The Bachelor of Science in Music Technology is an interdisciplinary degree that combines coursework in Audio Arts and Acoustics (AAA), Interactive Arts and Media (IAM) and Music to equip students with the knowledge, theory, contexts, and practices necessary for them to participate in, understand, and advance professional musical life in the 21st century. Graduates of the program should be prepared for a wide range of music-related careers, including composition, performance, recording, producing, sound design, and software and hardware development, as well as advanced graduate studies in fields that include music, programming, human computer interaction (HCI), and user experience (UX).

The primary mission of the program is to educate artists and designers in the interdisciplinary foundations of modern musical practice, through a rigorous yet flexible curriculum that focuses on the impact of technology on music’s creation, presentation, representation, and distribution. 

As with all the majors at Columbia College Chicago, the degree requirements described are situated in the context of and enhanced by the college’s liberal arts core curriculum.

As a result of successfully completing program requirements, students should be able to:

• fluently apply technical languages associated with music composition, audio and electronics, art history and literature, and software programming, in both written and spoken presentation;
• demonstrate a nuanced understanding of the relationships between a range of theoretical systems (such as music, electronics, acoustics/psychoacoustics, mathematics, and computer science) relevant to the development of sonic arts;
• creatively apply theoretical and practical understandings in the development of musical platforms, production environments, compositions, exhibitions and performances;
• discuss ways in which electroacoustic works and digital platforms have shaped and been shaped by the details of specific historical, cultural, and technological contexts; and
• analyze and critique conceptual issues as well as specific individual performances, recordings, and platforms within and across relevant theoretical and technical contexts.