Music Technology has dropped "Engineering" from its name, aligning it with other well-known programs in North America. The name change coincides with improvements in the curriculum, which will blend composition, performance, computer science and recording engineering. The changes will give students more opportunities to explore new options, said Keith Kothman, program director.

"These changes will allow students to explore more facets of music technology, be more creative by completing the basic requirements earlier and pursue more advanced composition before they graduate," he said. "The program is now more capable of continually adapting to future developments, which is critical in our field."

The program now has three options for students:

• Music engineering technology with a minor in applied science
• Computer music technology with minors in computer science or Web technology
• Music technology with a minor in digital media

The program has established a budding national reputation since the School of Music built its first electronic music studio in 1970 and granted its first MET degree in 1989. The program has also succeeded in placing graduates in careers in composing and sound design for television, recording, audio post-production and installation, software design and more traditional careers such as composition or performance.

Some noteworthy graduates are:

• Marie Ebbing, music editor for the Oscar-winning soundtrack for "The Lord of the Rings: Return of the King"
• Rob McGaughey, product specialist for Digidesign, an industry leader in digital recording, equipment and software
• Mary Cook, applications engineer for Bose Corp., who designed the sound system for Heinz Field, the Pittsburgh Steelers' new stadium
• Jason Mowrey, award-winning fiddler with country music performer Keith Urban
• Kristine Burris, director of the music technology program at Florida International University

This fall, the Music Technology program—along with many other School of Music programs—will move into the Music Instruction Building. The $21 million facility will have 73,000 square feet of academic space and a 600-seat hall that can be tuned for each performance.

The Music Technology control room will have the latest in digital mixing technology and Lucite diffusers that will allow audiences to view recording sessions without compromising sound quality. Through the use of the room's digital sound equipment, Music Technology students can make recordings from the performance hall and the instrumental rehearsal and choral rehearsal rooms without having to tote equipment from venue to venue.

David Carroll Associates will coordinate the audio system installation and integration throughout the new building. Carroll has designed and installed major studios at George Lucas' Skywalker Sound, Electronic Arts (EA Sports, EA Games, etc.) and Sony Music New York.

Some of the most innovative equipment—technologies that don't exist yet—could very well be invented by Ball State students, Kothman said.

"In terms of music technology, as computers become more ubiquitous the functionality of the traditional mouse and keyboard wanes," he said. "Our students aren't learning to simply push buttons on existing programs. They are working on developing new programs and interfaces that will help shape the future of electronic sound."