The Brooklyn College Center for Computer Music (BC-CCM) located at Brooklyn College of the City University of New York (CUNY) was one of the first computer music centers at a public university in the United States. The BC-CCM is a community of artists and researchers that began in the 1970s. The mission of the BC-CCM is to explore the creative possibilities of technology in relation to the creation of music, sound art, sound design, and multimedia arts. Courses cover techniques of music composition with digital tools and instruments, theories and implementation of sound processing and sound synthesis, design and creation of new digital music and multimedia performance instruments, audio production, history and aesthetics of experimental music and sound art, and creative collaboration. The BC-CCM also sponsors residencies of visiting composers and media creators. History The Brooklyn College Center for Computer Music began when composer Robert Starer, then a member of the faculty of the Conservatory of Music at Brooklyn College, proposed the idea of creating an electronic music studio at Brooklyn College in the mid-1970s. The idea took root, and Jacob Druckman and Noah Creshevsky were the studio’s first Co-Directors. In those early days the equipment consisted largely of Moog analog synthesizers. Charles Dodge took over as Director in 1978, and he was responsible for having the studios designated as a center within Brooklyn College, the Center for Computer Music (CCM). Charles Dodge was a pivotal figure in the history of the center. Dodge, originally from Iowa, had done a bachelor's degree at the University of Iowa and then earned his MA and doctorate (DMA) in Music Composition at Columbia University. While at Columbia, Dodge was very active at the Columbia-Princeton Electronic Music Center. In particular, Dodge was an innovator in the emerging field of computer music composition (as opposed to analog electronic composition, the norm in the field through the 1970s). Dodge created some of the first meritorious works in the field of computer music, including Earth’s Magnetic Field (1970), which mapped magnetic field data to musical sounds, Speech Songs, a 1974 work that used analysis and resynthesis of human voices, and Any Resemblance is Purely Coincidental (1980), which combines live piano performance with a digitally-manipulated recording of Enrico Caruso singing the aria "Vesti la giubba". During Dodge’s years as Professor of Composition and Director of the Brooklyn College Center for Computer Music (BC-CCM), Dodge had the CCM designated