Class Schedule | Spring 2019

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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 Caitlin Schmid MF
2-3pm
4-152
Recitation 2 Teresa Neff TR
11-12pm
4-152
Recitation 3 Teresa Neff TR
1-2pm
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 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.

21M.030 Introduction to World Music, CI-H
Lecture 1 Genevieve Dempsey MW
11-12:30pm
4-364
Lecture 2 Panayotis League MW
12:30-2pm
4-364
Lecture 3 Leslie A. Tilley 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 Mark David Buckles MF
11-12:30pm
4-152
Lecture 2 Yi Yiing Chen TR
12:30-2pm
4-162
Lecture 3 Derek David TR
2-3:30pm
4-162

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
Keeril Makan MW
9:30-11am
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.

21M.080 Introduction to Music Technology
Ian Hattwick MW
3:30-5pm
4-364

Prereq: None 
Units: 3-0-9 

HASS-A

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.

Samplings
21M.121 Tuning Systems and Temperament
Teresa Neff MW
12:30-2pm
4-152

First half of term 
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.

Surveys selected tunings of the scale, including Pythagorean, just intonation, mean-tone, and equal temperaments, as well as non-Western systems and the impact of tunings and temperaments on musical composition and performance. Projects based on live demonstration and on reading and listening assignments.

History/Culture
21M.215 Music of the Americas
Charles Shadle MW
11-12:30pm
4-158

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 TR
3:30-5pm
4-152

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

HASS-A, CI-M

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 Nineteenth-Century Music
Teresa Neff MW
2-3:30pm
4-158

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 Music since 1900
Martin Marks MW
12:30-2pm
4-162

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

HASS-A, CI-M

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.283 Musicals
Martin Marks MW
3:30-5pm
4-162

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.294 Popular Musics of the World
Patricia Tang TR
11-12:30pm
4-364

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.296 Duke Ellington
Mark Harvey TR
11-12:30pm
4-158

Prereq: None 
Units: 3-0-9 

HASS-A

Studies of selected topics in popular music and/or jazz. Topics vary. Examples include Duke Ellington, The Beatles, Bob Dylan, and the 1980s. May be repeated for credit with permission of instructor.

Spring 2019 Topic: Duke Ellington

This course will explore the life and music of Edward Kennedy “Duke” Ellington (1899-1974), one of the greatest musicians of the 20th-century. His career paralleled, influenced, and was influenced by the evolution of jazz, and he became one of the most significant exponents of that art form.  Duke Ellington composed several thousand compositions ranging from popular tunes to film and theater scores to symphonic-length works to sacred music, all while constantly touring America and the world.  With his critically-acclaimed orchestra, he performed in clubs, concert halls, cathedrals, at colleges and festivals, and for kings, queens, and Presidents.  We will discuss all of this in the context of historical and wide-ranging socio-cultural dynamics, and listen to many Ellington recordings.

Composition/Theory
21M.301 Harmony and Counterpoint I
Lecture 1 Elena Ruehr MW
11-12:30pm
4-162
Lecture 2 Benjamin Park MW
2-3:30pm
4-162
Lecture 3 Kathryn Salfelder TR
2-3:30pm
4-152
Lecture 4 Kathryn Salfelder TR
3:30-5pm
4-162
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. 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.

Harmony and Voice Leading (9781337560573) is recommended for section 1 only.

The Music Theory Handbook (9780155026629) is recommended for section 2 only. 

21M.302 Harmony and Counterpoint II
Lecture 1 Kathryn Salfelder MW
12:30-2pm
4-158
Lecture 2 Charles Shadle TR
12:30-2pm
4-158
Lecture 3 Peter Child TR
2-3:30pm
4-364
Required Piano Lab TBA
TBA
24-033
Required Musicianship Lab Garo Saraydarian R
4-5pm
4-270
Required Musicianship Lab 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.

Techniques and Materials of Music (9780495189770) is only required for section 3. 

21M.303 Writing in Tonal Forms I
Lecture Charles Shadle MW
3:30-5pm
4-158
Required Musicianship Lab Garo Saraydarian R
4-5pm
4-270
Required Musicianship Lab 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 per section.

21M.304 Writing in Tonal Forms II
Lecture Peter Child TR
11-12:30pm
4-162
Required Musicianship Lab Garo Saraydarian R
4-5pm
4-270
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 Jazz 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 15.

21M.351 Music Composition
Evan Ziporyn W
2-5pm
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: 3-0-9 
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 limited to 15; open by audition to instrumental or vocal performers.

21M.359 Sound and Music Computing
Matthew Schumaker TR
11-12:30pm
24-033F

Prereq: Please see below note
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.

Spring 2019 Topic: Sound and Music Computing
Create new music at the intersection of audio synthesis and algorithmic composition. This course considers significant works from the computer music repertoire as models for exploring topics in computer-assisted composition, generative music, and interactive music systems. Fundamentals of sound synthesis techniques, digital audio signal processing, musical acoustics and psychoacoustics, and sound analysis are presented as resources for composing. In weekly classwork and longer midterm projects, students apply creative and technical skills to build programs to create engaging sounds, musical exercises and longer pieces. The course uses Max/MSP in combination with the odot scripting language as the principal programming environment and considers other computer music platforms as well.

Please note: While the subject listing page lists 21M.302 as the prerequisite for this class, the instructor is changing the prerequisite to 21M.051. So if you are interested and have taken 21M.051 or 21M.301, please sign up! 

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 Ian Hattwick M
11-1pm
Killian
Lab 1 Peter Whincop W
2-3pm
24-033F
Lab 2 Peter Whincop W
3-4pm
24-033F
Lab 3 Peter Whincop W
4-5pm
24-033F
Lab 4 Ian Hattwick W
11-12pm
56-191
Lab 5 Ian Hattwick W
12-1pm
56-191
Lab 6 Ian Hattwick W
1-2pm
56-191

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 12 per section; preference to Music majors, minors, and concentrators.

21M.362 Electronic Music Composition II
Lecture 1 Peter Whincop T
7-9pm
24-033F
Lab Peter Whincop R
7-9pm
24-033F

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.

21M.380 Laptop Orchestras and Network Music
Lecture Ian Hattwick T
12:30-2pm
24-033F
Lab Ian Hattwick R
12:30-2pm
Killian

Prereq: None
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.

Spring 2019 Topic: Laptop Orchestras and Network Music
Examines how performers and composers utilize computers and digital networks to create new forms of ensemble performance. We will take a hybrid approach to our research, combining the study of past and present digital music ensembles with hands-on experience composing and performing music for laptops. Topics covered include: the beginnings of network music in the Bay area, the rise of the Laptop Orchestra, the laptop ensemble as research lab, interconnected musical networks, tangible controllers and digital musical instruments, live coding, and compositional and conducting strategies for laptop ensemble. The semester will conclude with a public performance of students works and repertoire drawn from existing ensembles.

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

(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

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

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

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
4-364

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

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 
http://web.mit.edu/~mitwe/www/ 

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

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 

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

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

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

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
W
7-10pm
N52-199

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

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

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 

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

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
Monday 8:30-10pm AND Thursday 7:30-9pm
N52-199

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.

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 

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

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
Marcus Thompson TBA
TBA
TBA

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

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

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.

Special Topics/Advanced Subjects
21M.505 Music Composition
Evan Ziporyn W
2-5pm
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
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.515 Vocal Repertoire and Performance
Adam Boyles TR
3:30-5pm
4-364

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
Marcus Thompson 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.