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FINAL REPORT – 1/13 /11SHORELINE COMMUNITY COLLEGE

MUSIC TECHNOLOGY PROGRAM REVIEW

Fall 2010

Prepared by Karen Demetre, Consultant

TABLE OF CONTENTSPURPOSE......................................................... 3

METHODOLOGY……………………………... 4

CONSULTANT REPORTFindings on Program Review Elements Assessment …………………………………….. 5

Program Information…………………………… 7Student Data Trends…………………………… 9Curriculum………………………………………. 27Faculty……………………………………………. 30Resources……………………………………….. 32Schedule of Classes…………………………… 34Partnerships…………………………………….. 35Support Services………………………………. 36Revenue Potential……………………………… 37The Virtual College…………………………….. 38Competition………..……………………………. 39Program Access………………………………... 40Labor Market Opportunities………….………. 41

Analysis of Findings Institutional Issues…………………………....... 42 Program Strengths…………………………....... 43 Recommendations…………………………....... 44

APPENDIXFaculty Report…………………………………… 1Student Survey Results………………….......... 20

2

Advisory Committee Survey Results………… 45

PURPOSE

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.

3

METHODOLOGYFirst 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

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CONSULTANT REPORT Music Technology – Fall 2010

ELEMENTS REVIEWED, FINDINGS, + ANALYSIS

1. ASSESSMENT (FAC. REPORT Pg 1) ( faculty feedback, student survey, and advisory committee survey)

TOOLS TO ASSESS PROGRAM OUTCOMES1.1 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

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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 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 OUTCOMES1.5 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

Data Collected Evaluation of Data Actions Taken

List here the measures the program uses to assess progress toward the outcome (GPAs, portfolios, student surveys, placement data, retention statistics, alumni surveys, etc.)

List here the specific data collected

Describe here what the data mean.

Describe the actions taken, based on the evaluation of the data

Quantitative Reasoning

Communication

Multicultural Understanding

Information Literacy

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Gen. Intellectual AbilitiesGlobal Awareness

EVIDENCE OF ACTION BASED ON ASSESSMENT FINDINGS 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)

ACCURACY2.1 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

RELEVANCY2.3 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.

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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.

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.

CURRENCY2.7 Program information on the website, brochure, and planning guides has been

recently updated (summer 2010). Periodic updating is managed by the publicinformation 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).

CONGRUENCE2.9 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

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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)

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.

Music Tech:Annualized State FTES by Deg/Cert

020406080

100120140160

DIGI

TAL/

AUDI

OEN

GINE

ERIN

G-AA

AS

MUS

IC T

ECH.

-M

.I.D.

I.PRO

D -

AAAS

MUS

IC T

ECH-

PERF

ORM

ANCE

-AA

AS

MUS

IC T

ECH

-M

ERCH

ANDI

SING

-AA

AS

DIGI

TAL P

ERF:

DIGI

TAL A

UDIO

2821 282 2832 2831 282B

Music Tech

Annl

zd. F

TES

A78

A89

A90

Year Dig/Audio Merchandising MIDI Performance Dig/Perf Grand TotalA78 148.08 9.78 41.27 28.44 227.57A89 141.72 7.93 36.11 23.20 0.31 209.28A90 131.44 7.89 28.53 21.87 0.31 190.04

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THREE YEAR ENROLLMENT: STUDENT HEADCOUNT and PERCENTAGE OF PROGRAM ENROLLMENT

3.3 A three-year comparison of annual student headcount reveals fewer students in all areas during 2008-09 followed by increased numbers of students in 2009-10 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.

Music Tech: Enrollment within Program

0100200300

Dig/Audio Merchandising MIDI Performance Dig/Perf

Program

Enro

llmen

t A78

A89

A90

10

ENROLLMENT COUNT PERCENTAGEEPC_TITLE A78 A89 A90 EPC_TITLE A78 A89 A90Dig/Audio - AAAS 259 238 241 Dig/Audio 62% 64% 63%MerchandisingAAAS 17 15 19 Merchandising 4% 4% 5%MIDI AAAS 89 72 67 MIDI 21% 19% 17%Performance AAAS 55 48 55 Performance 13% 13% 14%Dig/Perf - Certificate 1 1 2 Dig/Perf 0% 0% 0%Grand Total 420 374 383

3.6 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

0

5

10

15

20

25

A78 A89 A90

S:F Ratio

Music Tech:% Enrollment within Program

0%10%20%30%40%50%60%70%

Dig/Audio Merchandising MIDI Performance Dig/PerfProgram

Perc

enta

ge

A78A89A90

11

A78 A89 A90S:F Ratio 20.1 20.6 21.7

3.7 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.

MUSTC - S:F Ratio Fall quarters

0

5

10

15

20

25

30

A452 A562 A672 A782 A892 A902

S:F Ratio

3.8 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.

A452 A562 A672 A782 A892 A902S:F Ratio 24.0 24.6 22.8 22.1 21.6 23.3

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STUDENT-TO-FACULTY RATIO

STUDENT GENDER: ENROLLMENT COUNT AND PERCENTAGE

3.9 Male students constitute the vast majority in the Music Technology Program

Prog EPC A87 A89 A90

282 MIDI 21.4 22.6 22.6

2821 Digital Audio Engineering

19.7 19.9 20.1

2831 Merchandising 30.4 28.9 21.72832 Performance 24.3 25.3 20.1

282BDig Performer

Certificate22.6 19.6

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(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

0

50

100

150

200

250

A78 A89 A90

Dig/Audio Dig/Audio Dig/Audio

YearEnro

llmen

t Cou

nt

F

M

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).

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Midi:Gender

0100

A78 A89 A90Year

En roll

m e nt

F

M

Performance:Gender

05

10152025303540

A78 A89 A90

Performance Performance Performance

Year

Enro

llmen

t Cou

nt

F

M

15

Merchandising:Gender

0

2

4

6

8

10

12

14

A78 A89 A90

Merchandising Merchandising Merchandising

Year

Enro

llmen

t Cou

nt

F

M

Digital Performance:Gender02

A89 A90

Dig/Perf Dig/PerfYear

Enro

llme

nt co

unt

F

M

ENROLLMENT COUNT PERCENTAGEMainGroup Year F M MainGroup Year F MDig/Audio A78 28 224 Dig/Audio A78 11% 89%Dig/Audio A89 29 203 Dig/Audio A89 13% 88%Dig/Audio A90 25 208 Dig/Audio A90 11% 89%Dig/Perf A89 1 Dig/Perf A89 100% 0%Dig/Perf A90 1 Dig/Perf A90 100% 0%Merchandising A78 3 11 Merchandising A78 21% 79%Merchandising A89 4 10 Merchandising A89 29% 71%Merchandising A90 6 13 Merchandising A90 32% 68%MIDI A78 7 76 MIDI A78 8% 92%MIDI A89 13 58 MIDI A89 18% 82%MIDI A90 11 56 MIDI A90 16% 84%Performance A78 23 31 Performance A78 43% 57%Performance A89 22 26 Performance A89 46% 54%Performance A90 17 38 Performance A90 31% 69%

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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%

HEADCOUNT PERCENTAGEEPC_TITLE Ethnicity A78 A89 A90 A78 A89 A90M.I.D.I.AAAS

African American 10 8 9 11% 11% 13%

Asian/Pacific Islander 11 6 5 12% 8% 7%

Hispanic 3 4 4 3% 6% 6%

International Student 1 2 0% 1% 3%

Native American 5 2 6% 3% 0% Other Race 8 11 3 9% 15% 4% White 52 40 44 58% 56% 66%MUSIC TECH.-M.I.D.I.PROD -AAAS Total 89 72 67DIGITAL/AUDIO ENGINEERING-AAAS



Hispanic 22 18 22 8% 8% 9%

International Student 2 4 3 1% 2% 1%

Native American 6 8 10 2% 3% 4% Other Race 31 23 24 12% 10% 10% White 174 156 160 67% 66% 66%

17

DIGITAL/AUDIO ENGINEERING-AAAS Total 259 238 241MERCHANDISING-AAAS



Hispanic 4 2 1 24% 13% 5%

International Student 2 1 1 12% 7% 5%

Native American 1 6% 0% 0% Other Race 1 2 6% 0% 11% White 6 7 12 35% 47% 63%MUSIC TECH -MERCHANDISING-AAAS Total 17 15 19PERFORMANCE - AAAS



Hispanic 3 1 5% 0% 2%

International Student 4 7% 0% 0%

Native American 2 1 3 4% 2% 5% Other Race 5 7 7 9% 15% 13% White 32 29 34 58% 60% 62%MUSIC TECH-PERFORMANCE - AAAS Total 55 48 55DIGITAL PERF: DIGITAL AUDIO Other Race 1 1 0% 100% 100%DIGITAL PERF: DIGITAL AUDIO Total 1 1 Grand Total 420 374 383

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 (17-19 years) dropped from 2008-09 to 2009-10 and the percentage of students 20-29 years increased. There appears to be a trend towards older age groups in the overall program.

A78 A89 A90Grand Total A78 A89 A90

Dig/Audio 259 238 241 738 Dig/Audio 259 238 241

18

Under 20 86 80 63 229 Under 20 33% 34% 26%20-24 81 86 93 260 20-24 31% 36% 39%25-29 55 32 41 128 25-29 21% 13% 17%30-34 19 20 18 57 30-34 7% 8% 7%35-39 5 6 9 20 35-39 2% 3% 4%40-44 6 8 8 22 40-44 2% 3% 3%45-49 4 4 5 13 45-49 2% 2% 2%50-54 3 1 3 7 50-54 1% 0% 1%55-59 1 1 55-59 0% 0% 0%60-64 1 1 60-64 0% 0% 0% Dig/Perf 1 1 2 Dig/Perf 0 1 120-24 1 1 2 20-24 0% 100% 100%

Merchandising 17 15 19 51 Merchandising 17 15 19Under 20 6 8 6 20 Under 20 35% 53% 32%20-24 7 3 3 13 20-24 41% 20% 16%25-29 1 1 1 3 25-29 6% 7% 5%30-34 3 3 30-34 0% 0% 16%35-39 1 2 3 35-39 0% 7% 11%40-44 3 1 2 6 40-44 18% 7% 11%45-49 1 1 2 45-49 0% 7% 5%55-59 1 1 55-59 0% 0% 5% MIDI 89 72 67 228 MIDI 89 72 67Under 20 28 28 24 80 Under 20 31% 39% 36%20-24 30 18 20 68 20-24 34% 25% 30%25-29 18 15 11 44 25-29 20% 21% 16%30-34 8 4 7 19 30-34 9% 6% 10%35-39 1 1 35-39 0% 1% 0%40-44 3 2 2 7 40-44 3% 3% 3%45-49 1 1 2 45-49 0% 1% 1%50-54 1 2 1 4 50-54 1% 3% 1%55-59 1 1 2 55-59 0% 1% 1%60-64 1 1 60-64 1% 0% 0%

Performance 55 48 55 158 Performance 55 48 55Under 20 19 23 22 64 Under 20 35% 48% 40%20-24 17 11 14 42 20-24 31% 23% 25%25-29 8 5 8 21 25-29 15% 10% 15%30-34 1 2 3 6 30-34 2% 4% 5%35-39 2 2 1 5 35-39 4% 4% 2%

19

40-44 1 2 3 40-44 2% 0% 4%45-49 3 3 2 8 45-49 5% 6% 4%50-54 1 1 2 4 50-54 2% 2% 4%55-59 2 1 3 55-59 4% 0% 2%65 or Above 1 1 2 65 or Above 2% 2% 0%Grand Total 420 374 383 1177

Dig/Audio

0%5%

10%15%20%25%30%35%40%45%

Age

Perc

enta

ge

A78

A89

A90

MIDI

0%50%

Under20

20-24 25-29 30-34 35-39 40-44 45-49 50-54 55-59 60-64

Age

Perc

ent

age

A78

A89

A90

20

Performance

0%

20%

40%

60%

Under20

20-24 25-2930-3435-3940-44 45-4950-54 55-59 65 orAbove

Age

Perc

enta

ge A78

A89

A90

Merchandising

0%100%

Under20

20-24 25-29 30-34 35-39 40-44 45-49 55-59

Age

Percen

tag

e

A78

A89

A90

Dig/Perf

0%200%

20-24AgeP er ce nt

A78A89A90

21

ENROLLMENT COUNTS PERCENTAGES

A78 A89 A90Grand Total A78 A89 A90

Dig/Audio 259 238 241 738 Dig/Audio 259 238 241Under 20 86 80 63 229 Under 20 33% 34% 26%20-24 81 86 93 260 20-24 31% 36% 39%25-29 55 32 41 128 25-29 21% 13% 17%30-34 19 20 18 57 30-34 7% 8% 7%35-39 5 6 9 20 35-39 2% 3% 4%40-44 6 8 8 22 40-44 2% 3% 3%45-49 4 4 5 13 45-49 2% 2% 2%50-54 3 1 3 7 50-54 1% 0% 1%55-59 1 1 55-59 0% 0% 0%60-64 1 1 60-64 0% 0% 0%

Dig/Perf 1 1 2 Dig/Perf 0 1 120-24 1 1 2 20-24 0% 100% 100%

Merchandising 17 15 19 51 Merchandising 17 15 19Under 20 6 8 6 20 Under 20 35% 53% 32%20-24 7 3 3 13 20-24 41% 20% 16%25-29 1 1 1 3 25-29 6% 7% 5%30-34 3 3 30-34 0% 0% 16%35-39 1 2 3 35-39 0% 7% 11%40-44 3 1 2 6 40-44 18% 7% 11%45-49 1 1 2 45-49 0% 7% 5%55-59 1 1 55-59 0% 0% 5% MIDI 89 72 67 228 MIDI 89 72 67Under 20 28 28 24 80 Under 20 31% 39% 36%20-24 30 18 20 68 20-24 34% 25% 30%25-29 18 15 11 44 25-29 20% 21% 16%30-34 8 4 7 19 30-34 9% 6% 10%35-39 1 1 35-39 0% 1% 0%40-44 3 2 2 7 40-44 3% 3% 3%45-49 1 1 2 45-49 0% 1% 1%50-54 1 2 1 4 50-54 1% 3% 1%55-59 1 1 2 55-59 0% 1% 1%60-64 1 1 60-64 1% 0% 0%

Performance 55 48 55 158 Performance 55 48 55Under 20 19 23 22 64 Under 20 35% 48% 40%20-24 17 11 14 42 20-24 31% 23% 25%

22

25-29 8 5 8 21 25-29 15% 10% 15%30-34 1 2 3 6 30-34 2% 4% 5%35-39 2 2 1 5 35-39 4% 4% 2%40-44 1 2 3 40-44 2% 0% 4%45-49 3 3 2 8 45-49 5% 6% 4%50-54 1 1 2 4 50-54 2% 2% 4%55-59 2 1 3 55-59 4% 0% 2%65 or Above 1 1 2 65 or Above 2% 2% 0%Grand Total 420 374 383 1177 Grand Total 420 374 383

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

0

100

200

300

400

A78 A89 A90

Year

Enro

llmen

t

Y

N

23

Music Tech: Economically Disadvantaged%

0%10%20%30%40%50%60%70%80%

A78 A89 A90

Year

Perc

enta

ge

Y

N

ENROLLMENT COUNTS PERCENTAGESECON_DISAD A78 A89 A90 Total A78 A89 A90Y 106 95 119 320 25% 25% 31%N 314 279 264 857 75% 75% 69%Totals 420 374 383 1177

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

0

100

200

300

400

A78 A89 A90

Year

Enro

llmen

t

Y

N

24

Music Tech:Academically Disadvantaged%

0%

20%

40%

60%

80%

100%

A78 A89 A90

Year

Perc

enta

ge

Y

N

Acad Disadv Y NGrand Total Y N

A78 80 340 420 19% 81%

A89 74 300 374 20% 80%

A90 66 317 383 17% 83%

Grand Total 220 957 1177

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.

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Grade Distn: Music Tech

0200400600800

100012001400

* A B C D F H I N NC P V W Z

Grade

Enro

llmen

ts

A78

A89

A90

Grade Distn%:Music Tech

0%5%

10%15%20%25%30%35%40%45%50%

* A B C D F H I N NC P V W Z

Grade

Perc

enta

ge o

f yea

r's G

rade

s

A78

A89

A90

ENROLLMENT COUNTS PERCENTAGES

Row Labels A78 A89 A90Grand Total A78 A89 A90

* 25 9 28 62 * 1% 0% 1%A 1277 1209 1112 3598 A 42% 44% 41%B 661 554 564 1779 B 22% 20% 21%C 296 214 233 743 C 10% 8% 9%D 121 114 99 334 D 4% 4% 4%F 148 109 102 359 F 5% 4% 4%H 1 1 2 H 0% 0% 0%I 13 9 8 30 I 0% 0% 0%

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N 22 17 6 45 N 1% 1% 0%NC 154 212 231 597 NC 5% 8% 9%P 111 130 94 335 P 4% 5% 3%V 55 49 32 136 V 2% 2% 1%W 94 60 107 261 W 3% 2% 4%Z 80 55 84 219 Z 3% 2% 3%Grand Total 3057 2742 2701 8500

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 thenumber 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.

Music Tech: Awards By Year

05

101520253035

Awards

Coun

t

A78

A89

A90

Al l AAAS Except Di gPerf:Audio

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EPC_Title A78 A89 A90Grand Total

Dig/Audio 18 29 16 63DigPerf:Audio 13 16 18 47Merchandising 3 3MIDI 5 8 5 18Performance 7 1 8Grand Total 46 54 39 139

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 RATESEarly Leavers 07-08

Completers 07-08

Mus Mgnt + Merchandising

57% (4) 94% (7)

Mus Instrumnt Digital

80% (74) 55% (2)75% (22) 87% (19)

4. CURRICULUM (FAC. REPORT Pg 5).GENERAL OBSERVATIONS4.1 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.

In the past some advisory committee members questioned the amount of music theory (36% of technical credits); however, a large majority (72%) of current

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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 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.

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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 LEARNING4.12 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/ADDITIONS4.15 Faculty demonstrates a strong commitment to ongoing curriculum

improvement and innovation. Currently they are upgrading two degree options: (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

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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 FACULTY5.1 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 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.

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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 full-time 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.

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 part-

time 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 ACTIVITY5.8 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 participate in professional development offerings or college committees. This creates a kind of professional isolation from the college community.

FACULTY FALL 2009 – SPR 2010 Annualized FTEFFull-Time Faculty: - 3 Music Tech* - 1 Music + IASTU**

3.09/yr (incld moonlight)

Part-Time Faculty – 5 4.60/yrTotal FTF + PTF (FWS) 7.69 AnFTEF

Ratio FTF to PTF (FWS) 40% FTF (60% PTF)

SUM 2009All Faculty – Summer .99 AnFTEF

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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 RESOURCES6.1 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.

PAST YEAR COSTS VERSUS FTES EARNED 6.7 Instructional costs (faculty salary and benefits) for the most recent complete

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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 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

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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.

7.4 The annual class schedule indicates most courses in the program are offered

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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 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

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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.

EFFECTIVENESS OF SUPPORT SERVICES

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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 GENERATION10.1 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: increase the number of online courses (may require more part-time faculty)

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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 technology-based 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.

12. COMPETITION (FAC. REPORT Pg 15)

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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

WEAKNESSES12.6 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.

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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 under-represented 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.

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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, butthere 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 PROJECTIONS14.3 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!

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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

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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

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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 follow-up 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

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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.

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APPENDIX

FACULTY REPORT…………………… 1-19

STUDENT SURVEY……………………20-44

ADVISORY COMMITTEE SURVEY….45-51

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FACULTY REPORT

FACULTY REPORT

Bruce Spitz, Steve Malott, Barry Ehrlich,James Elenteny, Jeff Kashiwa,Cody Groom, Norma Goldstein, PhD.

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08Fall

1 6 1 0 1 G r e e n w o o d A v e n u e N o r t h S h o r e l i n e , W A 9 8 1 3 3

Fall 10

Music Technology Program Review

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 non-linear 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 post-graduation 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 25-30% 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-of-mouth 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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http://www.shoreline.edu/music/musictech.asp

http://www.shoreline.edu/music/

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 well-defined 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 full-time 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 “prime-time” 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 face-to-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 pre-existing 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 state- owned 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.

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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 five-credit ‘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 head- start 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

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http://www.protoolstraining.com/

http://www.artinstitutes.edu/seattle/

http://www.fullsail.edu/

http://www.usc.edu/schools/music/index.html

http://mue.music.miami.edu/

http://www.belmont.edu/music/

http://www.berklee.edu/

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

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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.

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Shoreline Community College Program Review –

Fa1l 2010 STUDENT SURVEY Page 1 of6 » Member Login » Send my own surveys » Quick tour 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 22 Production

Digital Audio 63

Music 4

Merchandising/Business

Music Performance 7 __

Transfer Music Degree 7 Associate of Music

- 4

Degree

2. Are you a first year, second year, or third year student in the Music Technology Program?

First year Second year Third year Total

42 29

2

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

1148% to transfer for a bachelor's degree

15%

20

Shoreline Community CollegeProgram Review - Fa1l2010STUDENT SURVEY

Other, please explain

4. Describe the career in which you plan to be working five years from now.

View 69 response

2

Page 2 of6

3%

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%

Total 72 100%

6. How important do you think the study of music theory is to your career goals?

1 2 3% Not important at all

2 2 3%

Not very important

3 50-50 17 23%

4 Important 23 32%

5 29 40%

Very important Total 73 100

%

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 33 45% chances

Makes no difference 39 53%

Lessen my chances 1%

Total 73 100%

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Shoreline Community CollegeProgram Review - Fall 20 1 o STUDENT SURVEY Page 3 of6

8. Are enough online courses available in the Music Technology Program?Yes

No

Total

45

26

71

63%

37%

100%

9. Would you consider enrolling in a Music Technology Program that was taught entirely or mostly online?

Yes

No

Total

25

48

73

34%

66%

100%

10. 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

o 0%

Not so good

4 5%

View 13 responses

Fair

24 33%

Good

300 41%

Excellent

12 16%

N/A

3 4%

12. Effective curriculum structure:


Poor

o 0%

Not so good

2 3%

Fair

12 16%

Good

45 62%

Excellent

14 19%

N/A

o 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

selecting the option. Bottom % is percent of the total respondents selecting the option.

1 1%

4 5%

23 32%

30 41%

15 21%

o 0%

14. Adequate preparation for employment (knowledge and skills for the field):


Poor

1 1%

Not so good

1 1%

Fair

15 21%

Good

28 38%

Excellent

16 22%

N/A

12 16%

15. Adequate guidance for career planning:


Poor

2 3%

Not so good

3 4%

Fair

21 29%

Good

25 34%

Excellent

11 15%

N/A

11 15%

16. Adequate program resources (information technology, equipment, space, supplies):


Poor

o 0%

Not so good

6 8%

Fair

20 27%

Good

25 34%

Excellent

20 27%

N/A

2 3%

17. Class schedules meet student needs: View

23%

6 8%

19 26%

30 41%

14 19%

2 3%

View 11 responses

18. Academic advising meets student needs:


Poor

2 3%

Not so good

3 4%

Fair

14 19%

Good

35 49%

Excellent

9 12%

N/A

9 12%

19. Effectiveness of other support services (tutoring, financial aid, counseling etc.):


Poor

5 7%

Not so good

5 7%

Fair

12 17%

9 Reponses

Good

22 31%

Excellent

13 18%

N/A

15 21%

20. How likely are you to recommend program:


Poor

1

Not so good

0

0%

responses

Fair

11

15%

Good

25

35%

Excellent

34

48%

21. How did you hear about this program?

Website 29

Advisor 4

Other (please explain – view 40 responses) 40

Total 73

40%

5%

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

STUDENT SURVEY COMMENTS

3. Why are you taking Music Technology courses?Respondent # Response

1 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 # Response

1 I would like to further pursue a career in licensing music/writing for television or film.2 Online songwriting collaborations. Home studio projects3 Video Game Sound design, or something completely unrelated.4 Perhaps an engineer or doing post for film5 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.

7 In this economic environment it is preposterous to ask this kind of question.I would like to be working in television sound.

8 Ideally, sound design for a pc gaming company that doesn't consider its sound people disposable.

9 Working as a producer for my own production company.10 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.11 a recording engineer or an assistant12 Recoring industry or anything dealing with sound or music.13 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.14 audio engineer15 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 Production18 Composer19 optomistically, Recording engineer.20 recording musician as a singer21 Medicine22 Songwriter/Composer, continuing music student.23 Musician, teach music lessons, studio musician for hire, Producer, Sound Engineer,

sound designer24 create my own basement studio and whatever other work comes my way25 Creating music from my home. Performing in choirs, plays... acting in movies. Writing

symphonies. Audio production.26 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.

29 I plan on working as a mastering engineer in the next five years30 Film and/or video game scoring.31 producer32 I would love to either be working with live in-studio performances for radio, or working

somewhere like Clatter & Din.33 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/film37 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.

38 I plan on being an independent business owner in some division of the music industry.39 Freelance producer/engineer, possible studio owner/co-owner40 In 5 years from now I plan on owning and operating my own recording/post production

studio41 Studio Engineer42 Sound design/production for video games43 Sound Engineer44 Audio Production45 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.46 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/Producer49 Running a Recording Studio of my own or out on the road doing Live Sound for bands.50 audio engineering51 a combination of recording/mixing engineer, composer, and session drummer.52 Audio Engineer53 Professional Audio Engineer / DJ rockstar world tour travelin' guy54 TO ether be running a studio or to be a sound engineer for one55 playing and recording music internationally56 owner, of what, we shall see57 music producer and mixtape DJ58 Working in a major radiostation/ recording studio.59 Audio Engineering in some capacity; Pursuing an Electrical Engineering degree; Quite

possibly washing dishes or processing invoices.60 Working with live performances or sound designing and/or editing for a gaming

company61 I'll be a recording engineer.62 Music industry hopefully recording or live club sound63 Music performance, writing64 DJ (radio and club), Producer, and Audio Engineer65 ?66 Recording bands.

67 anything involving music or sound in movies radio or tv68 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.

69 I want to play in a band. I want to work/own my own studio.

10. Identify any courses you think would work online or as a hybrid (mostly online, some face to face class work)Respondent # Response

1 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.

2 Logic & Sibelius classes3 Music Theory classes4 theory would work well online and maybe first year recording but anything after that

really needs to be explained in person.5 Most of the theory classes could at leas be hybrid. The intro to midi could be entirely

online. Also, the communications class.6 Legal and music business courses, and other similar courses that require less attention

from an instructor.7 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.

8 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.

9 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 hands-on 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.

10 theory11 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.12 vocational music seminar music recording/publishg right/methods-multimedia13 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 paper17 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.

18 Potentially the theory classes.

19 thoery20 theory theory theory..21 I think audio production and audio recording, possibly the midi although I'm not taking

that course as of now.22 Vocational Seminar, Copyright, Business, First year Audio Engineering (hybrid), intro

courses ie music theory, midi and pop theory.23 msct 13124 Some tutorials would be nice.25 Midi classes mostly. I prefer that I am instructed when it comes to music theory.26 Midi classes mostly27 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.

28 Can't think of any at the moment.29 none30 I don't think this program would work as an online or hybrid class31 I do not like online classes32 ProTools (part online, part in campus), Vocational Seminar, Rights to Multimedia33 N/A34 Probably most classes could be online, but I really don't feel that I learn as well with

them.35 036 I think some of the core stuff could be more on line.37 Don't mind class time38 The music business/copyright classes and the first year audio classes.39 IDK40 Music Theory41 all42 pro-tools class for those who have pro-tools at home, also the MIDI classes.43 Music theory44 I would study music theory online. With other parts of the discipline I would rather have

live lectures and hands-on opportunities.45 MUSTC 121, 221,131, 23146 Music theory or anything that doesn't involve handson with gear or insturments47 Less disturbances from disrespectful students48 I don't like online courses!!!49 in person's always better.50 All? depends how well the face-to-face time can be used51 all introcuction classes besides piano and protools52 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.

53 Music Theory

11. Helpful program information on college website and printed materials:Respondent # Question 11: Additional Comment

1 The SCC Studios website needs lists of equipment available at different studios/workstations, and updated pictures

2 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,

3 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

4 The posted music tech degree curricula are clear, but Blackboard and the rest of the SCC website are generally unclear and not user-friendly.

5 I would like to see a list of music electives offered, so I won't have to search through the online catalog for them.

6 website is hard to navigate and blackboard barely works7 College website is sometimes difficult to navigate.8 The written stuff is good, but I have a hard time finding the info I want when I go online

to get it.9 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

10 Some information too difficult to find.11 Not enough12 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.12. Effective curriculum structure:Respondent # Question 12: Additional Comment

1 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.

2 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.

3 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.

4 this is my first quarter so i dont really know yet5 The gaps between some courses make it very difficult if not impossible to work while

going for the degrees.6 More one on one working with software and the boards would be nice.7 It seems like some of it could go faster, and some could go slower, but it is always that

way.8 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 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.

9 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.

10 Not sure, only first year. But I did not get into Intro To MIDI, and now I have to wait half a year :(

11 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 # Question 13: Additional Comment

1 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.

2 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.

3 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

4 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.

5 All of my instructors are very helpful.6 there are a lot of students7 Teachers are all extremely helpful and can answer any questions I have, even if they

don't directly pertain to the class.8 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.

9 Some students who have no prior experience in general don't get as much help outside and in the classroom.

10 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.

11 Not in your face, but if you ask questions the support is great. James Nixon is super knowledgeable and a good guy.

12 Piano class could use more instruction its the only class i feel like i dont have a grasp on

14. Adequate preparation for employment (knowledge and skills for the field):Respondent # Question 14: Additional Comment

1 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)

2 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!!)

3 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

4 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.

5 I wont know until I find a job...6 too early to tell7 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

10 It's too early to judge. It seems good, but I've only been here 4 weeks, so I can't really say.

11 Not sure. I haven't been employed with the skills yet.12 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.

13 Teachers talk about possible learning opportunities but not enough resources are made available (internships, gigs, free local classes, etc.) for students themselves.

14 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.

15 The instructors usually speak to this kind of stuff pretty well. XXXXX repeatedly described being an engineer as "a hustle."

16 don't know yet

15. Adequate guidance for career planning:Respondent # Question 15: Additional Comment

1 More in this area would be nice.2 What guidance? We don't even have a person that helps us with internships or job

placement like other programs do.3 AES & GrammyU spamming isn't really all that helpful.4 When one seeks it out the teachers are always willing to help.5 See comment above, and--is there guidance for career planning in the program? In

what form? How can I get some?6 there has been mention of certain avenues that are big in the industry right now. some

of our projects have leaned toward this skill.7 See above8 Vocational music seminar is helpful in this regard.9 I think so?

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.

11 No guidance at all.12 havent taken this class yet

16. Adequate program resources (information technology, equipment, space, supplies):Respondent # Question 16: Additional Comment

1 Equipment breakdowns and general unkepmtness of workstations is very frustrating; MIDI studio is rarely available

2 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.

3 Again a software/OS bias makes the program seem very narrow minded at times.4 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!

5 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.

6 The carts used for the pro tools classes are hit or miss and the midi room needs a lot of work.

7 Very comfortable and well equipped studios.8 Awesome there.9 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.

10 It would be nice if the studios could be open during daytime hours during the week11 More money for the music dept and it's equipment.12 more studio space for recording, better quality of equipment13 Always seems to be equipment breakdowns especially before a class begins, which

delays class. Tech office is not always available to help either14 superb! if only the stations were set up more permanently... wrapping and unraveling

wires and fidgeting with carts really cuts into productivity17. Class schedules meet student needs:Respondent # Question 17: Additional Comment

1 It sucks how a couple required classes are early morning, then seemingly everything else is in the afternoon

2 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.

3 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.

4 classes and days can be quite long, but for the most part im used to it.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.7 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.

8 Music Theory Classes should be available in the afternoon as well and not just every morning every quarter.

9 I wish classes were available any time of the day as opposed to just afternoons or just mornings. Of course, that's somewhat unrealistic.

10 Audio Production should be more then once per week!!!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 # Question 18: Additional Comment

1 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.

2 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...

5 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.

6 XXXXX was great, but I can't comment for the rest since i have not met with them.7 I feel like I haven't found the right adviser yet, but may be I just haven't been looking

hard enough.8 Never been to an adviser.

19. Effectiveness of other support services (tutoring, financial aid, counseling etc.):Respondent # Question 19: Additional Comment

1 Tutors have been difficult to find and when you find one, they are not dependable2 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!

3 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

4 Free tutoring is nice to have available. After a moderate bureaucratic nightmare, I was able to get financial aid through workstudy.

5 Not your fault, but financial aide here sucks.6 SCC has the most inefficient, unhelpful, and generally incompetent financial aid office

I've ever encountered.7 Personally got a tutor in Spring Quarter and didn't learn better because tutor was

student herself and didn't teach properly.8 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.

9 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 # Question 20: Additional Comment

1 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.

2 After becoming disillusioned with the program, it's unlikely I can recommend the program in good conscious

3 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.

6 best in the NW :)7 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.

8 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.12 mostly if someone wants to pursue a degree and work as an engineer, otherwise???13 It would depend highly on the person's level of experience and access to learning

opportunities outside of school.14 As long as XXXXX is teaching, I won't recommend the program.15 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 # Response

1 Friend2 Personal searching3 SCC Mailer4 I asked some engineers and musicians I know about schools with a Digital Audio

program and Shoreline came up a lot.

5 A friend who attended.6 I was in a different Shoreline program and switched.7 Got accepted to AI seattle, but couldn't afford it and was told this would be an

alternative.8 I was searching for the best school for music tech9 From EVERYONE for the last 10 years (WOM)

10 word of mouth11 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.12 advisor from other school13 Worker Retraining Office14 word of mouth15 Former student16 word of mouth from many people in the industry.17 My own personal research18 I have 3 friends that were enrolled in the program 10 years ago.19 friend20 I got a schedule in the mail.21 Friends22 Parent, who is an advisor at UW.23 collegeboard.com24 A coworker in Puyallup recommended it highly, based upon several friends' intention to

enroll. The website and conversation with xxxxx cemented my interest25 Friend26 Friend27 Friends28 My brother is taking the same thing.29 friend30 Given by my music theory professor.31 searched which colleges offerd audio engineering courses.32 I was told you guys have a nice program33 friend,34 friend35 found it at my high school in the career center36 Fanzine interview with Chris Walla, I think.37 Friend38 Grad39 word of mouth working downtown last year40 friend

22. Why did you select this program rather than a different college?Respondent # Response

1 It is affordable and considered one of the best.2 I wanted to get involved in the latest technology to further my career. Program was

better set up than Edmonds CC

3 No other place around has the same kind of program4 It was the only audio degree offered in seattle5 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.6 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 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.

10 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.

11 because here is famous for music program12 Location13 I heard that the Digital Audio Engineering program at Shoreline was the one to pursue

in the Seattle area.14 it's the only one community college that offers a degree in audio engineering15 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).

16 This is the best, most affordable place in the Seattle area to get an audio degree.17 Reputation of the program18 Only community college that offers a program like this19 Good program and close to home20 more reasonable than other 4 year colleges21 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 program24 because i heard its the best for what i want to do25 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.26 had the best access to equipment and teaching.27 price28 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.

29 I selected Shoreline do to the research I had done in looking for the right program to fit what I am pursuing.

30 Friend's recommendations31 I heard this college had the best, affordable, audio program32 Within my price range, good location, heard good things about the program.33 It was close by.34 I had previously attended AIS. This was for a different program but I had always heard

their music tech was lackluster.35 It seemed like it suited my location and financial needs.36 Way cheaper than art institute, similar curriculum37 I came in a checked out the music facilities and met some people, and I was highly

impressed.38 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.

39 Proximity, good word-of-mouth reputation, two year degree40 Price of tuition was significantly lower41 It's reputation42 Tuition cost, recommendation43 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 Heard it was a good program, affordable, close to where I live, and my brother is doing

the same thing and he recommended it.47 affordable48 It was highly recommended to me from some of my trusted industry friends.49 I got in.50 Reputation51 it seemed to have the best classes.52 It was the only course of study in the Worker Retraining program that I was interested

in.53 Good timing54 >$$$ + Distance = Shorline55 Because it was a community college and i heard that the music program was one of the

best in the state56 $, decent reputation57 because I can afford it58 personal interest59 because shoreline is the only school close that has this program.60 Lack of language credits.61 I live in north Seattle, and North Seattle Community College didn't offer a similar

program.62 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 house65 Recommended program and it's somewhat close to home!66 I asked around to people I trust. I used yo go to art institute that place was a joke. i like

shoreline much better.67 affordable, and great equipment68 it was the closest to my house69 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.70 Cheaper Top rated

23. What are the program strengths?Respondent # Response

1 I think the teachers here truly do care about us, and that means more than anything.2 Can't think of any3 Instructors who know what they're talking about and are super willing to give extra

help, lots of equipment to use, radioactive pandas4 The technical skills taught5 Theory and hands on projects.6 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.

7 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 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.

11 The teaching staff is really awsome.12 The staff.13 good resources and smart teachers14 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.

15 Very practical material, great learning pace, lots of support and encouragement from teachers and fellow students.

16 Good teaching staff and equipment17 This program has everything that I could ask for.18 great teachers19 Equipment, teachers, curriculum.20 The faculty here is awesome.21 Teachers seem to be down to earth22 great teachers and extremely affordable23 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.27 Staff and equipment compared to other schools in the area.28 The equipment is current and up to date. The teachers seem to really care that the

students do well.29 My professor is very good, very clear.30 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.31 Teaching staff.32 Once again, the teachers are extremely helpful, the studios are well-equipped, and the

advisors are helpful. It's the people, mainly.33 That it is awesome34 Knowledgeable faculty, emphasis on music theory for tech students, individual

instructors past and present who go the extra mile for students35 Everything pertaining to audio technology36 The facility, scheduling, teaching.37 Knowledge base of the teachers38 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.41 na42 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.

43 Great teachers!44 The diversity of material covered.45 Good teachers and technology46 Great instructors47 The fact that every one is nice and knows what they are talking about48 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.51 Classes52 The people are pretty friendly and the access to real gear and software is fairly

incredible.53 Knowledgeable staff, outside learning opportunities through various clubs54 Some of the teachers.55 Material and verbal education provided and equipment56 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..mostly60 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.

61 Good people to teach Learning something I like Fun

24. What changes would improve the program or service to students?Respondent # Response

1 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. Coordinating the course structures of the various classes and making sure there is less overlap would be helpful too.

2 Get rid of XXXXX and find an instructor who has structure in their teaching method3 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 lots4 more artistic or creative approach to things rather than strictly commercial and pop

approach. perhaps customized curriculum for advanced students.5 I would like it if some of the essential classes for digital audio were offered in the

evening.6 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.

7 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.

8 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.

9 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.

10 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

11 more places to jam for students so that they can practice and help each other12 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 :)14 maybe small classes, some classes have so many students15 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 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.

16 better sounding rooms for acoustic recording.17 ?18 Nothing, I think it's an outstanding program with a great staff. If I could I would donate

money!19 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 state24 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.

25 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.28 Less required studio time outside of classes. Some classes should be closer together

time wise.29 Haven't gone long enough to know30 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.31 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.

32 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 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.

36 Daytime studio/workstation availability during the week37 n/a38 Require all students to take Music theory 100 before taking 141. Also, include more

modern music performance options, i.e., guitar (metal), etc...39 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.

40 NA41 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.

42 na43 Just more equipment and space for the music dept.44 Unsure...45 An easier website to navigate.46 Smaller classes47 having more equipment, stations and booths, and earlier studio time booking48 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

49 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.

50 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.

51 more online classes. one on one time to help take in more information52 Na53 I would be interested in classes or even just some web resources geared towards low-

budget 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.

54 It would be nice if the Pro Tools stations were permanently set up in a space55 Put a lot more money into the music programs,where need be.teach online MUSTC

121,221,131,23156 Quit making us guess just give us what we need to knowp57 More class time.58 ?59 making the stations more permanent, having some basic early on projects work more

directly with musical sounds60 for me personally, more hands on what needs to be and less time in the classroom

when i dont need to be there..61 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 :)62 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.

NOTE: SPECIFIC NAMES OF FACULTY MENTIONED IN STUDENT COMMENTS HAVE BEEN REDACTED (XXXXXX) FROM THE SURVEY SUMMARY

Shoreline Community CollegeFall 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: [email protected] 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 outdated viewpoint. The industry is going through a major transition.

I don’t know much about assessment.

mailto:[email protected]

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

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

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.

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___________________________________)

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.

(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)

program review report – spring 2010€¦ · web viewcomprehensive system of assessment of...

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