Class Schedule | Fall 2021

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Introductory
21M.011 Introduction to Western Music, CI-H
Lecture Neff W
3:30-5:00 pm
4-270
Recitation 1 Marks TR
1:00-2:00 pm
4-152
Recitation 2 Boyles TR
4:00-5:00 pm
4-364
Recitation 3 Neff MF
1:00-2:00 pm
4-162
Recitation 4 MF
2:00-3:00 pm
4-162

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 Dempsey MW
9:30-11:00 am
4-158
Lecture 2 Dempsey MW
11:00am-12:30pm
4-158

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 Iker MW
9:30-11:00 am
4-152
Lecture 2 David TR
3:30-5:00 pm
4-162
Lecture 3 Lam TR
7:00-8:30 pm
24-033F
Required Piano Lab TBA
TBA
24-033
Required Sight Singing Lab Buckles F
1:00-2:00 pm
4-270

Prereq: None 
Units: 3-2-7 

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 and sight singing lab. 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.

21M.053 Rhythms of the World
Tilley TR
2:00-3:30 pm
4-162

Prereq: None 
Units: 3-0-9 

HASS-A

Experiential, fully-embodied exploration into the fundamentals of music through the lens of largely non-Western, aural music cultures. From Bali to Ghana, Cuba to India, Zimbabwe to Andalucía, students think about, talk about, and make music in new ways. Examines some of the basic concepts of music - structure, melody-making, meter, rhythm, movement, etc. - studying their diverse incarnations in different music cultures and encouraging a breadth of perspective and engagement. Introduces students to many different musical practices, engaging with them through active music-making, in-depth discussion, listening and analysis, and creative composition. No musical experience required. Limited to 18. 

21M.080 Introduction to Music Technology
Hattwick MW
12:30-2:00 pm
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.138 Moments in Music: Composing Ragtime - 1st Half of Term
Lecture 1 - 1st Half of Term Shadle TR
11:00am-12:30pm
4-162

First half of semester
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.

Practice in a particular compositional technique not normally covered in the Harmony and Counterpoint or Musical Composition sequences. Possible topics include Renaissance counterpoint, fugue, ragtime, or indeterminacy. May be repeated once for credit if content differs. Enrollment limited. 

Fall 2021 1st Half of Semester Topic: Composing Ragtime
An intensive study, and close reading of selected work from the Ragtime piano repertoire of the early 20th century, will inform and provide a framework for the composition of a new piano Rag. Special emphasis will be placed on the beloved masterpieces of African-American composer Scott Joplin. Experience playing the piano, as well as a basic familiarity with the principles of music theory will provide the student with a secure foundation in this subject. The class will culminate with a public performance of student compositions. Enrolment limited.

History/Culture
21M.220 Medieval and Renaissance Music (CI-M)
MW
2:00-3:30 pm
4-158

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.226 Jazz
Lowe MW
12:30-2:00 pm
24-033F

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.283 Musicals
Marks TR
3:30-5:00 pm
4-152

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.285 The Beatles (NEW NUMBER)
Neff TR
12:30-2:00 pm
4-364

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

HASS-A

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 focus on the construction and analysis of selected songs with the goal of mapping how the Beatles' musical style changed from skiffle and rock to studio-based experimentation and the concept album. Discussions about the cultural influences that helped shape not only music, but also the image of the Beatles and its individual members, as well as the group's influence on both popular music and culture worldwide.

21M.294 Popular Musics of the World
Marshall TR
11:00am-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.297J Cultures of Popular Music in East Asia: Japan, Korea, China
T
12:00-3:00 pm
34-303

Prereq: None 
Units: 3-0-9
HASS-A

Taught by Prof. Ian Condry

Explores a variety of music cultures in contemporary East Asia. Emphasizes examples from Japan, but forays elsewhere, including South Korea and China. Uses writings, videos, and recordings of musical performances, events, and objects in a variety of contexts to better understand how the concept of culture gives insight into gender, class, sexuality, race, ethnicity, nationhood, and individual identities. Explores ethnographic approaches to musical cultures with a focus on the last thirty years. Topics include Japanese hip-hop, K-Pop idols, Vocaloids (virtual idols), Chinese popular music and protest, street music, streaming and online distribution for global music, and experimental music. Students conduct ethnographic fieldwork and produce sonic presentations. No music experience nor technical expertise required. Taught in English.

21M.299 Studies in World Music: Music of Brazil
Dempsey TR
12:30-2:00 pm
4-162

Prereq: None
3-0-9
HASS-A

Studies of selected topics in ethnomusicology (the study of music in culture).  Topics vary.  Examples include the social lives of musical instruments, music and storytelling, fieldwork methodologies, music and politics, and rhythms of the world.  May be repeated for credit with permission of instructor.

Fall 2021 Music of Brazil

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.
Composition/Theory
21M.301 Harmony and Counterpoint I
Lecture 1 Ruehr MW
11:00am-12:30pm
4-364
Lecture 2 Lam MW
2:00-3:30 pm
4-364
Lecture 3 Lam MW
3:30-5:00 pm
4-364
Lecture 4 Cutter TR
2:00-3:30 pm
4-152
Required Piano Lab TBA
Sign-up first week of class
24-033
Required Sight Singing Lab Buckles F
2:00-3:00 pm
4-270

Prereq: None
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. 

21M.302 Harmony and Counterpoint II
Lecture 1 Iker MW
12:30-2:00 pm
4-152
Lecture 2 Iker MW
3:30-5:00 pm
4-152
Required Piano Lab TBA
Sign-up first week of classes
24-033
Required Musicianship Lab Saraydarian R
4:00-5:00 pm
4-270
Required Musicianship Lab Saraydarian F
4:00-5:00 pm
4-270

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

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

21M.303 Writing Tonal Forms I
Lecture Shadle MW
3:30-5:00 pm
4-162
Required Musicianship Lab Saraydarian R
4:00-5:00 pm
4-270
Required Musicianship Lab Saraydarian F
4:00-5:00 pm
4-270

Prereq: 21M.302​
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.310 Techniques of 20th-Century Composition
Shadle MW
11:00am-12:30pm
4-162

Prereq: 21M.302 or Permission of instructor
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
TR
11:00-12:30 pm
24-033F

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. Performance of student arrangements. Limited to 15.

21M.341 Jazz Composition
MW
2:00-3:30 pm
4-152

Prereq: 21M.226 or 21M.340 or Permission of instructor
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, Golson, Coleman, Coltrane, Hancock, Tyner, Davis, and others. Performance of student compositions. Limited to 15.

21M.359 Studies in Musical Compostion, Theory and Analysis: The Analysis of Tonal Music
Child TR
2:00-3:30 pm
4-158

Prereq: 21M.302 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.

Fall 2021: The Analysis of Tonal Music

Some aspects of our experience of music are beyond words. The grace or invention of a particular passage leaves us simply moved or awestruck. Some aspects, however, are due to a richness of relationship in the piece that, to a degree, can be described. These are aspects of its structure or process that we attend to when we analyze music. The more deeply we can understand music, the more sophisticated our analytical hearing, the richer our experience as performers, composers and listeners.

This class provides an introduction to the analysis of tonal music, building upon techniques and concepts learned in harmony and counterpoint classes. As we analyze pieces in class, four major areas of focus will emerge:

  • Rhythmic structure
  • Melodic structure
  • Harmonic structure
  • Motivic structure
  • Form

Our work in class will focus on the analysis of whole (mostly short) pieces, as well as some theoretical works that address these topics. Both the music and the readings will be available on Canvas.

Music Technology
21M.361 Electronic Music Composition I
Lecture and Lab 1 Whincop MW
2:00-3:30 pm
24-033F
Lecture and Lab 2 Whincop TR
2:00-3:30 pm
24-033F
Lecture and Lab 3 Whincop TR
3:30-5:00 pm
24-033F

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.

21M.383 Computational Music Theory and Analysis
Cuthbert TR
4:00-5:00 pm
4-158

Prereq: 6.009 and 21M.301
3-0-9
HASS-A

2 hrs/wk in-person lecture; 1 hr/wk asynchronous recorded lecture with integrared work

Covers major approaches to computational music theory and musicology in the symbolic (score-based) domain. Covers corpus studies, algorithms for music theory, musical search and similarity, encoding, feature extraction and machine learning, music generation, and computational music perception. Programming assignments given in Python using the MIT-created music21 toolkit. Culminates in an original final project. Enrollment limited.

21M.385J Interactive Music Systems
Egozy MW
11:00am-12:30pm
4-270

(Same subject as 6.185[J])
Prereq: (6.01 and 21M.301) or permission of instructor 
Units: 3-0-9 

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

21M.387 Fundamentals of Music Processing
Egozy TR
11:00am-12:30pm
4-270

(Same subject as 6.187[J])
Prereq: 6.003, 6.0002, and 21M.051
Units: 3-0-9
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.

Performance
21M.401 MIT Concert Choir
Cutter MW
7:00-9:00 pm
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 MIT Chamber Chorus
Cutter TR
9:30-11:00 am
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.421 MIT Symphony Orchestra
Boyles TR
7:30-10:00 pm
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.423 Conducting and Score-Reading
Boyles TR
2:00-3:30 pm
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.426 MIT Wind Ensemble
Harris, Jr. TR
7:00-9:30 pm
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.

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
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
Komin TR
3:30-5:00 pm
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
Huang 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 Touré MT
7:00-8:30 pm
N52-199
Lecture 2 Touré MR
Monday 8:30-10:00 pm
Thursday 7:00-8:30 pm
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.470 MIT Laptop Ensemble
Hattwick TR
3:30-5:00 pm
14W-111

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.

The MIT Laptop Ensemble 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. Concerts by the ensemble include repertoire drawn both from historical electronic and computer music compositions, as well as new compositions by invited composers. Also includes opportunities for ensemble members to compose for and conduct the ensemble. Weekly rehearsals focus on concepts drawn from a variety of 20th- and 21st-century practices, including experimental and improvised music, telematic performance, gestural controllers, multimedia performance, live coding, and interactive music systems. No previous experience required. Admission by audition.

21M.480 Advanced Music Performance
Lin Douglas M
5:00-7:00 pm
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.

Special Topics/Advanced Subjects
21M.500 Advanced Seminar in Music (CI-M)
Cuthbert F
2:00-5:00 pm
4-158

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.

Fall 2021 Topic: History of Music Theory

This year the topic will be the history of music theory. The seminar will ask questions such as: why has music theory developed in the West the way it has?  how was music conceptualized in the distant past and how has it transformed recently and how is it still changing today? how does the concept of music theory differ from the West and other parts of the world? what challenges do music compositions today and our changing relationships to music of the past hold for traditional music theory? why do we teach music theory? is it still valuable, universal, or apply across repertories?

21M.512 Advanced Music Perforance (G)
Lin Douglas M
5:00-7:00 pm
14W-111

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.

21M.515 Conducting and Score-Reading (G)
Boyles TR
2:00-3:30 pm
4-364

(Subject meets with 21M.423) 
Graduate version
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.