In the next installment of our “Deep Dive” series, where we share how certain schools gained their reputation for excellence in a particular discipline, we’re looking into New York University’s renowned music programs.
What makes NYU’s arts offerings so prestigious? Well, like any good success story, it probably boils down to a combination of several advantages. Primely located in the concrete jungle where dreams are made of, NYU attracts talented faculty and students alike looking to set down their professional roots in a vibrant cultural hub. Add to that its extensive resources as a wealthy institution, and you’ve got all you need for greatness — accomplished faculty, celebrity guests, passionate students, a stimulating environment, and access to expensive recording technology an undergrad would otherwise never lay eyes on, and suddenly you’ve got Maggie Rogers singing “Alaska” for Pharrell during the Tisch master class that would launch her staggering ascension in indie pop.
Of course, the virality of that Maggie-Pharrell video is largely due to the fact that it captures something of a Cinderella story; obviously, NYU’s music programs can’t promise to make everyone a star. So that’s where we come in to look at the objective results of programs widely considered impressive. What can NYU do for you? Can it deliver on its legacy? Basically, is it worth it?
The History of Music Production at NYU
Perhaps unsurprisingly, NYU has a plethora of academic paths for the musically inclined. In fact, its offerings are so robust when it comes to producing original work, learning music technology, and managing the business of the recording industry that it has two fairly famous degrees that aspiring entertainers, studio engineers, and executives can pursue — a ”BM in Music Business at the Steinhardt School of Culture, Education, and Human Development and the BFA in Recorded Music at the Tisch School of the Arts Clive Davis Institute of Recorded Music.” While both claim to prepare students for the commercial realities of the industry, Steinhardt seems to skew more toward training the corporate class to operate in an economy driven by an artistic product, whereas Tisch sees its mission as gestating artists prepared to make dynamic work while understanding the structure and financial logistics of making music. The distinction between these two programs is apparently ambiguous enough that the NYU blog had to address it:
Steinhardt Music Business is an ideal program for aspiring entrepreneurs and commercial experts seeking to navigate the business side of music. Whether your dream is to helm a record label, produce chart-topping hits, or report music’s latest trends, you’ll find your place within NYU’s innovative community. Here, you’ll not only nurture your creativity and engage in practical learning but also acquire the skills to thrive in the evolving music landscape.
On the flip side…
Tisch’s Clive Davis Institute is the go-to program for those passionate about diving deep into the artistry and technology of music production. Creativity meets innovation at the institute. As a Recorded Music major, you’ll learn the essential skills to be a leader among those who will craft the sounds of tomorrow.
So that clears everything up, right? Well, okay, maybe not entirely, but at least they both have notable track records. Steinhardt’s Music Business program and Tisch’s Clive Davis Institute of Recorded Music were both listed in Billboard’s Top Music Business Schools of 2024 (as they had been in other years, of course).
While both programs were established fairly recently compared to some of the other subjects we’ve covered in this series (Neuroscience at UMich, Computer Science at Dartmouth, Foreign Language at Middlebury, Aeronautics at Rice, Business at Penn, and Public Health at UNC), since Steinhardt’s began offering the Music Business track in 1976 and the Clive Davis Institute was founded in 2003, they’ve piloted innovative curricula, maintained exceptional facilities, and consistently cultivated graduates and faculty who define the industry.
The State of Music Business at NYU Today
Suffice it to say, things are still pretty fantastic! How can we tell? By looking at the job placements of recent alums, checking the alma mater or employer of major prize winners, and looking at the course catalog. NYU Steinhardt, for example, has these fun stats listed for 2024 in their “alumni accolades” section: 9 nominees and 4 winners at the Grammy Awards; 6 nominees and 4 winners at the Tony Awards; 2 finalists and 1 winner at the Pulitzer Prizes; and 15 nominees and 2 winners at the Emmys. Earlier this year at the Clive Davis Institute, Julie Greenwald came on as the semester’s “Executive-in-Residence.”
While the ivory-tower exclusivity and gatekeeping function of higher education in the US is, admittedly, a total drag, you just can’t deny the networking and mentorship opportunities students get by being in the room with industry veterans (not only has Julie Greenwald “been ranked #1 on Billboard‘s “Women in Music” list five times,” she “previously was Chairman/CEO of the Atlantic Music Group” and “has been integral to the success of Ed Sheeran, Bruno Mars, Charli xcx, Cardi B, Kelly Clarkson, Coldplay, Lizzo, Gucci Mane, Janelle Monáe, Jack Harlow, Lil Uzi Vert, Panic! at the Disco, Paramore, Twenty One Pilots, and Wiz Khalifa as well as award-winning projects such as the Original Broadway Cast Recordings of Hamilton, Dear Evan Hansen and Jagged Little Pill”). Consider this the end of our presentation at the front of the class because all we’ve got left to say is so…. yeah!
And, to bring us really full circle, Maggie Rogers was named the 2025 Salute Speaker for Tisch at this year’s graduation proceedings… just FYI.
If you’re not sure where to start on your application to the Music Business program of your dreams, contact us for personalized counseling today!