The master in music production, technology, and innovation explores cutting-edge developments and forward thinking techniques in music and beyond. While strengthening sophisticated skills on the most current digital tools, students are challenged to disrupt the status quo while inventing the future of music.
Through accelerated study of hybrid recording, music video production, sound design, musical app development, electronic production and live performance, students develop in-demand skills to prepare themselves for careers as artists, technologists, producers, DJs, electronic composers, educators, and software and/or hardware designers.
Access state-of-the-art recording studios, equipment, and facilities.
Choose from a variety of classes
Create the next generation of immersive and interactive music media
Develop a cutting-edge culminating experience project
Advanced Studio Recording
Students spend ample time in our recording studios, mastering the most up-to-date techniques for capturing and manipulating sound. Students attain valuable skills in surround mixing, creating custom impulse responses, spectral repair, and complete control over pitch and time.
Digital Production and Design
Students get hands-on experience in music video production, sound design, synthesizer programming, and production using the latest hardware and software on the market (including Ableton Live, Max, ProTools, and Adobe Premiere). Students have access to our technology labs, recording studios, and scoring stage with the same hardware and software as any other top professional facility.
With the opportunity to collaborate with composition and performance master’s students on campus, music technology students push the limits of musical expression. Students explore the relationship between the musician and technology in live performance, with the goal of bringing something new and captivating to the audience. The video is a summary of acts performed at “Innovation: ¡En Vivo!” put on by students from all programs on campus.
Who We Are Looking For
We seek open-minded, ambitious musicians who want to leverage technology in pursuit of their artistic vision and career goals.
Ideal candidates want to:
Gain cutting-edge skills in music technology;
Apply new inspiration and possibilities to their artistic endeavors;
Implement the principles of innovation to their craft and careers;
Focus on developing and implementing new and emerging music technologies; and
Shape the future of music.
Ideal candidates should demonstrate:
Facility with technology;
Success in both artistic and academic settings;
A strong work ethic, including prior accomplishment; and
The motivation to make massive progress in one year.
The master of music in music production, technology, and innovation is a unique project-focused program that provides students with a deep knowledge of current practices and innovations in music technology, electronic musicianship, and music production. In the program, students learn hybrid arranging, composition, recording, editing, sound manipulation techniques, and live interactive performance systems. They also explore the art and science of musical innovation and case studies of transformative music innovators.
Students apply the principles of innovation to an advanced music project, which may be a technology-aided composition, a large-scale recording project, and/or live performances that may feature interactivity; multi-channel audio; digital visual expressions; originally designed instruments and systems; and/or musical applications for web and mobile devices. Other innovations that push the boundaries of music and technology may also be possible for this culminating project.
The goal is to produce a body of work that will prepare students for a career in music technology innovation, composition and production, interactive and mixed media, remixing, electronic musicianship, DJing, software and game development, live performance in solo and ensemble settings, and/or education. Upon completing the program, students will also be well prepared to adapt to rapid changes and new creative directions in the music industry.
Program Purposes and Learning Outcomes:
Upon completion of the program, students will be able to:
Create innovative music using new technologies.
Apply technology to the composition of music.
Analyze the properties of sound.
Develop critical listening and assessment skills.
Synthesize studio technologies and techniques.
Master MIDI and audio production technologies and techniques.
Perform electronic music live.
Integrate music and audio into software applications and games.
Generate and manipulate video in relationship to music.
Develop audio in the context of software applications (coding).
Take advantage of technology for professional network promotion and the dissemination of music in an innovative way.
The culminating experience is the final project that students work on throughout the year and present at the end of the program. Through the culminating experience, students make a creative contribution to, and/or define and solve a problem that exists in, the profession. This is a major part of the master's program and represents the educational journey students take over the course of the program. The final presentation can take the form of a research project, a creative work, or a practical project.
Culminating Experience Timeline
Semester One: Students propose their culminating experience to their advisor and program director.
Semester Two: Students revise and refine their proposal and get final approval from their advisor. Students also work with their advisor to form the culminating experience committee for their project.
Semester Three: Students complete and present their final project to the culminating experience committee.
For more detailed information about the culminating experience, you may reference the Graduate Bulletin.
This textural music box is an experimental instrument developed by Francesca Pavesi, who performs as Beatswin. The instrument uses commonly found materials to develop a type of organic sound design, which adds a new dimension to the artist’s sound.
Tacto is a wooden box with motors and electronics controlled by a laptop to create motion that will generate sounds, which are then amplified using contact microphones. Then the sounds are fed into Ableton Live and modified with real-time effects to create rhythmic textures and noises. The main purpose behind the creation of this instrument stems from the necessity to reconsider what is usually taken for granted. We are constantly surrounded by all types of sounds, but it is unlikely that we actively listen to them, let alone consider them material for music. Tacto is a chance to reconsider these everyday, simple sounds and integrate them into contemporary electronic music production. Moreover, the idea complements Beatswin’s strong desire to combine the organic with the inorganic, the natural and the industrial, analog and digital. Ultimately, the aim is to bring these textural sounds into a live performance, where every noise is intertwined to create an "embroidery of sounds."
Projected Self is the debut solo project of experimental artist Colin Watson. The performance piece shifts through many genres, from the familiar to the extreme. Using a combination of programming, audiovisual triggers, and a dramatic live performance, Projected Self aims to take the listener on an emotional journey through sound and light.
Tia Joyo, meaning “spiritual search,” is a virtual reality, audiovisual piece by Carlos Egas that looks for an organic integration of music, exploration, and an immersive environment.
Everything is inspired by the Ecuadorian tropical forest and its different elements. The piece gives the user the liberty to explore and experience the different musical and visual pieces existing in this magical environment. Egas wants to show his identity as an artist in media formats such as virtual reality, spatial audio, and audiovisual installations. He’s always looking for the perfect blend of innovation and tradition in his art.
Graduate programs at Berklee’s campus in Valencia, Spain, are accredited by official authorities in both the United States and in Europe. See accreditation and disclosures information here.
The master of music program at Berklee College of Music is designed to be completed in three semesters of study–or one full academic year: fall, spring, and summer semesters. There is an optional internship that takes place the fall after graduation for those who want to do an internship through Berklee for credit.
This course provides a forum for the exploration of innovation and the integration of technology in modern music production. In this course, students learn a thematic and practical exploration of research and innovation in music, arts, and technology. They also develop artistic and technical communication skills and practice collaboration. Students explore relevant brain science and effective approaches to exploration, idea generation, evaluation, and implementation, with an eye towards adapting the most applicable practices to their field of specialization. Common characteristics and practices of trailblazing individuals will be considered, and students will prepare media-rich presentations about their favorites. This course will also function as a forum to integrate the skills and techniques students are learning in their other courses, as well as helping students focus and define their culminating experience thesis projects. The final project in the course will be a detailed definition and action plan for each student’s culminating experience.
This masters level audio recording engineering course will give students a comprehensive review of the methods and strategies that make up the professional practice of studio and post production audio engineering, while keeping the emotional impact of music production. This course explores the hybrid nature of modern recording techniques and stratagems. The curriculum thoroughly studies the simultaneous integration of advanced large format consoles, cutting-edge digital audio workstation capabilities as well as advanced, creative acoustic recording methods. The traditional console recording paradigm will be expanded by seamlessly merging it with powerful digital audio workstation signal processing, plug-ins, customized signal flow architectures and the ongoing research of alternative acoustic soundscapes. The course aims at innovating and streamlining the technological aspects of the recording process as a means to ultimately facilitate the creative endeavor of capturing music and emotion through sound.
In this course, students explore a variety of multimedia software, hardware, tools and strategies useful in creating compelling VJ performances, video and multimedia installations and video mapped projects, especially using “guerilla” techniques (self- produced, low budget projects). The goal is to put more visual performance tools in the hands of musicians, to enable them to expand their musical performances into multimedia and visual realms. Students learn Premiere Pro, After Effects, Photoshop, Canon SLR cameras, and work in-depth with Resolume Arena, Sketchup and physical object modeling for video mapping. Throughout most of the course, students acquire new skills as they complete a variety of small hands on training projects. Students also enhance their software/hardware/skills learned by creating a visual performance or installation project that is ready for the audiences outside of Berklee and serves to directly support the students’ creative vision.
As our daily interactions in the social, cultural, and commercial spheres are increasingly digitally mediated, resulting in systems that are open to user input or that persist for an indeterminate amount of time, conventional notions of sequential narrative lose their efficacy, and a new type of system-based problem solving is required. Such nonlinear formats represent a growth area for composers, music producers, installation artists, and multimedia performers. In this course, students learn about the network of emerging practices that are springing up in such fields as sound art, interactive multimedia art, and audiovisual performance. Students gain the technical and theoretical skills to navigate this new ecology of multiple digital media. Using the graphical programming language Max, students develop projects that examine precedents for non-linear structure across boundaries of discipline, culture, and aesthetics. Developing fluency with alternative organizational models to traditional linear forms will allow students to innovate and thrive in a new digital ecosystem.
Innovation Seminar 2 picks up where MTI-515 Music Technology Innovation Seminar 1 leaves off, providing the platform for students in the music technology innovation master's program to launch the execution phase of their culminating experience project. The course will provide a framework for project management, including planned milestones, visiting artists, and material strategies to incorporate students' projects into tangible career opportunities. This course provides a forum for the exploration of innovation and the integration of technology in modern music production. In this course, students learn a thematic and practical exploration of research and innovation in music, arts, and technology. They also develop artistic and technical communication skills and practice collaboration. Students explore relevant brain science and effective approaches to exploration, idea generation, evaluation, and implementation, with an eye towards adapting the most applicable practices to their field of specialization. Common characteristics and practices of trailblazing individuals will be considered, and students will prepare media-rich presentations about their favorites. This course will also function as a forum to integrate the skills and techniques students are learning in their other courses, as well as helping students focus and define their culminating experience thesis projects. Students will focus and implement their presentation skills through the milestones for this course: three prototype presentations, during which they will present their works-in-progress, and field feedback from faculty and peers.
This course explores the hybrid nature of modern recording techniques and strategies. The curriculum thoroughly studies the simultaneous integration of advanced large format consoles, cutting-edge digital audio workstation capabilities as well as advanced, creative acoustic recording methods. This advanced level course leverages the students’ previous experience in traditional studios and home-based studios to delve deeper into the topics that are normally not covered in an engineering curriculum. The traditional console recording paradigm will be expanded by seamlessly merging it with powerful digital audio workstation signal processing, plug-ins, cutting edge signal processing, customized signal flow architectures and the ongoing development of alternative acoustic soundscapes. Most importantly, the course aims to innovate and streamline the technological aspects of the recording process as a means to ultimately facilitate the creative endeavor of capturing music and emotion through sound. Considerable attention will be given to the mindful integration of the musical creative process in support of maximizing the emotional impact of the music production.
In this course, students learn a variety of multimedia software, hardware, tools and strategies useful in creating compelling graphic design, posters, music videos and other visual media, especially using “guerilla” techniques (self-produced, low budget projects). The goal is to put more visual tools in the hands of musicians, to enable them to take control of their own visual brand and visual promotion, and to help students synthesize a variety of visual design and editing skills in order to increase their ability to express themselves artistically. Students focus all of their newly learned skills to produce a final project of their choice with guidance from the course instructor.
This course explores topics in electronic production and live performance techniques related to modern music and sound design. Students will be introduced to MIDI programming and processing with Max/MSP, advanced control techniques of audio and synthesis devices (in Ableton Live through Max and Max for Live), and aesthetic considerations in the production and live performance of electronically produced music. Students will explore strategies for integrating performance and production, resulting in a greater creative method for production and greater technological augmentation of performance. Students will develop their own dynamic computer/controller based music performance system and demonstrate it in a final performance and presentation.
Students participate in a diverse array of professional development experiences to facilitate their career success. These experiences may occur throughout the school year as well as during the Professional Development Week at the beginning of spring semester. These experiences assist students in refining their career goals and focus and in developing a career plan. Students also assess their professional skills, remediate gaps, enhance their professional profile, and sharpen their job search skills. More importantly, students strengthen their skills in career exploration and career resilience.
Music technology innovation students are required to complete a culminating experience project. This creative, artistic or research project enables the student to make a contribution to the music industry. The student will work in consultation with his/her faculty advisor and/or program director to develop his/her unique project. The goal is to complete original work at a professional level. A faculty committee composed of the advisor and one to two other faculty will evaluate the final project that results from the culminating experience. This team will serve as the examining committee.
Students work closely with their faculty advisor to conceive and develop their culminating experience—a practical, creative, or research project enabling the student to make a contribution to his/her field of study and to develop their academic and career goals. Meetings between the student and advisor begin during the first week of the first semester (or during orientation) and continue until the final week of the program. Students present ideas, receive feedback, advice, support, suggestions, guidance and more from their advisors as they design and execute their culminating experiences and plan their academic and professional careers. Advisors guide students in meeting the various deadlines and milestones required as students complete their culminating experience, prepare for graduation and prepare for their careers.
Students in music production, technology, and innovation take one or two electives during the year. Students choose the electives that best fit their career goals and interests. The semester and electives offered may vary each year.
In this course, students learn to use the turntable as a musical instrument. Students explore the culture and aesthetics of hip-hop, turntablism, club DJs, radio, and mash-up DJs. They also study the following techniques: cueing, mixing, beat matching, beat extending, mash-ups, blending, and scratching (basic, scribble, laser, uzi, stab, cut, transformer, crab, chirp, and flare). Students learn to compose and perform DJ sets with creative and technical mastery.
In this course, a continuation of MTI-611, students learn how to create a DJ set using the latest technology available. Students also explore the art of sampling and beat making through the extensive knowledge of Akai MPC Studio/Renaissance and Roland Aira TR8 Rhythm Performer and the TB3 Bassline Synthesizer. They also study how to create a track from scratch based only on samples, how to integrate and synchronize hardware to a DJ booth, how to promote themselves as DJs, how to focus their artistic career depending on their style, and how to read the crowd properly when DJing.
This course explores advanced topics in sound design, beginning with ear training and progressing through professional, cutting edge tools and techniques. Students learn to analyze musical sounds, deconstruct their elements and apply modern techniques. In so doing, students learn to apply new technological solutions to music production as they create new sounds and apply these to creative works. Students also master audio effects and apply automation to creative works.
In this practical, hands-on course, students learn to design, test, analyze, and improve music apps for iOS devices, including the iPhone, iPod Touch, and iPad. Several small apps will be created and prototyped over the first half of the semester, with a larger apps being created, tested, and deployed for the final project. Existing music apps will be evaluated for effectiveness and usability, and this evaluation process will be incorporated into the prototyping stage of the students' own app development. Students learn and use the Swift programming language, and also become familiar with the Objective C programming language.
This course builds on the skills and experiences gained from MTI-543: Music Video Production, providing additional mastery of the tools and techniques needed to create compelling, creative music videos. Students refine their filmmaking methods and clarify their artistic vision, creating music videos that are technically and aesthetically polished. Students learn to apply additional promotional best practices in pursuit of video virality. They also explore specialized areas of video production, including video projection mapping.
This class systematically explores the history, concepts, tools and strategies of analog synthesis and sequencers. Students learn to effectively create sounds and program a variety of analog synthesizers, including physically modular systems and Virtual Analog versions, and synchronize them with DAWs. Students explore the art of synthesis through the hands-on study of signal flow, timbre, sound design, programming, and the musical functions of various types of sounds.
This course is a hands-on survey class that reviews the most contemporary approaches to self-empowered technology-based research and project-based applications to music, performance, lighting, art installations, robotics, etc. In this course, students participate in workshops that showcase a particular technology before delving into how to appropriate each tool for their own projects. Students complete work that is project-oriented, and focuses on community and group learning, in order to maximize productivity and experience the real-world challenges of team building, knowledge sharing, and iterative-prototyping. Students learn the basics of electronics and how to prototype devices using breadboarding, as well as foundations of sensors and electronic signal flow using Korg's littleBits synthesizer kit. Students move from learning how to use sensors and components to prototyping. In addition to this, students learn wiring and soldering through in-class workshops, installs, and through modification of toy devices and controllers. The course introduces Arduino programming, Raspberry Pi, and control of various input/output sensors from Max7 and Ableton Live. In addition, there are three design challenges throughout the semester (one at the end of each month) in which students apply the tools and technology learned in class to a group project challenge in order to win prizes.
This course follows an open, directed studies format which gives students weekly time to access audio, video, and building tools. During class sessions, students prepare their technology-oriented culminating experience projects, taking advantage of weekly individual meetings with the professor for technical/coding assistance and consulting. Culminating experience preparation and design challenges are discussed and solutions sought and students work in groups on innovative technology-based ideas (examples include virtual reality, automation, audiovisual performance, custom electronics building, and more).
This course comprehensively explores and combines the in-studio aspects of professional multitrack mixing and unique qualities of live performance mix techniques. The curriculum thoroughly studies the integration of advanced large and small format consoles, digital audio workstations, professional outboard equipment and cutting-edge control surface modules. In the studio, students will analyze and contrast the core/foundational elements of a mix versus peripheral accessory elements. From this analysis, hands-on mixing strategies as well as emotional destinations will be drawn in order to provide each student with a clear and focused goal for their mix projects. In live situations, the mix engineer will have a direct reactionary relationship to a live performance in order to express his or her artistic sensibilities in order to achieve a desired emotional impact. The course aims at streamlining the technological aspects of any mixing process as a means to innovate and ultimately facilitate the endeavor of creating deliberate emotional impacts through the manipulation of sound.
This course provides students an opportunity to integrate professional and academic experience through internships. The internship site must be approved by the student’s faculty advisor and/or the program director and must provide a learning experience that enables the student to meet academic and/or career goals. Through the internship, students apply theories learned in their graduate studies and explore aspects of the music, entertainment, and/or other industry as appropriate.
Please note: Students are responsible for securing their own internships. The internship must be secured prior to course registration. Students must complete approximately 100-300 hours during the internship. International students in F-1 status must obtain authorization on their Form I-20 from their International Student Advisor prior to beginning an internship.
Students may take these optional classes if they have space in their schedule after all required courses are scheduled. Optional electives do not count in program total credits.
The advent of digital art and its associated technologies has created many cross-disciplinary and hybrid practices using multiple media such as sound, video, light, and space. Many of these contemporary practices come together in one format: the installation. In this course, students course review not only the history of the installation, but also the histories of converging practices that have developed media art (e.g. sound, video, kinetic, light, etc.) and the main movements surrounding them (e.g. futurism, Dadaism, Fluxus, minimalism). Through this review, students understand where contemporary art comes from, and what its future may hold. Students explore the technical tools (SketchUp, Photoshop, InDesign, Premiere, MaxMSP) necessary to imagine, prototype, produce, and diffuse one's own multimedia installation. Beyond realizing a project, students also consider documentation, archiving, grant-seeking, and responding to call-for-works. All of these are integral elements of the artistic process and enable students to maximize a project's viability. Students produce multimedia installations, either in a group show or in solo exhibitions.
This course enables students to enhance their ensemble-playing skills, deepen their knowledge of a particular style and its associated repertory, and develop their individual performance identities. Students develop their ability to create and perform music in a particular style. Working under the direction of a senior faculty member, students complete exercises that enhance their intonation, articulation, and improvisational skills in an ensemble context. Students learn to maintain stylistic integrity by developing their awareness of the melodic, harmonic, and rhythmic practices associated with a particular repertory.
Principles of Music Research introduces the tools of music scholarship, including reference and research materials in both book and electronic forms. Students develop the skills, attitudes, and understanding to research and write about music by learning how to approach various types of scholarly study within music and by increasing their proficiency with music library resources. Projects and assignments will be tailored to the individual needs of the student working towards his/her culminating experience or thesis project. Students learn advanced information seeking, assembling a literature review, evaluating current research, writing and documenting sources professionally and ethically, distinguishing primary and secondary research, and finding and applying for funding sources. Students taking this course should have the ability to recognize, identify, and define an informational need; seek basic information in a strategic way; locate and access basic information; and evaluate information sources for essential levels of quality and relevance.
This course enables students to deepen their knowledge of rhythm, focusing on the study and practice of rhythms from different world cultures, while also analyzing their essence and synthesizing them within their own musical vocabulary for performance and composition. Working under the direction of a senior faculty member, students enhance their sense of rhythm, interpretative skills, and improvisational skills in a practical environment that involves composition, transcription, listening, improvisation, and playing music. Through listening, transcribing and analysing different rhythmic cells, students will be able to expand their musical language and creative skills by developing their ability to understand complex rhythms and apply them to their own music. Students learn to maintain stylistic integrity by developing their domain over rhythmic practices which involve the coordination of body and mind to integrate rhythm in a much deeper way.
In order to give students a broader understanding of the music industry, we host industry-leading artists and faculty from Boston to give lectures and workshops related to specific challenges and opportunities in the industry. Faculty visiting from the Boston campus frequently come to Valencia for special workshops and presentations. In many cases, students from all masters programs are welcome to attend visiting artist and faculty sessions, regardless of program.
Visiting artists and visiting faculty change each year. Here are some of the visiting professionals who have visited campus in the past on behalf of the music production, technology, and innovation program:
Billy Seidman is the cofounder of the BMI Contemporary Pop Workshop and Song Arts Academy. He is on the songwriting faculty at New York University Steinhardt and the New School in New York. He has trained writers including Bebe Rexha, Rachel Platten, Chris McClenney, and Khalid.
German Ramos is involved in audio technology courses for musicians covering acoustics, audio effects, and sound synthesis. He has served as an employee for many professional audio companies doing research and development.
An Amsterdam-based jazz and improvisational band, Tin Men and the Telephone employ live electronics, projected visuals, and audience participation in their work. They incorporate their own groundbreaking technology (an app of their own design) to get audiences involved in their one-of-a-kind concert experiences.
Possessing over 25 years of experience both as a studio and live recording engineer, Steve Genewick has worked primarily out of Capitol Studios as a staff engineer since 1994. He is a three-time Grammy-nominated recording engineer and has worked with artist such as Diana Krall, Gladys Knight, Neil Young, Quincy Jones, and Paul McCartney, among others.
Gregg Field is a six-time Grammy Award winner and was named Producer of the Year in 2010. Commonly referred to as one of the most versatile and highly sought-after producers, drummers, and educators in music, his list of collaborators include Frank Sinatra, Barbra Streisand, Stevie Wonder, Andrea Bocelli, and Michael Bublé, among others.
An award-winning composer, musician, producer, and engineer, Stephen Webber was founding director of Berklee’s Master of Music in Music Production, Technology, and Innovation program in Valencia, Spain. Webber wrote the best-selling book Turntable Technique: The Art of the DJ and founded the world’s first college-level classes in DJing and turntablism.
American composer, musician, inventor, and professor John Chowning visited our campus to share his discovery of the FM synthesis algorithm in 1967 with our students. Chowning also led the Vox Festival during his time in Valencia.
Author of nine books and a recognized expert on music technology, David Mash is senior vice president for information,strategy, and technology at Berklee. One of Berklee's true innovators, he founded the Music Synthesis Department (today known as Electronic Production and Design), developed the Center for Technology in Music Instruction, and assisted in the design of the Berklee Learning Center, the country's largest networked music-learning facility.
Award-winning producers Young Guru (nominated for a Grammy Award in 2011 for his work on "Empire State of Mind" by Jay-Z and Alicia Keys) and Sean C (award-winning American producer, DJ, and artists and repertoire specialist) came to our campus for a series of seminars open to all students
Berklee College of Music graduate, artist, producer and current Berklee assistant professor in Songwriting, Brian “Raydar” Ellis visited our campus and performed with students at Innovation En Vivo. “Raydar” Ellis currently teaches Hip-Hop Ensemble and Turntable Technique at Berklee’s Boston campus and has collaborated with Mos Def, Roy Hargrove, DJ Rob Swift, and CeeLo Green of Gnarls Barkley during his career.
BT is a platinum-selling artist, visionary producer, film composer and technologist. He is an internationally-renowned recording artist himself, trusted by superstars such as Sting, Britney Spears, Sarah McLachlan, Tori Amos, Madonna, Seal and Peter Gabriel to produce modernist and memorable hits, with a bleeding-edge electronic flair. He has composed unforgettable scores for films The Fast and the Furious, Partysaurus Rex, Go, Stealth and Oscar-award winning Monster.
Dave Smith, who visited campus to give a masterclass, is an engineer and musician who has pioneered many groundbreaking music technologies. Smith was responsible for the first polyphonic and microprocessor-controlled synthesizer, the Prophet 5, and later the multitimbral synthesizer. He is also referred to as the 'Father of MIDI' for his role in the development of MIDI, now a standard interface protocol for electronic instruments and recording/pro audio equipment.
Leslie Ann Jones, director of music recording and scoring at Skywalker Sound, visited the Valencia campus to talk to our composition and technology students about recording music for films and video games and about setting up microphones for different instruments and styles.
Musician, artist, and inventor Moldover visited our campus to take part in the innovation seminar with students from our Master of Music in Music Production, Technology, and Innovation program. Known as the "godfather of controllerism," he spoke to our students about his recent work and the formula for the future of live-sound manipulation: Computer + Controller = The New Instrument.
Tommy Torres is an award-winning producer, singer, and songwriter from Puerto Rico. During his visit to our campus, he selected a song by alumna Vanessa Barabad ’14G,, to walk students through the recording and production process. Torres, a Berklee alumnus himself, also talked to students about life after graduation.
When you are on campus, you'll find yourself in the midst of a multitude of cultures, backgrounds, and styles. Berklee is well known for the diversity of students and faculty, and on the Valencia campus we celebrate the musical creations and cutting-edge ideas that come from this blend of culture and backgrounds.
Graduate students come from all over the world, and bring a wide range of experiences to share on campus during the year-long program in Valencia. Students are the center of campus life, as they turn classrooms into laboratories and collaborate on innovative projects with students in other graduate programs.
Collaboration with Other Programs
It’s not just the faculty and visiting professionals that inspire, at Berklee you will be surrounded by and collaborating with talented musicians and composers from around the world, both in the music production, technology, and innovation program, and from the other masters’ degrees on campus in performance, scoring, and music business. It is in this collaboration that opportunities begin to form, relationships are built, and your creativity and ability to innovate are put on center stage.
Outside the classroom, music technology students may find themselves working with students from the music business program to work on production for a student artist, or get some extra insight on sound engineering and mixing. Music technology students also work with students from the entire campus in the studios on pre-production, recording, and mixing. In addition, there are many musicians on campus from all programs who enjoy coming together to perform at events on and off campus, or join in sporadic jam sessions.
The campus is full of life, and there's always something you can get involved in. Extracurricular activities are optional and vary from year to year. Some opportunities are open for all students to participate, while others are on an audition/application basis.
EmTech España: 'Golden' (Jill Scott cover)
The Berklee Scratch Ambassadors perform a remix of the song 'Golden' by Jill Scott at the MIT EmTech Spain 2014 event at the Palau de les Arts in Valencia. Led by program director Stephen Webber, this year's Berklee Scratch Ambassadors is formed by students Mansa Alazar, Kareem Clarke, George Lacson, and Cinnamon Denise.
Innovation ¡En Vivo!: Freddy Fuego Five
Freddie Gonzalez plays flute and trombone, mixing sounds and effects in with his playing. The band includes electronic drums and keyboards, and features the EWI, a digital saxophone played by Clifford Gordon.
Innovation: ¡En Vivo! 2014: Concert Summary
Master's students at Berklee’s Valencia campus presented a concert exploring the future of music. The concert featured surround sound with interactive video and world music, jazz, folk, and electronic music.
'Arrest Me' - Innovation: ¡En Vivo! 2014
Miranda Inzunza performs the song 'Arrest Me' with accompaniment by faculty member Ben Cantil doing interactive digital percussion and sound design during the 2014 Innovation: ¡En Vivo!
'Libélula' - Innovation: ¡En Vivo! 2014
Live performance of 'Libélula', by Matt Mazzone and Will Clark, at the Innovation: ¡En Vivo! concert that took place in the Palau de les Arts Reina Sofía in Valencia.
'Mars' & 'Venus' from 'The Planets' - Valencia Commencement Concert 2014
Ironfist performs the pieces 'Mars' and 'Venus' from the famous orchestral suite 'The Planets' by English composer Gustav Holst at the 2014 Valencia Commencement Concert. Music by Gustav Holst, Arrangement by Ironfist, Performed by Ironfist
'Lion's Lament' - Innovation: ¡En Vivo! 2014
Music production, technology, and innovation student Michael Harris, students and faculty perform 'Lion's Lament' live at the Innovation: ¡En Vivo! concert that took place in the Palau de les Arts Reina Sofía in Valencia.
Berklee Master's Students Perform The Rule of Three at EmTech España 2013
Students of the Master in Music Production, Technology, and Innovation performed the original song 'The Rule of Three' at the EmTech España conference. Students Hugo Caicedo, Ryan Renteria and Tim Shull Jr. were selected to perform with the Numark Orbit wireless midi-controller after winning a contest held at Berklee's Valencia campus.
Michael S. Harris performs 'Eva' at EmTech España
Graduate student of the music technology, and innovation program, Michael Sean Harris performed an original piece titled 'Eva' as part of Berklee's presentation at EmTech España 2013. He uses technology to make a single voice sound like a choir.
Berklee's Scratch Ambassadors Performance at EmTech España 2013
The Scratch Ambassadors performed at the end of the first day of the EmTech España conference. The band is formed by Program Director and DJ Stephen Webber and master's students from several master's programs on campus.
Alayna Hughes Performs at Innovation: ¡En Vivo! 2014
'Mars' & 'Venus' from 'The Planets' - Valencia Commencement Concert 2014
TEDxBerkleeValencia DJ Set
Zedd Mashup by Mayur Jumani
Music Production, Technology, and Innovation student Mayur Jumani delivers a beautiful performance of 'Zedd Mashup' at the Innovation ¡En Vivo! at Palau de les Arts' Teatre Martí i Soler.
Inner G by Zebbler (Video Projection Mapping Performance)
'Inner G' is the result of the collaboration between faculty and students. In this video you can see not only the result of a projection mapping project, but the process our students experienced to make it happen. It is the performance of an original composition by faculty Zebbler at Innovation: ¡En Vivo! with projection mapping incorporated to the artistic proposal, the bat was made by students under his mentorship.
'Lions' Music Video by Olivia Dawn
Music and lyrics, and music produced and performed by Olivia Dawn for a music video series shot on campus. Dawn completed the Music Production, Technology, and Innovation master's degree, as well as the Contemporary Performance (Production Concentration) degree the previous year.
'Love Club' by Scratch Ambassadors feat. Olivia Dawn (Lorde Cover)
The Scratch Ambassadors present a cover of Lorde's beautiful song 'Love Club', recorded at Berklee's campus in Valencia recording studios, and shot in different locations like a bus on their trip to perform at WOBI Pro 2015 in Madrid, exterior locations where the sun was up and shining, and the campus scoring stage.
Optional Ensemble Elective: Students may opt to take "Contemporary Ensemble" (ENDS-550), a one-credit optional elective to enhance ensemble-playing skills. Students develop their ability to create and perform music in a particular style, under the guidance of a faculty member from the contemporary performance program. Credit does not count toward program credits.
Optional Private Instruction: Students may opt, for a fee, to enroll in private lessons, provided this is approved by their program director and there is space and time in the private lesson faculty member’s schedule.
Events: There are opportunities for select students to perform in many events on campus, in Valencia, and around Spain such as orientation, graduation, ensemble performances, and events at the City of Arts and Sciences.
Extracurricular Activities: Extracurricular activities are completely optional for students, take place outside of class time, and vary year to year. Past examples of such activities include a batucada group, flamenco workshop, a choir, Valencia DJ Collective, ensembles, and so on.
Innovation: ¡En Vivo!
In 2014, the music production, technology, and innovation program hosted for the first time, a concert in the Palau de les Arts Reina Sofia called "Innovation: ¡En Vivo!," open to any student on campus (by audition) who wanted to perform a piece with integrated technology. Innovation: ¡En Vivo! continues as an on-going concert happening a few times throughout the year.
Getting a master's degree from Berklee College of Music pushes you towards the next big step in your career, and the International Career Center (ICC) is one of the resources you have to help get you there. The mission of the ICC is to provide expert guidance, cutting-edge resources, and professional development experiences to help our diverse body of students achieve their career goals. Rather than acting as a one-time job link, our overall focus is on career management. We help you access available resources and activities and apply them to your career path.
Getting a master's degree in music technology, production, and innovation opens you to a world of possibilities in the music industry and beyond. After graduating, many students work as performing artists, technologists, app or software developers, recording engineers, educators etc.
"I am very proud that in 11 months I’ve been able to learn and create so much. At Berklee, we learn to develop ourselves beyond what we could imagine ourselves to be."
Phui Kuan Kok M.M. '18 Music Production, Technology, and Innovation
Succeeding in the music industry is all about building your professional network and making connections with the right people. Students are encouraged to take advantage of their time in Europe to attend or participate in the many music and performance-related events held in Spain and Europe. All event participation and attendance is optional and students make all the arrangements to attend on their own. In some cases, students may be able to access special offers and student discounts through Berklee.
EmTech España -Turntables and Tutus: Exploring Unconventional Musical Instruments and Wearable Technology
Berklee program director Stephen Webber and American artist Nona Hendryx present 'Turntables and Tutus: Exploring Unconventional Musical Instruments and Wearable Technology' at the MIT EmTech Spain 2014 event at the Palau de les Arts in Valencia.
EmTech España - ChewBACHa
Berklee students John Broaddus and Emily Newton, from the music production, technology, and innovation graduate program, present 'chewBACHa - An in depth exploration of the dark and light side of the force' at the MIT EmTech Spain 2014 event at the Palau de les Arts in Valencia.
Emtech España - Drones Over Valencia
Berklee student Francisco Rafart, from the music production, technology, and innovation graduate program, performs during visual presentation 'Drones Over Valencia' (recorded by Berklee students) at the MIT EmTech Spain 2014 event at the Palau de les Arts in Valencia.
Emtech España - Rule of Three
Three graduate students at EmTech for their Numark project, Rule of Three. Graduate students of the music production, technology innovation program competed against other to come up with the most creative uses for Numark's wireless MIDI controlled, the Orbit. Students who won the inter-class competition were selected to present at the EmTech España conference.
Emtech España - Numark Orbit Project Presentation
Misty Jones presents her project, the Numark suit. Graduate students of the music production, technology innovation program competed against other to come up with the most creative uses for Numark's wireless MIDI controlled, the Orbit. Students who won the inter-class competition were selected to present at the EmTech España conference.
Berklee presents at MIT's EmTech España Conference
Highlights of Berklee faculty and students at EmTech España 2013, including Program Director Stephen Webber's speech on Inventing the album of 2025, performances by music production, technology, and innovation students and 2013-2014 Berklee's Scratch Ambassadors.
Michael S. Harris performs at EmTech España
Graduate student of the music production, technology, and innovation program, Michael Sean Harris performed an original piece titled 'Eva' as part of Berklee's presentation at EmTech España 2013. He uses technology to make a single voice sound like a choir.
TEDxBerkleeValencia DJ Set
The Most Important Thing: Stephen Webber at TEDxBerkleeValencia
Program Director Stephen Webber talks about the most important thing you need to know when producing records. Taking a look back at his personal experiences when meeting some of the most important recording engineers in the world he concludes that the most important thing to be successful when producing any form of art, including music, is to have to have the ability to convey emotion.
These are the events that we recommend for music technology, production, and innovation students.
"Amsterdam Dance Event is a combination conference and club music festival centered around the many subgenres inside of the Electronic Dance Music scene from around the world. ADE's multiple conference tracks offer the ultimate annual business and inspiration platform in the field of electronic music, featuring dedicated programming for business professionals, start-ups, aspiring producers and musicians, students, VJs, visual artists and stage designers. In 2016 the conference welcomed 550 speakers and 7000 delegates."
WOMEX is an international networking platform for the world music industry. The annual five-day event comprises a bustling Trade Fair, Showcase Festival, Conference, and Film programme, as well as festive Opening and Award ceremonies.
"Loop is three days of discussions, performances, presentations, studio sessions, installations and interactive workshops aimed at exchanging ideas at the cutting edge of music, technology and creative practice. Bringing together artists, technologists, educators and other creative thinkers, Loop is a collective exploration of what it is to make music today and what it could be tomorrow."
Musikmesse in Frankfurt am Main is the world’s most important fair for musical instruments, sheet music, music production and marketing.
This highlight for the sector covers all parts of the musical-instrument sector, from classical instruments, acoustic and electric guitars and bases, brass and woodwind instruments, percussion and keyboard instruments to electronic equipment and hardware and software.
Additionally, important publishing companies from all genres, from classic to jazz, rock and pop, present their products at Musikmesse.
"The Audio Engineering Society is the only professional society devoted exclusively to audio technology. Founded in the United States in 1948, the AES has grown to become an international organization that unites audio engineers, creative artists, scientists and students worldwide by promoting advances in audio and disseminating new knowledge and research."
IMS Ibiza is a comprehensive three-day event featuring live seminars and debates amongst the leaders of the international music community. Through keynotes, interviews, panels and technology master classes, our industry network comes together for thoughtful discussion about the direction and future of electronic music. The IMS Business Report, which has become the industry’s leading data study, is also presented at IMS Ibiza for a global snapshot of vital statistics about the industry. The event has become a major source of industry deals, press launches and is a talking point for worldwide media. Major brands like Corona, Pioneer, Nokia and Coca Cola have used IMS as a platform to launch important initiatives in the electronic music space.
IMS College – Malta aims to bring together the next generation of bright industry minds for an intensive 360-degree learning experience to give a new wave of electronic music creators and professionals the tools and knowledge to assist their careers. IMS College -Malta will consist of a range of seminars, panels and interactive sessions paired with nightlife and performances scheduled throughout the weekend.
Berklee College of Music’s optional graduate internship program supports Berklee master’s students who seek to integrate academic and professional experience after completing the coursework and culminating experience projects required in their specific master’s program. This program will take place during an additional semester, following the completion of all course work, and students will be charged a part-time comprehensive fee. Note that students are responsible for securing their own internships and for securing all appropriate and required visa statuses.
All graduate programs at Berklee are accredited by the New England Commission of Higher Education (formerly the Commission on Institutions of Higher Education of the New England Association of Schools and Colleges, Inc.), which is internationally recognized as an authority on educational quality.
Graduate programs at Berklee Valencia are accredited by official authorities in the United States and Europe.
In addition, all graduate programs at the Valencia campus are accredited by Spanish educational authorities and valid throughout the European Higher Education Area (EHEA). See details for each program below.
Program General Competencies
CB6—Possess and understand knowledge that provides a background or opportunity to be original in the development and/or implementation of ideas, often in a research context.
CB7—Be able to apply the acquired knowledge and problem resolution capabilities to new or lesser known environments within wide (or multidisciplinary) contexts related to the field of study.
CB8—Be able to integrate knowledge and face the complexity of making judgments from incomplete or limited information, that include a reflection about social and ethical responsibilities related to the application of their knowledge and judgments.
CB9—Be able to communicate their conclusions and the knowledge and reasons that sustain them to specialized and non-specialized audiences in a clear manner and without ambiguities.
CB10—Possess the learning skills that allow them to continue studying in a manner that will have to be to a great extend self directed or autonomous.
CG01—Integrate knowledge of the different fields of musical expertise, including technical, aesthetic, historical, stylistic, and technological, into their daily professional or academic activities.
CG02—Apply creativity to the production of musical works, in different artistic, stylistic, and aesthetic contexts and formats.
CG03—Develop works in the area of expertise, applying knowledge and skills, that result in the production of a new and original contribution.
CG04—Assess the possibilities of music involvement in the field of visual arts and its subsequent impact in different contexts: social, educational, economic, and technological.
CG05—Evaluate the underlying aesthetic concepts and principles in the artistic contexts of the area of expertise, within its historical perspective and its future evolution.
CG06—Integrate knowledge, critical thinking, and practical reasoning as applied to problem solving, in the context of the area of expertise.
CG07—Implement communication strategies that allow the development of professional or academic activities, in the area of expertise, and that serve in international contexts and multicultural environments.
CE01—Synthesize composition techniques and technology processes in their application to electronic music design.
CE02—Integrate technological processes of sound processing that are characteristic of electronic music genres into the composition of aesthetically coherent works.
CE03—Evaluate the characteristics of sound sources and establish appropriate techniques and technologies in their subsequent processing.
CE04—Identify through critical listening the qualities of sound, its characteristics and processing.
CE05—Integrate recording, editing, mixing and mastering techniques to electronic music production.
CE06—Combine audio and MIDI technologies to electronic music composition and performance.
CE07—Integrate production techniques and sound generation in live performances.
CE08—Combine electronic music and sound and apply those to software and games.
CE09—Integrate videographic and visual effects into electronic music.
CE10—Develop audio in the context of software applications (encode).
CE11—Develop dissemination strategies for one's own music through the creative use of network media and resources.
Accreditation, Supervision and Reaccreditation Reports
In the required courses, you will learn to use Pro Tools, Melodyne, Max MSP, and iZotope in addition to several video packages. In the elective courses, you can also learn more video production packages, SWIFT for the App writing class, Arduino, Unity, and several others for the Multimedia Lab.
There is currently no requirement for students to be proficient at a given software before entering the program. What we encourage students to do in preparation for their time here is to become an amateur at Pro Tools, which is the standard DAW that we use in most courses. Ableton Live is frequently used, but only in more electronic-specific courses. Familiarity in these programs will be very helpful to get the most out of the course.
Not necessarily. While it is important that students have a foundation of musical knowledge, it is not necessary to be a musician yourself to be successful in the program. If you are a musician, there are many opportunities that involve playing, performing, producing, and composing music, but there are many other ways to be involved in the process of music production without being a musician on campus.
No. Students in the program come from diverse backgrounds. This enriches the experiences of all students. What is much more helpful than coming to the program as a technology expert is having a keen interest in technology and the role it plays in music production. If you come to the program as a beginner, you will find a place and a pace that works for you.
Applications to graduate programs generally open in the summer for the following academic year. You can check application deadlines on the website or sign up to receive an email notification when the applications open along with other program information.
You can apply to a master’s degree program online at apply.berklee.edu. The first step is to register for a new account if you are a new user, or to use your existing login information to create a new application.
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BERKLEE COLLEGE OF MUSIC VALENCIA CAMPUS
Palau de les Arts Reina Sofía - Anexo Sur Avenida Profesor Lopez Piñero, 1 46013 Valencia (Spain) +34 963 332 802