chaseharmon/MIT_Course_Catalog · Datasets at Hugging Face

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21M.158	Moments in Music: Theory and Analysis A	Specific musical compositions or topics in music theory will provide the basis for analysis and close reading. Topics vary. Examples include a Bach Cantana, a Beethoven Quartet, Pierrot Lunaire, or cross-cultural musical analysis. May be repeated once for credit if content differs. Enrollment limited.	true	Fall	Undergraduate	2-0-4	Permission of instructor	null	false	false	false	False	False	False
21M.159	Moments in Music: Theory and Analysis B	Specific musical compositions or topics in music theory will provide the basis for analysis and close reading. Topics vary. Examples include a Bach Cantana, a Beethoven Quartet, Pierrot Lunaire, or cross-cultural musical analysis. May be repeated once for credit if content differs. Enrollment limited.	true	Fall	Undergraduate	2-0-4	Permission of instructor	null	false	false	false	False	False	False
21M.215	Music of the Americas	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.	false	Spring	Undergraduate	3-0-9	Permission of instructor	null	false	false	false	False	Arts	False
21M.220	Medieval and Renaissance Music	Examines European, Mediterranean basin, and Latin American music in the ancient world, Middle Ages, and the Renaissance (to 1630). Interweaves a chronological survey with the intensive study of three topics, which are usually 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 work with original sources and facsimiles in crafting research papers, presentation, and assignments.	false	Fall	Undergraduate	3-0-9	None. Coreq: 21M.301	null	false	false	false	False	Arts	False
21M.223	Folk Music of the British Isles and North America	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.	true	Fall	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	CI-H
21M.226	Jazz	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.	true	Spring	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.235	Baroque and Classical Music	Surveys genres from the Western tradition composed in the 17th and 18th centuries: opera, cantata, oratorio, sonata, concerto, quartet and symphony. Includes the composers Monteverdi, Purcell, Lully, Strozzi, Vivaldi, Bach, Handel, Haydn, Bologne, 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.	true	Spring	Undergraduate	3-0-9	21M.301 or permission of instructor	null	false	false	false	False	Arts	False
21M.250	Nineteenth-Century Music	Surveys 19th century Western concert music including Lied/song, choral music, opera, piano sonata/character piece, concerto, and symphony/symphonic poem. Includes the composers Beethoven, Schubert, Berlioz, Chopin, Farrenc, Brahms, Verdi, Tchaikovsky, Beach, Smyth, and Mahler. Bases written work and oral presentations on live performances as well as listening and reading assignments. Basic score-reading ability recommended.	true	Spring	Undergraduate	3-0-9	21M.301 or permission of instructor	null	false	false	false	False	Arts	False
21M.260	Music since 1900	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.	true	Fall	Undergraduate	3-0-9	21M.301 or permission of instructor	null	false	false	false	False	Arts	False
21M.269	Studies in Western Music History	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.	false	Fall, Spring	Undergraduate	3-0-9	21M.301 or permission of instructor	null	false	false	false	False	Arts	False
21M.271	Symphony and Concerto	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 classical music in contemporary society. Basic score-reading ability required.	true	Spring	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.273	Opera	Focuses on the different styles and dramatic approaches exhibited by a range of operas. Important themes include dramatic and musical conventions, processes of adaptation, cultural and critical questions, and staging as a type of interpretation. Basic score-reading ability required.	false	Fall	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.283	Musicals	Covers select Broadway stage works and Hollywood films in depth. Proceeds chronologically 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 postmodern and cutting-edge works of the '80s and '90s. Recent musicals also explored. Attention given to the role of music in relation to script, characterization, and dramatic structure. Papers involve comparison of at least one stage and one film work, selected in consultation with the instructor. Oral presentations required and in-class performances encouraged.	true	Spring	Undergraduate	3-0-9	One subject in film, music, or theater or permission of instructor	null	false	false	false	False	Arts	False
21M.284	Film Music	Provides a conceptual foundation and methodology for the study of music created for various types of (mainly) narrative films, from the medium's origins in the early twentieth century to the present. Close attention to select influential scores by composers active in Hollywood from the 1940s to the 1990s (e.g., Max Steiner, Bernard Herrmann, Quincy Jones, John Williams, Philip Glass). Those works are juxtaposed with landmarks of alternative film and musical styles from other countries and centers of production. Subsidiary topics include the history and challenges of live musical accompaniment to silent films, and the evolution of recording and sound-editing technologies from the studio era to the global present. Students taking the graduate version complete different assignments. Some background in the study of film and/or music is desirable, but not a prerequisite.	true	Fall	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.285	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 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 include the cultural influences that helped shape not only the music, but also the image of the group and its individual members, as well as the Beatles' influence on both popular music and culture worldwide. Limited to 21.	true	Fall	Undergraduate	3-0-9	21M.301 or permission of instructor	null	false	false	false	False	Arts	False
21M.289	Studies in Western Classical Genres	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.	true	Spring	Undergraduate	3-0-9	21M.301 or permission of instructor	null	false	false	false	False	Arts	False
21M.291	Music of India	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.	true	Spring	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.292	Musics in Bali	Studies diverse musical practices in Bali, Indonesia. Students encounter a broad spectrum of Balinese musics — from ancient ritual and court musics to popular genres, internationally renowned gamelan traditions to radical contemporary and fusion compositions — engaging with their structures and techniques through music-making, listening analysis, music theory, composition, and dance. Explores the cultural, political, social, and historical contexts of these musics, grappling with complex questions of identity, representation, power, and belief through readings and discussion forums, creative open-ended projects, and in-depth class discussion. No musical experience required. Limited to 15.	false	Fall	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.293	Musics of Africa	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.	false	Spring	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.294	Popular Musics of the World	Examines select popular music genres from around the world through audio-visual materials, reading assignments, and classroom discussion. Considers issues of globalization, appropriation, and the impact of social media. Case studies include bhangra, Latin pop, Afropop, reggae, Kpop, and global hip-hop. Limited to 25; preference to Music majors, minors, concentrators. Admittance may be controlled by lottery.	true	Fall	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.295	American Popular Music	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 mixture that characterizes modern music, and how it reflects many rich traditions and styles (minstrelsy, Tin Pan Alley, blues, country, rock, soul, rap, techno, etc.). Provides a background for understanding the musical vocabulary of current popular music styles. Limited to 20.	true	Spring	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.296	Studies in Jazz and Popular Music	Studies of selected topics in popular music and/or jazz. Topics vary. Examples include Duke Ellington, Bob Dylan, hip-hop, and the 1980s. May be repeated for credit with permission of instructor.	true	Fall	Undergraduate	3-0-9	null	null	false	false	false	False	Arts	False
21M.297[J]	Cultures of Popular Music in East Asia: Japan, Korea, China	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.	true	Spring	Undergraduate	3-0-9	null	21G.095[J], WGS.150[J]	false	false	false	False	Arts	False
21M.299	Studies in Global Musics	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 theories of global musics. May be repeated for credit with permission of instructor.	true	Spring	Undergraduate	3-0-9	21M.030 or permission of instructor	null	false	false	false	False	Arts	False
21M.301	Harmony and Counterpoint I	Explores Western diatonic music through regular composition and analysis assignments. Engages a broad range of historical periods, traditions, and individuals. Topics include rhythm and meter, harmony and counterpoint within a single key, and a brief overview of form and modulation. Individual skills are addressed through a variety of approaches, including the required piano and sight singing labs. Local musicians perform final composition projects. Students should be proficient in reading Western staff notation in at least one clef and have experience with key signatures and scales. Students taking the graduate version complete additional assignments. Limited to 18 per section.	true	Fall, Spring	Undergraduate	3-3-6	21M.051, 21M.151, or permission of instructor	null	false	false	false	False	Arts	False
21M.302	Harmony and Counterpoint II	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.	true	Fall, Spring	Undergraduate	3-2-7	21M.301 or permission of instructor	null	false	false	false	False	Arts	False
21M.303	Writing in Tonal Forms I	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.	true	Fall	Undergraduate	3-1-8	21M.302	null	false	false	false	False	Arts	False
21M.304	Writing in Tonal Forms II	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.	true	Spring	Undergraduate	3-1-8	21M.303	null	false	false	false	False	Arts	False
21M.310	Techniques of 20th-Century Composition	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.	true	Fall	Undergraduate	3-0-9	21M.302 or permission of instructor	null	false	false	false	False	Arts	False
21M.340	Jazz Harmony and Arranging	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.	true	Fall, Spring	Undergraduate	3-0-9	21M.051, 21M.226, or permission of instructor	null	false	false	false	False	Arts	False
21M.341	Jazz Composition	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.	false	Spring	Undergraduate	3-0-9	21M.226, 21M.340, or permission of instructor	null	false	false	false	False	Arts	False
21M.342	Composing for Jazz Orchestra	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 15.	true	Spring	Undergraduate	3-0-9	Permission of instructor	null	false	false	false	False	Arts	False
21M.351	Music Composition	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 that will be performed 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.	true	Spring	Undergraduate	3-0-9	21M.304, 21M.310, or permission of instructor	null	false	false	false	False	Arts	False
21M.355	Musical Improvisation	Students study concepts and practice techniques of improvisation in solo and ensemble contexts. Centered on the jazz tradition, examines relationships between improvisation, composition, and performance, utilizing both mainstream and experimental approaches. Students are expected to perform in class on a regular basis. Involves extensive listening and analysis. Music reading skills are required, as is intermediate instrumental or vocal proficiency. Enrollment limited to 15; open by audition to instrumental or vocal performers.	true	Spring	Undergraduate	3-0-9	Permission of instructor	null	false	false	false	False	Arts	False
21M.359	Studies in Musical Composition, Theory and Analysis	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.	true	Fall	Undergraduate	3-0-9	21M.051 or permission of instructor	null	false	false	false	False	Arts	False
21M.361	Electronic Music Composition I	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. Students taking graduate version complete different assignments. Limited to 15 per section; ; preference to Music Technology graduate students, Music majors, minors, and concentrators.	true	Fall, Spring	Undergraduate	2-1-9	null	null	false	false	false	False	Arts	False
21M.362	Electronic Music Composition II	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. Students taking graduate version complete different assignments. Limited to 10.	true	Spring	Undergraduate	2-2-8	21M.361 or permission of instructor	null	false	false	false	False	Arts	False
21M.365[J]	DJ History, Technique, and Technology (New)	Students explore a chosen contemporary or historical dance scene from around the world. Lectures examine the evolution of the craft and technologies of the DJ. Presents foundational practices of live DJ mixing; practice equipment is accessible to teams of students. Assignments include writing a report analyzing a book on DJ history or technique, producing a complete mix, and participation in an end-of-term performance. No prior experience is necessary, but students must sustain interest in some form of popular dance music, broadly defined. Graduate students complete additional assignments. Limited to 24.	true	Fall, Spring	Undergraduate	3-0-9	null	CMS.303[J]	false	false	false	False	Arts	False
21M.369	Studies in Music Technology	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. Students taking graduate version complete different assignments. Limited to 16.	true	Fall, Spring	Undergraduate	3-0-9	Permission of instructor	null	false	false	false	False	Arts	False
21M.370	Digital Instrument Design	Covers aesthetic and technical challenges in the creation of physical interfaces for musical performance. 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 design and build their own digital musical instrument, and present a performance with the instrument as their final project. Students taking graduate version complete different assignments. Limited to 18.	true	Spring	Undergraduate	3-6-3	null	null	false	false	false	False	Arts	False
21M.383	Computational Music Theory and Analysis	Covers major approaches to analyzing musical scores using computers. Topics include AI/machine learning of style, musical similarity, encoding, music composition, music perception, and big data repertory studies. Programming assignments given in Python. Culminates in an original final project. Students taking graduate version complete different assignments. Enrollment limited.	true	Spring	Undergraduate	3-0-9	6.1010 and (21M.301 or 21M.302)	null	false	false	false	False	Arts	False
21M.385[J]	Interactive Music Systems	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. Students taking graduate version complete different assignments. Limited to 36.	true	Fall, Spring	Undergraduate	3-0-9	(6.1010 and 21M.301) or permission of instructor	6.4550[J]	false	false	false	False	Arts	False
21M.387[J]	Fundamentals of Music Processing	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 different assignments.	true	Fall	Undergraduate	3-0-9	6.3000 and 21M.051	6.3020[J]	false	false	false	False	Arts	False
21M.401	MIT Concert Choir	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.	true	Fall, Spring	Undergraduate	0-4-2	null	null	false	false	false	False	False	False
21M.405	MIT Chamber Chorus	Rehearsal and performance of choral repertoire for small chorus, involving literature from the Renaissance to contemporary periods. Limited to 32 by audition.	true	Fall, Spring	Undergraduate	3-0-3	null	null	false	false	false	False	False	False
21M.410	Vocal Repertoire and Performance	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.	true	Spring	Undergraduate	3-0-3	None. Coreq: Participation in ensemble for vocalists	null	false	false	false	False	False	False
21M.421	MIT Symphony	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.	true	Fall, Spring	Undergraduate	0-4-2	null	null	false	false	false	False	False	False
21M.423	Conducting and Score-Reading	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.	true	Fall	Undergraduate	3-0-3	21M.302 or permission of instructor	null	false	false	false	False	False	False
21M.426	MIT Wind Ensemble	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.	true	Fall, Spring	Undergraduate	0-4-2	null	null	false	false	false	False	False	False
21M.442	MIT Festival Jazz Ensemble	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.	true	Fall, Spring	Undergraduate	0-4-2	null	null	false	false	false	False	False	False
21M.443	MIT Vocal Jazz Ensemble (New)	A performance ensemble for vocalists dedicated to studying traditional and contemporary vocal jazz compositions. Primarily ensemble repertoire ranging from a cappella to full big band accompaniment. Opportunities for solo performances, student-driven arrangements, and to work with professional jazz artists. Practical sight-reading skills required; experience in improvisation preferred. Admission by audition.	true	Fall, Spring	Undergraduate	0-4-2	null	null	false	false	false	False	False	False
21M.445	Chamber Music Society	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.	true	Fall, Spring	Undergraduate	0-4-2	null	null	false	false	false	False	False	False
21M.450	MIT Balinese Gamelan	A performing ensemble dedicated to the traditional music of Bali. Members of the ensemble study structures and techniques used on various gamelan instruments — such as gangsa (ancient bronze metallophones), suling (Balinese bamboo flute), reyong (bronze pots), gongs, and drums — and learn to perform gamelan pieces. Culminates in a performance. No previous experience required.	true	Fall, Spring	Undergraduate	0-3-3	null	null	false	false	false	False	False	False
21M.451	Collaborative Piano	Open by audition to pianists, instrumentalists and singers who wish to explore and develop their talents as collaborative musicians. Students are paired based on availability and receive weekly coachings by appointment. Students practice independently, rehearse with their collaborator, attend their collaborator's lessons as needed, and perform at a juried recital at the end of the term. Students may register for 3 units for a smaller-scale assignment or 6 units for a larger-scale assignment or two small assignments. May satisfy the ensemble requirement for pianists and instrumentalists in the Emerson/Harris program at the discretion of the instructor. Students taking graduate version complete different assignments.	true	Fall, Spring	Undergraduate	rranged	null	null	false	false	false	False	False	False
21M.460	MIT Senegalese Drum Ensemble	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.	true	Fall, Spring	Undergraduate	0-3-3	null	null	false	false	false	False	False	False
21M.470	MIT Laptop Ensemble	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. Students taking graduate version complete different assignments. Admission by audition.	true	Fall, Spring	Undergraduate	3-0-3	Permission of instructor	null	false	false	false	False	False	False
21M.475	Music Performance	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, participate in a departmental performing group, and participate in a group recital at the end of each term. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking graduate version complete different assignments. Admission by audition for Emerson/Harris Program.	true	Fall, Spring	Undergraduate	1-2-3	null	null	false	false	false	False	False	False
21M.480	Advanced Music Performance	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, and present a 50-minute solo recital at the end of the Spring term. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking graduate version complete different assignments. Admission by audition for the Emerson/Harris Program.	true	Fall, Spring	Undergraduate	1-2-6	null	null	false	false	false	False	Arts	False
21M.490	Solo Recital	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 Music and Theater Arts website for application deadlines and conditions. Restricted to Emerson Scholars.	true	Spring	Undergraduate	1-2-6	Permission of instructor	null	false	false	false	False	Arts	False
21M.500	Advanced Seminar in Music	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.	true	Fall	Undergraduate	3-0-9	Permission of instructor	null	false	false	false	False	Arts	False
21M.505	Music Composition	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 that will be performed 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.	true	Spring	Graduate	3-0-9	21M.304, 21M.310, or permission of instructor	null	false	false	false	False	False	False
21M.511	Music Performance	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, participate in a departmental performing group, and present a 50-minute solo recital at the end of the Spring term. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking graduate version complete different assignments. Admission by audition for Emerson/Harris Program.	true	Fall, Spring	Graduate	1-2-3	null	null	false	false	false	False	False	False
21M.512	Advanced Music Performance	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, and present a 50-minute solo recital at the end of the Spring term. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking graduate version complete different assignments. Admission by audition for the Emerson/Harris Program.	true	Fall, Spring	Graduate	1-2-6	null	null	false	false	false	False	False	False
21M.514	Collaborative Piano	Open by audition to pianists, instrumentalists and singers who wish to explore and develop their talents as collaborative musicians. Students are paired based on availability and receive weekly coachings by appointment. Students practice independently, rehearse with their collaborator, attend their collaborator's lessons as needed, and perform at a juried recital at the end of the term. Students may register for 3 units for a smaller-scale assignment or 6 units for a larger-scale assignment or two small assignments. May satisfy the ensemble requirement for pianists and instrumentalists the Emerson/Harris program at the discretion of the instructor. Students taking graduate version complete different assignments.	true	Fall, Spring	Graduate	rranged	null	null	false	false	false	False	False	False
21M.515	Vocal Repertoire and Performance	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.	true	Spring	Graduate	3-0-3	null	null	false	false	false	False	False	False
21M.517	MIT Laptop Ensemble	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. Students taking graduate version complete different assignments. Admission by audition.	true	Fall, Spring	Graduate	3-0-3	null	null	false	false	false	False	False	False
21M.525	Solo Recital	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.	true	Spring	Graduate	1-2-6	null	null	false	false	false	False	False	False
21M.531	Independent Study in Music	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.	true	Fall, IAP, Spring, Summer	Undergraduate	rranged	Permission of instructor	null	false	false	false	False	False	False
21M.533	Independent Study in Music	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.	true	Fall, IAP	Undergraduate	rranged [P/D/F]	Permission of instructor	null	false	false	false	False	False	False
21M.540	Thinking about Music	Seminar focusing on developing skills needed to navigate graduate research projects in music. Topics include how to engage with primary and secondary sources, library and archival (real and virtual) collections, and research bibliographies. Emphasizes working with diverse materials, and viewpoints. Ambiguity, uncertainty, and unsolved (and often unsolvable) questions in music research are emphasized. Includes brief overviews of major periods and works of Western Classical music and significant components and differences among three non-Western/non-Classical repertories.	true	Fall	Graduate	3-0-9	Permission of instructor	null	false	false	false	False	False	False
21M.541	Harmony and Counterpoint I with Computational Applications	Explores Western diatonic music through regular composition and analysis assignments. Engages a broad range of historical periods, traditions, and individuals. Topics include rhythm and meter, harmony and counterpoint within a single key, and a brief overview of form and modulation. Individual skills are addressed through a variety of approaches, including the required piano and sight singing labs. Local musicians perform final composition projects. Students should be proficient in reading Western staff notation in at least one clef and have experience with key signatures and scales. Students taking the graduate version complete additional assignments. Limited to 18 per section.	true	Fall	Graduate	3-3-6	None. Coreq: 21M.565 or permission of instructor	null	false	false	false	False	False	False
21M.560	Introduction to Music Technology	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. Students taking graduate version complete different assignments. Enrollment limited.	true	Fall, Spring	Graduate	3-0-9	null	null	false	false	false	False	False	False
21M.561	Electronic Music Composition I	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. Students taking graduate version complete different assignments. Limited to 15 per section; preference to Music Technology graduate students, Music majors, minors, and concentrators.	true	Fall, Spring	Graduate	2-1-9	null	null	false	false	false	False	False	False
21M.562	Electronic Music Composition II	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. Students taking graduate version complete different assignments. Limited to 10.	true	Spring	Graduate	2-2-8	21M.361, 21M.561, or permission of instructor	null	false	false	false	False	False	False
21M.S53,	21M.S54 Special Subject in Music	Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.	false	Fall, Spring	Undergraduate	rranged	Permission of instructor	null	false	false	false	False	False	False
21M.S55	Special Subject in Music (New)	Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.	true	IAP, Spring, Summer	Undergraduate	rranged	null	null	false	false	false	False	False	False
21M.S56	Special Subject in Music (New)	Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.	true	IAP, Spring, Summer	Undergraduate	rranged	null	null	false	false	false	False	False	False
21M.565	Programming for Music	Introduction to programming skills needed for conducting research in music and music technology. Students develop skills to solve problems using python in music theory, history, performance, and technology and to compose using algorithms and data structures. Covers fundamental aspects of both computer science and software engineering as applied to music, including abstraction, data types, testing and debugging, time complexity, and recursion. Relies on students' prior experience with research methods in music and musical creativity to answer otherwise under-defined problems. Culminates in an individual programming project.	true	Fall	Graduate	2-2-8	Permission of instructor	null	false	false	false	False	False	False
21M.569	Studies in Music Technology	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. Students taking graduate version complete different assignments. Limited to 16.	true	Fall, Spring	Graduate	3-0-9	Permission of instructor	null	false	false	false	False	False	False
21M.570	Digital Instrument Design	Covers aesthetic and technical challenges in the creation of physical interfaces for musical performance. 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 design and build their own digital musical instrument, and present a performance with the instrument as their final project. Students taking graduate version complete different assignments. Limited to 18.	true	Spring	Graduate	3-6-3	null	null	false	false	false	False	False	False
21M.572	Overview of Music Perception and Cognition	An overview of perceptual and biological structures of musical and auditory cognition with applications to music research. Differences between acoustical/technological and perceptual interpretations of sound and music are emphasized. Topics include musical memory and anticipation, emotion and psychological functions, and theories of music's origins and functions. Covers ethical and practical considerations of human subject research in music perception and important conclusions from the field. Not open to students who have taken HST.723 or HST.725.	true	Fall	Graduate	2-0-2	Permission of instructor	null	false	false	false	False	False	False
21M.573	Overview of Acoustics and the Physics of Sound	An overview of the physics of wave propagation, absorption, and reflection in sound. Topics include harmonic motion, standing waves in one to three dimensions, interference and distortion, loudness, electro-acoustical modeling, microphones and loudspeakers, and physical models of musical instruments. Laboratory time is spent in measuring and modeling local acoustical spaces, instruments, and sound production. Not open to students who have taken 2.066.	true	Fall	Graduate	1-1-2	21M.572 or permission of instructor	null	false	false	false	False	False	False
21M.574	Overview of Musical Software and Formats	An overview of the practical side of working with music software and formats for research in music technology. Covers audio editing, notation software, and sound/signal tools primarily using open-source examples. Topics include: compression/codecs, command-line and batch operations for automation; translation among formats, differences among and between audio and symbolic formats (including wav, mp3, MIDI, MusicXML, and historic formats).	true	Fall	Graduate	1-0-3	None. Coreq: 21M.565 or permission of instructor	null	false	false	false	False	False	False
21M.576	Overview of Mathematics for Music Applications	Overview of mathematical tools and their use in music research. Topics include linear algebra and matrices, applications of complex numbers and trigonometric functions, exponentials, summation functions, logarithmic domains, function composition, probability (including Bayes' Theorem), statistics (including tests of significance), and estimating complex functions computationally. All topics are presented in conjunction with musical applications.	true	Fall	Graduate	1-0-3	None. Coreq: 21M.565 or permission of instructor	null	false	false	false	False	False	False
21M.577	Overview of the Principles of Signals	Overview of signal processing techniques for music analysis in the audio domain, including their mathematical representations. Topics include sampling theory, filtering, convolution, and the Fourier transform, particularly in the discrete (digital) domain, with an emphasis on music applications and practice in Python.	true	Fall	Graduate	1-1-2	21M.576 and 21M.572; Coreq: 21M.573 or permission of instructor	null	false	false	false	False	False	False
21M.580[J]	Musical Aesthetics and Media Technology	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.	true	Fall	Graduate	3-3-6	Permission of instructor	MAS.825[J]	false	false	false	False	False	False
21M.581[J]	Projects in Media and Music	Current computer music concepts and practice. Project-based work on research or production projects using the Media Lab's computer music, interactive, and media resources. Requires significant studio work and a term project. Projects based on class interests and skills, and may be individually or group-based. May be repeated for credit with permission of instructor.	true	Spring	Graduate	3-3-6	MAS.825	MAS.826[J]	false	false	false	False	False	False
21M.583	Computational Music Theory and Analysis	Covers major approaches to analyzing musical scores using computers. Topics include AI/machine learning of style, musical similarity, encoding, music composition, music perception, and big data repertory studies. Programming assignments given in Python. Culminates in an original final project. Students taking graduate version complete different assignments. Enrollment limited.	true	Spring	Graduate	3-0-9	(21M.541 and 21M.565) or permission of instructor	null	false	false	false	False	False	False
21M.585	Interactive Music Systems	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. Students taking graduate version complete different assignments. Limited to 36.	true	Fall, Spring	Graduate	3-0-9	(21M.541 and 21M.565) or permission of instructor	null	false	false	false	False	False	False
21M.587	Fundamentals of Music Processing	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 different assignments. Enrollment limited.	true	Fall	Graduate	3-0-9	(21M.541, 21M.565, and 21M.577) or permission of instructor	null	false	false	false	False	False	False
21M.589	Studies in Advanced Music Technology and Music Computation	Studies of a selected topic in music technology requiring substantial prior knowledge of music studies, music technology, and computation. Topics vary. Examples include computational modeling of music cognition, artificial intelligence and musical creativity, or real-time Internet musical collaboration. May be repeated for credit with permission of instructor.	true	Spring	Graduate	3-0-9	(21M.540, 21M.565, and (21M.301 or 21M.541)) or permission of instructor	null	false	false	false	False	False	False
21M.590	Colloquium in Music Technology	Presentations of recent work in music research from both academic and commercial spheres. Students prepare to engage with guest speakers by reading and demonstrating understanding of the sphere of work, attend presentations, and reflect on the work. Enrollment limited with priority to graduate students in music technology. May be repeated for credit with permission of the instructor.	true	Fall, Spring	Graduate	1-0-0	null	null	false	false	false	False	False	False
21M.591	Capstone Project in Music Technology	Preparation for and submission of the capstone project in the MASc in Music Technology. Provides an overview of expectations for the capstone project. Individual meetings with the research director/subject head and group meetings on the process of developing an idea from foundational music technology subjects with advanced topics learned simultaneously. Culminates in an individual research project and presentation. Restricted to MASc in Music Technology students.	true	Spring	Graduate	1-0-5	(21M.540, 21M.565, and (21M.301 or 21M.541)) or permission of instructor	null	false	false	false	False	False	False
21M.595	Music Technology And Computation Research Seminar	Development of a thesis-level project in music technology and computation. Individual meetings with the research director/subject head and with individual thesis advisors, together with group meetings on research techniques, musical thinking, and graduate-level academic writing. Culminates in a submitted prospectus for a graduate project presented to the group. Restricted to SM in Music Technology and Computation students.	true	Spring	Graduate	2-0-4	null	null	false	false	false	False	False	False
21M.S53,	21M.S54 Special Subject in Music	Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.	false	Fall, Spring	Undergraduate	rranged	Permission of instructor	null	false	false	false	False	False	False
21M.S55	Special Subject in Music (New)	Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.	true	IAP, Spring, Summer	Undergraduate	rranged	null	null	false	false	false	False	False	False
21M.S56	Special Subject in Music (New)	Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.	true	IAP, Spring, Summer	Undergraduate	rranged	null	null	false	false	false	False	False	False
21M.THG	Directed Research and Thesis in Music Technology and Computation	Program of research and writing of the SM thesis in Music Technology and Computation. Structure and hours to be arranged by the student with the supervising committee. Restricted to SM in Music Technology and Computation students.	true	Fall, IAP, Spring, Summer	Graduate	rranged	null	null	false	false	false	False	False	False
21M.THT	Music Pre-Thesis Tutorial	Definition of and early-stage work on thesis project leading to undergraduate thesis in Music. Taken during the first term, or during IAP, of the student's two-term commitment to the thesis project. Student works closely with an individual faculty tutor. Limited to Music majors.	true	Fall, IAP, Spring	Undergraduate	1-0-5	Permission of instructor	null	false	false	false	False	False	False
21M.THU	Undergraduate Thesis	Completion of work on senior major thesis in Music 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 faculty evaluators to discuss successes and limitations of the project. Limited to Music majors.	true	Fall, IAP, Spring, Summer	Undergraduate	rranged	21M.THT or permission of instructor	null	false	false	false	False	False	False

21M.158

Moments in Music: Theory and Analysis A

Specific musical compositions or topics in music theory will provide the basis for analysis and close reading. Topics vary. Examples include a Bach Cantana, a Beethoven Quartet, Pierrot Lunaire, or cross-cultural musical analysis. May be repeated once for credit if content differs. Enrollment limited.

true

Fall

Undergraduate

2-0-4

Permission of instructor

null

false

False

21M.159

Moments in Music: Theory and Analysis B

Specific musical compositions or topics in music theory will provide the basis for analysis and close reading. Topics vary. Examples include a Bach Cantana, a Beethoven Quartet, Pierrot Lunaire, or cross-cultural musical analysis. May be repeated once for credit if content differs. Enrollment limited.

true

Fall

Undergraduate

2-0-4

Permission of instructor

null

false

False

21M.215

Music of the Americas

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.

false

Spring

Undergraduate

3-0-9

Permission of instructor

null

false

False

Arts

False

21M.220

Medieval and Renaissance Music

Examines European, Mediterranean basin, and Latin American music in the ancient world, Middle Ages, and the Renaissance (to 1630). Interweaves a chronological survey with the intensive study of three topics, which are usually 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 work with original sources and facsimiles in crafting research papers, presentation, and assignments.

false

Fall

Undergraduate

3-0-9

None. Coreq: 21M.301

null

false

False

Arts

False

21M.223

Folk Music of the British Isles and North America

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.

true

Fall

Undergraduate

3-0-9

null

false

False

Arts

CI-H

21M.226

Jazz

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.

true

Spring

Undergraduate

3-0-9

null

false

False

Arts

False

21M.235

Baroque and Classical Music

Surveys genres from the Western tradition composed in the 17th and 18th centuries: opera, cantata, oratorio, sonata, concerto, quartet and symphony. Includes the composers Monteverdi, Purcell, Lully, Strozzi, Vivaldi, Bach, Handel, Haydn, Bologne, 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.

true

Spring

Undergraduate

3-0-9

21M.301 or permission of instructor

null

false

False

Arts

False

21M.250

Nineteenth-Century Music

Surveys 19th century Western concert music including Lied/song, choral music, opera, piano sonata/character piece, concerto, and symphony/symphonic poem. Includes the composers Beethoven, Schubert, Berlioz, Chopin, Farrenc, Brahms, Verdi, Tchaikovsky, Beach, Smyth, and Mahler. Bases written work and oral presentations on live performances as well as listening and reading assignments. Basic score-reading ability recommended.

true

Spring

Undergraduate

3-0-9

21M.301 or permission of instructor

null

false

False

Arts

False

21M.260

Music since 1900

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.

true

Fall

Undergraduate

3-0-9

21M.301 or permission of instructor

null

false

False

Arts

False

21M.269

Studies in Western Music History

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.

false

Fall, Spring

Undergraduate

3-0-9

21M.301 or permission of instructor

null

false

False

Arts

False

21M.271

Symphony and Concerto

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 classical music in contemporary society. Basic score-reading ability required.

true

Spring

Undergraduate

3-0-9

null

false

False

Arts

False

21M.273

Opera

Focuses on the different styles and dramatic approaches exhibited by a range of operas. Important themes include dramatic and musical conventions, processes of adaptation, cultural and critical questions, and staging as a type of interpretation. Basic score-reading ability required.

false

Fall

Undergraduate

3-0-9

null

false

False

Arts

False

21M.283

Musicals

Covers select Broadway stage works and Hollywood films in depth. Proceeds chronologically 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 postmodern and cutting-edge works of the '80s and '90s. Recent musicals also explored. Attention given to the role of music in relation to script, characterization, and dramatic structure. Papers involve comparison of at least one stage and one film work, selected in consultation with the instructor. Oral presentations required and in-class performances encouraged.

true

Spring

Undergraduate

3-0-9

One subject in film, music, or theater or permission of instructor

null

false

False

Arts

False

21M.284

Film Music

Provides a conceptual foundation and methodology for the study of music created for various types of (mainly) narrative films, from the medium's origins in the early twentieth century to the present. Close attention to select influential scores by composers active in Hollywood from the 1940s to the 1990s (e.g., Max Steiner, Bernard Herrmann, Quincy Jones, John Williams, Philip Glass). Those works are juxtaposed with landmarks of alternative film and musical styles from other countries and centers of production. Subsidiary topics include the history and challenges of live musical accompaniment to silent films, and the evolution of recording and sound-editing technologies from the studio era to the global present. Students taking the graduate version complete different assignments. Some background in the study of film and/or music is desirable, but not a prerequisite.

true

Fall

Undergraduate

3-0-9

null

false

False

Arts

False

21M.285

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 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 include the cultural influences that helped shape not only the music, but also the image of the group and its individual members, as well as the Beatles' influence on both popular music and culture worldwide. Limited to 21.

true

Fall

Undergraduate

3-0-9

21M.301 or permission of instructor

null

false

False

Arts

False

21M.289

Studies in Western Classical Genres

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.

true

Spring

Undergraduate

3-0-9

21M.301 or permission of instructor

null

false

False

Arts

False

21M.291

Music of India

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.

true

Spring

Undergraduate

3-0-9

null

false

False

Arts

False

21M.292

Musics in Bali

Studies diverse musical practices in Bali, Indonesia. Students encounter a broad spectrum of Balinese musics — from ancient ritual and court musics to popular genres, internationally renowned gamelan traditions to radical contemporary and fusion compositions — engaging with their structures and techniques through music-making, listening analysis, music theory, composition, and dance. Explores the cultural, political, social, and historical contexts of these musics, grappling with complex questions of identity, representation, power, and belief through readings and discussion forums, creative open-ended projects, and in-depth class discussion. No musical experience required. Limited to 15.

false

Fall

Undergraduate

3-0-9

null

false

False

Arts

False

21M.293

Musics of Africa

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.

false

Spring

Undergraduate

3-0-9

null

false

False

Arts

False

21M.294

Popular Musics of the World

Examines select popular music genres from around the world through audio-visual materials, reading assignments, and classroom discussion. Considers issues of globalization, appropriation, and the impact of social media. Case studies include bhangra, Latin pop, Afropop, reggae, Kpop, and global hip-hop. Limited to 25; preference to Music majors, minors, concentrators. Admittance may be controlled by lottery.

true

Fall

Undergraduate

3-0-9

null

false

False

Arts

False

21M.295

American Popular Music

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 mixture that characterizes modern music, and how it reflects many rich traditions and styles (minstrelsy, Tin Pan Alley, blues, country, rock, soul, rap, techno, etc.). Provides a background for understanding the musical vocabulary of current popular music styles. Limited to 20.

true

Spring

Undergraduate

3-0-9

null

false

False

Arts

False

21M.296

Studies in Jazz and Popular Music

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

true

Fall

Undergraduate

3-0-9

null

false

False

Arts

False

21M.297[J]

Cultures of Popular Music in East Asia: Japan, Korea, China

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.

true

Spring

Undergraduate

3-0-9

null

21G.095[J], WGS.150[J]

false

False

Arts

False

21M.299

Studies in Global Musics

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 theories of global musics. May be repeated for credit with permission of instructor.

true

Spring

Undergraduate

3-0-9

21M.030 or permission of instructor

null

false

False

Arts

False

21M.301

Harmony and Counterpoint I

Explores Western diatonic music through regular composition and analysis assignments. Engages a broad range of historical periods, traditions, and individuals. Topics include rhythm and meter, harmony and counterpoint within a single key, and a brief overview of form and modulation. Individual skills are addressed through a variety of approaches, including the required piano and sight singing labs. Local musicians perform final composition projects. Students should be proficient in reading Western staff notation in at least one clef and have experience with key signatures and scales. Students taking the graduate version complete additional assignments. Limited to 18 per section.

true

Fall, Spring

Undergraduate

3-3-6

21M.051, 21M.151, or permission of instructor

null

false

False

Arts

False

21M.302

Harmony and Counterpoint II

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.

true

Fall, Spring

Undergraduate

3-2-7

21M.301 or permission of instructor

null

false

False

Arts

False

21M.303

Writing in Tonal Forms I

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.

true

Fall

Undergraduate

3-1-8

21M.302

null

false

False

Arts

False

21M.304

Writing in Tonal Forms II

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.

true

Spring

Undergraduate

3-1-8

21M.303

null

false

False

Arts

False

21M.310

Techniques of 20th-Century Composition

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.

true

Fall

Undergraduate

3-0-9

21M.302 or permission of instructor

null

false

False

Arts

False

21M.340

Jazz Harmony and Arranging

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.

true

Fall, Spring

Undergraduate

3-0-9

21M.051, 21M.226, or permission of instructor

null

false

False

Arts

False

21M.341

Jazz Composition

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.

false

Spring

Undergraduate

3-0-9

21M.226, 21M.340, or permission of instructor

null

false

False

Arts

False

21M.342

Composing for Jazz Orchestra

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 15.

true

Spring

Undergraduate

3-0-9

Permission of instructor

null

false

False

Arts

False

21M.351

Music Composition

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 that will be performed 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.

true

Spring

Undergraduate

3-0-9

21M.304, 21M.310, or permission of instructor

null

false

False

Arts

False

21M.355

Musical Improvisation

Students study concepts and practice techniques of improvisation in solo and ensemble contexts. Centered on the jazz tradition, examines relationships between improvisation, composition, and performance, utilizing both mainstream and experimental approaches. Students are expected to perform in class on a regular basis. Involves extensive listening and analysis. Music reading skills are required, as is intermediate instrumental or vocal proficiency. Enrollment limited to 15; open by audition to instrumental or vocal performers.

true

Spring

Undergraduate

3-0-9

Permission of instructor

null

false

False

Arts

False

21M.359

Studies in Musical Composition, Theory and Analysis

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.

true

Fall

Undergraduate

3-0-9

21M.051 or permission of instructor

null

false

False

Arts

False

21M.361

Electronic Music Composition I

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. Students taking graduate version complete different assignments. Limited to 15 per section; ; preference to Music Technology graduate students, Music majors, minors, and concentrators.

true

Fall, Spring

Undergraduate

2-1-9

null

false

False

Arts

False

21M.362

Electronic Music Composition II

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. Students taking graduate version complete different assignments. Limited to 10.

true

Spring

Undergraduate

2-2-8

21M.361 or permission of instructor

null

false

False

Arts

False

21M.365[J]

DJ History, Technique, and Technology (New)

Students explore a chosen contemporary or historical dance scene from around the world. Lectures examine the evolution of the craft and technologies of the DJ. Presents foundational practices of live DJ mixing; practice equipment is accessible to teams of students. Assignments include writing a report analyzing a book on DJ history or technique, producing a complete mix, and participation in an end-of-term performance. No prior experience is necessary, but students must sustain interest in some form of popular dance music, broadly defined. Graduate students complete additional assignments. Limited to 24.

true

Fall, Spring

Undergraduate

3-0-9

null

CMS.303[J]

false

False

Arts

False

21M.369

Studies in Music Technology

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. Students taking graduate version complete different assignments. Limited to 16.

true

Fall, Spring

Undergraduate

3-0-9

Permission of instructor

null

false

False

Arts

False

21M.370

Digital Instrument Design

Covers aesthetic and technical challenges in the creation of physical interfaces for musical performance. 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 design and build their own digital musical instrument, and present a performance with the instrument as their final project. Students taking graduate version complete different assignments. Limited to 18.

true

Spring

Undergraduate

3-6-3

null

false

False

Arts

False

21M.383

Computational Music Theory and Analysis

Covers major approaches to analyzing musical scores using computers. Topics include AI/machine learning of style, musical similarity, encoding, music composition, music perception, and big data repertory studies. Programming assignments given in Python. Culminates in an original final project. Students taking graduate version complete different assignments. Enrollment limited.

true

Spring

Undergraduate

3-0-9

6.1010 and (21M.301 or 21M.302)

null

false

False

Arts

False

21M.385[J]

Interactive Music Systems

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. Students taking graduate version complete different assignments. Limited to 36.

true

Fall, Spring

Undergraduate

3-0-9

(6.1010 and 21M.301) or permission of instructor

6.4550[J]

false

False

Arts

False

21M.387[J]

Fundamentals of Music Processing

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 different assignments.

true

Fall

Undergraduate

3-0-9

6.3000 and 21M.051

6.3020[J]

false

False

Arts

False

21M.401

MIT Concert Choir

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.

true

Fall, Spring

Undergraduate

0-4-2

null

false

False

21M.405

MIT Chamber Chorus

Rehearsal and performance of choral repertoire for small chorus, involving literature from the Renaissance to contemporary periods. Limited to 32 by audition.

true

Fall, Spring

Undergraduate

3-0-3

null

false

False

21M.410

Vocal Repertoire and Performance

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.

true

Spring

Undergraduate

3-0-3

None. Coreq: Participation in ensemble for vocalists

null

false

False

21M.421

MIT Symphony

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.

true

Fall, Spring

Undergraduate

0-4-2

null

false

False

21M.423

Conducting and Score-Reading

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.

true

Fall

Undergraduate

3-0-3

21M.302 or permission of instructor

null

false

False

21M.426

MIT Wind Ensemble

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.

true

Fall, Spring

Undergraduate

0-4-2

null

false

False

21M.442

MIT Festival Jazz Ensemble

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.

true

Fall, Spring

Undergraduate

0-4-2

null

false

False

21M.443

MIT Vocal Jazz Ensemble (New)

A performance ensemble for vocalists dedicated to studying traditional and contemporary vocal jazz compositions. Primarily ensemble repertoire ranging from a cappella to full big band accompaniment. Opportunities for solo performances, student-driven arrangements, and to work with professional jazz artists. Practical sight-reading skills required; experience in improvisation preferred. Admission by audition.

true

Fall, Spring

Undergraduate

0-4-2

null

false

False

21M.445

Chamber Music Society

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.

true

Fall, Spring

Undergraduate

0-4-2

null

false

False

21M.450

MIT Balinese Gamelan

A performing ensemble dedicated to the traditional music of Bali. Members of the ensemble study structures and techniques used on various gamelan instruments — such as gangsa (ancient bronze metallophones), suling (Balinese bamboo flute), reyong (bronze pots), gongs, and drums — and learn to perform gamelan pieces. Culminates in a performance. No previous experience required.

true

Fall, Spring

Undergraduate

0-3-3

null

false

False

21M.451

Collaborative Piano

Open by audition to pianists, instrumentalists and singers who wish to explore and develop their talents as collaborative musicians. Students are paired based on availability and receive weekly coachings by appointment. Students practice independently, rehearse with their collaborator, attend their collaborator's lessons as needed, and perform at a juried recital at the end of the term. Students may register for 3 units for a smaller-scale assignment or 6 units for a larger-scale assignment or two small assignments. May satisfy the ensemble requirement for pianists and instrumentalists in the Emerson/Harris program at the discretion of the instructor. Students taking graduate version complete different assignments.

true

Fall, Spring

Undergraduate

rranged

null

false

False

21M.460

MIT Senegalese Drum Ensemble

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.

true

Fall, Spring

Undergraduate

0-3-3

null

false

False

21M.470

MIT Laptop Ensemble

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. Students taking graduate version complete different assignments. Admission by audition.

true

Fall, Spring

Undergraduate

3-0-3

Permission of instructor

null

false

False

21M.475

Music Performance

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, participate in a departmental performing group, and participate in a group recital at the end of each term. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking graduate version complete different assignments. Admission by audition for Emerson/Harris Program.

true

Fall, Spring

Undergraduate

1-2-3

null

false

False

21M.480

Advanced Music Performance

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, and present a 50-minute solo recital at the end of the Spring term. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking graduate version complete different assignments. Admission by audition for the Emerson/Harris Program.

true

Fall, Spring

Undergraduate

1-2-6

null

false

False

Arts

False

21M.490

Solo Recital

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 Music and Theater Arts website for application deadlines and conditions. Restricted to Emerson Scholars.

true

Spring

Undergraduate

1-2-6

Permission of instructor

null

false

False

Arts

False

21M.500

Advanced Seminar in Music

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.

true

Fall

Undergraduate

3-0-9

Permission of instructor

null

false

False

Arts

False

21M.505

Music Composition

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 that will be performed 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.

true

Spring

Graduate

3-0-9

21M.304, 21M.310, or permission of instructor

null

false

False

21M.511

Music Performance

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, participate in a departmental performing group, and present a 50-minute solo recital at the end of the Spring term. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking graduate version complete different assignments. Admission by audition for Emerson/Harris Program.

true

Fall, Spring

Graduate

1-2-3

null

false

False

21M.512

Advanced Music Performance

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, and present a 50-minute solo recital at the end of the Spring term. Full-year commitment required. Information about lesson fees, scholarships, and auditions available in Music Section Office. Students taking graduate version complete different assignments. Admission by audition for the Emerson/Harris Program.

true

Fall, Spring

Graduate

1-2-6

null

false

False

21M.514

Collaborative Piano

Open by audition to pianists, instrumentalists and singers who wish to explore and develop their talents as collaborative musicians. Students are paired based on availability and receive weekly coachings by appointment. Students practice independently, rehearse with their collaborator, attend their collaborator's lessons as needed, and perform at a juried recital at the end of the term. Students may register for 3 units for a smaller-scale assignment or 6 units for a larger-scale assignment or two small assignments. May satisfy the ensemble requirement for pianists and instrumentalists the Emerson/Harris program at the discretion of the instructor. Students taking graduate version complete different assignments.

true

Fall, Spring

Graduate

rranged

null

false

False

21M.515

Vocal Repertoire and Performance

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.

true

Spring

Graduate

3-0-3

null

false

False

21M.517

MIT Laptop Ensemble

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. Students taking graduate version complete different assignments. Admission by audition.

true

Fall, Spring

Graduate

3-0-3

null

false

False

21M.525

Solo Recital

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.

true

Spring

Graduate

1-2-6

null

false

False

21M.531

Independent Study in Music

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.

true

Fall, IAP, Spring, Summer

Undergraduate

rranged

Permission of instructor

null

false

False

21M.533

Independent Study in Music

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.

true

Fall, IAP

Undergraduate

rranged [P/D/F]

Permission of instructor

null

false

False

21M.540

Thinking about Music

Seminar focusing on developing skills needed to navigate graduate research projects in music. Topics include how to engage with primary and secondary sources, library and archival (real and virtual) collections, and research bibliographies. Emphasizes working with diverse materials, and viewpoints. Ambiguity, uncertainty, and unsolved (and often unsolvable) questions in music research are emphasized. Includes brief overviews of major periods and works of Western Classical music and significant components and differences among three non-Western/non-Classical repertories.

true

Fall

Graduate

3-0-9

Permission of instructor

null

false

False

21M.541

Harmony and Counterpoint I with Computational Applications

Explores Western diatonic music through regular composition and analysis assignments. Engages a broad range of historical periods, traditions, and individuals. Topics include rhythm and meter, harmony and counterpoint within a single key, and a brief overview of form and modulation. Individual skills are addressed through a variety of approaches, including the required piano and sight singing labs. Local musicians perform final composition projects. Students should be proficient in reading Western staff notation in at least one clef and have experience with key signatures and scales. Students taking the graduate version complete additional assignments. Limited to 18 per section.

true

Fall

Graduate

3-3-6

None. Coreq: 21M.565 or permission of instructor

null

false

False

21M.560

Introduction to Music Technology

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. Students taking graduate version complete different assignments. Enrollment limited.

true

Fall, Spring

Graduate

3-0-9

null

false

False

21M.561

Electronic Music Composition I

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. Students taking graduate version complete different assignments. Limited to 15 per section; preference to Music Technology graduate students, Music majors, minors, and concentrators.

true

Fall, Spring

Graduate

2-1-9

null

false

False

21M.562

Electronic Music Composition II

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. Students taking graduate version complete different assignments. Limited to 10.

true

Spring

Graduate

2-2-8

21M.361, 21M.561, or permission of instructor

null

false

False

21M.S53,

21M.S54 Special Subject in Music

Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.

false

Fall, Spring

Undergraduate

rranged

Permission of instructor

null

false

False

21M.S55

Special Subject in Music (New)

Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.

true

IAP, Spring, Summer

Undergraduate

rranged

null

false

False

21M.S56

Special Subject in Music (New)

Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.

true

IAP, Spring, Summer

Undergraduate

rranged

null

false

False

21M.565

Programming for Music

Introduction to programming skills needed for conducting research in music and music technology. Students develop skills to solve problems using python in music theory, history, performance, and technology and to compose using algorithms and data structures. Covers fundamental aspects of both computer science and software engineering as applied to music, including abstraction, data types, testing and debugging, time complexity, and recursion. Relies on students' prior experience with research methods in music and musical creativity to answer otherwise under-defined problems. Culminates in an individual programming project.

true

Fall

Graduate

2-2-8

Permission of instructor

null

false

False

21M.569

Studies in Music Technology

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. Students taking graduate version complete different assignments. Limited to 16.

true

Fall, Spring

Graduate

3-0-9

Permission of instructor

null

false

False

21M.570

Digital Instrument Design

Covers aesthetic and technical challenges in the creation of physical interfaces for musical performance. 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 design and build their own digital musical instrument, and present a performance with the instrument as their final project. Students taking graduate version complete different assignments. Limited to 18.

true

Spring

Graduate

3-6-3

null

false

False

21M.572

Overview of Music Perception and Cognition

An overview of perceptual and biological structures of musical and auditory cognition with applications to music research. Differences between acoustical/technological and perceptual interpretations of sound and music are emphasized. Topics include musical memory and anticipation, emotion and psychological functions, and theories of music's origins and functions. Covers ethical and practical considerations of human subject research in music perception and important conclusions from the field. Not open to students who have taken HST.723 or HST.725.

true

Fall

Graduate

2-0-2

Permission of instructor

null

false

False

21M.573

Overview of Acoustics and the Physics of Sound

An overview of the physics of wave propagation, absorption, and reflection in sound. Topics include harmonic motion, standing waves in one to three dimensions, interference and distortion, loudness, electro-acoustical modeling, microphones and loudspeakers, and physical models of musical instruments. Laboratory time is spent in measuring and modeling local acoustical spaces, instruments, and sound production. Not open to students who have taken 2.066.

true

Fall

Graduate

1-1-2

21M.572 or permission of instructor

null

false

False

21M.574

Overview of Musical Software and Formats

An overview of the practical side of working with music software and formats for research in music technology. Covers audio editing, notation software, and sound/signal tools primarily using open-source examples. Topics include: compression/codecs, command-line and batch operations for automation; translation among formats, differences among and between audio and symbolic formats (including wav, mp3, MIDI, MusicXML, and historic formats).

true

Fall

Graduate

1-0-3

None. Coreq: 21M.565 or permission of instructor

null

false

False

21M.576

Overview of Mathematics for Music Applications

Overview of mathematical tools and their use in music research. Topics include linear algebra and matrices, applications of complex numbers and trigonometric functions, exponentials, summation functions, logarithmic domains, function composition, probability (including Bayes' Theorem), statistics (including tests of significance), and estimating complex functions computationally. All topics are presented in conjunction with musical applications.

true

Fall

Graduate

1-0-3

None. Coreq: 21M.565 or permission of instructor

null

false

False

21M.577

Overview of the Principles of Signals

Overview of signal processing techniques for music analysis in the audio domain, including their mathematical representations. Topics include sampling theory, filtering, convolution, and the Fourier transform, particularly in the discrete (digital) domain, with an emphasis on music applications and practice in Python.

true

Fall

Graduate

1-1-2

21M.576 and 21M.572; Coreq: 21M.573 or permission of instructor

null

false

False

21M.580[J]

Musical Aesthetics and Media Technology

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.

true

Fall

Graduate

3-3-6

Permission of instructor

MAS.825[J]

false

False

21M.581[J]

Projects in Media and Music

Current computer music concepts and practice. Project-based work on research or production projects using the Media Lab's computer music, interactive, and media resources. Requires significant studio work and a term project. Projects based on class interests and skills, and may be individually or group-based. May be repeated for credit with permission of instructor.

true

Spring

Graduate

3-3-6

MAS.825

MAS.826[J]

false

False

21M.583

Computational Music Theory and Analysis

Covers major approaches to analyzing musical scores using computers. Topics include AI/machine learning of style, musical similarity, encoding, music composition, music perception, and big data repertory studies. Programming assignments given in Python. Culminates in an original final project. Students taking graduate version complete different assignments. Enrollment limited.

true

Spring

Graduate

3-0-9

(21M.541 and 21M.565) or permission of instructor

null

false

False

21M.585

Interactive Music Systems

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. Students taking graduate version complete different assignments. Limited to 36.

true

Fall, Spring

Graduate

3-0-9

(21M.541 and 21M.565) or permission of instructor

null

false

False

21M.587

Fundamentals of Music Processing

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 different assignments. Enrollment limited.

true

Fall

Graduate

3-0-9

(21M.541, 21M.565, and 21M.577) or permission of instructor

null

false

False

21M.589

Studies in Advanced Music Technology and Music Computation

Studies of a selected topic in music technology requiring substantial prior knowledge of music studies, music technology, and computation. Topics vary. Examples include computational modeling of music cognition, artificial intelligence and musical creativity, or real-time Internet musical collaboration. May be repeated for credit with permission of instructor.

true

Spring

Graduate

3-0-9

(21M.540, 21M.565, and (21M.301 or 21M.541)) or permission of instructor

null

false

False

21M.590

Colloquium in Music Technology

Presentations of recent work in music research from both academic and commercial spheres. Students prepare to engage with guest speakers by reading and demonstrating understanding of the sphere of work, attend presentations, and reflect on the work. Enrollment limited with priority to graduate students in music technology. May be repeated for credit with permission of the instructor.

true

Fall, Spring

Graduate

1-0-0

null

false

False

21M.591

Capstone Project in Music Technology

Preparation for and submission of the capstone project in the MASc in Music Technology. Provides an overview of expectations for the capstone project. Individual meetings with the research director/subject head and group meetings on the process of developing an idea from foundational music technology subjects with advanced topics learned simultaneously. Culminates in an individual research project and presentation. Restricted to MASc in Music Technology students.

true

Spring

Graduate

1-0-5

(21M.540, 21M.565, and (21M.301 or 21M.541)) or permission of instructor

null

false

False

21M.595

Music Technology And Computation Research Seminar

Development of a thesis-level project in music technology and computation. Individual meetings with the research director/subject head and with individual thesis advisors, together with group meetings on research techniques, musical thinking, and graduate-level academic writing. Culminates in a submitted prospectus for a graduate project presented to the group. Restricted to SM in Music Technology and Computation students.

true

Spring

Graduate

2-0-4

null

false

False

21M.S53,

21M.S54 Special Subject in Music

Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.

false

Fall, Spring

Undergraduate

rranged

Permission of instructor

null

false

False

21M.S55

Special Subject in Music (New)

Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.

true

IAP, Spring, Summer

Undergraduate

rranged

null

false

False

21M.S56

Special Subject in Music (New)

Study of musical topics not covered in the regular subject listings, particularly experimental subjects offered by permanent or visiting faculty.

true

IAP, Spring, Summer

Undergraduate

rranged

null

false

False

21M.THG

Directed Research and Thesis in Music Technology and Computation

Program of research and writing of the SM thesis in Music Technology and Computation. Structure and hours to be arranged by the student with the supervising committee. Restricted to SM in Music Technology and Computation students.

true

Fall, IAP, Spring, Summer

Graduate

rranged

null

false

False

21M.THT

Music Pre-Thesis Tutorial

Definition of and early-stage work on thesis project leading to undergraduate thesis in Music. Taken during the first term, or during IAP, of the student's two-term commitment to the thesis project. Student works closely with an individual faculty tutor. Limited to Music majors.

true

Fall, IAP, Spring

Undergraduate

1-0-5

Permission of instructor

null

false

False

21M.THU

Undergraduate Thesis

Completion of work on senior major thesis in Music 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 faculty evaluators to discuss successes and limitations of the project. Limited to Music majors.

true

Fall, IAP, Spring, Summer

Undergraduate

rranged

21M.THT or permission of instructor

null

false

False