Class Schedule | Spring 2017

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To view and download a PDF of the Spring 2017 Music class schedule, click here

To view the Spring 2017 Theater Arts schedule, click here

Introductory
21M.011 Introduction to Western Music, CI-H
Lecture Emily Richmond Pollock W
3:30-5:00pm
4-270
Rec. 1 Teresa Neff MF
1:00-2:00pm
4-158
Rec. 2 Teresa Neff TR
1:00-2:00pm
4-152

Prereq: none 
3-0-9 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.030 Introduction to World Music, CI-H
Lecture 1 Lara Pellegrinelli MW
2-3:30pm
4-158
Lecture 2 Evan Ziporyn 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.

Music of Bulgaria (9780195141481) and Music of Bali (9780195141498) are required for only Section 1.

 

 

21M.051 Fundamentals of Music
Lecture 1 Kathryn Salfelder MW
12:30-2pm
4-152
Lecture 2 Kathryn Salfelder MW
3:30-5pm
4-152
Required Piano Lab TBA
TBA
24-033

Prereq: None 
Units: 3-3-6, 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
Keeril Makan TR
11-12:30pm
24-033F

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.215 Music of Americas
Charles Shadle MW
11-12:30pm
4-152

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

A survey of the music of North and South America from the Renaissance to the present, with emphasis on the cross-fertilizations of indigenous and European traditions. Listening assignments will focus on composers as varied as Copland and Still, Revueltas and Chihara.

21M.220 Medieval and Renaissance Music
Michael Scott Cuthbert MW
3:30-5pm
4-148

Prereq: None. Coreq: 21M.301
Units: 3-0-9, HASS-A

Examines European music from the early Middle Ages until the end of the Renaissance. Includes a chronological survey and intensive study of three topics: chant and its development, music in Italy 1340-1420, and music in Elizabethan England. Focuses on methods and pitfalls in studying music of the distant past. Students' papers, problem sets, and presentations explore lives, genres, and works in depth. Works studied in facsimile of original notation, and from original manuscripts at MIT, where possible.

21M.250 Beethoven to Mahler
Teresa Neff TR
11-12:30pm
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
4-364

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.271 Symphony and Concerto
Emily Richmond Pollock TR
12:30-2pm
4-158

Prereq: None 
Units: 3-0-9, HASS-A

Explores the style, form, and history of approximately two dozen pieces of canonical symphonic repertoire. Students write short reviews of musicological articles on the rich cultural history of selected works and complete one project about the state of classical music in contemporary society. Basic score-reading ability required.

21M.284 Film Music
Martin Marks MW
3:30-5pm
4-364

(Subject meets with CMS.925) 
Prereq: None 
Units: 3-3-6, 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.291 Music of India
George Ruckert TR
11-12:30pm
N52-199

Prereq: None 
Units: 3-0-9, HASS-A

Focuses on Hindustani classical music of North India, and also involves learning about the ancient foundations of the rich classical traditions of music and dance of all Indian art and culture. Practice of the ragas and talas through the learning of songs, dance, and drumming compositions. Develops insights through listening, readings, and concert attendance.

21M.299 The Social Lives of Instruments
Lauren Flood TR
2-3:30pm
4-152

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

What can musical instruments be and do? How do we use them to make sense of our world?

This course addresses how people imagine, hear, play, construct, consume, and critique instruments and their accompanying sound (re)production technologies.

Topics span artisanship, entrepreneurship, ecology and sustainability, art history and archaeology, cultural policy, anthropology of sound, scientific instruments, and emerging technologies. No background in music is necessary. 

Composition/Theory
21M.301 Harmony and Counterpoint I
Lecture 1 Mark Harvey MW
11-12:30pm
4-158
Lecture 2 Elena Ruehr MW
12:30-2pm
4-162
Lecture 3 Justin Casinghino MW
2-3:30pm
4-162
Lecture 4 Kathryn Salfelder TR
3:30-5pm
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.

Music Theory Handbook (9780155026629) is required for only Section 1. 

Harmony + Voice Leading, Comp is recommended for only Section 2.

21M.302 Harmony and Counterpoint II
Lecture 1 Charles Shadle TR
11-12:30pm
4-158
Lecture 2 Peter Child TR
12:30-2pm
4-162
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
4-158
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.304 Writing in Tonal Forms II
Lecture Peter Child TR
3:30-5pm
4-162
Required Musicianship Lab Garo Saraydarian F
4-5pm
4-364

Prereq: 21M.303
Units: 3-1-8, HASS-A

Further written and analytic exercises in tonal music, focusing on larger or more challenging forms. For example, students might compose a sonata-form movement for piano or a two-part invention in the style of Bach. Students have opportunities to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required. Limited to 20.

21M.340 Jazzy Harmony and Arranging
Mark Harvey TR
2-3:30pm
4-158

Prereq: 21M.051, 21M.226, or permission of instructor 
Units: 3-0-9, HASS-A

Basic harmony and theory of mainstream jazz and blues; includes required listening in jazz, writing and analysis work, and two full-scale arrangements. Serves as preparation for more advanced work in jazz with application to rock and pop music. Performance of student arrangements. Limited to 20.

21M.351 Music Composition
Keeril Makan F
1-4pm
4-152

(Subject meets with 21M.505) 
Prereq: 21M.304, 21M.310 or permission of instructor 
Units: 3-0-9, HASS-A

Directed composition of original writing involving voices and/or instruments. Includes a weekly seminar in composition for the presentation and discussion of work in progress. Students are expected to produce at least one substantive work and perform it in public by the end of the term. Contemporary compositions and major works from 20th-century music literature are studied. Students taking the graduate version complete different assignments.

21M.355 Musical Improvisation
Mark Harvey MW
2-3:30pm
4-364

Prereq: Permission of instructor 
Units: 3-1-8, HASS-A

Students study concepts and practice techniques of improvisation in solo and ensemble contexts. Examines relationships between improvisation, composition, and performance based in traditional and experimental approaches. Topics, with occasional guest lectures, may include jazz, non-western music, and western concert music, as well as improvisation with film, spoken word, theater, and dance. Enrollment may be limited; open by audition to instrumental or vocal performers.

21M.361 Electronic Music Composition I
Lecture 1 Peter Whincop M
2-4pm
24-033F
Lecture 2 Peter Whincop T
2-4pm
24-033F
Lecture 3 Florian Hollerweger R
2-4pm
24-033F
Lab 1 Peter Whincop W
2-3pm
24-033B
Lab 2 Peter Whincop W
3-4pm
24-033B
Lab 3 Peter Whincop W
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 T
2-3pm
24-033B
Lab 8 Florian Hollerweger T
3-4pm
24-033B
Lab 9 Florian Hollerweger T
4-5pm
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.362 Electronic Music Composition II
Lecture Peter Whincop T
7-9pm
24-033F
Lab Peter Whincop R
7-9pm
24-033B

Prereq: 21M.361 or permission of instructor 
Units: 2-2-8, HASS-A

Explores sophisticated synthesis techniques, from finely tuned additive to noise filtering and distortion, granular synthesis to vintage emulation. Incorporates production techniques and use of multimedia, with guest lecturers/performers. Considers composing environments such as Max/MSP/Jitter, SPEAR, SoundHack, and Mathematica. Assignments include diverse listening sessions, followed by oral or written presentations, weekly sound studies, critiques, and modular compositions/soundscapes. Prior significant computer music experience preferred. Consult instructor for technical requirements. Limited to 8.

21M.380 Sound Design
Florian Hollerweger TR
11-12:30pm
4-364

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

In this course, you will learn how to build sounds and sound effects from scratch, using the open-source graphical programming environment Pure Data. You will learn how to analyze and synthesize everyday sounds and encapsulate them in dynamic sound objects that can be embedded into computer games, animations, movies, virtual environments, sound installations, and theater productions. Our work will be guided by Andy Farnell’s book Designing Sound (MIT Press, 2010). 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

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.

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.410 Vocal Repertory and Performance
Adam Boyles TR
3:30-5pm
4-152

(Subject meets with 21M.515) 
Prereq: None. Coreq: Participation in ensemble for vocalists 
Units: 3-0-3

For the singer and/or pianist interested in collaborative study of solo vocal performance. Historical study of the repertoire includes listening assignments of representative French, German, Italian, and English works as sung by noted vocal artists of the genre. Topics include diction as facilitated by the study of the International Phonetic Alphabet; performance and audition techniques; and study of body awareness and alignment through the Alexander Technique and yoga. Admission by audition; Emerson Vocal Scholars contact department.

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.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
Dewa Alit
W 7-8:30pm & R 2-3:30pm
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. Students must attend both the Wednesday evening and Thursday afternoon classtimes. 

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.

Special Topics/Advanced Subjects
21M.480 Advanced Music Performance
David Deveau 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

21M.490 Emerson Scholars Solo Recital
David Deveau TBA
TBA
TBA

(Subject meets with 21M.525) 
Prereq: Permission of instructor 
Units: 1-0-5

Solo 50-minute recital prepared with a private teacher and approved by the Emerson Private Studies Committee based on evidence of readiness shown in the Fall Term performances. See Emerson Scholars Stellar site for application deadlines and conditions. Restricted to Emerson Scholars.

21M.505 Music Composition
Keeril Makan F
1-4pm
4-152

Graduate Level
(Subject meets with 21M.351)
Prereq: 21M.304, 21M.310, or permission of instructor
Units: 3-0-9

Directed composition of original writing involving voices and/or instruments. Includes a weekly seminar in composition for the presentation and discussion of work in progress. Students are expected to produce at least one substantive work and perform it in public by the end of the term. Contemporary compositions and major works from 20th-century music literature are studied. Students taking the graduate version complete different assignments.

21M.512 Advanced Music Performance
David Deveau 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.515 Vocal Repertoire and Performance
Adam Boyles TR
3:30-5pm
4-152

Graduate Level
(Subject meets with 21M.410)
Prereq: None 
Units: 3-0-3

For the singer and/or pianist interested in collaborative study of solo vocal performance. Historical study of the repertoire includes listening assignments of representative French, German, Italian, and English works as sung by noted vocal artists of the genre. Topics include diction as facilitated by the study of the International Phonetic Alphabet; performance and audition techniques; and study of body awareness and alignment through the Alexander Technique and yoga. Admission by audition. Emerson Vocal Scholars contact department.

21M.525 Emerson Scholars Solo Recital
David Deveau TBA
TBA
TBA

Graduate Level
(Subject meets with 21M.490) 
Prereq: None 
Units: 1-2-3 

Emerson Scholars may receive credit for a solo spring recital that has been prepared with and approved by the private teacher and the Emerson Private Studies Committee. Approval based on evidence of readiness shown in first term master classes. Restricted to Emerson Scholars.

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

Graduate Level
(Subject meets with 6.809[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.ThT Pre-thesis Tutorial
TBA
TBA
TBA

Prereq: Permission of instructor 
Units: 1-0-5

Definition of and early-stage work on thesis project leading to 21M.THU Undergraduate Thesis in Music or Theater Arts. Taken during the first term, or during IAP, of the student's two-term commitment to the thesis project. Student works closely with an individual faculty tutor. Limited to Music or Theater Arts Majors.

21M.ThU Thesis
TBA
TBA
TBA

Prereq: 21M.THT
Units arranged

Completion of work on senior major thesis in Music or Theater Arts under supervision of a faculty tutor. Includes oral presentation of thesis project early in the term, assembling and revising final text and meeting at the close with a committee of Music or Theater Arts faculty evaluators to discuss successes and limitations of the project. Limited to Music or Theater Arts majors.

21M.UR UROP in Music or Theater Arts (P/D/F)
TBA
TBA
TBA
21M.URG UROP in Music or Theater Arts (Graded)
TBA
TBA
TBA

Units Arranged

Individual participation in an ongoing music research project. For students in the Undergraduate Research Opportunities Progam.