Music Subjects

Show DescriptionsHide Descriptions

Select course title for course description.

 

Introductory
21M.011 Introduction to Western Music, CI-H
21M.013 The Supernatural in Music, Literature and Culture, CI-H Charles Shadle

(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 Evan Ziporyn

 

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 Kathryn Salfelder

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 Florian Hollerweger

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

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

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.223[J] Folk Music of the British Isles and North America, CI-H

(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

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.235 Monteverdi to Mozart: 1600-1800 Teresa Neff

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

Surveys Baroque and Classical genres: opera, cantata, oratorio, sonata, concerto, quartet and symphony. Includes the composers Monteverdi, Schutz, Purcell, Vivaldi, Bach, Handel, Haydn and Mozart. Bases written essays, projects and oral presentations on live performances as well as listening and reading assignments. Basic music score-reading ability required.

21M.250 Beethoven to Mahler Teresa Neff

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

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.269 Studies in Western Music History

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

Explores particular questions or repertories in Western classical music. Requires individual participation, presentations, and writing. Topics vary each year. Examples include women in music, musical borrowing, the Ars Nova, Schumann, or music after 1990. May be repeated for credit with permission of instructor.

21M.271 Symphony and Concerto Emily Richmond Pollock

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.273 Opera Emily Richmond Pollock

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.283 The Musical Martin Marks

Prereq: One subject in film, music, or theater; or permission of instructor 
Units: 3-0-9, HASS-A

Covers Broadway works and Hollywood films in depth. Proceeds chronologically, exploring three stage musicals and three films at a time, within four historical categories: breakthrough musicals of the 1920s and '30s; classic "book musicals" of the '40s and '50s; modernist and concept musicals of the '60s and '70s; and post modern and cutting-edge works of the '80s and '90s. Attention given to the role of music in relation to script, characterization, and dramatic structure. Final papers involve comparison of one stage and one film work, selected in consultation with the instructor. Oral presentations required and in-class performances encouraged.

21M.284 Film Music Martin Marks

(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.289 Studies in Western Classical Genres

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

Explores topics concerned with specific types of classical music, such as repertories for instrumental soloists and/or small ensembles, orchestral works, solo songs, choral works, or compositions for theater, film, or new media. Topics vary and may require additional prerequisites or specialized skills such as score-reading or playing an instrument. Examples include the English madrigal, Baroque chamber music, Beethoven's symphonies, French art song, Wagner's 'Ring' cycle, American choral music, Stravinsky's theater works, and the Hollywood film score. May be repeated for credit with permission of instructor.

21M.291 Music of India George Ruckert

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.292 Music of Indonesia Leslie A. Tilley

Prereq: None 
Units: 2-2-8, 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

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.294 Popular Musics of the World Patricia Tang

Prereq: None 
Units: 3-0-9, HASS-A

Focuses on popular music created for and transmitted by mass media. Studies various popular music genres from around the world through listening and reading assignments, while considering issues of musical change, syncretism, Westernization, globalization, the impact of recording industries, and the post-colonial era. Case studies include bhangra, Afro-pop, reggae, and global hip-hop. Limited to 25; preference to majors, minors, concentrators. Admittance may be controlled by lottery.

21M.295 American Popular Music Teresa Neff

Prereq: None 
Units: 3-0-9, HASS-A

Surveys the development of popular music in the US, and in a cross-cultural milieu, relative to the history and sociology of the last two hundred years. Examines the ethnic mixture that characterizes modern music, and how it reflects many rich traditions and styles (minstrelsy, music-hall, operetta, Tin Pan Alley, blues, rock, electronic media, etc.). Provides a background for understanding the musical vocabulary of current popular music styles. Limited to 20.

21M.299 Studies in World, Traditional, and Popular Music : Duke Ellington Mark Harvey
21M.299 Studies in World, Traditional, and Popular Music: The Social Lives of Instruments Lauren Flood

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. 

21M.299 Studies in World, Traditional, and Popular Music: The Beatles Teresa Neff

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

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 Charles Shadle

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.

Techniques and Materials of Music (9780495189770) is only required for Section 2 with Professor Child. 

21M.303 Writing in Tonal Forms I Charles Shadle

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 Peter Child

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.310 Techniques of 20th-Century Composition Keeril Makan

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.340 Jazz Harmony and Arranging Mark Harvey

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.341 Jazz Composition Mark Harvey

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.342 Composing for Jazz Orchestra Mark Harvey

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

Explores composition and arrangement for the large jazz ensembles from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra. Limited to 20.

21M.351 Music Composition Keeril Makan

(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

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.359 Studies in Musical Composition, Theory and Analysis

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

Explores techniques associated with musical composition and/or analysis. Written exercises in the form of music (composition) and/or prose (papers) may be required, depending on the topic. Topics vary each year; examples include fugue, contemporary aesthetics of composition, orchestration, music analysis, or music and mathematics. May be repeated for credit with permission of instructor. Limited to 18.

21M.361 Electronic Music Composition I Peter Whincop

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 Peter Whincop

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 Music and Technology Florian Hollerweger

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

(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

(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

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

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

(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

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

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.

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.

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

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 Lamine Toure

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

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 Lamine Toure

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

(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.490 Emerson Scholars Solo Recital David Deveau

(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.500 Advanced Seminar in Music Peter Child

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.505 Music Composition Keeril Makan

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 Marcus Thompson

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

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

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.531 Independent Study in Music

Prereq: Permission of instructor 
Units arranged

Open to qualified students who wish to pursue independent studies or projects with members of the Music Section. Projects require prior approval by the Music and Theater Arts Chair.

21M.533 Independent Study in Music

Prereq: Permission of instructor 
Units arranged [P/D/F]

Open to qualified students who wish to pursue independent studies or projects with members of the Music Section. Projects require prior approval by the Music and Theater Arts Chair.

21M.580 Musical Aesthetics and Media Technology

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

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

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.

21M.ThT Pre-thesis Tutorial

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.ThU Thesis

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)
21M.URG UROP in Music or Theater Arts (Graded)

Units Arranged

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

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