Class Schedule | Spring 2021

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

2 hrs/wk synchronous recitation; 1.5 hrs/wk asynchronous lecture

Provides a broad overview of Western music from the Middle Ages to the 21st 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. 

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

3 hrs/wk synchronous lecture

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.

Prereq: None 
Units: 3-2-7 
HASS-A

80 min/wk synchronous lecture; 80 min/wk asynchronous lecture

Introduces students to the rudiments of 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 through required online keyboard and sight-singing labs. Intended for students with little to no prior experience reading music or performing. Not open to students who have completed 21M.151, 21M.301, or are participating in a performance ensemble where written music is employed. Limited to 20 per section by lottery.

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

3 hrs/wk synchronous lecture

This introductory course consists of a series of guided composition projects, in a diverse range of styles based on student interest and experience.  In addition to acquiring and/or improving compositional tools and skills, we will focus on various aspects of the musical experience – material, structure, sound, modality (melodic and rhythmic), counterpoint, creativity and expression – as composers, performers, and listeners. We will also examine composition as a human endeavor: the subjective experience through various composer’s own words and work, and the interpersonal experience through listening to/playing each other’s pieces and discussing each other’s works.

For Sp21 extra attention will be paid to making music during social distancing: using music/audio software (DAWS such as Audacity, GarageBand, MuseScore and other), home and remote recording, etc. 

No compositional experience required; familiarity with standard music notation strongly encouraged.  Limited to 18 students.

Prereq: None 
Units: 3-0-9 
HASS-A

3 hrs/wk synchronous lecture

Investigates how technology is used in the analysis, modeling, synthesis and composition of music, and its contribution to the artistic production practice. With an eye towards historical context as well as modern usage, topics include the physics of sound, digital representations of music, the Digital Audio Workstation (DAW), analog and digital synthesis techniques, MIDI and sequencing, electronic instrument design, notation software, generative music systems, and computational analysis of music. Weekly assignments focus on both theory and practice, requiring technical proficiency, creative output, and aesthetic consideration. Enrollment limited. 

Prereq: Permission of instructor.
Units: 2-0-4
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

3 hrs/wk synchronous lecture.

Designed as an introduction to music for American and European animated films of the silent and early sound eras (ca. 1920-1960).  Closest attention first to classic Hollywood studio shorts produced by Disney, Warner Bros., MGM, and UPA, then to feature-length films, including The Adventures of Prince Achmed, Snow White, and Bambi. Leading composers considered include Stalling, Bradley, Kubik, and Disney’s roster. Study will range over technological and esthetic (interpretative) approaches, as well as cultural issues (including racial and ethnic stereotypes). Required work: brief analytic and personal reports on film and sound track segments; a team project on one feature film; and one paper (1500 words) on a topic to be determined in consultation with the instructor. Enrollment capped at 25.

Prereq: Permission of instructor.
Units: 2-0-4
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

3 hrs/wk synchronous lecture.

Continuation of approaches introduced in 21M.128, but with branching out to anime along with key recent features from America, Japan, and elsewhere. Principal focus on works from Disney, Pixar, and Ghibli Studios. Leading composers to be considered include Hisaishi, Elfman, R. & T. Newman, Giacchino, and Powell. NOTE: May be taken separately from 21M.128, but if over-enrolled, preference will be given to students who took the previous class.

Prereq: 21m.301 is required.  Students who have taken 21m.302, 303, or 304 will be able to make use of additional skills in analysis and composition assignments.
Units: 2-0-4
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

3 hrs/wk synchronous lecture.

Many eighteenth-century composers were trained in the partimento tradition, in which their composition teachers set them increasingly difficult melodies to harmonize at the keyboard following a series of rules set by the teacher. This pedagogical tradition was incredibly effective: student composers were quickly able to compose and even improvise complex music following these patterns. In this subject, we will explore these patterns with a contemporary lens, analyzing the ways in which partimento patterns have become markers of the eighteenth century “galant style” but extend into many tonal traditions, creating particular expectations that composers can exploit for dramatic effect. We will analyze several works from a variety of eras and musical styles and write our own music that employs these patterns strategically. 21m.301 is a pre-requisite.

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.

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.

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.

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.

Prereq: Basic score-reading ability required
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.

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.

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.

Prereq: None
3-0-9
HASS-A

Moving from studio recordings of samba artists to field recordings of spirit possessions, we will explore the musical practices of Brazil throughout the 20th and 21st centuries. As we delve into the contours and contexts of music scenes across the spectrum from bossa nova to funk carioca, we will begin to unpack what motivates musicians to create song and dance as well as the meanings that these musicians and their listening audiences derive from such processes. Upon completing this course, students will have garnered essential knowledge about creative expressions in Brazil, including Carnival, country (sertanejo), folk (bumba-meu-boi), gospel, pop, and sacred music (Candomblé, Umbanda, and Congado), as well as transnational music movements linking Brazil to Africa and the Iberian Peninsula. Learning activities entail lectures, class discussions, guest demonstrations, and student presentations and creative projects.

Prereq: None
3-3-6
HASS-A

Lam — 1.5 hrs/wk synchronous lecture; 1.5 hrs/wk asynchronous lecture
Ruehr  — TBA

Covers basic writing skills in music of the common-practice period (Bach to Brahms). Regular written assignments lead to the composition of short pieces. Classwork includes analysis of representative works from the literature. Keyboard laboratory and sight-singing choir in addition to regular class meetings. Students should have experience reading music. Limited to 20 per section. 

Prereq:  21M.301 or Permission of instructor
3-2-7
HASS-A

Child — 3 hrs/wk synchronous lecture; occasional asynchronous lecture
Iker — 80 min/wk synchronous lecture; 80 min/wk asynchronous lecture

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.

Prereq: 21M.302​
3-1-8
HASS-A

3 hrs/wk synchronous lecture

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 per section. 

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.

Prereq: 21M.051 or 21M.226 or Permission of instructor
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. Limited to 15.

(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.

Prereq: 21M.301 or permission of insturctor 
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.

Spring 2021 Topic: Choral Composing and Arranging

This course is designed for student who would like to focus on the particular challenges of writing for the voice.

The following topics will be included:
Choral and solo voice types (soprano, mezzo-soprano, alto, contralto, tenor, baritone, bass, lyric soprano, coloratura soprano, etc…)
Text setting - finding the natural declamation of the text
Tessitura and its affect on each voice type
Passagio and its affect on each voice type
International Phonetic Alphabet - understanding specific vowel and consonant categories
Choral voicings (SATB;  SSA; TTB; SSAATTBB; etc….)
Composing for the piano (how to write music that is idiomatic for the instrument)

Projects will include:
Arranging a folk song for unaccompanied chorus
Arranging a folk song for solo voice and piano
Composing/arranging an original song for voice and piano accompaniment
Composing an original choral work for unaccompanied chorus
Composing an original choral work for chorus and piano accompaniment
Composing for solo voice with unaccompanied choral support
Composing for chorus or solo voice with a solo instrument of the composer’s choosing
Final project - original choral or solo composition (with or without accompaniment)

Prereq: None
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 12 per section; preference to Music majors, minors, and concentrators.

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 10.

Prereq: None
3-6-3
HASS-A

Covers aesthetic and technical challenges in the creation of physical interfaces for musical performance. Students will engage in the design and creation of musical interfaces, and learn how to incorporate new technologies in their artistic practice. Topics covered include user experience design for artistic performance, musical human-computer interaction (HCI), hardware and software standards for digital musical systems, embedded programming and sound synthesis, analog and digital sensors, rapid prototyping and digital manufacturing, and creating performance practices around custom hardware. Students will design and build their own digital musical instrument, and present a performance with the instrument as their final project.

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

3 hrs/wk synchronous lecture

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 and student presentations. Teams build an original, dynamic, and engaging interactive music system for their final project. Limited to 36.

Prereq: 6.003, 6.0002, and 21M.051
Units: 3-0-9 
Meets with and equivalent to: 6.S062
HASS-A
http://musictech.mit.edu/fmp

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.

Prereq: None 
Units: 0-4-2 
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

5 hrs/wk synchronous rehearsals

Theoretical and historical study of choral works with small group online rehearsals of choral chamber music. Open to undergraduate and graduate students by audition.

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

This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

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. Emerson Vocal Scholars contact department.

Prereq: None 
Units: 0-4-2 
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

4 hrs/wk synchronous rehearsal

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. Fall 2020 will consist of both virtual and in-person (optional) components.

Prereq: None 
Units: 0-4-2 
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

2 hrs/wk synchronous rehearsal; 3 hrs/wk flexible a/synchronous rehearsal

Though adherence to Covid-19 safety precautions alters the typical MITWE offering for Fall 2020, the course remains committed to providing ALL participating students substantial educational experiences studying large and small ensemble repertoire and participating in a wide range of exciting group and individual project-based learning opportunities.

Online experiences may include: live streamed rehearsals; virtual performances; small group and individual coaching/instruction; masterclasses by internationally renowned musicians; arranging/composing for wind and percussion instruments; study of audio/video instrumental recording production techniques; study of related jazz and world music instrumental techniques including improvisation; and opportunities for STEAM-related outreach to communities in need in the U.S. and abroad.

On campus students’ in-person experience may include live rehearsals and streamed performances of traditional and newly composed works, in addition to the opportunity to participate in all online activities. All MITWE students will have ample opportunities to bond musically and personally through regularly online sessions related to the course and other social opportunities such as music-based game and film nights. All woodwind, brass, percussion, string bass, piano, and harp players are welcome and encouraged to audition.

Prereq: None 
Units: 0-4-2 
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

1.5 hrs/wk synchronous rehearsal; 2.5 hrs/week flexible a/synchronous rehearsal

Though adherence to Covid-19 safety precautions alters the typical MIT FJE offering for Fall 2020, the course remains committed to providing ALL participating students substantial educational experiences studying large and small jazz ensemble repertoire and participating in a wide range of exciting group and individual project-based learning opportunities.

Online experiences may include: live streamed rehearsals; virtual performances; small group and individual coaching/instruction; masterclasses by internationally renowned musicians; arranging/composing for small and large jazz ensemble; improvisation study; study of audio/video instrumental recording production techniques; study and analysis of jazz repertoire and its historical context; and opportunities for STEAM-related outreach to communities in need in the U.S. and abroad.

On campus students’ in-person experience may include live rehearsals and streamed performances of traditional and newly composed works, in addition to the opportunity to participate in all online activities. All MIT FJE students will have ample opportunities to bond musically and personally through regularly online sessions related to the course and other social opportunities such as jazz-based game and film nights.

Prereq: None 
Units: 0-4-2 
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

Synchronous instruction

Study of chamber music literature through analysis, rehearsal, and performance. Weekly seminars and coaching. Open to string, piano, brass, woodwind players, percussionists, and singers in both the classical and jazz styles.

Prereq: None 
Units arranged 

This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

1-2 hrs/wk synchronous instruction by appointment

Open by audition to pianists who wish to explore and develop their talents as collaborative musicians. Pianists are paired with an Emerson scholarship recipient and attend that student’s weekly private lesson as required. Pianists prepare independently, rehearse with the student partner to prepare for lessons, and perform at a juried recital at the end of the semester. Remote learning places greater emphasis on individual preparation; study of scores, existing recordings, and performance practices; and creating recordings for online collaboration. Under supervision from music faculty and Emerson private lesson instructors, pianists may work with one or two scholarship students each term at 3 units for a smaller-scale assignment, or at 6 units for a larger-scale assignment. This subject satisfies the performance requirement for pianists receiving music scholarships. A commitment is required by Add Date.

Prereq: None 
Units: 0-3-3 
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

3 hrs/wk synchronous rehearsal

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.

Prereq: None 
Units: 0-3-3 

This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

3 hrs/wk synchronous rehearsal

The MIT Laptop Ensemble (FaMLE) is a forum for the exploration of emerging digital musical practices, giving ensemble members hands-on experience with compositional and performance strategies based on current research. The F20-S21 season will focus on the practice of live coding, with concerts featuring performers writing code in real-time to generate music and visuals. We will use a variety of live coding languages created by current practitioners and researchers, including past and present FaMLE members, and ensemble members will also be invited to contribute to compositions and live coding language development. Rehearsals and concerts will take place remotely, and concerts will be live-streamed. No previous experience required. Admission by audition.

(Subject meets with 21M.512) 
Prereq: None 
Units: 1-2-3 
This class can be combined with another 6-unit Music & Theater Arts samplings or performance ensemble for HASS credit.

Synchronous instruction hours arranged

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.

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

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.

Spring 2021 Topic: Analyzing Popular Music

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.

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

Synchronous instruction hours arranged

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.

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. Emerson Vocal Scholars contact department.