
Dig/Audio
Dig/Audio
Dig/Perf
Dig/Perf
Merchandising
Merchandising
Merchandising
MIDI
MIDI
MIDI
Performance
Performance
Performance
F
A90
224
203
208
11
10
13
76
58
56
31
26
38
MainGroup
Dig/Audio
Dig/Audio
Dig/Audio
Dig/Perf
Dig/Perf
Merchandising
Merchandising
Merchandising
MIDI
MIDI
MIDI
Performance
Performance
Performance
Year
A78
A89
A90
A89
A90
A78
A89
A90
A78
A89
A90
A78
A89
A90
F
M
11%
13%
11%
100%
100%
21%
29%
32%
8%
18%
16%
43%
46%
31%
89%
88%
89%
0%
0%
79%
71%
68%
92%
82%
84%
57%
54%
69%
15
STUDENT ETHNICITY: ENROLLMENT COUNT + PERCENTAGE
3.13
In 2009-10 white students comprised the largest percentage (around two
thirds) of overall program enrollment. The percentage of white students is
similar in each of the individual AAAS degree options (from 62% to 66%).
3.14
Comparing overall program enrollment for fall quarters only, non-Caucasian
students declined 5% from 2008-09 to 2009-10 (from 28.1% to 23.1%);
however, increased percentages of some groups were apparent in individual
program options (i.e. more African Americans in MIDI, more Hispanics in Digital
Audio Engineering, etc.). In fall 2009, diverse students with the greatest
representation were: African American (8.4%) followed by Latino/Hispanic
(5.6%) and Asian/Pacific Islander (3.6%).
3.15
Annual enrollment figures for 2009-10 show representation of diverse groups
varies with the program option. The highest percentages are shown below:
Performance
- African American 11% + Other Race 13%
Digital Audio Engineering - Latino/Hispanic 9% + Other Race 10%
Merchandising/Music Bus - Asian 11% + Other Race 11%
Electronic Music/MIDI
- African American 13%
EPC_TITLE
M.I.D.I.
AAAS
Ethnicity
African
American
Asian/Pacific
Islander
Hispanic
International
Student
Native American
Other Race
White
MUSIC TECH.-M.I.D.I.PROD -AAAS
Total
DIGITAL/AUDIO
ENGINEERINGAfrican
AAAS
American
Asian/Pacific
Islander
Hispanic
International
Student
Native American
Other Race
White
HEADCOUNT
A78 A89 A90
PERCENTAGE
A78
A89
A90
10
8
9
11%
11%
13%
11
3
6
4
5
4
12%
3%
8%
6%
7%
6%
2
5
8
52
1
2
11
40
3
44
0%
6%
9%
58%
1%
3%
15%
56%
3%
0%
4%
66%
89
72
67
11
15
17
4%
6%
7%
13
22
14
18
5
22
5%
8%
6%
8%
2%
9%
2
6
31
174
4
8
23
156
3
10
24
160
1%
2%
12%
67%
2%
3%
10%
66%
1%
4%
10%
66%
16
DIGITAL/AUDIO ENGINEERING-AAAS
Total
MERCHANDISING- African
AAAS
American
Asian/Pacific
Islander
Hispanic
International
Student
Native American
Other Race
White
MUSIC TECH -MERCHANDISING-AAAS
Total
PERFORMANCE African
AAAS
American
Asian/Pacific
Islander
Hispanic
International
Student
Native American
Other Race
White
MUSIC TECH-PERFORMANCE - AAAS
Total
DIGITAL PERF:
DIGITAL AUDIO
Other Race
DIGITAL PERF: DIGITAL AUDIO Total
Grand Total
259
238
241
1
2
1
6%
13%
5%
2
4
3
2
2
1
12%
24%
20%
13%
11%
5%
2
1
1
6
1
1
7
2
12
12%
6%
6%
35%
7%
0%
0%
47%
5%
0%
11%
63%
17
15
19
3
6
6
5%
13%
11%
6
3
5
4
1
11%
5%
10%
0%
7%
2%
7%
4%
9%
58%
0%
2%
15%
60%
0%
5%
13%
62%
0%
100%
100%
4
2
5
32
1
7
29
3
7
34
55
48
55
420
1
1
374
1
1
383
STUDENT AGE: ENROLLMENT COUNT AND PERCENTAGE
3.16
The Music Technology Program predominantly attracts a young student
population. In 2009-10 around 65% were 24 years or younger (26% were
under 20 years, while 39% were 20-24 years).
3.17
Comparing figures for fall quarter only, the percentage of youngest students (1719 years) dropped from 2008-09 to 2009-10 and the percentage of students 2029 years increased. There appears to be a trend towards older age groups in the
overall program.
Dig/Audio
Grand
A78
A89
A90
Total
259
238
241
738
Dig/Audio
A78 A89
A90
259
238
241
17
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
86
81
55
19
5
6
4
3
Dig/Perf
20-24
80
86
32
20
6
8
4
1
1
1
229
260
128
57
20
22
13
7
1
1
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
33%
31%
21%
7%
2%
2%
2%
1%
0%
0%
34%
36%
13%
8%
3%
3%
2%
0%
0%
0%
26%
39%
17%
7%
4%
3%
2%
1%
0%
0%
1
1
1
1
2
2
Dig/Perf
20-24
0
0%
1
100%
1
100%
19
6
3
1
3
2
2
1
1
51
20
13
3
3
3
6
2
1
Merchandising
17
Under 20
35%
20-24
41%
25-29
6%
30-34
0%
35-39
0%
40-44
18%
45-49
0%
55-59
0%
15
53%
20%
7%
0%
7%
7%
7%
0%
19
32%
16%
5%
16%
11%
11%
5%
5%
72
28
18
15
4
1
2
1
2
1
67
24
20
11
7
228
80
68
44
19
1
7
2
4
2
1
MIDI
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
89
31%
34%
20%
9%
0%
3%
0%
1%
0%
1%
72
39%
25%
21%
6%
1%
3%
1%
3%
1%
0%
67
36%
30%
16%
10%
0%
3%
1%
1%
1%
0%
48
23
11
5
2
55
22
14
8
3
158
64
42
21
6
Performance
Under 20
20-24
25-29
30-34
55
35%
31%
15%
2%
48
48%
23%
10%
4%
55
40%
25%
15%
5%
Merchandising
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
55-59
17
6
7
1
15
8
3
1
3
1
1
1
MIDI
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
89
28
30
18
8
Performance
Under 20
20-24
25-29
30-34
55
19
17
8
1
3
1
63
93
41
18
9
8
5
3
2
1
1
1
1
18
35-39
40-44
45-49
50-54
55-59
65 or Above
Grand Total
2
1
3
1
2
1
420
2
3
1
1
374
1
2
2
2
1
383
5
3
8
4
3
2
1177
35-39
40-44
45-49
50-54
55-59
65 or Above
4%
2%
5%
2%
4%
2%
4%
0%
6%
2%
0%
2%
2%
4%
4%
4%
2%
0%
Dig/Audio
A78
A89
A90
U
nd
er
2
20 0
-2
4
25
-2
9
30
-3
4
35
-3
9
40
-4
4
45
-4
9
50
-5
4
55
-5
9
60
-6
4
Percentage
45%
40%
35%
30%
25%
20%
15%
10%
5%
0%
Age
MIDI
A78
Percent
age
50%
0%
Under 20-24 25-29 30-34 35-39 40-44 45-49 50-54 55-59 60-64
20
Age
A89
A90
19
Performance
Percentage
60%
40%
A78
20%
A89
0%
Under 20-2425-2930-3435-3940-4445-4950-5455-59 65 or
20
Above
Age
A90
Merchandising
A78
Percent
age
100%
0%
Under 20-24 25-29 30-34 35-39 40-44 45-49 55-59
20
Age
A89
A90
Dig/Perf
P
er
ce
nt
200%
0%
Age
20-24
A78
A89
A90
20
ENROLLMENT COUNTS
Dig/Audio
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
Grand
A78 A89 A90 Total
259 238 241
86
80
63
81
86
93
55
32
41
19
20
18
5
6
9
6
8
8
4
4
5
3
1
3
1
1
Dig/Perf
20-24
1
1
2
2
19
6
3
1
3
2
2
1
1
51
20
13
3
3
3
6
2
1
72
28
18
15
4
1
2
1
2
1
67
24
20
11
7
48
23
55
22
17
6
7
1
15
8
3
1
3
1
1
1
MIDI
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
89
28
30
18
8
Performance
Under 20
55
19
1
738
229
260
128
57
20
22
13
7
1
1
1
1
Merchandising
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
55-59
3
PERCENTAGES
2
1
1
1
1
Dig/Audio
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
Dig/Perf
20-24
A78
A89
A90
259
238
241
33% 34% 26%
31% 36% 39%
21% 13% 17%
7%
8%
7%
2%
3%
4%
2%
3%
3%
2%
2%
2%
1%
0%
1%
0%
0%
0%
0%
0%
0%
0
1
1
0% 100% 100%
Merchandising
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
55-59
17
35%
41%
6%
0%
0%
18%
0%
0%
15
53%
20%
7%
0%
7%
7%
7%
0%
19
32%
16%
5%
16%
11%
11%
5%
5%
228
80
68
44
19
1
7
2
4
2
1
MIDI
Under 20
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
89
31%
34%
20%
9%
0%
3%
0%
1%
0%
1%
72
39%
25%
21%
6%
1%
3%
1%
3%
1%
0%
67
36%
30%
16%
10%
0%
3%
1%
1%
1%
0%
158
64
Performance
Under 20
55
35%
48
48%
55
40%
21
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
65 or Above
Grand Total
17
8
1
2
1
3
1
2
1
420
11
5
2
2
3
1
1
374
14
8
3
1
2
2
2
1
383
42
21
6
5
3
8
4
3
2
1177
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
65 or Above
Grand Total
31%
15%
2%
4%
2%
5%
2%
4%
2%
420
23%
10%
4%
4%
0%
6%
2%
0%
2%
374
25%
15%
5%
2%
4%
4%
4%
2%
0%
383
STUDENT ECONOMIC STATUS: ENROLLMENT COUNT +
PERCENTAGE
3.18
The percentage of economically disadvantaged students in the Music
Technology Program has been increasing. In 2009-10 around 31% of the
students were economically disadvantaged. Compared to 2007-08 this
percentage represents a 6% increase (from 25% to 31%).
Music Tech: Economically
Disadvantaged
Enrollment
400
300
Y
200
N
100
0
A78
A89
A90
Year
22
Percentage
Music Tech: Economically
Disadvantaged%
80%
70%
60%
50%
40%
30%
20%
10%
0%
Y
N
A78
A89
A90
Year
ENROLLMENT COUNTS
PERCENTAGES
Total
ECON_DISAD A78
A89
A90
Y
106
95
119 320
N
314
279
264 857
Totals
420
374
383 1177
A78
A89
A90
25%
25%
31%
75%
75%
69%
STUDENT ACADEMIC STATUS: ENROLLMENT COUNT +
PERCENTAGE
3.19
The percentage of Music Technology students considered to be academically
disadvantaged has decreased to the lowest level in the last three years
(from 20% in 2008-09 to 17% in 2009-10).
Music Tech:Academically
Disadvantaged
Enrollment
400
300
Y
200
N
100
0
A78
A89
A90
Year
23
Music Tech:Academically
Disadvantaged%
Percentage
100%
80%
60%
Y
40%
N
20%
0%
A78
A89
A90
Year
Acad Disadv
Y
Grand
Total
N
Y
N
A78
80
340
420
19%
81%
A89
74
300
374
20%
80%
A90
66
317
383
17%
83%
220
957
1177
Grand Total
GRADES: FREQUENCY AND PERCENTAGE BY YEAR
3.20
During 2000-10 the highest frequency was A grades (41%) and the second
highest frequency was B grades (21%). Both of these have been declining.
The next highest frequencies are C and NC (no credit) grades (both are 9%).
The failing grades (D’s and F’s) have remained constant at 4%.
3.21
A distinct trend is the increasing frequency of NC (no credit) at 9%, W
(withdrawal) at 4%, and Z (hardship withdrawal) at 3%. The combined groups
of no credit/withdrawal grades represents around 16% frequency, which is a
significant factor in potential student attrition from the program. Faculty indicates
that a philosophic shift has occurred whereby faculty give NC grades instead of
zeros, because the NC does not affect the student grade point average. The
reasons for increases in W and Z grades are not clear, however, financial aid is
sometimes an issue for students.
24
Grade Distn: Music Tech
Enrollments
1400
1200
1000
A78
800
600
A89
A90
400
200
0
*
A
B
C
D
F
H
I
N
NC
P
V
W
Z
Grade
Percentage of year's Grades
Grade Distn%:Music Tech
50%
45%
40%
35%
30%
25%
20%
15%
10%
5%
0%
A78
A89
A90
*
A
B
C
D
F
H
I
N
NC
P
V
W
Z
Grade
ENROLLMENT COUNTS
Row Labels
*
A
B
C
D
F
H
I
Grand
A78
A89
A90
Total
25
9
28
62 *
1277 1209 1112
3598 A
661
554
564
1779 B
296
214
233
743 C
121
114
99
334 D
148
109
102
359 F
1
1
2 H
13
9
8
30 I
PERCENTAGES
A78
A89
1%
42%
22%
10%
4%
5%
0%
0%
A90
0%
44%
20%
8%
4%
4%
0%
0%
1%
41%
21%
9%
4%
4%
0%
0%
25
N
NC
P
V
W
Z
Grand
Total
22
154
111
55
94
80
17
212
130
49
60
55
6
231
94
32
107
84
45
597
335
136
261
219
3057
2742
2701
8500
N
NC
P
V
W
Z
1%
5%
4%
2%
3%
3%
1%
8%
5%
2%
2%
2%
0%
9%
3%
1%
4%
3%
DEGREES AND CERTIFICATES: AWARDS COUNT BY YEAR
3.22
An upward trend is apparent for completion rates in the Digital
Performer/Audio certificate option.
3.23
After increases in 2008-09, a decline occurred in 2009-10 for completion of
AAAS degrees in Digital Audio Engineering and MIDI. Two-year declines are
even more pronounced for degrees in Performance and Merchandising,
which have no completions in 2009-10.
3.24
The majority of academic awards earned during 2009-10 in the Music
Technology Program included the Digital Performer/Audio Certificate and the
AAAS degree in Digital Audio Engineering (the largest area of the program).
3.25
A relatively small number of AAAS degrees are awarded compared to the
number of students enrolled in the program. Student retention is an issue since
students can work in the field without completing a degree. Also, many students
do not complete AAAS degrees because they plan to transfer to a four-year
school or are taking selected classes for personal enrichment.
35
30
25
20
15
10
5
0
A78
A89
ce
Pe
rf
or
m
an
M
ID
I
g
di
sin
M
er
ch
an
di
o
:A
u
Di
gP
er
f
ud
io
A90
Di
g/
A
Count
Music Tech: Awards By Year
Awards
Al l AAAS Except
Di gPerf:Audi o
26
EPC_Title
Dig/Audio
DigPerf:Audio
Merchandising
MIDI
Performance
Grand Total
A78
A89
A90
18
29
16
13
16
18
3
5
8
5
7
1
46
54
39
Grand
Total
63
47
3
18
8
139
FORMER STUDENTS: EMPLOYMENT SUCCESS
3.26
The 2007-08 state estimates indicate generally favorable employment rates for
program completers in merchandising/management (94%) and digital music
occupations (55% to 87%).
3.27
Employment rates for early leavers in merchandising/music management tend to
be lower (57%) than completers. However, in digital music occupations
employment rates were comparable between early leavers (80%) and most
program completers (75-87%).
STATE ESTIMATED EMPLOYMENT RATES
Early Leavers Completers
07-08
07-08
Mus Mgnt +
57%
(4) 94%
(7)
Merchandising
Mus Instrumnt
80%
(74) 55%
(2)
Digital
75%
(22)
87%
(19)
4. CURRICULUM
(FAC. REPORT Pg 5)
.
GENERAL OBSERVATIONS
4.1
The program offers a variety of courses to serve both academic transfer
and workforce training students, as well as students seeking personal
enrichment Four AAAS degrees and one short-term certificate (15 credits)
support graduates seeking employment and incumbent workers seeking upgrade
of professional skills.
4.2
All the AAAS degrees require more than 90 credits (total of 95-102 credits).
Although this is not improper or unusual, “credit creep” beyond 90 requires more
time and money from students. With the increasing cost of college education,
this may contribute to student attrition or slower progression in the program.
27
In the past some advisory committee members questioned the amount of music
theory (36% of technical credits); however, a large majority (72%) of current
students surveyed view the study of music theory as important to reaching their
career goals. Current advisory committee members also view this component as
a strength of the program.
4.3
Recommended prerequisites are highlighted on all planning guides. Faculty
has considered increasing the number of prerequisite courses in order to reduce
credit load during the program. However, concerns about reducing student
access and demand for the program precluded this approach.
4.4 The curriculum offers a well rounded array of courses related to music theory,
performance, technical skills, and the music business. This is the most
comprehensive music technology program in the Washington community college
system. Many courses are integrated into two or more degree/certificate options
to give students flexibility and support higher course enrollment.
4.5
All AAAS degrees include separate courses for general education/
related instruction in communication, quantitative reasoning, and human
relations. The human relations course is only 2 credits, but the additional
requirement for a 5 credit multicultural course (CMST 203, Communication
Across Difference) is an excellent feature. Each AAAS degree has 17 credits of
general education/related instruction which equates to 17% to 18% of total
credits. This meets accreditation requirements, but is on the low side compared
to the typical percent for a two-year associate degree (20% or so is considered
more adequate background).
4.6
Another course (MUS 106 - Acoustics of Music) has been approved to fulfill the
quantitative reasoning requirement for professional-technical programs. This
option better supports music technology student learning and program
enrollment; however, it may not be desirable for transfer students. The program
coordinator anticipates curriculum committee approval of a revised planning
guide to include MUS 106 (Acoustics of Music) for quantitative reasoning.
4.7 The curriculum is carefully planned for appropriate sequencing and
experiential learning (able to do, not just know theory). A high percentage
(81%) of current students surveyed rate effectiveness of curriculum structure as
good or excellent. Within the last year one problem arose with curriculum
sequencing and overlap, but that has been corrected. Periodic review of course
content in the curriculum would help faculty identify unintended content overlap,
especially when course instructors change over time.
4.8
Integration of audio students and performance students is a positive
aspect of the curriculum, which offers opportunities for student networking
and shared projects. Increased contact with students in the VCT and Film
programs would also be beneficial, but this would require changes in curriculum
sequencing and philosophic alignment of faculty between programs.
4.9 Student internships off campus are not required at this time, but faculty are
28
interested in developing these opportunities in the future. This would
provide excellent experience for students, but obstacles include workload
constraints for faculty and the need for staff support to coordinate activities.
Advisory committee members recommend internships that develop “real life skills”
in industry settings; and their help should be requested to achieve this goal.
4.10 Guidance for career planning had mixed ratings from current students.
Around half (49%) rated it as good or excellent, while one third (36%) rated this
as fair, no so good, or poor. A number of student comments tend to indicate that
more assistance is desired.
4.11 Advisory committee members give favorable comments and ratings (average
rating of 3.8 out of 5) for curriculum alignment with industry needs, but they also
offer a few suggestions for curriculum development:
 Increase emphasis on entrepreneurship, business, and self-promotion
 Increase emphasis on sound design for gaming
 Offer more short-term certificates (sound design, software, etc.)
 Emphasize interdisciplinary skills sets for students (multimedia for converging
technologies including gaming, VCT, films, TV, etc.)
DISTANCE LEARNING
4.12 Most music technology classes are offered face-to-face on campus and
include both hands-on learning activities and online components. Faculty is
evaluating classes for potential conversion to online delivery. The three fully
online music technology courses include the vocational music seminar, the
portfolio development class, and the new Sibelius notation class. MUSTC 106
(Acoustics of Music) is offered as a hybrid course; and fully online courses from
the music transfer program are also available for music technology students.
4.13 Student survey responses indicate about one third (37%) would like more
online courses in the program, primarily in theory subjects. The Shoreline
CC Music Technology Program is planning to increase its online presence in the
future. Faculty expressed interest in developing online courses in some theory
subjects (including 15 credits of Pop Theory), as well as subjects related to the
music business, marketing and social networking. Some classes with hands-on
components might be converted to a hybrid format, but faculty has concern about
teaching technical skills in fully online courses. The majority of students (66%)
surveyed indicated they would not enroll in a music technology program that was
taught entirely or mostly online.
RECENT COURSE MODIFICATIONS
4.14 The music technology curriculum has changed over the last three years due to
significant changes in faculty, technology, and market demands. The most
recent curriculum modifications include updating of planning guides, approval of
MUS 106 for the quantitative reasoning requirement, and development of a new
online course on Sibelius notation.
PLANNED COURSE CHANGES/ADDITIONS
4.15 Faculty demonstrates a strong commitment to ongoing curriculum
improvement and innovation. Currently they are upgrading two degree options:
29
(1) Electronic Music/MIDI Production (formerly MIDI) and (2) Music Business
(formerly Merchandising). This is necessary to reflect changes in technology and
new career pathways in the industry. The Music Business option will emphasize
internet based advertising and distribution of music and associated content; plus
it will include a mandatory internship. The ultimate goal is to offer this in a fully
online format by fall 2013.
4.16 Faculty is considering development of more short-term certificates including
Sound Design for Gaming (based on ProTools coursework in Audio Engineering)
and possibly Logic or other software. The survey of current students revealed
45% believe that imbedded short-term certificates awarded along the way to the
final degree would improve their chances of finishing the entire program.
4.17 Faculty has also considered the possibility of developing an advanced degree
option, although this is not a high priority at this time. The survey of current
students indicated that 75% were likely or very likely to stay in program and
pursue four-year applied baccalaureate degree in music technology/audio
engineering, if offered by the Shoreline CC Music Technology Program.
5. FACULTY
(FAC. REPORT Pg 6)
SUFFICIENCY OF FT AND PT FACULTY
5.1
It is noteworthy that the survey of current students included over 30 comments
which specifically mentioned faculty as a program strength. This positive
viewpoint is also expressed by advisory committee members and the division
dean. Faculty report the present combination of full and part-time instructors
brings the richest diversity of knowledge, talent, and flexibility in the program’s
history. This excellent mix of instructors is revitalizing the program.
5.2
Integration with faculty in the music transfer program is also evidenced by
open communication, shared planning efforts, and cross-over teaching
assignments for full-time faculty. This improves curriculum cohesiveness and
supports students taking courses in both programs.
5.3
The program has three full-time music technology faculty, two are tenured
and the third has a temporary one-year contract. Another full-time
instructor in the Music Program (transfer) has taught two music technology
courses. It is unfortunate that severe budget cuts prevent the college from
retaining the third full-time music technology instructor next year, because it is
important for stability in this large program. Reliance on an increasing number of
part-time instructors coming and going makes it difficult to coordinate a curriculum
with so many sequenced courses. Also, it overloads the remaining two full-time
faculty with increased work for student advising and program development.
Considering this is one of the largest prof-tech programs, it would be advisable to
re-visit this need when resources permit. In the interim, a pro-rata contract would
be a beneficial alternative for the program.
5.4
Full-time faculty teach an average of 5 classes per quarter, which is a
30
heavy teaching load considering that classes vary every quarter.
Because many classes in the curriculum are less than 5 credits, an instructor
needs more than 3 classes each quarter to reach a full teaching load.
5.4
The total annualized load taught by 4 full-time faculty (one from the Music
Program) during 2009-10 was around 40% of total teaching effort in the
program excluding summer quarter. In addition, five part-time instructors
taught a total annualized load equal to 4.6 full-time faculty (excluding summer)
5.6
Combining these gives a total of 7.7 full-time equivalent faculty teaching in the
music technology program during 2009-10 (excluding summer quarter). This
means the majority of the teaching load (around 60%) has been assigned to
part-time faculty. After the temporary full-time position ends in June, 2011, the
percent of part-time faculty will be higher and more out of balance with the fulltime faculty. Best practice is to have at least 50% of the teaching effort assigned
to full-time faculty. Current budget reductions make this a difficult goal to
achieve, but dropping below 30% full-time faculty can be disruptive to a program.
FACULTY
Full-Time Faculty:
- 3 Music Tech*
- 1 Music + IASTU**
Part-Time Faculty – 5
Total FTF + PTF (FWS)
FALL 2009 – SPR 2010
Annualized FTEF
3.09/yr (incld moonlight)
4.60/yr
7.69 AnFTEF
Ratio FTF to PTF (FWS)
40% FTF
(60% PTF)
All Faculty – Summer
SUM 2009
.99 AnFTEF
Notes:
* One full-time music technology instructor has release time for program
coordination and also teaches part-time in the Music Program (transfer).
**One full-time instructor in the Music Program (transfer) also teaches parttime in the Music Technology Program.
RESOURCES FOR COORDINATION WORK
5.7
College resources are strained and future support for program coordination
activities is uncertain. Some reassigned time has been provided in the past due
to the extensive workload for this large department (program planning, course
scheduling, heavy load of individual advising, group advising events, advisory
committee meetings, mentoring part-time faculty, etc.). This role requires some
type of support or consideration since it involves so much extra work.
PROFESSIONAL DEVELOPMENT ACTIVITY
5.8
Music technology faculty are continually obliged to learn new technologies for
the industry and for online instruction. Their classes are often scheduled for
larger blocks of time in the afternoon, which makes it difficult for them to
31
participate in professional development offerings or college committees. This
creates a kind of professional isolation from the college community.
5.9
Professional development funds are ensured by the faculty negotiated
agreement ($ 450 per year for each full-time instructor) and some funding is
available from the Workforce Education Office. This financial support is helpful,
but is not sufficient to support the cost of expensive professional certifications.
6. RESOURCES
(FAC. REPORT Pg 8)
ADEQUACY OF FISCAL RESOURCES
6.1
Faculty, staff, and administrators work hard to maintain and improve the Music
Technology Program, but there is concern that the infrastructure to adequately
support and grow the program is not available. Fiscal resources are tight due
to ongoing budget reductions for the college; and this makes it difficult to support
even the bare necessities. The primary source of income is the state general
fund operating budget, plus the program and faculty may also receive
supplemental support from federal workforce education funds (i.e. Carl Perkins
allocation to the college) for a variety of purposes including professional and
curriculum development.
6.2
Faculty has maximized revenue from the student fees budget, which increased
from $ 59,029 (2008-09) to $ 84,251 (2009-10). This budget now helps support
salary for the instructional technician and equipment purchases. Unfortunately
students are feeling the burden of these increased fees.
6.3
Some class clustering has occurred to support student progression and
promote efficient use of instructional resources in the program.
6.4
Support in the form of release time for program coordination has been
provided and will be even more critical for this large program when a full-time
faculty position is eliminated next year. The increased workload for advising
more students and coordinating more part-time faculty requires consideration.
6.5
Professional development funds provided by the faculty agreement are helpful
but insufficient to meet faculty needs for professional certification which can be
very expensive (Example: 100 level Pro Tools certification costs $ 1,395 per
person and 200 level certification cost is much higher and requires traveling to
Olympia for course work). In addition, heavy workloads for teaching and
coordinating the program create time constraints that make it difficult for faculty
to attend professional development training.
6.6
Faculty have agreed to perform at fund-raising events to support student
scholarships, which is an admirable gesture. The college foundation has not
yet been approached about conducting fundraising projects for instructional
equipment, facility upgrade, or faculty professional development, but these would
be worth exploring in the future.
32
PAST YEAR COSTS VERSUS FTES EARNED
6.7
Instructional costs (faculty salary and benefits) for the most recent complete
academic year (2009-10) in the Music Technology Program totaled
approximately $ 326,465. Based on a total of 190 annualized FTES generated
in state-funded courses during 2009-10, the estimated instructional costs (i.e.
total faculty salaries and benefits divided by total AnFTES) was around $ 1,718
per annualized FTES. This cost decreased from 2008-09 to 2009-10 and is
less than many other professional technical programs at the college.
6.8
The annual operating budget for goods and services combines two programs
(Music Transfer and Music Technology); and therefore individual program
expenses are not easily determined. Budgeted amounts for goods and services
and capital equipment were reduced in 2009-10, but the budget for hardware and
services increased significantly (up 50%). The impact of future budget
reductions is uncertain at this time.
INFORMATION TECHNOLOGY, SPACE, + LAB EQUIPMENT
6.9
Faculty, students, and advisory committee members appreciate that the Music
Technology Program offers some cutting edge technology which rivals or
surpasses that of many other programs in the region. On the other hand, they
also recognize facility problems that interfere with instruction and student
learning in this large program.
6.10
A survey of current advisory committee members reveals an average rating of
3.75 out of 5 for adequacy of program resources. Their comments indicate
the need for dedicated classroom space, larger labs and more workstations to
give students more access (one student per station, rather than 2 or 3).
6.11
A survey of current students shows that 61% think program resources are good
or excellent, while 35% rated them as fair or not so good. They provided
numerous comments about insufficiency of space and available equipment
(i.e. equipment breakdowns, not enough stations for students, cramped quarters
that make it difficult to see mixing board, need more practice rooms, larger
studios, more studios, purpose-built environments and ample equipment in
permanently set up stations, etc).
6.12
The strong level of program enrollment causes concern about class capacity.
Faculty points out that the music building was constructed in 1977 and was not
designed to house the Music Technology Program. Labs are way too small,
often placing 2 or 3 students at a single computer work station or necessitating
that students rotate through the space in small groups. Recording spaces are
few and acoustically inadequate. Control rooms are undersized and need
upgrading of both hardware and software. Building access is limited and is
expensive to manage and secure.
6.13
One of the biggest challenges is using a room originally designed as a choir
room to serve as primary space for instruction in the Pro Tools digital audio
work station environment. There is no dedicated room for this purpose because
the space is shared with other classes. Continually moving carts back and forth
wastes staff time and class time, causes wear on equipment, and leaves
33
exposed cords on the floor which are safety/liability issues for the college. The
faculty and dean have identified several options for facility improvement, but
have not been able to implement any of these. The best, short-term option would
be to convert a storage space into a dedicated lab space for carts used to teach
Pro Tools software. The next best option is to move pianos (16) from the second
piano lab to a downstairs room and create a shared space upstairs for pianos
and permanently installed Pro Tools work stations.
6.14
An NSF grant was investigated as a possibility to gain access to off-campus
recording studios for student learning experiences, but time constraints
prevented completion of this grant. Community contacts might be explored in the
future to help establish student internship placements.
6.15
Lack of proper security for the building is an extremely serious issue and is
the faculty’s highest priority for program improvement. Many thefts of expensive
equipment have occurred, but the college has not improved security for the
facility despite numerous requests by faculty and staff or the administrative
promise to install security cameras (already purchased). Loss of vital
instructional equipment disrupts operation of the program; and the college no
longer has surplus funds for replacements. In addition, the large number of
students using this secluded building on nights and weekends creates a need to
implement provisions for personal safety. These factors make a compelling case
for preventive measures, rather than crisis management.
7. SCHEDULE
(FAC. REPORT Pg 9)
ALIGNMENT WITH NEEDS OF TARGET POPULATION
7.1
Faculty put considerable thought into developing a complex, coordinated
schedule of classes that maximizes use of available facilities from morning
until well into the evening. The schedule integrates music technology and music
transfer programs in the mornings; and in the afternoons technical lab classes
are configured into larger blocks of time. Courses related to the business
aspects of the music industry are intertwined among technology based courses
with consideration for student learning needs and scheduling flexibility.
7.2
The survey of current students shows almost two thirds (60%) of respondents
rate class schedules as good or excellent in meeting student needs. While this is
a favorable finding, the survey also shows about one third of respondents
indicate less satisfaction (26% rate the class schedule as fair and 11% rate it as
not so good or poor). A range of comments indicate some interest in more night
classes and scheduling some theory classes in the afternoons closer to the
technical labs. It is uncertain whether current facility and budget constraints
would support these additions in the near future.
7.3
Planning guides provide examples of recommended course sequencing to help
students with academic planning; and the website provides an annual class
schedule for reference.
34
7.4
The annual class schedule indicates most courses in the program are offered
only once per year (many in 3-quarter sequences beginning fall quarter). It
would be advisable to obtain more feedback about the needs of students
entering after fall quarter to determine how they are affected by a limited number
of class sections offered during the year. Also, MUSTC 106 may be needed
more than once per year, since it fulfills the quantitative reasoning requirement
for AAAS degrees.
7.5
Very few class cancellations occur, but occasionally some class clustering is
done to ensure student progression and efficient use of instructional funds.
7.6
It is understandable that lack of facility space makes it difficult to add
class sections in high demand areas. Unfortunately, the increased
enrollment headcount has created growing wait lists for about half of the
classes (more in first year courses). It is not uncommon for students to be
turned away because classes cannot accommodate more.
7.7
Class sizes in technical lab courses are often too high for the available
equipment; and this necessitates placing 2 or 3 students per station or
rotating small groups of students through a work station. The situation is
taxing and awkward for both students and instructors. Lowering class sizes to
better meet student learning needs would reduce program enrollment; and thus it
would be preferable to seek facility changes that improve conditions for student
learning and better accommodate student demand, especially for first year
introductory courses that support progression through the curriculum.
7.8
Development of more online and hybrid courses (when appropriate for the
class content) is an excellent way to improve convenience and accessibility for
students, especially those who are employed or have family responsibilities. The
survey of current students shows 37% think that there are not enough online
courses in the program. A few music technology courses are taught fully online
and faculty intends to develop more in the future (especially in theory-based
subjects). This will help manage challenges associated with limited facility
space; however, faculty expresses reticence about teaching technical lab
courses fully-online. Options for these classes include use of new technology to
teach technical skills online or creating a hybrid class format. An important
consideration is the majority (66%) of current students surveyed would not enroll
in a Music Technology Program taught entirely or mostly online.
8. PARTNERSHIPS
(FAC. REPORT Pg 11)
ACTIVE PARTNERS
8.1
The Music Technology Advisory Committee was recently expanded in the
number of members and the occupations represented. This is a large committee
with a total of 16 industry representatives (11 employers and 5 employees),
including a former Shoreline CC instructor. There is currently no representative
35
from organized labor, which is expected by the state board. In the past 35% (5 of
14 members) attended on a regular basis; and membership was static. This
new mix of members promises to increase attendance and community input.
Increasing ethnic diversity of the committee would be advantageous; as well as
establishing a system of rotating membership terms to provide a balance of
experienced and new members in the future.
8.2
Advisory committee representatives comment favorably about committee
effectiveness. Members contribute many ideas and faculty makes an effort to
implement most suggestions. In the past a suggestion to reduce the amount of
music theory was not implemented, but the current committee supports inclusion
of music theory, as do the majority (72%) of current students surveyed. Most
advisory committee support takes the form of advice on curriculum and current
labor market needs. This could be expanded to include other types of support
such as equipment donations and external internships.
8.3
Committee effectiveness could be further enhanced by mentoring the
chairperson on his/her role. The chair should ensure that committee members
speak up and have a dominant place in the discussion. Also, past meeting
minutes show tabled agenda items that have not been revisited; and these could
be considered for future meetings if appropriate.
8.4
Other partnerships include support from vendors who provide low pricing for
equipment upgrades and opportunities to test new technologies. Also, two
professional organizations (the National Academy of Recording Arts and
Sciences and the Northwest Chapter of the Audio Engineering Society) hold
meetings in the program facilities; and faculty and staff are active in these
organizations. In addition, employers regularly seek interns and job applicants
from the program; and students often bring musicians and other creative
personnel into their sessions to provide mentoring on equipment and workflow.
TARGETED NEW BUSINESS OR INDUSTRY PARTNERS
8.5
Faculty are planning to update the Merchandising AAAS degree to emphasize
business aspects of the industry, use of the internet, social media, and
entrepreneurship. This option will include a mandatory internship that
necessitates more partnering with local employers and artists in the
community to provide coordinated education/training for students. Advisory
Committee help will be essential to develop this network of placement sites.
9. SUPPORT SERVICES
(FAC. REPORT Pg 11)
COORDINATION WITH SUPPORT SERVICES
9.1
The faculty report indicated that face-to-face meetings with financial aid
advisors and administrators of the tutoring process could help music
technology faculty better understand basic concepts/expectations and thereby
enable them to more accurately answer student questions. This communication
could prevent or reduce future problems with regard to these support services.
36
EFFECTIVENESS OF SUPPORT SERVICES
9.2
An extremely valuable support service for students is the Program Supervisor
Support Technician II employee in the Music Technology Program. This
individual provides a broad range of technology services and other assistance to
students on a daily basis; and has proven to be essential for program operation.
9.3
A survey of current students revealed the majority (61%) rate academic
advising as good or excellent. A smaller group (19%) rate these services are
fair, and 7% of respondents give lower ratings. The Humanities Advisor is
available to all students, and music technology faculty have made an outstanding
effort to provide individual advising during posted office hours and many other
times; however, it is difficult for three faculty to serve hundreds of students. To
address the advising overload and better accommodate student needs, a large
group advising session has been offered fall quarter. This will be offered again
winter quarter to help continuing and new students, but could also provide an
opportunity to inform students about upcoming curriculum changes (revised
degrees and new certificates).
9.4
The student survey indicated greater dissatisfaction with other support services
(financial aid, tutoring, counseling, etc.). About half (49%) the respondents rated
these services s good or excellent, while 31% rated them lower. In particular,
students mentioned inefficiency in the Financial Aid office and difficulty with
access and quality of tutoring services. Many students make use of tutor support
and financial aid services, which often work well. However, the faculty needs
more information about procedures and expectations in order to improve
communication and better serve students.
GAPS IDENTIFIED
9.5
Career guidance and job search information is provided through Work Source
and the Worker Retraining Office. Some student comments indicate a desire for
more assistance in this area. This need might be addressed by informing
students of these services or including more content in the curriculum.
9.6
The faculty report indicated that student support services would improve through
better communication, such as a central bulletin board in the music
building for critical information (i.e. deadlines for financial aid, registration,
procedures to acquire a tutor, etc.). Instructors often receive a variety of email
announcements for dissemination to students; and another possibility is to
establish a list serve for music technology students where these email
announcements could be forwarded.
10. REVENUE POTENTIAL
(FAC. REPORT pg 13)
POSSIBILITIES FOR REVENUE GENERATION
10.1
Full-time faculty are “maxed out” with their day to day duties, and this limits
their ability to take on additional responsibilities such as grants and contracts. It
is not appealing to volunteer a large amount of time to make money for others
when your “plate is full”; however, some of the following strategies might be
workable:
37


increase the number of online courses (may require more part-time faculty)
offer more courses during summer quarter
10.2
Facility rental has been discussed as a possible revenue stream, but this is not
practical. Renters would interfere with high student use of the facilities and
would be very disruptive to the instructional program. Further, someone renting
the facility could not legally use the products produced for financial gain, because
they would belong to the state.
10.3
The new Music Business option under development is designed around
successful revenue generation in the music industry; and the imbedded
internship requirements could focus on revenue generation for the college and
program. A series of student concerts could be established to give students an
opportunity to practice event management and merchandising techniques.
Corporate sponsorships could support raffles of donated prizes and tax-free
proceeds would create income streams back to the college and program.
11. THE VIRTUAL COLLEGE
(FAC. REPORT Pg 15)
11.1
Music technology faculty have embraced the president’s vision of increasing the
number of online courses in all areas. At the present time three full-online
courses are available (vocational seminar, portfolio development, and a new
course winter 2011 on Sibelius notation software). Also, MUSTC 106 (Acoustics
of Music) has been developed as a hybrid course to meet the quantitative
reasoning requirement.
11.2
The music technology program can increase the number of classes offered in
an online format for all of the program options. It will take time for course
development and faculty professional development, plus additional faculty will
probably be needed to handle the increased student load. Most technologybased courses will continue to require face-to-face instruction, although hybrid
options might be possible in the future with the use of appropriate technology.
11.3
Although a significant percentage (37%) of current students surveyed are
interested in more online courses, the majority (66%) indicate that they would not
enroll if the Music Technology Program was fully online.
11.4
Students believe theory based subjects and courses that do not require
hands-on use of specialized equipment would work well in a fully online or
hybrid format (i.e. legal issues, music business, vocational seminar). Faculty is
evaluating many courses for potential conversion to an online format. They plan
to develop a number of online music theory courses as well as courses related to
the music business, with the goal of offering a fully online AAAS degree option in
Music Business by fall 2013.
38
12. COMPETITION
(FAC. REPORT Pg 15)
STRENGTHS:
12.1
This program distinguishes itself by offering an in-depth music technology
curriculum which is the only one of its kind in the state community college
system. The focus on music theory provides a strong foundation to complement
technical skills. Experiential learning and practical application are prevalent
throughout the program and build student confidence and competence.
12.2
The diversity of degree options prepares students for a wide range of
employment opportunities including positions in audio engineering, electronic
music production, the music business and audio design for multimedia such as
the gaming and film industries. This unique niche will be expanded through
future development of updated curricula emphasizing entrepreneurship skills,
more short-term certificates, and more online courses.
12.3
Reasons that students select this program instead of attending programs at
other colleges include convenient location, reasonable cost, and good reputation.
Student survey respondents gave a predominantly favorable indication of the
likelihood that they would recommend this program to others (83% rated as good
or excellent). More than half (55%) of students surveyed heard about the
program from word-of-mouth and referrals. It is also noteworthy that more than
two-thirds of students surveyed praised faculty and teaching in this program.
12.4
Competition for students in the state community college system is minimal.
Although some community colleges in the region offer music courses (closest
are Edmonds C.C. and North Seattle C.C.), none of these offer the same depth
in music technology. This situation could change in the future since the
program has drawn inquiries from some two-year colleges in the Northwest
(Lower Columbia Community College and Mount Hood Community College).
12.5
The program has an articulation agreement with Evergreen State College for an
“upside-down” (2+2) baccalaureate degree; and faculty continue to investigate
possibilities for other articulation agreements with four-year institutions. Faculty
have also expressed interest in developing an applied baccalaureate degree
option in Music Technology at Shoreline Community College
WEAKNESSES
12.6
The Shoreline Community College Music Technology Program faces
competition from private schools (such as the Art Institute) and four-year
schools (including the UW), but these pose minimal threat because they
are far more expensive and many are located out of the local area.
12.7
Some music technology students are subsequently advised to shift to the
music transfer program when faculty become aware that it is better aligned
with their students’ educational and career goals. While this serves students
well, it is another source of student attrition in the music technology program.
39
13.
PROGRAM ACCESS
(FAC. REPORT Pg 17)
13.1
The Music Technology Program draws a mix of racially diverse students, but
Caucasian students comprise the largest percentage of overall program
enrollment (around two thirds in 2009-10). Annual enrollment figures (student
headcount) for 2009-10 show representation of diverse groups varies with the
program option. The highest percentages are shown below:
Performance
- African American 11% + Other Race 13%
Digital Audio Engineering - Latino/Hispanic 9% + Other Race 10%
Merchandising/Music Bus - Asian 11% + Other Race 11%
Electronic Music/MIDI
- African American 13%
13.2
In terms of gender balance, a high percentage is male (81% of student
headcount in 2009-10). While this is typical of the industry, the college has
made efforts to improve gender equity in this program through a variety of
strategies to recruit and retain female students. Females are still underrepresented in the overall program, but some gains are apparent. Compared to
2007-08 the percentage of females in 2009-10 was significantly higher for MIDI
(from 8% to 16%) and Merchandising (from 21% to 32%). The largest number
and percentage of females are presently enrolled in the Digital Audio Engineering
option with a stable percentage (11% to 13%) over the last three years
13.3
The program primarily attracts younger students (in 2009-10 around 65% were
24 years or younger). Very few students are over the age of 40, but in the last
two years (2008-10) the percentage of youngest students (17-19 years) dropped
while the percentage of students 20-29 years increased. There appears to be a
trend towards somewhat older age groups in the program.
13.4
The Music Building is not fully accessible for physically disabled students.
Lack of ADA compliance poses potential safety and liability issues for the
college.
13.5
Proximity and availability of parking continue to be a problem for students. A
number of students commute great distances to attend the college; and parking
problems add to their frustration. These students are interested in more online
course offerings to provide more convenient access.
13.6
The location of the smoking shelter poses problems since it is directly adjacent
to a primary walkway into the building, which impacts people using the walkway.
Also, the distance from the building discourages students from walking to the
shelter and some smoke outside the main entrance. Both problems make a case
for changing the shelter location.
40
14.
LABOR MARKET OPPORTUNITIES
(FAC. REPORT Pg 18)
INDUSTRY REPRESENTATIVES
14.1
The advisory committee representatives find it difficult to be specific about the job
opportunities, because they note that the music industry is in the midst of
tremendous change brought about by technology. The influence of major
recording companies is declining while free access to the internet has
dramatically altered the distribution system. The majority of workers in the
present music industry work on a freelance bases as independent contractors,
which is difficult to track and quantify. However, this remains a very large and
vibrant industry with many types of occupations that students may pursue.
14.2
Paid employee positions have declined in number and hiring is competitive, but
there are still many opportunities for trained people with entrepreneurial
skills in the areas of audio engineering, sound design, and the business of music
(including managers, publicists, agents, etc). Internships help students gain
real-life experience about the ways that people make a living in this industry and
develop a network of professional contacts.
EMPLOYMENT PROJECTIONS
14.3
The Washington State Wages Report 2008 places service industries among the
fastest growing (projections to 2030). Professional and business services are
predicted to increase by approximately 4.5%. This has favorable implications
for music technology students seeking employment as personal managers,
business managers, booking agents, publicists, promoters, etc.
14.4
Occupational areas in the music industry identified as high demand by the
advisory committee include audio programmer, audio archivist, and sound
designer (including voice over) for video games and other types of multimedia
(films, TV, animation). For self-employed entrepreneurs, there are many global
business opportunities through the use of digital technologies and the internet.
14.5
Occupational areas with a less favorable outlook identified as lower demand by
the advisory committee include employee positions in recording studios such as
audio engineers, and also composers and songwriters. On a lighter note, the
advisory committee indicates there is not a great need for more rock stars!
41
CONSULTANT’S ANALYSIS OF
FINDINGS
Institutional Issues are reflected in some of the program findings.
The
following items warrant administrative attention at the college:

Security of Music Building to prevent equipment theft + protect student
safety after regular working hours

Facility upgrade to meet minimum student learning needs (one work
station per student in technical lab courses)

Loss of a needed tenure-track faculty position for a large program

Funding for instructional equipment upgrade

Funding for prof-technical faculty development (for current certifications)

Lack of ADA compliance for access of disabled persons in Music Building

Functionality of the college website (difficult to navigate)

Accuracy of student intent codes for validity of statistical data

Criteria and tracking system to assess general education outcomes

System for follow-up of former students (workforce and transfer)

Communication and customer service in Financial Aid

Inconsistent quality and availability of tutoring services

Limited support for coordinating external internships

Insufficient parking for students
42
Program Strengths
are numerous and include (but are not limited to):

Program maintains a unique niche in the community college system and enjoys
a very positive reputation which promotes enrollment (one of the largest
professional-technical programs at the college)

Knowledgeable and dedicated faculty who care about students (this is
mentioned repeatedly on student surveys)

Diverse course offerings prepare students for a variety of occupational areas
(technology, music business, and performance) and serve a broad range of
students (workforce, transfer, and personal enrichment)

Curriculum is continually being updated to reflect changes in the industry and
accommodate student needs (increasing number of online and hybrid courses as
well as new courses and revised degrees). In particular, the new AAAS Degree
in Music Business currently under development is very promising

Program provides a solid foundation in music theory

Curriculum offers many opportunities for experiential learning of technical skills
and integrates audio students and performance students through networking and
shared projects

Annual schedule of classes is efficiently coordinated to minimize the need for
class cancellations and maximize facility usage.

Student headcount has increased for three of the four degree options and
student-to-faculty ratio for the overall program has steadily increased over the
last three years (above the state average for these classes)

Positive student data trends include:
- Increasing percent of females and non-white students in some options
- Increasing number of completions for the Digital Performer/Audio
certificate option

Faculty maintain strong connections with the community and have expanded
the advisory committee to gain more input from different sectors of the industry
43
CONSULTANT’S RECOMMENDATIONS
TOP PRIORITY
RESOURCES (Section 6)

Provide administrative support to implement a security system as soon as
possible for the Music Building
- install cameras on hand as a starting point (even if not fully operational)
- seek Perkins funds and/or capitalize the cost of a card-key entrance system
with support from the Music Technology Student Fees budget

Provide administrative support to establish a dedicated lab space for the digital
audio work stations (Pro Tools) to be permanently installed in the Music Building:
- best option is to convert a storage area for this purpose
- alternative is to move pianos downstairs + create a shared lab upstairs

Pursue equipment upgrade and expansion through a combination of funding
sources (i.e. use Perkins funds if available and request to the Shoreline CC
Foundation seeking a fund-raising campaign)
ASSESSMENT (Section 1)

Revise program outcomes as necessary to emphasize the development of
entrepreneurial and social networking skills

Create and implement a system to assess program outcomes (including followup on former students) and document follow-up actions based on findings.
Investigate availability of Perkins funds to support this effort including the set-up
of a list serve for surveying/communicating with current and former students.
FACULTY (Section 5)

Restore the third full-time tenure track position when resources permit to address
the low percent of full-time faculty teaching in the program. Until that is possible,
offer a pro-rata contract for at least one part-time instructor and retain release
time for program coordination and student advising.
.
CURRICULUM (Section 4)

Arrange for a curriculum development workshop (possibly during summer with
support from Perkins funds) for full-time and part-time faculty to review/discuss
curriculum content/sequencing and strengthening career guidance for students

Pursue development of new short-term certificates
THE VIRTUAL COLLEGE (Section 11)

Define list of new online and hybrid courses to be developed and inform students
of these plans
44
MODERATE PRIORITY
ASSESSMENT (Section 1)

Create and implement a system to begin assessment of general education
outcomes and document follow-up actions based on findings. The quantitative
reasoning course (MUS 106) might be a good starting point.
PROGRAM INFORMATION (Section 2)

Address findings related to accuracy, currency, congruency, and accessibility of
program information on the website (including listing the program on A-Z Index).
STUDENT TRENDS (Section 3)

Investigate decreasing headcount of female students through a survey to
determine their experiences in the program
SCHEDULE OF CLASSES (Section 7)

Evaluate class capacity issues to determine if the limited number of workstations
warrants a reduction in some class sizes to better support student learning.

Evaluate the cost-to-benefit ratio of offering more class sections in areas of
student demand/need (i.e. MUS 106, night classes, students entering after fall)
PARTNERSHIPS (Section 8)

Engage advisory committee members by sharing the new roster, reviewing
curriculum content and program outcomes with them, and seeking their help in
establishing more internships for students. A labor rep should also be added.
STUDENT SUPPORT SERVICES (Section 9)

Provide more frequent group advising sessions and periodically survey students
to identify their needs (could be done during a session or electronically)

Seek administrative assistance to arrange meetings with financial aid and
tutoring services representatives to orient faculty to the expectations.
REVENUE POTENTIAL

(Section 10)
Plan future concerts/performances with student involvement to raise funds for the
program (for facility upgrade, equipment purchases, and faculty development)
COMPETITION
(Section 12)

Increase publicity for the new offerings (i.e. Music Business AAAS degree, online
or hybrid courses, and short-term certificates that prepare students to work in the
gaming industry and other multimedia occupations)

Develop more articulation agreements to maintain a competitive edge.
45
APPENDIX
FACULTY REPORT…………………… 1-19
STUDENT SURVEY…………………… 20- ?
ADVISORY COMMITTEE SURVEY…. ? -?
46
Fall
10
FACULTY REPORT
Music Technology
Program
Review
FACULTY
REPORT
Bruce Spitz, Steve Malott, Barry Ehrlich,
James Elenteny, Jeff Kashiwa,
Cody Groom, Norma Goldstein, PhD.
16101 Greenwood Avenue North
Shoreline, WA 98133
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1. Assessment
We have four program degree options in Music Technology: Digital Audio
Production, Electronic Music/MIDI Production, Performance, and Merchandising.
Learning outcomes for students are different in each of these degree options.
Digital Audio Engineering - The Digital Audio Engineering option prepares
students for careers in linear and non-linear digital applications. Audio engineers
use hardware and software to record, store, and edit musical and non-musical
sounds. The development of multimedia, the Internet, and capacity
improvements in personal computing have created a variety of occupations built
around the development and use of platform-specific tools for linear and nonlinear digital audio production. Our program provides students with an overview
of music theory, performance, audio recording, digital and analog audio
technology, Internet and multimedia and game development. Graduates are
prepared for entry-level positions in CD and DVD audio production, radio and
television broadcast production, and audio for video post-production and sound
design for video games, film and video, and audio books on tape.
We track the outcomes through the Professional-Technical Education office, as
well as through individual anecdotal incidents. For example, recent postgraduation surveys reveal that about 25 to 30% of all digital audio graduates are
employed in an audio-related or allied field one year after graduation.
Additionally, students report through email and telephone correspondence with
faculty and staff about their employment success. In a few cases, these
graduates become hiring managers in professional audio companies and contact
faculty for leads on students who might be ready for work in their businesses.
This has happened with Microsoft, Reel-World Studios, Clatter and Din Post
Production, Pure Audio Productions and others.
Electronic Music/MIDI Production - The Electronic Music/MIDI Production
option is designed to prepare students for a career in music studio production
and related occupations. This program provides students with a broad base of
knowledge in Musical Instrument Digital Interface Technology (MIDI) including
sequencing, synthesis and sampling. Students develop "hands-on" skills in
modern MIDI technology. They learn how to use MIDI as a tool to manipulate
sound and create music. The program also includes an overview of the principles
of music theory, audio recording and music arranging. Graduates are prepared
for entry-level positions in radio, television, advertising, video post-production
and audio recording studios as well as churches, synagogues and other
environments where MIDI technology is used. Outcomes are tracked through the
Professional-Technical Education office, as well as through individual anecdotal
incidents. For example, recent post-graduation surveys reveal that about 2530% of all EM/MIDI Production graduates are employed in a music-related or
allied audio field one year after graduation. Additionally, students report their
employment success through email and telephone correspondence with faculty
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and staff. In most of these cases students become freelance Producers,
Composers and Arrangers working with advertising agencies, video game
companies, and independently, creating work licensed for synchronization with
television commercials, series production and film soundtracks. Graduates and
current students have worked on music for the television series “CSI: Miami” and
clients like Bank of America, Nintendo, Bungie Studios/Microsoft, Hand-held
games, Sirius Radio, and others.
Performance - The Music Technology Performance degree option is designed to
prepare students for a career in music performance and related occupations. The
program provides students with a foundation in music theory and applied music
including options for participation in concert bands, jazz, choral and bluegrass
ensembles, orchestra, opera and musical theater. Depending upon their
personal and career interests, students choose from a variety of electives in radio
and television post-production, digital audio recording, Electronic Music/MIDI
music production, music appreciation and commercial music in theory and
practice. Outcomes from this degree option are difficult to quantify because
individual students can perform in many productions and as an employee of a
company (as in “a dance company” or a “musical company or troupe”), these
performances are short-term in duration and performed in venues outside the
Seattle area. On the other hand, graduates of the Performance option have
become higher-profile entertainers in acts such as Death Cab for Cutie,
Soundgarden, and others such as Origin Records’ the Thomas Marriott Quartet
and the Matt Jorgensen Quintet.
Merchandising - This program option is designed to prepare students for a
career in music merchandising and related occupations. Students learn the
fundamentals of music theory, along with the basic elements of merchandising
including marketing, salesmanship, legal issues, business math and practical
accounting. In addition, students develop related skills in professional
communications and human relations. Depending upon personal interests and
career interests, students choose from a wide variety of electives in music
performance, business management, contract administration, commercial law,
Electronic Music/MIDI Production, radio and television post-production, and
audio recording. Outcomes from this group of students, which represents Music
Technology’s smallest graduate segment, are difficult to track. Little anecdotal
information is available, except that students who report post-graduate success
in the industry are obviously reporting their success in the Merchandising degree
option components by default.
In the case of every degree option the college should investigate and implement
more reliable tracking methods not only from learning outcomes (currently
measured in jobs obtained within one year after graduation), but also from more
directly-related program outcomes (digital audio engineering graduate performing
digital audio engineering tasks in a professional setting; electronic music/MIDI
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production graduates reporting their successes in synchronization rights for their
arranging and composition projects, etc.).
Qualitative Analysis – The anecdotal response from employers and alumni
indicate that Shoreline Community College Music Technology graduates are
more qualified for the jobs they are awarded because the curriculum is a
combination of music technology and music theory and performance, thus
providing students with a more well-rounded foundation for the workplace.
2. Program Information
Information about the Music Technology program degree options and
class offerings is available in several places: brochures and program planning
sheets, the SCC online catalog and main website (http://shoreline.edu); the
Music and Music Technology websites (http:// http://www.shoreline.edu/music/
and http://www.shoreline.edu/music/musictech.asp , and through the website
serving potential and existing students through SRS (Shoreline Recording
Studios), managed at http://www.shoreline.edu/sccstudio/. Information from
these discreet sources is upgraded at least bi-annually (often monthly) and
currently managed by the Public Information Office, faculty in music and music
technology, and the program support supervisor 2 technician.
Potential students accessing the website can see current information about the
program options, recording facilities and other teaching infrastructure, a wealth of
related audio-recording and technology information, relevant documents for
studio booking, project management, and Electronic/MIDI Music Production and
Audio Engineering guidelines. The quarterly schedule, available online as well
as in a print version, reflects current information about course content,
prerequisites, meeting times, and staffing.
Most of the information received by potential and current students is
disseminated via the Internet. Our programs receive high profile returns via
search engines because we have submitted information to the Shoreline
Community College Public Information Office, who has posted it on the web.
Individual web contributions by faculty, staff and students contribute to our
profile. Most of our course offerings have online components, including the
performance groups, audio engineering classes, electronic music/MIDI classes,
music business classes and electives.
Students frequently report they found out about our program both by word-ofmouth and online. Our enrolled student population consists of a diverse group
representing every region of the country as well as students from across the
globe who have discovered our program by surfing/searching the Internet.
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3. Student Data Trends
Enrollment in the Music Technology Program has remained fairly constant for the
last six years. The following chart represents student enrollments in fall quarter
from 2004 through 2009.
This consistency can be attributed to the infrastructure the college has
established for both the Music and Music Technology programs. Classrooms are
full, student labs (recording studios, recording control rooms, MIDI workstations,
and digital audio workstations located on rolling carts) are maximized, especially
for first-year classroom-related activities and second-year student projects. In
both cases, the ratio of students to equipment is invariably two-to-one (or worse).
Occasionally there are three students seated at one computer in the first-year
digital audio classes. There are five different recording studio control rooms
where second-year students hone their skills. The dimensions for studio A are
11 feet six inches by 12 feet. Studio B is 10 feet by 6 feet 6 inches. Studio C is
11 feet 6 inches by 14 feet 3 inches. Studio D is 14 feet by 18 feet 3 inches. The
MIDI production suite is 13 feet by 8 feet 7 inches. Obviously none of these
rooms are able to accommodate a classroom of 20 or more students in the room
at the same time. As a result students must be rotated through the spaces in
small groups. There are 20 or more second-year students using four different
control rooms that cannot accommodate all the students in the class at the same
time. Electronic Music/MIDI students are similarly constricted as classes are set
at a capacity of twenty students in a room with twelve workstations. No other
computer-related classes on the SCC campus wring so many students out of so
few computer workstations. It should be noted that it is generally accepted
pedagogy in computer-based education to have a one-to-one ratio of computer
workstations to students. There is quite simply no place for us to grow.
Other similar institutions such as the Music Institute of Technology in Los
Angeles have chosen to deal with limited space problems by implementing the
installation of a card-key type of entrance system with proper security measures
(cameras) that provide students 24-hour access to a safe and secure
environment, yet allow tracking of entrance/exit by students (and others) and the
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access they need to specialized recording and production equipment that could
be tracked by RFID (radio-frequency identification). Such a system could make
use of the facilities at times the building is now closed.
Although typical of the gender balance in the music industry throughout the
country we have a disproportionate number of males in the program. The chart
below indicates this male to female ratio over the past six years.
Several specific efforts are ongoing in an attempt to bring these numbers more
into balance. For example, there is an organized group of women in the audio
department who hold regular support meetings and organize all female based
recording sessions in the studios. We have written, received, and implemented
grants to explore and attempt to lessen this disparity through high school
visitations and other targeted efforts.
4. Curriculum
Music Technology curriculum has evolved in the past three years because 1) the
faculty has changed; 2) market demands are different; and 3) the technology
itself has changed.
Although the number of students involved in any single degree program has
remained about the same, the faculty teaching our classes has changed three
times. Our new faculty members, each with a different professional background,
have brought a different perspective and emphasis on how to use the
technology.
We are currently focused of upgrading the electronic Music/MIDI Production and
Music Business (formerly “Merchandising”) degree programs.
The market demands for graduates are changing rapidly. What used to be welldefined pathways for careers within the industry are now becoming blurred by
changes in record distribution, label and artist management, the metamorphosis
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of the radio broadcast industry and its impact on music consumption and the use
of the Internet in new and unique ways to create, manufacture, distribute and
monetize the music, advertising and film/video industries. As we progress we will
need to involve more and more of the information-age tools (Internet, social
networking and digital distribution and consumption).
Changes in career pathways for today’s music technology student has created
the momentum for an extensive restructuring of what is presently called the
Music Merchandising Option within the Music Technology Program. A team of
four music business students is working with faculty members in both music and
business to design a new degree focusing on careers available in today’s music
industry. Emphasis will be on evolving Internet-based advertising and
distribution of music and associated content. It will involve mandatory internship
experience within the industry for all students in pursuit of the degree. A new
five-credit class is in the planning and will be offered spring quarter 2011. This
class will act as the kick-off of the new degree option that is planned to formally
begin fall quarter 2011. There is growing interest among the students in the
department about this new degree option, and all indications are that it is an idea
whose time has come.
The ability for artists to create professional-quality productions using personal
computers and low-cost accessories has changed the importance and the focus
of the majority of commercial recording studios. Studios once charging for a
package consisting of highly trained personnel, expensive equipment and
architecturally well-designed acoustic spaces are struggling to keep their doors
open. Many of these studios are retrofitting analog equipment, which is
expensive for the individual artist to afford, and are focusing their marketing on
their staff and acoustic spaces. Because of these changes, our students must
have broader instruction in analog and digital technologies, as well as hybrid
recording techniques and equipment understanding. Working across the globe in
collaborations with other artists via Internet also presents new challenges for the
curriculum, especially regarding multicultural understanding and the technical
challenges of information technology.
Our faculty and staff are working diligently with the help of Advisory Board
members and other industry contacts to continually upgrade the content of our
classes to be relevant to these topics. And of course, software development
never stops, and so neither does the challenge of presenting new features,
processes and workflows to students.
5. Faculty
Even though there has been turnover in full and part-time faculty members in the
last five years, Shoreline has maintained a consistent faculty ratio of three fulltime and three part-time faculty members in both areas. It is interesting to
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remember that only six months ago the impending changes in the music
technology faculty were creating grave concern for the future of the department.
We were experiencing the fact that although change is inevitable, it is often
unsettling. Today it is exciting to realize that the changes have in fact breathed
new life into the department. The combination of full and part-time instructors
presently in place brings the richest diversity of knowledge, talent, and flexibility
in the history of the Music Technology Program.
Jeff Kashiwa has taken over the reigns of the Electronic Music/MIDI program and
already instilled it with a new potential that hasn’t been matched since we began
all those years ago. He is an internationally recognized world-class performer
who is excited to share his experiences with students and faculty alike. He does
it calmly and with a humble demeanor. Jim Elenteny brings years of experience
teaching audio technology to college students and he confidently stepped into
Matt Fordham’s shoes when Matt moved on to other things. Jim has more than
proven to be an able replacement. Jim has a presence that demands respect
and manages to acquire it with an easy going smile that is infectious. Not only
has he stepped in without a hitch, he brings a new skill set into the building with
amazing guitar ability. Already his musicianship is being felt within the
department as he accumulates private guitar students and revitalizes the guitar
ensemble. All concerns about the gradual separation of music and music
technology have vanished with the presence of these able additions to the
program. Jim Nixon is proving to be another surprising breath of fresh air as he
expands the pool of people demonstrating efficiency in delivering instruction in
ProTools software applications. His input has proven invaluable and he provides
great opportunity for growth and stability in this area. Steve Malott and Bruce
Spitz continue the tradition of excellence for which the Music Technology
Program is widely known.
When Matt Fordham resigned at the end of the 2009-2010 school year we were
allowed a one-year temporary replacement without a guarantee that the position
will remain a full-time position in the future. This is a concern. The program,
perhaps now more than ever, has the ability to grow and meet new demands. If
the program is not allowed to maintain the status quo, consisting of three full-time
faculty positions, it will be impossible for the program to reach its full potential.
Student advising loads in a program that is already severely stressed will
increase by a third. The two remaining full-time faculty will experience a
workload increase that will lower their effectiveness in the classroom. Students
will suffer and the program will lose this hard fought momentum. We urge the
college to consider the history, quality, and success of the Music Technology
Program when determining the conversion of the one-year temporary full-time
position into a full-time tenure track position.
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6. Resources
Faculty, staff and administrators work hard to support, maintain and improve the
Music Technology program at SCC. In spite of these efforts, the infrastructure to
support and grow the program is simply not available. The building is bursting at
the seams. The building is thirty-three years old and not designed for most of our
Music Technology classes. Labs are obscenely small, often placing two and
even three students on a single computer workstation. Recording spaces are
few and acoustically inadequate. Control rooms are undersized and need
upgrading with both hardware and software. Building access is limited and
expensive to manage and to secure. Professional development is hampered by
inadequate funding and hamstrung by time constraints, as faculty does not have
time to attend professional development training, and the training is expensive.
100 level ProTools certification costs $1395 per person and requires 44 hours of
class time. 200 and up levels of certification cost considerably more and would
require traveling to Olympia for the course work. Faculty and staff alike may
become overburdened with maintaining and developing the Music Technology
program, as they are being asked to “do more with less” on a continual basis.
Students are also feeling the burden of increased fees to support the existing
labs.
The economic downturn in the State of Washington does not suggest major
changes will be coming to address these problems anytime soon. As a result,
we must continue to make do with the spaces and equipment we have available.
In that spirit, ideas occasionally surface that are worthy of discussion.
One of the biggest challenges comes from the need to use a room originally
designed as a ‘choir room’ as a primary lecture space for instruction in the
ProTools digital audio workstation environment. At 12:30 PM on a daily basis,
after the room has been functioning as an intended choir rehearsal area, about a
dozen large rolling carts filled with technology equipment are pushed out into the
room in at attempt to facilitate the technology-based instruction for the remainder
of the day. This setup process takes a significant amount of time away from the
instruction process and is only interesting to students the first half-dozen times or
so. The inefficiency of this process is exacerbated by the inevitable wear and
tear on the expensive equipment being moved about. An idea that might
possibly improve the situation on several levels involves use of one of the
existing rooms on the ground floor of the music building. If it were possible to
gain permanent access to one of the downstairs rooms, we might consider
combining the electronic piano lab presently located in room 815 and the
ProTools equipment together making it a permanent bi-functional space. This
would free up the ‘choir room’ upstairs for better use and also allow room 815 to
become more flexible by relocating the existing electronic pianos to another
space. This idea, should it be deemed operationally feasible, would allow any
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displaced instructors from other areas who had been using the room on the
ground floor to simply move their classes upstairs into room 815.
The possibility of combining both existing piano labs into one room to conserve
space has also been discussed. At first consideration this seems like an
extremely good idea allowing for the potential of doubling class capacities in
multiple sections of class piano as well as opening more space for increased
flexibility of other offerings. Even if there is a way to accommodate thirty-two
pianos into one space, the idea may become prohibitively problematic when the
pedagogical difficulties of teaching a large number of piano students are
seriously considered.
Another idea that has very recently become more feasible due to significant
changes in the latest upgrade to the ProTools software revolves around a switch
to instruction on laptop computers. A number of students already do a large
portion of their work at home or on their own laptop computers. Although the
lack of proprietary hardware is always a significant hindrance for their efforts, we
encourage this practice because of the resultant reduction of demand on access
to equipment within the building. The latest software upgrade dramatically
increases the options available to a learner equipped with the right software and
a new Macintosh laptop computer. While such a change seems expensive at the
start, the lessened demand on building infrastructure makes the idea intriguing.
It seems negligent not to mention something that most instructors in the
department have decided to stop talking about out of sheer futility. There have
been many thefts from within the building, including the theft of an entire control
room console that was reported in every major media outlet in Seattle. After an
uncountable number of requests made by faculty and staff, security measures
related to equipment and personal safety have not yet been thoroughly
implemented. For example, even after these thefts and the administration’s
repeated promise of security cameras, none are installed and equipment is still
being stolen. The most recent to go was a very large, high quality upright
acoustic bass estimated to be worth approximately $8000. At approximately 3
times the cost of a quality security camera installation, the College replaced it.
7. Schedule
The schedule of classes and events in the music building has evolved over
decades of planning and experimentation. The careful integration of the Music
and Music Technology programs has resulted in a coordinated use of available
time and space that takes a dizzying array of facets into consideration.
Administrators have referred to this complex configuration of time and space as a
‘house of cards.’ Closer investigation reveals that it is constructed on a solid
foundation of concern for students, instructors, and the overall curriculum of the
program.
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Each day is divided into two parts. Generally speaking, in the morning classes
are configured into one-hour blocks where content is typical of most music
departments. Music theory, class piano, music history, appreciation and a
variety of performance groups take up every available space and give the
building a vibe not unlike other music departments around the country. In the
afternoon classes are configured into larger blocks of up to three hours or more.
This allows the technology side of the day to begin by providing enough
continuous time to set-up complex arrangements of equipment to provide
students the opportunity to learn the details of multi-track recording, digital audio
workstation applications and electronic/MIDI music production. Strategically
intertwined with these technology-focused offerings are classes whose
curriculum is built around delivering information about the continuously evolving
aspects of the ‘business’ of the modern music industry. This daily schedule
creates an environment that is somewhat unique in the music building and one
that ‘outsiders’ speak of with envy. While others on campus fight for the “primetime” Monday through Friday slots between 8:30 A.M. and 11:30 A.M., the music
department is literally packed with students all day, every day, well into the
evening. The building closes at 10:00 PM Monday through Friday and often is
open until midnight on the weekends. On weekends the building is buzzing with
students working on hands-on learning projects in recording facilities and on
digital audio workstations that they have scheduled via an online booking system
weeks, if not months, in advance.
At first glance it may appear that this ‘division’ of the day into a more traditional
music department in the morning and a technology-focused laboratory in the
afternoon segregates the student population into two different groups. This is not
true. While the building is separated by function into two identifiable parts, the
students themselves freely integrate themselves across both aspects of the day.
Music Technology students sit beside ‘transfer’ music majors all morning
studying music theory, piano, and participating in large and small performing
groups. Classes in voice, improvisation, guitar, and bass are in full swing well
into each afternoon. The design of this schedule allows students maximum
flexibility of their own individual lifestyles. By selecting from the available ‘block’
classes in the afternoon, Music Technology students are able to construct
schedules where they are able to work on ‘off’ afternoons and depend on that
schedule to remain relatively consistent throughout the academic year.
Employers appreciate this consistency and are able to schedule the student’s
work schedule while allowing them to complete requirements in their selected
degree of study.
The scheduling of classes and associated room and faculty assignments has
evolved with the program and represents decades of careful planning to provide
the best possible opportunity for all those involved. As stated above,
administrators who have attempted to decipher the elaborate maze of
interrelated parts that constitute the scheduling within our department have
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walked away shaking their heads and mumbling about the “house of cards.” This
is an accurate metaphor in that changing one small thing has often had the effect
of creating an unexpected change somewhere else. However, the result of our
evolving efforts has not produced frailty. In fact, the strength of the schedule
may be serving to hide a glaring weakness. Our building is simply full to the
bursting point in the existing configuration. The only way to enact change in a
meaningful way is to change the space in which we operate. Additional rooms
would provide better flexibility in scheduling. Frankly, in the present infrastructure, if it were possible to enact changes that would improve scheduling for
students we would already have done it.
8. Partnerships
The Music Technology program is fortunate to receive support from vendors in
the form of low pricing for equipment upgrades, and vendors provide the school
with a variety of opportunities to test new technologies to see how they would fit
into the program. The National Academy of Recording Arts and Sciences and
the Northwest Chapter of the Audio Engineering Society hold meetings in our
facilities, which provides us high visibility in these professional organizations.
Both faculty and staff are involved in these organizations. Advisory Committee
members regularly give feedback on program elements. Employers regularly
seek interns and job applicants from our programs. Students bring musicians and
other creative personnel to sessions in their efforts to master the equipment and
workflow as a regular part of their classes. Continuing to allow students and
faculty the opportunity to work on projects with members of the student
population and the community at large at no charge will provide an atmosphere
of creativity and learning that will continue to make the program successful.
9. Support Services
One of the most valuable support services available to students and faculty in
Music Technology comes in the form of the Program Supervisor Support
Technician II employee on staff. Working in that position, Cody Groom provides
a complex array of services ranging from scheduling rooms and activities,
maintaining web sites, managing hourly employees and work-study students,
installing and maintaining hardware and software throughout the building, budget
tracking and planning, and all technology-based purchasing. In addition he
provides countless hours of assistance to students as they struggle with the
complexities of a technology based program. He has become the face identified
with the program as he moves calmly about giving tours to prospective students
who have dropped by the building while still managing to solve problems as they
arise.
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Student advising is generally available for all students in the Humanities Division
via the Humanities Advisor, Alicia Zweifach and even the dean’s office. When
specific details are needed that reach beyond the scope of these offices,
students are directed to instructors within the Music and Music Technology
departments. Student services within the music building consist primarily of faceto-face communications between faculty and students. Each faculty member
posts contractually required office hours when students expect to find the
instructor available in their office for drop-in consultation. They are often
disappointed upon arrival when they discover a long line of students waiting
outside for access to the only available instructor. The truth is there are
hundreds of students in the department and only three technology instructors
able to accurately advise them in their chosen fields of study. Even though these
faculty members make many additional advising appointments with students at
various times throughout the day, they are often busy teaching classes. This
creates a student-advising situation that is far from optimal.
In and attempt to improve the overall advising overload, in the first few weeks of
fall quarter, a large group advising session is organized for all music students in
the building. Students are divided into two large groups, one designed for music
students interested in the ‘transfer’ degree options and the other for ‘music
technology.’ This session has proven to be extremely valuable for students and
faculty alike. It has been suggested that this activity should be expanded into
other quarters throughout the year.
Topic specific offices outside the music department deal with financial aid,
tutoring, counseling, and issues regarding academic probation for the general
student. Problems in these areas, when they arise, seem to be essentially due to
a lack of communication between students, employees, and faculty. Financial
aid guidelines are very specific and are often a source of frustration for Music
Technology students. Generally speaking Music and Music Technology faculty
members are not trained in the details inherent in effective student advising in the
area of financial aid and simply refer them across campus to the proper office.
The college provides tutors for students who need extra help. Faculty makes
specific recommendations to the tutoring office as to which students are qualified
to tutor for a particular topic. Based on these recommendations, tutors are paid
for their involvement, and instructors recommend that specific tutors be assigned
to specific students. Many students make use of this tutor support and, for the
most part, it works well. Occasionally students choose tutors based on preexisting friendships or word-of-mouth recommendations and may not always be
the ideal pairing for optimum success.
The college counseling office is staffed by trained professionals and is
immediately recommended when a student requests advice reaching beyond the
scope of curriculum and career choices.
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The most obvious improvement in student support services would come about
through better communication. Perhaps a bulletin board could be set aside for
advising purposes within the building. Such a location could be a central place
where critical information is posted. Examples of such information might be
deadlines for financial aid and registration, procedures for acquiring or becoming
a tutor, and a calendar showing the times and days various instructors are
expected to be in their office for advising.
Every single day instructors receive a variety of email announcements regarding
important information for dissemination to students. Some instructors may
indeed forward such pertinent information to those who need it. The great
majority does not. If there were a bulletin board established where copies of
these emails could be posted, the burden would switch to the students to read
them. Additionally, perhaps face-to-face meetings could be organized where
financial aid advisors and administrators of the tutoring process could explain
basic concepts and expectations to other faculty so they could more accurately
answer student questions. Such meetings may at first seem like an intrusion
onto an already busy schedule but would actually save everyone precious time in
the end. Moreover, students would be better served.
10. Revenue Potential
It is always easy to conjure fanciful ways to generate money. Water coolers hear
proposals every day. Putting ideas in motion is considerably more of a
challenge. Usually it comes down to the realization of the age-old truth that it
takes money to make money. Most are not willing to volunteer large amounts of
time to make money for somebody else. While keeping this reality in the back of
our minds, we will discuss several ideas that have been floated about. Some are
more practical than others.
An obvious technique to generate more revenue is to expand on the things we do
well. The Music Technology instructors are all excellent teachers with
tremendous experience in the field of education. We have heard the College
President speak of the goal of greatly expanding the online offerings of the
college, and technology instructors are immersed in efforts to meet this request.
These efforts have the potential of greatly increasing revenue for the college
while allowing professionals to continue to focus on what they do best. (Plans for
increasing online instruction will be discussed more thoroughly in the virtual
college section below.)
As discussed earlier in section 4, we are in the process of revising the Music
Merchandising Option into a revitalized Music Business degree. In this revised
degree option, all students will be required to complete a variety of internships as
a significant portion of the new curriculum. Since the new Music Business Option
is designed around successful revenue generation in the music industry, it is
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logical for these imbedded internship requirements to focus on revenue
generation for the college. Using this tactic, the revenue generation efforts
become part of the existing student curriculum rather than additional tasks
assigned toward faculty. For example, a series of student concerts could be
established giving students in the program the opportunity to practice event
management techniques. T-shirts, buttons, and recordings could and should be
merchandised at such events. Often raffles of donated prizes and corporate
sponsorships are significant elements in such events. The students’ internship
task of acquiring corporate sponsorship for such events would be eased
somewhat if tax-free proceeds were designed to create income streams back to
the college.
Recently there has been some discussion about the potential for renting out the
recording facilities of the Music Technology program to generate revenue. This
seemed like such a good idea that we actually tried it many years ago. At that
time the program still had not increased in size to the extent that rental time
infringed on the time needed for students to complete their curricular homework
and projects. Today the facility is used by the students to work on developing
specific skills in a specific sequence as dictated by a carefully constructed
curriculum. The rooms are booked at nearly every available hour in that activity.
Presently, only instructional recording sessions, where students are directly
involved in learning, are booked in the facility. It is worth mentioning that our
past experience in pursuing clients for revenue actually generated very little
money and was fraught with frustrated clients who were unhappy with the
occasional erratic quality generated by students learning to be professionals.
Obviously asking our professional engineers, the instructors, to volunteer time
while they carefully engineer for a paying client is not practical. Even more
importantly, the Music Technology Advisory Board, whose members include
several professional recording engineers, pointed out that such activity would not
be viewed favorably by the nearby professional industry. In addition, using stateowned equipment produces content that legally belongs to the state. Why would
somebody rent the facility if they could not legally use the products produced for
financial gain? As a result no rental income is presently being generated by the
use of the college recording facilities.
Perhaps we could host some sort of technology fair during the summer with the
thought of generating additional revenue. However, the idea immediately turns
to the question of exactly what we would offer to a paying customer who came to
the ‘fair.’ Thoughts immediately drift back to teaching skills to others--once again
doing what we do best. The realization emerges that such a system is fully in
place here at Shoreline Community College and suggests we have come full
circle, right back to the following topic of discussion.
14
11. The Virtual College
The Music Technology program can increase the number of classes offered in an
online format in all of the program options. This will likely create the need for
additional faculty to handle the increased student load, and would still leave the
option for online students to come into the school to use the labs with some
assistance during their lab times.
Instructors in the Music Technology program are already embracing the
President’s vision to greatly increase our online presence in all areas of the
campus. For example, degree options available within the Music Technology
Program now include MUSTC 106- “The Acoustics of Music” as the quantitative
reasoning (math) requirement on three different planning sheets. This is a fivecredit ‘hybrid’ course that meets face-to-face only one hour per week. The other
4 credits of content are delivered completely online. Fully online courses are
now available in Jazz History, History of Bluegrass, Introduction to Music Theory,
Music Appreciation, and Music Technology Portfolio Development. Beginning in
January 2011 a new three-credit fully online course will be offered in instruction
using the Sibelius Music Notation Software system. Many other classes are
being evaluated for their potential to be converted to an online delivery format.
While these specific courses provide evidence of the enthusiasm instructors
share for online instruction, the real excitement is demonstrated in the long range
planning taking place for the movement toward the virtual college. We are
fortunate that one of the instructors in the Music department is considered to be
an expert in using the Blackboard delivery system for online learning. He is
pioneering ‘Best Practice’ Blackboard design elements for the entire college.
With his assistance, we are developing a uniform branding of visual elements in
online class offerings in Music Technology. Such efforts will create instant
recognition of online Music Technology classes from the moment the student
signs into the online learning community. It will also increase ease of navigation
through the online classrooms as students become more familiar with the
designed similarities common from course to course.
In topic 4, Curriculum, we discussed plans for an entirely revised Music Business
Option in the Music Technology Program to begin fall quarter 2011. The second
phase of development for this Music Business Option is to offer the entire degree
in a 100% online delivery system. The goal is to have the Music Business Option
available in a fully online format beginning fall quarter 2013.
12. Competition
Brief research seems to support the belief that Shoreline Community College
designed one of the first sanctioned two-year technical programs in music in the
15
country. It came into existence 34 years ago and remained unique for well over
a decade before other institutions began to develop similar curricula. This headstart seems still to be serving us well today because there are literally no real
competitors in the nearby area. However, it would not be surprising to see this
long-standing advantage disappear in the near future. Colleges around the
nation, with far better access to funding, are recognizing the viability and demand
for the type of curriculum available in our Music Technology Program. High
profile institutions are rapidly expanding their curriculum to include courses
focusing on the developments in technology and the dramatic ways it has and
will continue to affect the music industry.
The Berklee College of Music in Boston, http://www.berklee.edu/, is the largest
music school in the world and is now leading the way with extensive offerings in
music technology with both face-to-face and online delivery. The School of
Music at Belmont University in Nashville, http://www.belmont.edu/music/, is
rapidly expanding offerings in music technology. The University of Miami in
Coral Gables, Florida, http://mue.music.miami.edu/, blends electrical engineering
and music technology to create an extremely rigorous program in audio
engineering. Somewhat closer to home, The University of Southern California’s
Thornton School of Music, http://www.usc.edu/schools/music/index.html, features
strong audio engineering and music business degrees and has recently created
a program with a heavy emphasis on popular music including many courses with
a technological focus.
There are an increasing variety of private enterprises reaching out to potential
music technology students. Though often extremely expensive in comparison to
the costs of a typical community college, some of these are becoming accredited
by linking to an existing college or developing their own accreditation pathways.
Full Sail Recording in Winter Park, Florida is a for-profit private institution that
has recently been accredited and evolved into Full Sail University.
http://www.fullsail.edu/. About 10 miles south of the college, the Art Institute of
Seattle, http://www.artinstitutes.edu/seattle/ , is another private enterprise,
recently boasting its accreditation, with curriculum in various aspects of
technology related to the music industry. Avid, the parent company of the
ProTools audio software, is now aggressively marketing education opportunities
focusing on the use of their products. http://www.protoolstraining.com/.
The Music Technology Program at Shoreline Community College has caught the
attention of several colleges around the Northwest. Administrators and faculty
from Lower Columbia Community College in Longview, Washington, and Mount
Hood Community College in Gresham, Oregon, as well as colleges as far away
as Chicago, have toured our facility and asked detailed questions about our
music technology curriculum. On the other hand, we have and will continue to
reach out to four-year institutions in the Northwest with the intention of creating
articulation agreements that provide SCC graduates with additional options for
formal training in music technology related fields. Presently, our Music
16
Technology Program has an agreement with Evergreen State College in Olympia
allowing graduates to enroll in an upside-down degree designed to culminate in a
Bachelor’s degree with a music technology focus. A recent graduate of the
Music Technology Program has articulated an agreement for a film scoring
degree at Western Washington University at Bellingham. A recent SCC faculty
visitation to Portland State University in Portland, Oregon, resulted in extensive
conversation with technology Professor Jon Newton revolving around potential
options for our graduates.
It is interesting how often prospective students introduce themselves by
explaining that they had inquired about music technology classes at one of the
four-year universities and were told to go to Shoreline Community College. It
appears that nearly every one of these institutions thinks of our program as the
place to go for music technology classes. Since these schools clearly support
our efforts, rather than think of us as competitors, it is obviously time for
Shoreline to aggressively pursue the option of developing a four-year degree in
Music Technology. The upside-down degree configuration with Evergreen State
College mentioned above is designed based on the assumption that the third and
fourth year of a typical four-year degree which requires specific detail work in
their major field will have already been done in the first two years of the Music
Technology Program at Shoreline. The implication of this agreement is clearly in
line with our belief that it is time to begin efforts to formalize a complete four-year
degree in music technology at Shoreline. Such a degree option would continue
to brand us as the primary location for such curriculum and help us maintain our
competitive edge in what is clearly a high demand subject area.
13. Program Access
The scenario at the beginning of every fall quarter contains a sizeable proportion
of new students who exhibit an emotion somewhere between frustration and
anger over the parking problem at the college. Our sincere explanation that the
situation will improve over time as things settle down is usually met with
skepticism. After the parking situation does settle down somewhat or the
students have adapted to it, the angst often turns in the direction of the smoking
shelter located at the beginning of the walkway leading to the north entrance of
the music building. While appreciative of the fact that it was moved farther down
the path and away from the building a few years ago, it remains immediately
beside the path on the way in. It is a very popular spot for smokers, and the
cloud can be an impediment to accessing the facility. There are more than a
handful of students who actually walk hundreds of yards out of their way to make
their way around the building and enter through the south doors instead.
Occasionally faculty will be asked to step well outside their comfort zone and
deal with a minor revolt by some smokers who feel the shelter is simply too far
from the building and choose to smoke immediately outside the doors. The dean
consistently addresses this situation with students each and every time she
17
enters the building. She tells students that they are jeopardizing the program
and students’ ability to smoke near it at all if they continue to smoke so close to
the entrance. She reminds students that smoking is a health hazard to many
who use this building.
Once people have run the gauntlet and are successfully in the building, it
becomes apparent to everyone that the place is crowded to the point of bursting
at the seams. Obviously the surrounding demographics support a successful
and very popular program. Since the college does not provide any form of
housing for students, some of the Music Technology students spend a lot of time
and money traveling great distances to get to class. The Music Technology
Program has at least one student enrolled with a residence address from Alaska,
Arizona, Montana, Idaho, and Illinois. Students are registered in the program
with in-state residences addresses from Stanwood, Yakima, Olympia, and
Taholah, Washington. It is no surprise that these are the students requesting
more online course offerings. The fact that many students will travel far and deal
with the complexities of arrival support our belief that the Music Technology
Program continues to provide students with the information and skills necessary
to meet their goals.
Students enrolling in the Music Technology classes are typically 82 percent male
and 18 percent female. They are racially mixed at 9 percent African American, 4
percent Native American, 9 percent Hispanic and 79 percent Caucasian. This is
a three-year average. Typically about half of the enrolling students do so
because they are pursuing a career in Music Technology; the balance are either
mostly not reporting (undecided) or in search of high-school completion or a
GED.
14. Labor Market Opportunities
The music industry, like many others, is in the midst of tremendous change
brought about by technology. For decades a relatively small number of major
recording companies, often called ‘labels’ for short, dominated market trends and
had tremendous power to influence the buying habits of consumers. The ‘label’
was essential for advertising and distributing music to the public. Today free
access to the Internet has usurped power and control from the record companies
to the extent that it often seems they are left with bemoaning the demise of the
entire music industry. And yet the music goes on. The rules have changed, but
the music is as vigorous as ever before. Many are ecstatic about power and
control leaving the hands of the few and being more equitably distributed to those
who actually make the music.
The majority of employees in today’s music industry work as independent
contractors and are often difficult to group into categories. There are sound
engineers reinforcing and recording musicians as they are playing. Successful
18
musicians are hiring personal managers, business managers, booking agents,
publicists, music publishers, concert promoters, and road managers. In a very
real sense, to become truly successful as a musician requires that they each
provide themselves the services that were previously provided by the record
company.
Some argue that the recording industry has auto-tuned and perfected the life out
of recorded music to an extent that audiences are returning in mass to watch
musicians play live. Regardless of the reason, Seattle is world-renowned for its
vibrant live music scene, and many musicians have large followings at every
performance. These audiences are critical since CD sales, t-shirts, buttons, and
other merchandise sales generated at live venues make up a significant portion
of their income.
While the Internet may be largely responsible for the drop in CD sales world
wide, most customers purchase songs one at a time on websites like ITunes.
The Internet will continue to provide musicians and their support team with
tremendous opportunity. Data transfer speed issues are rapidly declining and
may be ushering in what will be seen as the end of the infancy stage of Internet
technology. Up until now, web developers have spent most of their energy
sending graphic and textual content through cyberspace, as bandwidth did not
allow for extensive sound and music content. All that is about to change.
Marketing specialists have understood the power of sound in advertising since
shortly after the airing of the first radio jingle. It is also heartening to realize that
website content is easily accessible to all and copyright infringements of web
content will be much easier to police than illegal downloading and song sharing.
The competitive nature of web marketing for all aspects of industry should
provide a significant demand for quality musicians and composers in the very
near future.
19
Shoreline Community College Program Review –
Page 1 of6
Fa1l 2010 STUDENT SURVEY
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Shoreline Community College
Program Review - Fall 2010
STUDENT SURVEY
Survey Results
Your feedback is needed on the Music Technology Program. This is an important part of the college's program review
process to help faculty and administrators better understand student experiences and needs at the college. Student input will
be summarized without names and shared with the faculty and dean to use in future planning and program development.
Thank you for your assistance. We value your feedback and suggestions.
1. Check all degrees you are presently pursuing at Shoreline Community College.
Electronic/MIDI Music
Production
22
31%
Digital Audio
63
89%
4
6%
Music
Merchandising/Business
7
Music Performance
10%
__ ·r.·_··.~··,~ ~~_··n· ~
Transfer Music Degree
7
10%
Associate of Music
Degree
4
6%
-
2. Are you a first year, second year, or third year student in the Music Technology Program?
First year
42
Second year
29
Third year
2
Total
73
58%
40%
3%
100%
3. Why are you taking Music Technology courses?
in pursuit of a
career
64
88%
as a hobby/personal
enrichment
35
48%
to transfer for a
bachelor's degree
11
15%
20
Shoreline Community CollegeProgram Review - Fa1l2010STUDENT SURVEY
Page 2 of6
Other, please
explain
3%
2
4.
Describe the career in which you plan to be working five years from now.
View 69
response
5.
If Shoreline Community College had a four-year applied baccalaureate degree in music technology/audio
engineering, how likely would you be to stay and pursue the degree?
1 No chance
0
0%
2
Not very likely
3
4%
3
50-50
15
21%
4
Likely
24
33%
5 Very likely
30
42%
72
100%
2
3%
2
3%
Total
6.
How important do you think the study of music theory is to your career goals?
1
Not important at all
2
Not very important
3
50-50
17
23%
4
Important
23
32%
29
40%
73
100
%
5
Very important
Total
7.
If the Music Technology curriculum had a variety of imbedded short-term certificates that it awarded along the way
toward your final degree, how would it affect your goal of finishing the entire program?
Improve my
chances
33
45%
Makes no difference
39
53%
Lessen my chances
1%
Total
73
100%
21
Shoreline Community CollegeProgram Review - Fall 20 1 o STUDENT SURVEY
8.
Are enough online courses available in the Music Technology Program?
Yes
No
Total
9.
Page 3 of6
45
63%
26
37%
100%
71
Would you consider enrolling in a Music Technology Program that was taught entirely or mostly online?
Yes
No
Total
10.
25
34%
48
66%
100%
73
Identify any courses you think would work online or as a hybrid (mostly online, some face to face class work)
View 54 responses
Directions: Rate the program on each of the items listed below by clicking on the most appropriate number (5 - High, 1 Low). If an item is not applicable, click on the 'NA' button. Comments are encouraged and may be written under each item.
Thank you.
11.
Helpful program information on college website and printed materials:
Top number is the
count of respondents
selecting the option.
Bottom % is percent
of the total
respondents selecting
the option.
Poor
Not so good
o
Fair
4
24
33%
5%
0%
Excellent
Good
300
41%
N/A
12
3
16%
4%
View 13 responses
12.
Effective curriculum structure:
Top number is the
count of respondents
selecting the option.
Bottom % is percent
of the total
respondents selecting
the option.
Poor
Not so good
o
0%
Fair
N/A
Excellent
Good
2
12
45
14
3%
o
16%
62%
19%
0%
View 11 responses
13.
Support of individual learning needs:
Top number is the
count of
respondents
Poor
Not so good
Fair
Good
Excellent
N/A
22
selecting the option. Bottom
% is percent of the total
respondents selecting the
option.
1
4
23
1%
5%
32%
30
o
15
21%
41%
0%
14.
Adequate preparation for employment (knowledge and skills for the field):
Top number is the
count of respondents
selecting the option.
Bottom % is percent
of the total
respondents selecting
the option.
Poor
Not so good
Fair
1
1
Good
15
8
21%
1%
1%
15.
Excellent
N/A
2
1
12
6
38%
16%
22%
Adequate guidance for career planning:
Top number is the
count of respondents
selecting the option.
Bottom % is percent
of the total
respondents selecting
the option.
Poor
Not so good
3
2
Good
Fair
21
29%
3%
Excellent
N/A
25
11
11
34%
15%
15%
4%
16.
Adequate program resources (information technology, equipment, space, supplies):
Top number is the
count of respondents
selecting the option.
Bottom % is percent
of the total
respondents selecting
the option.
Not so good
Poor
o
0%
Good
Fair
6
8%
N/A
Excellent
20
25
20
2
27%
34%
27%
3%
View
17.
Class schedules meet student needs:
2
3%
6
8%
19
30
14
2
26%
41%
19%
3%
23
View 11 responses
18.
Academic advising meets student needs:
Top number is the
count of
respondents
selecting the option.
Bottom % is percent
of the total
respondents
selecting the option.
19.
Poor
Not so good
Fair
Good
N/A
Excellent
2
3
14
35
9
3%
4%
19%
49%
12%
9
12%
Effectiveness of other support services (tutoring, financial aid, counseling etc.):
Top number is the
count of
respondents
selecting the option.
Bottom % is percent
of the total
respondents
selecting the option.
Poor
Good
Fair
Not so good
Excellent
N/A
5
5
12
22
13
15
7%
7%
17%
31%
18%
21%
9 Reponses
20.
How likely are you to recommend program:
Top number is the
count of
respondents
selecting the option.
Bottom % is percent
of the total
respondents
selecting the option.
Not so good
Poor
1
Good
Excellent
11
25
34
15%
35%
48%
Fair
0
0%
responses
24
21.
How did you hear about this program?
Website
29
Advisor
4
40%
Other (please explain – view 40 responses)
40
5%
Total
73
55%
100%
22. Why did you select this program rather than a different college?
View 70 responses
23. What are the program strengths?
View 61 responses
24. What changes would improve the program or service to students?
Vie\v 62 responses
25
STUDENT SURVEY COMMENTS
3. Why are you taking Music Technology courses?
Respondent #
1
Response
Because it is my greatest passion aside from the love i share with my family.
2
Update previous knowlege
4. Describe the career in which you plan to be working five years from now.
Respondent #
1
Response
I would like to further pursue a career in licensing music/writing for television or film.
2
Online songwriting collaborations. Home studio projects
3
Video Game Sound design, or something completely unrelated.
4
Perhaps an engineer or doing post for film
5
I plan to either be working as a musician or audio engineer or a combination of the two.
6
I plan to be performing all over the world in front of very large audiences of people. I
plan to be recording a great deal of music, and I also plan on some other business
endeavors in relation to the afore mentioned career.
In this economic environment it is preposterous to ask this kind of question.I would like
to be working in television sound.
Ideally, sound design for a pc gaming company that doesn't consider its sound people
disposable.
Working as a producer for my own production company.
7
8
9
10
11
Sitting in front of a desk running ProTools. Would be cool if that desk was an Icon but
whatever. Still getting to know ProTools whatever the practical application.
a recording engineer or an assistant
12
Recoring industry or anything dealing with sound or music.
13
14
I'd like to be working as a mix engineer or a recording engineer from years from now
but I also can see myself doing live sound live events and concerts.
audio engineer
15
Either sound for picture (or games) or recording music, or all of the above.
16
I plan to be an audio engineer/producer/musician.
17
Post-audio Film Production
18
Composer
19
optomistically, Recording engineer.
20
recording musician as a singer
21
Medicine
22
Songwriter/Composer, continuing music student.
23
Musician, teach music lessons, studio musician for hire, Producer, Sound Engineer,
sound designer
create my own basement studio and whatever other work comes my way
24
25
26
Creating music from my home. Performing in choirs, plays... acting in movies. Writing
symphonies. Audio production.
I would like to be doing sound design for animation or gaming.
27
Being an engineer at a studio, or running a studio of my own recording hop hop music.
28
I want to work either as a foley artist or sound for film in any fashion, or work as an
assistant studio engineer to learn to ropes to become a mastering engineer.
26
29
I plan on working as a mastering engineer in the next five years
30
Film and/or video game scoring.
31
producer
32
33
I would love to either be working with live in-studio performances for radio, or working
somewhere like Clatter & Din.
I plan to use my knowledge of recording in my singer/songwriting career.
34
Hopefully a production roll. Maybe for film/video games or entertainment.
35
Anything I can get.
36
Audio for games/film
37
38
I plan to continue my career as a solo artist for the most part, with some engineering
for other bands. I'd also like to have my own studio. Not necessarily to run it myself, but
just to have my own professional studio, and for passive income.
I plan on being an independent business owner in some division of the music industry.
39
Freelance producer/engineer, possible studio owner/co-owner
40
41
In 5 years from now I plan on owning and operating my own recording/post production
studio
Studio Engineer
42
Sound design/production for video games
43
Sound Engineer
44
Audio Production
45
46
I'd love to make music for a living, but I would also be happy as a studio musician or
sound technician for live performance.
working in the movie biz ,do sound for movie trailers.
47
I would like to produce,manage and create sound design for all forms of entertainment.
48
Guitarist/Engineer/Producer
49
Running a Recording Studio of my own or out on the road doing Live Sound for bands.
50
audio engineering
51
a combination of recording/mixing engineer, composer, and session drummer.
52
Audio Engineer
53
Professional Audio Engineer / DJ rockstar world tour travelin' guy
54
TO ether be running a studio or to be a sound engineer for one
55
playing and recording music internationally
56
owner, of what, we shall see
57
music producer and mixtape DJ
58
Working in a major radiostation/ recording studio.
59
61
Audio Engineering in some capacity; Pursuing an Electrical Engineering degree; Quite
possibly washing dishes or processing invoices.
Working with live performances or sound designing and/or editing for a gaming
company
I'll be a recording engineer.
62
Music industry hopefully recording or live club sound
63
Music performance, writing
64
DJ (radio and club), Producer, and Audio Engineer
65
?
66
Recording bands.
60
27
67
anything involving music or sound in movies radio or tv
68
I plan on either interning to be, or being a capable audio engineer who records and
produces music from others as well as myself. I plan on maybe getting involved with
commercials, jingles, perhaps video game music or film scoring.
I want to play in a band. I want to work/own my own studio.
69
10. Identify any courses you think would work online or as a hybrid (mostly online, some face to face class work)
Respondent #
2
Response
To be honest, I think the program is all about being face to face and being in the
classroom or studio with people that can show you hands on what we need to learn.
Maybe some theory can be more online, but I am not necessarily 100% behind that.
Logic & Sibelius classes
3
Music Theory classes
4
theory would work well online and maybe first year recording but anything after that
really needs to be explained in person.
Most of the theory classes could at leas be hybrid. The intro to midi could be entirely
online. Also, the communications class.
Legal and music business courses, and other similar courses that require less attention
from an instructor.
You cannot work on the board/ in the studio other than in person and not everyone has
ProTools, but all the theory could be online, but the theory needs to be severely cut
down.
The intro and first theory classes could be taught online. It'd be easy to link to examples
and musictheory.net could be a great tool.
Perhaps I'm just being shortsighted but it seems like there are already a lot of resources
for learning music technology and production/composition software online. The great
strength of the Shoreline program is time with the teachers and the ability to get handson experience within a variety of studio situations on gear we wouldn't normally have
access to at this level. In fact what we need most is more one-on-one instructor time
and hands-on experience. That said, I think there could be better resources for
introductions to individual software programs, especially at a beginner level, with
enough clear step-by-step instructions AND enough access to these programs for
students that don't own them (or the requirement of buying them if it's really
neccessary) Programs such as Sibelius, Live, Reason, utilities, maybe certain aspects of
Pro Tools (but that software really requires more instruction and teacher assistance!!)
even some things like acoustics and electronics/electricity (I'd like more nerdy stuff pls.)
IN ALL CASES teacher access is key.
theory
1
5
6
7
8
9
10
11
12
The Vocational Seminar for sure. All you do is sit on your ass for a couple hours in that
class anyways, might as well be learning that stuff from a computer screen.
vocational music seminar music recording/publishg right/methods-multimedia
13
None.
14
intro to midi, bus 105,
15
I have gone down the online class route before, it doesn't work for me so none really.
16
i like having things on paper
17
Nothing would work as well online as it would in person. Where examples can be
shown. However, a second year theory class, teaching say different modes (that the
students already knew) might work. Berklee's online courses are good. Model off of
them.
Potentially the theory classes.
18
28
19
thoery
20
theory theory theory..
21
23
I think audio production and audio recording, possibly the midi although I'm not taking
that course as of now.
Vocational Seminar, Copyright, Business, First year Audio Engineering (hybrid), intro
courses ie music theory, midi and pop theory.
msct 131
24
Some tutorials would be nice.
25
Midi classes mostly. I prefer that I am instructed when it comes to music theory.
26
Midi classes mostly
27
28
Well, I think it depends on the person. I personally like to have an actual person face to
face with me explaining the content, so I wouldn't necessarily do an online class if I had
the choice. Though, I think music theory could work online, but it does really help to
have someone there every day that I can talk to in person.
Can't think of any at the moment.
29
none
30
I don't think this program would work as an online or hybrid class
31
I do not like online classes
32
ProTools (part online, part in campus), Vocational Seminar, Rights to Multimedia
33
N/A
34
Probably most classes could be online, but I really don't feel that I learn as well with
them.
22
35
0
36
I think some of the core stuff could be more on line.
37
Don't mind class time
38
The music business/copyright classes and the first year audio classes.
39
IDK
40
Music Theory
41
all
42
pro-tools class for those who have pro-tools at home, also the MIDI classes.
43
Music theory
44
45
I would study music theory online. With other parts of the discipline I would rather have
live lectures and hands-on opportunities.
MUSTC 121, 221,131, 231
46
Music theory or anything that doesn't involve handson with gear or insturments
47
Less disturbances from disrespectful students
48
I don't like online courses!!!
49
in person's always better.
50
All? depends how well the face-to-face time can be used
51
all introcuction classes besides piano and protools
52
I prefer face to face in-class work over online, because it helps me to connect with my
professors and ask questions right in-class and become much more involved with my
work.
Music Theory
53
11. Helpful program information on college website and printed materials:
29
Respondent #
6
Question 11: Additional Comment
The SCC Studios website needs lists of equipment available at different
studios/workstations, and updated pictures
No link to the studio page anywhere. Not everyone has Sibelious and if it is required, we
should have access to it outside the music building,
Could use a lot more as far as documented guidelines and all sorts of help along the
way. SCC studios website has lots of potential still. Concert and event info
dissemination and student interactivity could improve too
The posted music tech degree curricula are clear, but Blackboard and the rest of the
SCC website are generally unclear and not user-friendly.
I would like to see a list of music electives offered, so I won't have to search through the
online catalog for them.
website is hard to navigate and blackboard barely works
7
College website is sometimes difficult to navigate.
8
10
The written stuff is good, but I have a hard time finding the info I want when I go online
to get it.
Information is somewhat helpful, but the SCC site is just plain terrible: difficult to
navigate, and program information is buried and unlikely to reach anyone who is not
already dedicated to digging it up
Some information too difficult to find.
11
Not enough
12
Having the manuals online is a great help.
13
The degree was buried, and it wasn't so obvious how excellent the equipment and staff
are.
1
2
3
4
5
9
12. Effective curriculum structure:
Respondent #
1
2
3
4
5
6
7
8
Question 12: Additional Comment
Too much music theory, too much piano, too much emphasis on performing and writing
sections or full songs, not taking into consideration the instrument you already play, no:
live sound, television sound,sound effects, industry standard programs for movies and
television sound or anything really outside of recording musicians classes. Not everyone
wants to deal with musicians, and the job market has more opportunities in movies and
TV.
I think the digital audio engineering degree is way too focused on the use of pro tools,
when the degree doesn't even make you "Pro Tools Certified". I think a degree about
digital audio engineering should not be software/equipment specific but provide more
variety and more focus on technical aspects, synthesis, more in depth audio theory,
more electronics information, etc.
Intro to MIDI should either be taught in the first year, or remove any content that's
already been taught in the first year of the program. As many of the extra-departmental
classes as possible (esp. Human Relations and Comm. Across Difference) should be
removed. Generally, instructors should meet regularly to let other instructors know
what each other are teaching, so overlap is avoided and consistency is achieved.
this is my first quarter so i dont really know yet
The gaps between some courses make it very difficult if not impossible to work while
going for the degrees.
More one on one working with software and the boards would be nice.
It seems like some of it could go faster, and some could go slower, but it is always that
way.
There is too much overlap between courses that are supposedly in sequence, mostly in
the music theory area, and especially between instructors. The pace is geared toward
30
9
10
11
people with little theory background to begin with; there is too much time spent
reviews concepts that have been done to death. Second-year pop/commercial could
benefit from a brisker pace and quicker introduction of new concepts. The first and
second music business classes would be much more effective if they were taught as a
sequence from the same textbook, instead lightly touching on subject matter during the
first class and reviewing it all again in more depth (and with a textbook) during the
second.
The first year ProTools classes are disorganized. I found it hard to figure out exactly
what I should be focusing on and what I needed to do to make progress in the courses.
Not sure, only first year. But I did not get into Intro To MIDI, and now I have to wait half
a year :(
I didn't know that I'd have to learn music theory for the audio production program. I am
thankful I am doing so, because I see where it would open the most doors effectively.
13. Support of individual learning needs:
Respondent #
5
Question 13: Additional Comment
The days when half the class skips out and I get to have five of my peers that care the
most with the teacher and myself are the best. I guess what I am saying is that smaller
classes would be ideal.
There is NO support in the MuscTc program. Except for XXXXX, XXXXX,XXXXX, and
XXXXX, there is NO encouragement to continue. There is no positive feedback and the
environment/ language of the classes is pretty much anti - women.
Need more workstations or smaller classes, especially for first year, so everybody is
truly hands-on and no one is left out, and more close observation of progress and when
people are left behind
XXXXXXXXXX's classes should be tailored to either an engineer's perspective or an
artists perspective--as it is, everyone has to learn how to release and promote an
album, even though we may not do that.
All of my instructors are very helpful.
6
there are a lot of students
7
Teachers are all extremely helpful and can answer any questions I have, even if they
don't directly pertain to the class.
Instructors actively encourage students to visit during office hours, and some make
themselves very available to students. Some classes, again, are taught to some
imaginary lowest common denominator, with the result that a large proportion of
students are bored, unchallenged, and sometimes reluctant to attend class.
Some students who have no prior experience in general don't get as much help outside
and in the classroom.
It would be nice to know what options there are for students with broader interests in
audio production beyond the digital realm. For example, the staff has barely mentioned
the 2" tape machine, and I feel like I'd have to bug people who are already busy in order
to find out if anyone has interest in aligning it, etc.
Not in your face, but if you ask questions the support is great. James Nixon is super
knowledgeable and a good guy.
Piano class could use more instruction its the only class i feel like i dont have a grasp on
1
2
3
4
8
9
10
11
12
14. Adequate preparation for employment (knowledge and skills for the field):
Respondent #
1
2
Question 14: Additional Comment
Word on the street is that graduates of the program aren't well trained for the real
world. This information comes from a successful local studio owner)
Too much emphasis on Music Theory performing and recording musicians. No other
avenues of the industry are taught. (Live sound, sound fx, movie and television sound
and I do not mean composing!!)
31
3
5
We'll see won't we? ;) I don't feel ready at all right now so it's not the best time to ask. I
bet I'm doing better than I think I am right now
The technical side of instruction seems to be relevant to what will be used in a career
(although I haven't worked in audio yet, so I don't know). However, instruction on audio
for games would be particularly helpful, especially in the Seattle area, since that seems
to be a major field in which audio jobs may be available. Also, there's a big hole in the
program: no classes on entrepreneurship in general (although I intend to take this class
separately) or specifically on freelancing or studio ownership. The Vocational Seminar is
geared predominantly toward artists and songwriters, not engineers and producers.
I wont know until I find a job...
6
too early to tell
7
the amount of work in the program is substantial. It has taught me a lot in little time.
8
It seems good, but I really won't know until I am actually working in the field.
9
Too early to tell
4
10
11
12
13
14
15
16
It's too early to judge. It seems good, but I've only been here 4 weeks, so I can't really
say.
Not sure. I haven't been employed with the skills yet.
Given the relative paucity of equipment and scheduling availability, the department
does a good job of giving students hands-on experience; the ideal situation would of
course require more studio space, and more open hours for both first and second-year
students.
Teachers talk about possible learning opportunities but not enough resources are made
available (internships, gigs, free local classes, etc.) for students themselves.
It would be good to know more about the business side of audio engineering. The music
business classes don't really focus on how to network with studios or other places we
could find work. The only thing I learned, which is something I already knew, was that
the best way to get a job at a studio was to do an internship. It would be great if the
program could connect us with studios looking for interns.
The instructors usually speak to this kind of stuff pretty well. XXXXX repeatedly
described being an engineer as "a hustle."
don't know yet
15. Adequate guidance for career planning:
Respondent #
1
2
Question 15: Additional Comment
More in this area would be nice.
3
What guidance? We don't even have a person that helps us with internships or job
placement like other programs do.
AES & GrammyU spamming isn't really all that helpful.
4
When one seeks it out the teachers are always willing to help.
5
7
See comment above, and--is there guidance for career planning in the program? In
what form? How can I get some?
there has been mention of certain avenues that are big in the industry right now. some
of our projects have leaned toward this skill.
See above
8
Vocational music seminar is helpful in this regard.
9
I think so?
6
10
The onus is (possibly correctly) on the students themselves to ask questions and gain
information about possible careers. Integration of information about specific digital
audio career paths into the curriculum (perhaps for a couple weeks at the end of the
first year) would be very helpful.
32
11
No guidance at all.
12
havent taken this class yet
16. Adequate program resources (information technology, equipment, space, supplies):
Respondent #
1
2
3
4
Question 16: Additional Comment
Equipment breakdowns and general unkepmtness of workstations is very frustrating;
MIDI studio is rarely available
We don't sell ProTools or ANY of the programs we use to the students AT ALL, we don't
sell old equipment to our students, we don't have assistance for low income students
for equipment, there aren't enough boards and the building is not soundproof, it is far
from current, let alone state of the art.
Again a software/OS bias makes the program seem very narrow minded at times.
7
While I feel very lucky to have access to what we do have, we're all feeling the crunch
and there are some times when we're so crammed in you can't see the mixing board.
Also first year people were 2 to a station the whole time in ProTools and we really need
to be able to do & learn at the same time with complicated software like that. And in
2nd year I think we'd all appreciate 2x more time in the studio per week!
There seems to be enough equipment and space to meet the bare minimum of
education in the music and engineering fields, but no more. We could definitely use
more practice rooms, larger studios that all students could easily fit in, cameras and
monitors showing students in the back of a studio what was going on at a mixing desk.
The carts used for the pro tools classes are hit or miss and the midi room needs a lot of
work.
Very comfortable and well equipped studios.
8
Awesome there.
9
10
It is old news to everyone in the department that we're hard-up for real estate,
purpose-built environments, and ample equipment. Available resources seem to be
allocated well, however.
It would be nice if the studios could be open during daytime hours during the week
11
More money for the music dept and it's equipment.
12
more studio space for recording, better quality of equipment
13
Always seems to be equipment breakdowns especially before a class begins, which
delays class. Tech office is not always available to help either
superb! if only the stations were set up more permanently... wrapping and unraveling
wires and fidgeting with carts really cuts into productivity
5
6
14
17. Class schedules meet student needs:
Respondent #
1
2
3
4
Question 17: Additional Comment
It sucks how a couple required classes are early morning, then seemingly everything
else is in the afternoon
Most of the classes are set at one time, and your "choice" is Mon Wed, or Tue Thur, but
the times are set. We have only one instructor choice mostly, and if you take thery, it's
always in the morning, but your engineering classes are late afternoon, lot of wasted
time.
I know there are a lot of people who would like more night classes. If you're thinking
about certifications in general you'd find a lot more students in people who already
work day jobs and want to expand their music tech knowledge 1 program at a time
after work... If I could get a day job in an office next year and still come back and take
ProTools over again for the next 2 years after work I'd totally do it. I know a few people
who would consider taking some classes if they could do it slowly over time while
working. In fact if I could have done that I might have started a lot sooner.
classes and days can be quite long, but for the most part im used to it.
33
5
There needs to be more night classes!
6
Hard to work while attending. Not being able to work on projects during a 3 hour class
and instead having to book studio time is frustrating.
It's probably a function of program size and instructor schedules, but three-hour blocks
of technical education once a week in the evening are extremely ineffective, and
impractical for students who must work.
Music Theory Classes should be available in the afternoon as well and not just every
morning every quarter.
I wish classes were available any time of the day as opposed to just afternoons or just
mornings. Of course, that's somewhat unrealistic.
Audio Production should be more then once per week!!!
7
8
9
10
11
The classes can get very stressful when they are all tied together, but that's the way it is
in any college no matter what campus or degree you're studying.
18. Academic advising meets student needs:
Respondent #
2
Question 18: Additional Comment
This is tough, and I know it is. We all have varied needs, but it would be nice if more
hours were available or there were ways to have time scheduled in advance.
What academic advising? Most people don't even know who their academic advisor is.
3
Again, when you seek it out.
4
I only went in to two advising session with XXXXX, who did a good job explaining things
to me, however it would be helpful if advisers were more proactive in letting students
know they were there in case students had any questions and took an active role in
following a student through the program and getting them through the program and
onto a career. For example, since XXXXX left, I don't know who my adviser is...
I entered the program a full quarter after everyone else, and I missed out on the first
year of post production because I was not aware I could just jump in the first year. I
made a point of jumping in the second year though, and I'm having some difficulty
catching up. I wish I was encouraged to do the winter and spring quarters of the first
year.
XXXXX was great, but I can't comment for the rest since i have not met with them.
1
5
6
7
8
I feel like I haven't found the right adviser yet, but may be I just haven't been looking
hard enough.
Never been to an adviser.
19. Effectiveness of other support services (tutoring, financial aid, counseling etc.):
Respondent #
1
2
3
Question 19: Additional Comment
Tutors have been difficult to find and when you find one, they are not dependable
Good luck getting Fin Aid to help with anything in a timely manor. Tutoring is ok, but
not a lot of choices in MuscTc. Counceling - good luck. We can't even eat between our
classes, or after our classes. Chartwell's doesn't even consider the majority of students
in the music building don't get out until after 4 pm. Plus there's Metro - two hours to
downtown, no express buses and no one is trying to get Metro to work with us like they
do with all the in city schools.Not to mention we have one bus only and it's always late!
Had a bad tutor experience. Definitely would benefit from some sort of program
matching 2nd year students up with 1st year students. In fact, might even be beneficial
to require something like that, above & beyond the school's tutoring system. Some sort
of freshman buddy system, or pool of answers from 2nd year students. (In fact if you
want to implement something right now, make a student-only BBS on the Shoreline
Studios website and have every 2nd year student post something they wish they'd
known in their first quarter.) Obviously financial aid etc and all extras across all depts is
stretched right now so I probably don't need to elaborate
34
4
5
6
7
8
9
Free tutoring is nice to have available. After a moderate bureaucratic nightmare, I was
able to get financial aid through workstudy.
Not your fault, but financial aide here sucks.
SCC has the most inefficient, unhelpful, and generally incompetent financial aid office
I've ever encountered.
Personally got a tutor in Spring Quarter and didn't learn better because tutor was
student herself and didn't teach properly.
i have been trying to get a tutor for a few weeks to help me with my audio class and
have not heard back. I am struggling in this class and could use some extra help. Had to
pay for help outside the college.
I am extremely blessed thanks to SCC. I haven't had to pay a single penny of my own to
my first year + Fall Quarter 2010, with exception to transportation and books thanks to
the Pell Grant help of the government working with SCC's financial aid services. This is
immensely helpful, as I simply couldn't afford to study, and I want to stay away from
being in debt to loans as much as possible.
20. How likely are you to recommend program:
Respondent #
3
Question 20: Additional Comment
While any system has things that need to be improved, I think that this program is
excellent. One thing that would be nice to see is more people with real world
experience in the gaming or scoring area that we can bounce questions or ideas off of. I
would really appreciate that.
After becoming disillusioned with the program, it's unlikely I can recommend the
program in good conscious
I don't recommend this program.
4
It's still the absolute best bang for your buck and best reputation in the city period.
5
While I think the program provides a good value (tuition here is inexpensive) and that I
am learning a lot of good skills for a career, I think there are significant gaps in
instruction quality and in the program itself.
best in the NW :)
1
2
6
7
8
IF you just took the theory.. both music theory and piano for theory.,.out of the
curriculum entirely it would be a better program. There is no need, in my opinion for
either of these in a curriculum for those OTHER THAN PERFORMANCE majors. It is not
practical and adds undue stress.
I already compliment how great the program is.
9
As I just started the program I don't know yet.
10
I wish my boyfriend would do it.
11
The music program has been one of the best academic programs I have ever been
involved with.
mostly if someone wants to pursue a degree and work as an engineer, otherwise???
12
13
14
15
It would depend highly on the person's level of experience and access to learning
opportunities outside of school.
As long as XXXXX is teaching, I won't recommend the program.
I was considering Edmonds Community College because it is closer to my home. I chose
SCC because the program was much more in depth, in my opinion, than ECC.
21. How did you hear about this program?
Respondent #
1
Response
Friend
2
Personal searching
3
SCC Mailer
35
4
5
I asked some engineers and musicians I know about schools with a Digital Audio
program and Shoreline came up a lot.
A friend who attended.
6
I was in a different Shoreline program and switched.
7
8
Got accepted to AI seattle, but couldn't afford it and was told this would be an
alternative.
I was searching for the best school for music tech
9
From EVERYONE for the last 10 years (WOM)
10
word of mouth
11
12
I was taking general transfer classes at SCC and ended up taking Piano for general
students and relized I how good the music programs are here.
advisor from other school
13
Worker Retraining Office
14
word of mouth
15
Former student
16
word of mouth from many people in the industry.
17
My own personal research
18
I have 3 friends that were enrolled in the program 10 years ago.
19
friend
20
I got a schedule in the mail.
21
Friends
22
Parent, who is an advisor at UW.
23
collegeboard.com
24
25
A coworker in Puyallup recommended it highly, based upon several friends' intention to
enroll. The website and conversation with xxxxx cemented my interest
Friend
26
Friend
27
Friends
28
My brother is taking the same thing.
29
friend
30
Given by my music theory professor.
31
searched which colleges offerd audio engineering courses.
32
I was told you guys have a nice program
33
friend,
34
friend
35
found it at my high school in the career center
36
Fanzine interview with Chris Walla, I think.
37
Friend
38
Grad
39
word of mouth working downtown last year
40
friend
22. Why did you select this program rather than a different college?
Respondent #
1
Response
It is affordable and considered one of the best.
36
2
3
I wanted to get involved in the latest technology to further my career. Program was
better set up than Edmonds CC
No other place around has the same kind of program
4
It was the only audio degree offered in seattle
5
6
AI is too expensive and they don't even teach music theory. The only other option in the
area is Western and I didn't want to move.
This was the best choice at the junior college level in the state.
7
I was already here.
8
It's the only program close enough that I wouldn't have to move.
9
11
All the music theory and knowing that from talking to engineers in the field who have
worked ly those who graduate from shoreline have a better understanding and perform
better.
Price was biggest factor, reputation as well. I have lived in the area since 1995 and have
heard word-of-mouth recommendations for the program above all others the entire
time. The choice was between Shoreline and the Art Institute; Art Institute's attraction
was more/better gear/hands-on opportunities, smaller class sizes and more
documented job placement success and the options of expanded programs so those are
things to aspire to, but the price was the deciding factor given the strong reputation.
because here is famous for music program
12
Location
13
I heard that the Digital Audio Engineering program at Shoreline was the one to pursue
in the Seattle area.
it's the only one community college that offers a degree in audio engineering
10
14
15
16
The three options for me were 1) Art Institute of Seattle (too expensive), 2) UW
Extension program (only three night classes over one year--not as good value), and 3)
SCC (less well-known, but a full 2-year program at a much better value than AIS).
This is the best, most affordable place in the Seattle area to get an audio degree.
17
Reputation of the program
18
Only community college that offers a program like this
19
Good program and close to home
20
more reasonable than other 4 year colleges
21
Word of mouth.
22
This is the best program in the world.
23
I was interested in these courses and found out that Shoreline had a great program
24
because i heard its the best for what i want to do
25
26
This is what I wanted to learn. Either Shoreline, Art Institute or Cornish for area schools
- Shoreline is reputable, local... and has turned out to be more than I expected.
had the best access to equipment and teaching.
27
price
28
30
Because I heard it was a great program and it accepted worker retraining funds. I was
vying between this one and one at the u dub.. they didn't take the WR Funds.. it was
the deciding factor.
I selected Shoreline do to the research I had done in looking for the right program to fit
what I am pursuing.
Friend's recommendations
31
I heard this college had the best, affordable, audio program
32
Within my price range, good location, heard good things about the program.
29
37
33
It was close by.
34
35
I had previously attended AIS. This was for a different program but I had always heard
their music tech was lackluster.
It seemed like it suited my location and financial needs.
36
Way cheaper than art institute, similar curriculum
37
39
I came in a checked out the music facilities and met some people, and I was highly
impressed.
I had heard about Shoreline a while back, but figured I wouldn't go there because I was
going to a 4 year school. Boyfriend helped that to not pan out so here I am, and glad
too.
Proximity, good word-of-mouth reputation, two year degree
40
Price of tuition was significantly lower
41
It's reputation
42
Tuition cost, recommendation
43
Location and cost.
44
Only community college in the state who offers Audio Engineering.
45
Heard it was the best in Seattle by word of mouth.
46
47
Heard it was a good program, affordable, close to where I live, and my brother is doing
the same thing and he recommended it.
affordable
48
It was highly recommended to me from some of my trusted industry friends.
49
I got in.
50
Reputation
51
it seemed to have the best classes.
52
53
It was the only course of study in the Worker Retraining program that I was interested
in.
Good timing
54
>$$$ + Distance = Shorline
55
56
Because it was a community college and i heard that the music program was one of the
best in the state
$, decent reputation
57
because I can afford it
58
personal interest
59
because shoreline is the only school close that has this program.
60
Lack of language credits.
61
62
I live in north Seattle, and North Seattle Community College didn't offer a similar
program.
It was affordable and close to where I live.
63
Only school in the area that teaches ProTools.
64
I heard it was good and the closest to my house
65
Recommended program and it's somewhat close to home!
66
67
I asked around to people I trust. I used yo go to art institute that place was a joke. i like
shoreline much better.
affordable, and great equipment
68
it was the closest to my house
38
38
69
70
I was considering Edmonds Community College because it is closer to my home. I chose
SCC because the program was much more in depth, in my opinion, than ECC.
Cheaper Top rated
23. What are the program strengths?
Respondent #
1
Response
I think the teachers here truly do care about us, and that means more than anything.
2
Can't think of any
3
4
Instructors who know what they're talking about and are super willing to give extra
help, lots of equipment to use, radioactive pandas
The technical skills taught
5
Theory and hands on projects.
6
7
The faculty is the greatest strength. The equipment resources are sub par of a major
university, but for a j.c., SCC is a worthwhile school that can and should be given more
resources to work with.
XXXXX and he's gone. The fact that we do commercials and a movie.
8
Experienced teachers, great theory teachers, hands on learning.
9
Theory
10
11
Price, community, available gear, XXXXX, core classes, but above all THE TEACHERS The
teachers and how accessible and knowledgeable they are is #1 hands down the best
thing about this place PERIOD so whatever you do give them what they need first and
listen to what THEY HAVE TO CONTRIBUTE first!!!! They know what we need better
than we do and I trust that.
The teaching staff is really awsome.
12
The staff.
13
good resources and smart teachers
14
16
Generally good access to equipment that's currently used in the field, a focus on music
eduction as well as technology (although it's a bit heavy on theory and a bit light on
actual playing and arranging), XXXXX and XXXXX were/are excellent instructors.
Very practical material, great learning pace, lots of support and encouragement from
teachers and fellow students.
Good teaching staff and equipment
17
This program has everything that I could ask for.
18
great teachers
19
Equipment, teachers, curriculum.
20
The faculty here is awesome.
21
Teachers seem to be down to earth
22
great teachers and extremely affordable
23
The teachers. Are good.
24
the amount of courses and access to equipment.
25
no time to elaborate now.
26
The strengths are how well the instructors break down each class and how everything
fits hand and hand.
Staff and equipment compared to other schools in the area.
15
27
28
29
The equipment is current and up to date. The teachers seem to really care that the
students do well.
My professor is very good, very clear.
39
30
31
32
33
34
The teaching staff. The fact that they are open to discuss just about anything that I've
ever asked into great detail has always been a help and filled with promise.
Teaching staff.
Once again, the teachers are extremely helpful, the studios are well-equipped, and the
advisors are helpful. It's the people, mainly.
That it is awesome
35
Knowledgeable faculty, emphasis on music theory for tech students, individual
instructors past and present who go the extra mile for students
Everything pertaining to audio technology
36
The facility, scheduling, teaching.
37
Knowledge base of the teachers
38
In campus studios and talented theory and piano teachers.
39
Effective curriculum structure.
40
The equipment is top notch and scheduling is pretty available. Most of the teachers are
great, with a few exceptions.
na
41
42
43
The individual attention, when I have a question or just need some basic career advice.
All my Professor's go absolutely out of their way to help. Plus the knowledge gained so
far has been invaluable in my career path.
Great teachers!
44
The diversity of material covered.
45
Good teachers and technology
46
Great instructors
47
The fact that every one is nice and knows what they are talking about
48
protools, student community,
49
its small, instructors are very approachable, flexible(this isn't and ivy league school)
50
that the teachers are all into music in some different way so they know what they are
doing.
Classes
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52
53
The people are pretty friendly and the access to real gear and software is fairly
incredible.
Knowledgeable staff, outside learning opportunities through various clubs
54
Some of the teachers.
55
Material and verbal education provided and equipment
56
Great teachers and equipment,
57
I like the programs structure. it's approach to learning piano and the basics of theory.
58
The in-depth-ness of most concepts.
59
its the only one like it in the community college level in the city...theres the Art Institute
but there more spendy for the same education..mostly
Prepares the student for all career paths that the program encompasses, forms the
student into a well-rounded individual with knowledge in many areas, prepares
students to be the best of the best.
Good people to teach Learning something I like Fun
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24. What changes would improve the program or service to students?
Respondent #
1
Response
Would be nice to have more ideas and help with what we can do careerwise after the
program. Smaller classes would be nice, but I understand the difficulties with that.
40
2
3
Coordinating the course structures of the various classes and making sure there is less
overlap would be helpful too.
Get rid of XXXXX and find an instructor who has structure in their teaching method
11
a new/remodeled building that has more and better spaces, also maybe not having the
music building so isolated from the rest of campus/parking lots
more artistic or creative approach to things rather than strictly commercial and pop
approach. perhaps customized curriculum for advanced students.
I would like it if some of the essential classes for digital audio were offered in the
evening.
A more comprehensive guitar curriculum would be fantastic. The current classes
offered are good for the beginner on up to the advanced level, but there is only one
class. Further, most of the theory taught, if not all is a purely piano based exercise.
While it is helpful for a musician to study this instrument, the theory applications can be
taught in this way with the guitar.
Doug's Online Music 200 class ONLY for theory, no piano classes, adding emphasis to
the Engineering, such as Basic electronics, part of Audio Engineering,adding job
placement specifically to Audio Engineering, broadcasting classes, live sound classes,
tv/movie sound fx classes, more dialog recording classes such as animation, tv and
movie dialog replacement classes. Having a linear instructor (like XXXXX) choice for
teaching ProTools and teaching the male instructors how to teach to female students
and curtail the sexist crap that goes on with the male students in class - especially since
they would otherwise be sued in the working environment.
Less time wasting. Less summary type information - I don't like being told " does this,
but you don't need to know why for our uses." I'd rather get all the info than have my
information abstracted.
We need more interactive lessons where there is more repititions of simple tasks so the
students know after them, then they can use those tools because they remember them.
More DEMONSTRATIONS w? application.
More documentation, crowdsourcing, and taking advantage of existing resources. More
workstations. More hands-on opportunities, more lab techs (one to manage
office/facilities and one to roam around, knowledgeable available and free to answer
student questions immediately so the students can keep moving). Possibly a
library/archive of gear manuals (I know we have a lot of this available online anyway)
but also audio i.e. audio examples of professionally done work that excels (Paul Simon
cds for those who listen to techno, Classical cds and examples for those who collect
pop, etc, ability for students to contribute to collection) past student work and films etc
more places to jam for students so that they can practice and help each other
12
A better schedule set up.
13
I wouldn't change very much to the program. There are some classes at are
questionable, but I guess there's a good argument for everything :)
maybe small classes, some classes have so many students
4
5
6
7
8
9
10
14
15
1st year pro tools lack of structure in lectures large midi composition project without
any training in composition difficult to hear instructor due to classroom acoustics and
low-talking very distracted class when seated at pro tools stations lack of instruction on
suggested workflows for sound design project sound design project not given enough
emphasis compared to relatively easy kid’s book learning hot keys for Pro Tools was
very useful, except they were all taught out of context or explanation of what the
functions were that the hot keys performed. Also, some important hot keys were
skipped over, for example, “r” for zoom out and “t” for zoom in (faster than Cmd+[ or ]),
and opt+cmd+Esc for force quit, or “3” for Record, or “d, f, and g” for fades XXXXX
missed class several times Poorly worded and grammatically incorrect assignments and
class documents make it difficult to understand instructions or expectations. Syllabi
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16
were often out of date and irrelevant to the current class. No opportunity to give
feedback on XXXXX’s performance as an instructor since he has seniority, despite the
fact that there was wide agreement among students that the class was disorganized
and often ineffective. Communication across difference Was mostly a waste of time—
should be removed from the curriculum if possible Met 5 days a week, sucking up
valuable time that could be used working on audio-related topics Human Relations Was
a complete waste of time Subject matter was entirely useless and forgettable Online
class allowed open book tests in which all that was required was to regurgitate answers
verbatim out of the book Pop and commercial theory Unfocused lectures Lack of
connection to Intro to Pop and Commercial Theory class (interval & chord ear training,
naming & notation conventions) Lack of hands-on piano emphasis Intro to MIDI Lots of
overlap in topics shows a lack of planning of the program—don’t teach us things twice.
Lack of focus in lectures—tendency to wander. Outdated book—I don’t think I’ll ever
use a MIDI cable or external MIDI device. Everything is in the box these days, right?
Unacceptable for XXXXX to miss class due to other engagements. We are paying for this
education and we expect to receive it. Otherwise please refund a percentage of our
money. 221 Less than ideal to have half of the class wait while the other half gets
hands-on instruction in the studios. 231 Unacceptable for XXXXX to miss class, or part of
a class, due to Recording Academy meetings. One class entirely wasted on
troubleshooting the signal flow in the studio. Why was 1) studio D setup improperly, 2)
the studio not fixed before classes started, 3) XXXXX unprepared for the class?
Vocational music seminar and XXXXX’s other music business class XXXXX is not currently
active enough in the industry to know what she’s talking about. She often relied on
students for answers. Her lectures often lacked focus and useful information. Text,
Everything You Need to Know About the Music Business, is a very good book for those
about to release and promote an album, but wasn’t particularly useful for those of us
who aren’t. Interdepartmental learning For those interested in sound for picture, there
should be a way to collaborate with students in the film department on actual
productions to get a sense of how a real project takes shape.
better sounding rooms for acoustic recording.
17
?
18
19
Nothing, I think it's an outstanding program with a great staff. If I could I would donate
money!
party!
20
More hands-on.
21
Make a room available in the music building for quiet study.
22
opening up the studios more often, I get the programs better when I use them more.
23
smaller classes and more funding from the state
24
25
More individualization focused on what each student wants to do. Any exclusivity of
classes. Many people in theory for instance I find to be hacks... I want to learn... move
fast... and there are kids talking and swearing in the background while we have world
class knowledge and talent speaking to us in the front of the room. It would be great if
there were more for the student that actually cares deeply.
maybe offer guitar classes / theory in addition to the piano.
26
no time to elaborate now.
27
It is hard to say do to the level that the instructors are leading their courses
respectively.
Less required studio time outside of classes. Some classes should be closer together
time wise.
Haven't gone long enough to know
28
29
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30
32
If there was one small quiet place in the music building where students could study
between classes it would be nice. However the library is close by.
Obviously this is all bound by the monetary needs of the program. If we had the liberty
to change anything with that expense then it would have to be space I guess. Maybe
more of an intimate structure when it came to teaching more of the technical aspects
of the program.
I guess the funding availability right?
33
As an optional choice, I would enjoy some training in DAWs other than Pro Tools.
34
Well I came here for music business, and that program needs better help.
35
36
More structure (lesson plans?) and faster pace for some course sequences, better
communication between different instructors teaching identical or sequenced courses,
more equipment, environment resources and more open access to them.
Daytime studio/workstation availability during the week
37
n/a
38
Require all students to take Music theory 100 before taking 141. Also, include more
modern music performance options, i.e., guitar (metal), etc...
More availability for Theory and Piano classes (instead of just morning schedule), more
opportunities for internships or volunteer work, better individual and group tutoring
services.
NA
31
39
40
41
42
To get the degree in two years, one would have to take a lot of classes. Maybe the
number of classes could be lowered, perhaps by increasing the number of hours per
day. I don't know, it's just a little unrealistic. Teacher evaluation could be more
influenced, as I've only been able to evaluate a few teachers as of yet when there have
been teachers I really didn't think did a great job but I didn't get to express my opinions
about them.
na
43
Just more equipment and space for the music dept.
44
Unsure...
45
An easier website to navigate.
46
Smaller classes
47
having more equipment, stations and booths, and earlier studio time booking
48
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faculty ensures all equipment is functioning properly and isn't all burned out like they're
obsolete or not paying attention to the real needs of creative youth who are often
generations apart from the teachers and have different needs and need much guidance
in a world of predators and false promises which rewards mainly self-drive and
discipline
get rid of homework! I realize there are some projects that you have to work on outside
of school, but most homework is pointless and redundant. I would be happy to spend
more time at school if it meant no homework, seriously, I would be the perfect student
without homework, but rite now im doing pretty bad in my theory class because I
haven't done any homework. If I am aceing all the tests, why does it matter if I didn't do
the homework? makes no sense.
xxxxx teaching style does not match my learning style. Most of the time I have no idea
what he is rambeling on about. I feel like there is a lot of time taken to tell about the
capabilities of pro tools but very little time devoted to learning how to use it.
more online classes. one on one time to help take in more information
52
Na
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50
43
53
54
55
I would be interested in classes or even just some web resources geared towards lowbudget home studio applications of audio engineering knowledge. I think this would
create an opportunity for folks with modest home set-ups to get more out of their
access to such equipment. Knowing how to configure and utilize Pro Tools is great, and
much more broadly marketable, but knowing how to get the most out of an ADAT and a
16 channel Yamaha board is also a valuable tool within the music community. I'm into
my second year of classes and I've heard very little about treating a basement room,
you know? That seems wrong somehow.
It would be nice if the Pro Tools stations were permanently set up in a space
56
Put a lot more money into the music programs,where need be.teach online MUSTC
121,221,131,231
Quit making us guess just give us what we need to knowp
57
More class time.
58
?
59
making the stations more permanent, having some basic early on projects work more
directly with musical sounds
for me personally, more hands on what needs to be and less time in the classroom
when i dont need to be there..
Keep doin' what you're doin'! I haven't had any complaints yet, with the exception of
being stressed from tests once in a while, but that's life :)
The Digital Audio/Pro Tools class is a pain because it is once a day and the deadlines are
one right after the other. 3 hours of class time, ran through, and then your sent on your
way. You don't get half of the things the instructor is talking about. Too much
troubleshooting and troublesome equipment. Faulty Pro Tools carts hinder my progress
to meet the deadlines.
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NOTE: SPECIFIC NAMES OF FACULTY MENTIONED IN
STUDENT COMMENTS HAVE BEEN REDACTED
(XXXXXX) FROM THE SURVEY SUMMARY
44
Shoreline Community College
Fall 2010
ADVISORY COMMITTEE SURVEY SUMMARY
Your feedback is needed on the Music Technology Program. This survey
is an important part of the college’s program review process to help faculty and
administrators better understand how industry representatives view the program
and its ability to meet labor market needs in this field. This is part of the
program’s required External Evaluation.
Advisory Committee input will be summarized without names and shared
collectively with the faculty, dean and you to use in future planning and program
development. Thank you for your assistance. We value your feedback and
suggestions. Our goal is 100% response. THANK YOU!
Directions: Please type in comments or numerical ratings for each of the
questions below and then save the document to preserve your answers. You
may forward the completed survey to: Jskaare@shoreline.edu
We would appreciate your response by: Friday, October 29, 2010.
Assessment of Student Learning:
1. What do you know about the ways in which attainment of Music
Technology Program outcomes are assessed at this college?
(tools/measures used and performance levels expected)

I am actually not that well versed in assessment. I’ve heard
that the program is one of the most popular for Shoreline CC.
I would imagine (a guess) that the main assessments would be
split between job placement (or transfer to a 4-year) and
graduation rates.

I have almost no direct knowledge.

Employment success; matriculation/continuation; degrees and
certificates; FTES, student evaluations; observation

Job placement is difficult to track because many graduates
work on a freelance basis and are self-employed. The
perception that graduates will become employees is an
45

outdated viewpoint. The industry is going through a major
transition.
I don’t know much about assessment.

Samples of student work are assessed to determine if
professional standards are demonstrated. Portfolios of
student work and capstone projects are used to assess
student outcomes.

Faculty assess student progress and growth over time.
Academics must be integrated with technical skills and
demonstrated in various projects. Interpersonal skills are very
important in the workplace and should also be assessed.

Since a significant percentage of students take music tech
classes for personal enrichment rather than career
opportunity, this should be seen as a positive outcome also.
Curriculum:
2. How would you describe the major strengths of this program?

Commitment from administration (i.e. funding). This program
has pretty good facilities that rival a number of 4-year
institutions. Also, there’s a knowledgeable and dedicated
faculty.

A strong emphasis on composition and actual application.

Access to faculty is a major strength.

Instructor excellence and professionalism; well thought out
degree and certificate programs; projects and performances.

Strong emphasis on music theory makes the program
especially strong and rather unique. There are many places
people can go to study the technology, but very few of these
integrate the music theory elements as extensively as the
Shoreline CC program. This approach gives students deeper
understanding and better ability to talk to artists.

Although there are some difficulties, the facility and equipment
are better than many schools.

Integration of audio students and performance students
46

Faculty are open to change and continually adapt to industry
trends.

Excellent faculty

PRO TOOLS is a plus because it has prevalent use in the field

Immersion of students into the curriculum

Student networking and shared projects
3. Based on your experience as an advisory committee member, how well is
the program curriculum aligned with industry needs?
- Rate from 5 (high) to 1 (low) __________.
- Comments:
 Rating of 3 – I feel it could be better on showing how an
interdisciplinary approach may be used to help the students
out in the long run. The career paths that come after a
program like this are VERY competitive, and I think students
need more of an edge. Things like: Music Tech + Tech
Writing; or Music Tech + Programming; or Music Tech + Small
Business Management, and so forth

Rating of 3 – Industry needs are not necessarily focused on
compositional skill.

Rating of 4 – This is an uneducated opinion

Rating of 5 – The industry is always changing and faculty
demonstrate flexibility and willingness to adapt to the changes
(a disintegrating industry that is evolving to new norms).

Rating of 4 – The field requires continuous adult learning.

Other avenues should be expanded including video game
audio, live sound (TV), and film audio. Perhaps short term
certificates in these areas could be developed.
4. What suggestions do you have to help the program better align with
current and emerging industry needs?
 See answer above

Add a program that directly focuses skills on video game
sectors – whether that is sound design, dialogue, music, audio
programming, or field sound recording
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
Move forward with Multimedia plans. Multimedia in
combination with VCT, Film, computer technology, gaming.

Need synergy with other programs that have “converging
technologies” (VCT and film production at Shoreline CC)

Need to enrich students real life skills in industry settings

Incorporate module synthesizers (signal flow)
Resources and Facilities:
5. Based on your experience, how adequate are program resources (space,
information technology, equipment, etc.) and what are the unmet needs?
- Rate from 5 (high) to 1 (low) ___________.
- Comments:
 Rating of 4 – quite good

Rating of 3 – It seems that students are in need of more studio
time and access to equipment.

Rating of 4 – better than average with room to improve.
Budget concerns aside, the plan for a new music building was
a good one.

Rating of 4 – would be good to have more consoles and studio
space

The large choir room (820) has no permanent installation of
carts for audio engineering and acoustics are difficult in class.
There is no dedicated space for this purpose because the
room is shared with other groups. Continually moving these
carts back and forth wastes staff time and class time, and it is
hard on the equipment. Exposed cords on the floor are a
safety/liability issue because people can trip on them.

The music building was constructed in 1977 and was not
designed to house the Music Technology Program. There are
only ten stations and each must be shared by 2 or 3 students.

Lack of proper security for the building is a very serious issue.
Thefts of expensive equipment have occurred but the college
has still not provided improved security for the facility. Loss
of vital instructional equipment jeopardizes operation of the
program and the college no longer has surplus funds for
replacements.
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Partnerships:
6. How well do you think the technical advisory committee functions, and
what improvements would you suggest?
- Rate from 5 (high) to 1 (low) ___________.
- Comments:
 Rating of 3 – I’m actually still a bit unclear on all parts of the
curriculum. I don’t exactly know the outcome of our meetings
(that is, how it affects the education).

I think the committee can be very useful. It seems as though
we are able to have an honest dialogue. It may be helpful to
have some meeting time without faculty in case some people
are not comfortable discussing certain topics.

Rating of 3 – Chairman should control the discussion. Need
more talk by committee members and less from faculty.

As far as committee improvements, the committee is sorely
lacking in diversity, rather inexcusable. Need more women
and persons of color. Also, need more people representing
the business sector.
(Consultant’s Note: Two of the female advisory committee
members (Julie Wiebusch and Kathryn Luster) were unable to
attend the meeting; and Julie has been chair for several years.
Some members who represent the business sector were not able to
attend this meeting, but should attend in the future. Also, a
potential member who is considering joining the committee is a
person of color.)

The committee has been rather static in membership. It is nice
to see an expansion in the number of members and
occupations represented.
7. What role does your business/company play in supporting the program?
- _3_ advice on curriculum
- ___ equipment donations
- _1_ internship or mentoring opportunities for students
- _1_ employment opportunities for graduates
- ___ other: (describe___________________________________)
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Comparison with Other Programs:
8. What do you believe makes this program unique or different from other
programs in the surrounding area?
 Music Tech is a rare field when it comes to higher education, so
having one in itself is unique. I think the facilities and the
integrated curriculum really make it shine.

It is a great program in need of a refresh.

Not qualified to answer this

Affordability

Refer to question #2 above (major strengths)
Employment Prospects:
9. How would you describe the regional employment outlook for graduates
from this program?

high demand areas?
Audio programmer and audio archivist

Video games and sound recording (including voice over)

Gaming and multimedia

Emerging technologies, audio/visual media, video games, film

There are a lot of global business opportunities through the
use of digital technologies and the internet. Digital
distribution on-line is prevalent and provides opportunity for
those with the required skills and initiative for self-marketing.

The outlook for telecommuting is “rich”, but entrepreneurial
skills are required. You need to make your own opportunities.

Job descriptions have changed. There is a gradient of
positions, but these are experience-dependent and require
higher skill sets. Work is being done differently now.
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(Consultant’s Note: Faculty are currently working on proposed
changes to the music business degree option and have generated
a list of associated job possibilities for graduates including:
personal manager, booking agent, concert promoter, independent
radio promoter, music business entrepreneur, retail sales
management, music publisher, music supervisor, music business
consultant, record label administrator, publicist, promotional staffer,
marketing representative, business manager, and road manager or
tour publicist).
- low demand areas?
 Professional recording studios are in decline

Brick and mortar recording studios are problematic now

Songwriter and audio engineer

Music composition and Rock stars

Limited jobs for audio engineers – times have changed

Game sales have been declining recently, which might change
the job opportunities.

The expectation that graduates will become employees with
full-time positions is no longer relevant in this field. Most will
have to be entrepreneurial and self-employed to make a living
in this field. The industry is going through a major transition,
with very competitive hiring for fewer employee positions.
Students need to be aware of this situation and prepare to be
self-employed. This requires a range of technical skills as well
as interpersonal skills, business skills, and entrepreneurship.
Questions or final comments:
None
(Prepared by K. Demetre)
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