Class Schedule | Fall 2017

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Introductory
21M.011 Introduction to Western Music, CI-H
Lecture Emily Richmond Pollock W
3:30-5pm
4-270
Recitation 1 MF
1-2pm
4-152
Recitation 2 Teresa Neff TR
1-2pm
4-152
Recitation 3 Adam Boyles TR
4-5pm
4-152

Prereq: None 
Units: 4-0-8, HASS-A, CI-H

Provides a broad overview of Western music from the Middle Ages to the 20th century, with emphasis on late baroque, classical, romantic, and modernist styles. Designed to enhance the musical experience by developing listening skills and an understanding of diverse forms and genres. Major composers and works placed in social and cultural contexts. Weekly lectures feature demonstrations by professional performers and introduce topics to be discussed in sections. Enrollment limited.

21M.013 The Supernatural in Music, Literature and Culture, CI-H
Charles Shadle MW
11-12:30pm
4-364

(Same subject as 21L.013[J]) 
Prereq: None 
Units: 3-0-9, HASS-A, CI-H

Explores the relationship between music and the supernatural, focusing on the social history and context of supernatural beliefs as reflected in key literary and musical works from 1600 to the present. Provides an understanding of the place of ambiguity and the role of interpretation in culture, science and art. Explores great works of art by Shakespeare, Verdi, Goethe (in translation), Gounod, Henry James and Benjamin Britten. Readings also include selections from the most recent scholarship on magic and the supernatural. Writing assignments range from web-based projects to analytic essays. No previous experience in music is necessary. Projected guest lectures, musical performances, field trips. Limited to 36.

21M.030 Introduction to World Music, CI-H
Lecture 1 Lauren Flood MW
3:30-5pm
4-364
Lecture 2 Patricia Tang TR
11-12:30pm
4-364
Lecture 3 TR
12:30-2pm
4-364

Prereq: None 
Units: 3-0-9, HASS-A, CI-H

An introduction to diverse musical traditions of the world. Music from a wide range of geographical areas is studied in terms of structure, performance practice, social use, aesthetics, and cross-cultural contact. Includes hands-on music making, live demonstrations by guest artists, and ethnographic research projects. Enrollment limited by lottery.

21M.051 Fundamentals of Music
Lecture 1 Elaine Kwon MW
12:30-2pm
4-158
Lecture 2 Kathryn Salfelder TR
10-11:30am
4-152
Lecture 3 Kathryn Salfelder TR
12:30-2pm
4-162
Required Piano Lab TBA
TBA
24-033

Prereq: None 
Units: 3-1-8, HASS-A

Introduces students to the rudiments of Western music through oral, aural, and written practice utilizing rhythm, melody, intervals, scales, chords, and musical notation. Individual skills are addressed through a variety of approaches, including keyboard practice in the required piano labs. Limited to 20 by lottery. Not open to students who have completed 21M.301 or 21M.302.

21M.065 Introduction to Musical Composition
Evan Ziporyn MW
3:30-5pm
4-158

Prereq: None 
Units: 3-0-9, HASS-A

Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods. Limited to 18.

History/Culture
21M.223[J] Folk Music of the British Isles and North America, CI-H
TR
3:30-5pm
4-364

(Same subject as 21L.023[J]) 
Prereq: None 
Units: 3-1-8, HASS-A, CI-H

Examines the production, transmission, preservation and the qualities of folk music in the British Isles and North America from the 18th century to the folk revival of the 1960s and the present. Special emphasis on balladry, fiddle styles, and African-American influences. Enrollment limited.

21M.226 Jazz
Mark Harvey TR
11-12:30pm
4-158

Prereq: None 
Units: 3-0-9, HASS-A

Historical survey from roots in African and American contexts, including spirituals, blues, and ragtime, through early jazz, Swing, bebop, and post-bop movements, with attention to recent developments. Key jazz styles, the relation of music and society, and major figures such as Armstrong, Ellington, Basie, Goodman, Parker, Monk, Mingus, Coltrane, and others are considered. Some investigation of cross-influences with popular, classical, folk, and rock musics. Enrollment may be limited.

21M.250 Beethoven to Mahler
Teresa Neff TR
11:30-1pm
4-152

Prereq: 21M.301 or permission of instructor 
Units: 3-0-9, HASS-A

Surveys Romantic genres including Lied/song, choral music, opera, piano sonata/character cycle, concerto, and symphony/symphonic poem. Includes the composers Beethoven, Schubert, Berlioz, Chopin, Brahms, Wagner, Verdi, Tchaikovsky, and Mahler. Bases written essays and oral presentations on live performances as well as listening and reading assignments. Basic score-reading ability recommended.

21M.260 Stravinsky to Present
Martin Marks MW
12:30-2pm
4-162

Prereq: 21M.301 or permission of instructor 
Units: 3-0-9, HASS-A

Surveys musical works drawn from many genres, representing stylistic movements that have transformed classical music over the past hundred years. Focal topics include musical modernism, serialism, neoclassicism, nationalism and ideology, minimalism, and aleatoric and noise composition experiments. Discusses electronic and computer music, and new media and the postmodern present. Begins with Stravinsky's early ballets and ends with music by current MIT composers and other important figures active today. Ability to read music required. Instruction and practice in oral and written communication provided.

21M.273 Opera
Emily Richmond Pollock TR
11-12:30pm
4-162

Prereq: None 
Units: 3-0-9, HASS-A

Focuses on the different styles and dramatic approaches exhibited by a range of operas. Central questions include the process of adaptation from source material, the conventions of different operatic eras, and how the works are staged in contrasting productions. Basic score-reading ability required.

21M.284 Film Music
Martin Marks MW
3:30-5pm
4-162

(Subject meets with CMS.925) 
Prereq: None 
Units: 3-0-9, HASS-A

Surveys styles and dramatic functions of music for silent films of the 1910s-20s, and music in sound films from the 1930s to the present. Close attention given to landmark scores by American and European composers, including Korngold, Steiner, Rozsa, Prokofiev, Copland, Herrmann, Rota, Morricone, and Williams. Subsidiary topics include new trends in contemporary film-scoring, pop scores, the impact of electronics, and specialized genres (e.g., animation). Students taking the graduate version complete different assignments. Some background in the study of film and/or music is expected.

21M.292 Music of Indonesia
Leslie A. Tilley MW
12:30-2pm
N52-199

Prereq: None 
Units: 3-0-9, HASS-A

Provides an introduction to the fascinating, intricate music of Indonesia with a special focus on Bali. Examines diverse traditions across the archipelago from both musical and cultural perspectives, from the gamelan percussion orchestras of Bali and Java to the indigenous folk traditions of Borneo, from the most sacred ritual music to the most modern popular music. Students analyze and discuss the cultural significance of musical examples, and engage in hands-on music making.

21M.293 Music of Africa
Patricia Tang TR
2-3:30pm
N52-199

Prereq: None 
Units: 3-0-9, HASS-A

Studies musical traditions of sub-Saharan Africa, with focus on West Africa. Explores a variety of musical practices and their cultural contexts through listening, reading and writing assignments with an emphasis on class discussion. Includes in-class instruction in drumming, song and dance of Senegal, Ghana, and South Africa, as well as live lecture-demonstrations by guest performers from throughout sub-Saharan Africa. Limited to 15; preference to majors, minors, concentrators. Admittance may be controlled by lottery.

21M.299 Studies in World, Traditional, and Popular Music: The Beatles
Teresa Neff MW
11-12:30pm
4-152

Prereq: 21M.030 or permission of instructor 
Units: 3-0-9, HASS-A

Fall 2017 Topic: The Beatles
Surveys the music of the Beatles, from the band’s early years as the Quarrymen, 1956-1960, through the rise of “Beatlemania” in the 1960s, and the break-up of the group with the turn of 1970. Listening and reading assignments will focus on the construction and analysis of selected songs with the goal of mapping how the Beatle’s musical style changed from skiffle and rock to studio-based experimentation and the concept album. Cultural influences that helped to shape the image of the Beatles’ and its individual members, as well as the group’s influence on both popular music and culture worldwide will be a continuous theme.

Composition/Theory
21M.301 Harmony and Counterpoint I
Lecture 1 Elena Ruehr MW
11-12:30pm
4-162
Lecture 2 Kathryn Salfelder MW
2-3:30pm
4-162
Lecture 3 TR
12:30-2pm
4-158
Lecture 4 William Cutter TR
2-3:30pm
4-364
Required Piano Lab TBA
TBA
24-033
Required Sight Singing Lab Mark David Buckles F
4-5pm
4-270

Prereq: None 
Units: 3-3-6, HASS-A

Covers basic writing skills in music of the common-practice period (Bach to Brahms). Regular written assignments lead to the composition of short pieces. Analyzes representative works from the literature, keyboard laboratory, and sight-singing choir. Students should have experience reading music. Enrollment limited.

21M.302 Harmony and Counterpoint II
Lecture W
1-2:30pm
4-364
Recitation 1 Keeril Makan M
1-2:30pm
4-364
Recitation 2 Michael Scott Cuthbert F
1-2:30pm
4-364
Required Piano Lab TBA
TBA
24-033
Required Musicianship Lab 1 Garo Saraydarian R
4-5pm
4-158
Required Musicianship Lab 2 Garo Saraydarian F
4-5pm
4-364

Prereq: 21M.301 or permission of instructor 
Units: 3-2-7, HASS-A

A continuation of 21M.301, including chromatic harmony and modulation, a more extensive composition project, keyboard laboratory, and musicianship laboratory. Limited to 20 per section.

21M.303 Writing in Tonal Forms I
Lecture Charles Shadle MW
3:30-5pm
4-152
Required Musicianship Lab I Garo Saraydarian R
4-5pm
4-158
Required Musicianship Lab 2 Garo Saraydarian F
4-5pm
4-364

Prereq: 21M.302
Units: 3-1-8, HASS-A

Written and analytic exercises based on 18th- and 19th-century small forms and harmonic practice found in music such as the chorale preludes of Bach; minuets and trios of Haydn, Mozart, and Beethoven; and the songs and character pieces of Schubert and Schumann. Musicianship laboratory is required. Limited to 20.

21M.310 Techniques of 20th-Century Composition
Keeril Makan TR
12:30-2pm
24-033F

Prereq: 21M.302, 21M.260, or permission of instructor 
Units: 3-0-9, HASS-A

Students complete written and analytical exercises based on compositional forms and practices from the first half of the 20th century. Areas covered include compositions based upon artificial scales and modes, as in Debussy, Bartok, and Stravinsky; compositions based on atonal pitch organizations, as with Schoenberg and Webern; compositions based on rhythmic process, timbral exploration, and/or non-Western influences. Basic instrumentation will be taught, and compositions will be performed in class.

21M.341 Jazz Composition
Mark Harvey TR
2-3:30pm
4-158

Prereq: 21M.226, 21M.340, or permission of instructor 
Units: 3-0-9, HASS-A

Jazz writing using tonal, modal, and extended compositional approaches as applied to the blues, the 32-bar song form, and post-bop structural designs. Consideration given to a variety of styles and to the ways improvisation informs the compositional process. Study of works by Ellington, Mingus, Parker, Russell, Evans, Nelson, Golson, Coleman, Coltrane, Threadgill, Hemphill, and others. Performance of student compositions. Limited to 20.

21M.361 Electronic Music Composition I
Lecture 1 Peter Whincop M
2-4pm
24-033F
Lecture 2 Peter Whincop W
2-4pm
24-033F
Lecture 3 Florian Hollerweger M
10:30am-12:30pm
4-158
Lab 1 Peter Whincop T
2-3pm
24-033B
Lab 2 Peter Whincop T
3-4pm
24-033B
Lab 3 Peter Whincop T
4-5pm
24-033B
Lab 4 Peter Whincop R
2-3pm
24-033B
Lab 5 Peter Whincop R
3-4pm
24-033B
Lab 6 Peter Whincop R
4-5pm
24-033B
Lab 7 Florian Hollerweger W
10-11am
24-033B
Lab 8 Florian Hollerweger W
11am-12pm
24-033B
Lab 9 Florian Hollerweger W
12-1pm
24-033B

Prereq: None 
Units: 2-1-9, HASS-A

Students develop basic skills in composition through weekly assignments focusing on sampling and audio processing. Source materials include samples of urban/natural environments, electronically generated sounds, inherent studio/recording noise, and pre-existing recordings. Audio processing includes digital signal processing (DSP) and analog devices. Covers compositional techniques, including mixing, algorithms, studio improvisation, and interaction. Students critique each other's work and give informal presentations on recordings drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, and popular music. Covers technology, math, and acoustics in varying detail. Limited to 10 per section; preference to Music majors, minors, and concentrators.

21M.380 Music and Technology
Florian Hollerweger MW
2-3:30pm
4-152

Prereq: Permission of instructor 
Units: 3-0-9, HASS-A

Explores various technologies in relation to musical analysis, composition, performance, culture, and quantitative methods. Topics vary each term and may include development and impact on society, generative and algorithmic music, recording techniques or procedural sound design. May involve hands-on components such as laptop music ensemble, new instrument building, or comparing the theory and practice of audio recording. Limited to 16.

21M.385 Interactive Music Systems
Eran Egozy MW
11-12:30pm
24-033F

(Same subject as 6.809[J])
(Subject meets with 21M.585) 
Prereq: 21M.301, 6.01; or permission of instructor 
Units: 3-0-9, HASS-A
URL: http://musictech.mit.edu/ims

Explores audio synthesis, musical structure, human computer interaction (HCI), and visual presentation for the creation of interactive musical experiences. Topics include audio synthesis; mixing and looping; MIDI sequencing; generative composition; motion sensors; music games; and graphics for UI, visualization, and aesthetics. Includes weekly programming assignments in python. Teams build an original, dynamic, and engaging interactive music system for their final project. Limited to 18.

21M.387 Fundamentals of Music Processing
Eran Egozy TR
11-12:30pm
24-033F

(Subject meets with 21M.587) 
Prereq: 21M.051, 6.003, 6.01 
Units: 3-0-9, HASS-A

Analyzes recorded music in digital audio form using advanced signal processing and optimization techniques to understand higher-level musical meaning. Covers fundamental tools like windowing, feature extraction, discrete and short-time Fourier transforms, chromagrams, and onset detection. Addresses analysis methods including dynamic time warping, dynamic programming, self-similarity matrices, and matrix factorization. Explores a variety of applications, such as event classification, audio alignment, chord recognition, structural analysis, tempo and beat tracking, content-based audio retrieval, and audio decomposition. Students taking graduate version complete additional assignments. Enrollment limited.

Performance
21M.401 Concert Choir
William Cutter MW
7-9:30pm
26-100

Prereq: None 
Units: 0-4-2 

Rehearsals and performance of primarily large-scale works for chorus, soloists, and orchestra--from the Passions and Masses of J. S. Bach to oratorios of our own time. Open to graduate and undergraduate students by audition.

21M.405 Chamber Chorus
William Cutter TR
9:30-11am
14W-111

Prereq: None 
Units: 3-0-3 
URL: http://web.mit.edu/21m.405/www

Rehearsal and performance of choral repertoire for small chorus, involving literature from the Renaissance to contemporary periods. Limited to 32 by audition.

21M.421 MIT Symphony
Adam Boyles TR
7:30-10pm
Kresge

Prereq: None 
Units: 0-4-2 

Rehearsals prepare works for concerts and recordings. Analyses of musical style, structure, and performance practice are integrated into rehearsals as a means of enriching musical conception and the approach to performance. Likewise, additional scores of particular structural or stylistic interest are read whenever time permits. Admission by audition.

21M.423 Conducting and Score-Reading
Adam Boyles TR
2-3:30pm
4-152

Prereq: 21M.302 or permission of instructor 
Units: 3-0-3 

Introduces ensemble conducting as a technical and artistic discipline. Incorporates ear training, score-reading skills and analysis, rehearsal technique, and studies of various philosophies. Attendance of rehearsals and specific concerts required. Opportunities include conducting students, professional musicians, and MIT Symphony Orchestra (when possible). Instrumental proficiency required, although vocalists with keyboard abilities will be accepted. May be repeated once for credit with permission of instructor. 
 

21M.426 MIT Wind Ensemble
Frederick Harris, Jr. MW
7-9:30pm
Kresge

Prereq: None 
Units: 0-4-2 
URL: http://web.mit.edu/~mitwe/www/ 

Designed for advanced instrumentalists who are committed to the analysis, performance, and recording of woodwind, brass, and percussion literature from the Renaissance through the 21st century. The repertoire consists primarily of music for small and large wind ensembles. May include ensemble music from Gabrieli to Grainger, Schuller, Mozart, Dvorak, and various mixed media including strings. Performance of newly commissioned works. Opportunities for solo work and work with recognized professional artists and composers. Admission by audition.

21M.442 MIT Festival Jazz Ensemble
Frederick Harris, Jr. TR
5-7:30pm
14W-111

Prereq: None 
Units: 0-4-2 

Designed for instrumentalists dedicated to the analysis, performance, and recording of traditional and contemporary jazz ensemble compositions. Instrumentation includes saxophones, trumpets, trombones, piano, guitar or vibraphone, bass, percussion and occasionally french horn, double reeds, and strings. Provides opportunities to work with professional jazz artists and perform commissioned works by recognized jazz composers. Experience in improvisation preferred but not required. Admission by audition.

21M.445 Chamber Music Society
TBA
TBA
TBA

Prereq: None 
Units: 0-4-2 

Study of chamber music literature through analysis, rehearsal, and performance. Weekly seminars and coaching. Open to string, piano, brass, woodwind players, and singers. Admission by audition.

21M.450 MIT Balinese Gamelan
Leslie A. Tilley MW
(M) 2-3:30 & (W) 7-8:30
N52-199

Prereq: Permission of instructor 
Units: 0-3-3 

A performing ensemble dedicated to the traditional music of Bali. Members of the ensemble study structures and techniques used on various Balinese gamelan instruments and learn to perform gamelan pieces. No previous experience required. Limited to 25 by audition.

21M.451 Studio Accompanying for Pianists
David Deveau TBA
TBA
TBA

Prereq: None 
Units arranged 

Open by audition to pianists who wish to explore and develop their talents as accompanists. Pianists are paired with a music scholarship recipient and attend that student's private lesson each week. Accompanists prepare independently, rehearse with the student partner, and provide accompaniment at a juried recital or masterclass each term. Under supervision for music faculty and private lesson instructors, pianists may work with one or two scholarship students each term at 3 units each or one student in 21M.480/21M.512 for 6 units. Subject satisfies the performance requirement for pianists receiving music scholarships.

21M.460 MIT Senegalese Drum Ensemble
Lecture 1 Lamine Toure MT
7-8:30pm
N52-199
Lecture 2 Lamine Toure MR
8:30-10pm
N52-199

Prereq: None 
Units: 0-3-3 

A performance ensemble focusing on the sabar drumming tradition of Senegal, West Africa. Study and rehearse Senegalese drumming techniques and spoken word. Perform in conjunction with MIT Rambax drumming group. No previous experience necessary, but prior enrollment in 21M.030 or 21M.293 strongly recommended. Limited to 30 by audition.

21M.480 Advanced Music Performance
Marcus Thompson M
5-7pm
14W-111

(Subject meets with 21M.512) 
Prereq: None 
Units: 1-2-3 

Designed for students who demonstrate considerable technical and musical skills and who wish to develop them through intensive private study. Students must take a weekly lesson, attend a regular performance seminar, and participate in a departmental performing group. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking the graduate version complete different assignments. Admission by audition.

Special Topics/Advanced Subjects
21M.500 Advanced Seminar in Music
Peter Child TR
2-3:30pm
4-162

Prereq: Permission of instructor 
Units: 3-0-9 

Seminar that develops analytic and research skills in music history/culture or theory/composition. Topics vary, but are organized around a particular methodology, musical topic, or collection of works, that allow for application to a variety of interests and genres. Strong emphasis on student presentations, discussion, and a substantial writing project. May be repeated for credit with permission from instructor.

21M.512 Advanced Music Performance
Marcus Thompson M
5-7pm
14W-111

Graduate Level
(Subject meets with 21M.480) 
Prereq: None 
Units: 1-2-3 

Designed for students who demonstrate considerable technical and musical skills and who wish to develop them through intensive private study. Students must take a weekly lesson, attend a regular performance seminar, and participate in a departmental performing group. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking the graduate version complete different assignments. Admission by audition.

21M.580 Musical Aesthetics and Media Technology
W
2-4:30pm
E14-493

Graduate Level
(Same subject as MAS.825[J]) 
Prereq: Permission of instructor 
Units: 3-3-3 

In-depth exploration of contemporary concepts in music and media. Studies recent music that uses advanced technology, and the artistic motivations and concerns implied by the new media. Practical experience with computer music technology, including MIDI and post-MIDI systems. Special emphasis on the interactive systems for professionals as well as amateurs. Midterm paper and term project required.

21M.585 Interactive Music Systems
Eran Egozy MW
11-12:30pm
24-033F

Graduate Level
(Subject meets with 6.089[J], 21M.385[J]) 
Prereq: None 
Units: 3-0-9 
URL: http://musictech.mit.edu/ims

Explores audio synthesis, musical structure, human computer interaction (HCI), and visual presentation for the creation of interactive musical experiences. Topics include audio synthesis; mixing and looping; MIDI sequencing; generative composition; motion sensors; music games; and graphics for UI, visualization, and aesthetics. Includes weekly programming assignments in python. Teams build an original, dynamic, and engaging interactive music system for their final project. Limited to 18.

21M.587 Fundamentals of Music Processing
Eran Egozy TR
11-12:30pm
24-033F

Graduate Level
(Subject meets with 21M.387) 
Prereq: None 
Units: 3-0-9 

Analyzes recorded music in digital audio form using advanced signal processing and optimization techniques to understand higher-level musical meaning. Covers fundamental tools like windowing, feature extraction, discrete and short-time Fourier transforms, chromagrams, and onset detection. Addresses analysis methods including dynamic time warping, dynamic programming, self-similarity matrices, and matrix factorization. Explores a variety of applications, such as event classification, audio alignment, chord recognition, structural analysis, tempo and beat tracking, content-based audio retrieval, and audio decomposition. Students taking graduate version complete additional assignments. Enrollment limited.