"This course is an investigation into the history and aesthetics of music and technology as deployed in experimental and popular musics from the 19th century to the present. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored. The history of radio, audio recording, and the recording studio, as well as the development of musique concr?te and early electronic instruments. The creation and extension of musical interfaces by composers such as Harry Partch, John Cage, Conlon Nancarrow, and others. The exploration of electromagnetic technologies in pickups, and the development of dub, hip-hop, and turntablism. The history and application of the analog synthesizer, from the Moog modular to the Roland TR-808. The history of computer music, including music synthesis and representation languages. Contemporary practices in circuit bending, live electronics, and electro-acoustic music, as well as issues in copyright and intellectual property, will also be examined. No prerequisites."

Based on coursework developed at Peabody Conservatory, this book breaks down the process of developing an artist mission statement, generating new ideas for creative projects, and creating an engaging project description. It also covers methods for artists to identify their audience, generate a comprehensive project budget, collect compelling work samples, and identify potential funders to support their creative work. Written by a team of active artists and educators, this resource provides creatives with tools and strategies to communicate passionately and effectively about their work and take control of their financial and artistic future.
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Production of Educational Videos is an introduction to technical communication that is situated in the production of educational videos; the assignments are all focused on the production of videos that teach some aspect of MIT's first-year core curriculum. The objective of these assignments is improvement in both communication ability and communication habits; these improvements are effected by providing participants with instruction, practice, feedback, and the opportunity for reflection. In addition to improvements in communication skills, improvement is expected in students' attitude towards writing, oral presentations, and collaboration; as the semester progresses, students should feel confident of their ability to write, present, and collaborate.

A survey of developments in Western musical style from 1810-1910. Thirty composers discussed including the Romantics Schubert, Berlioz, Chopin, Schumann, and Liszt; and the post-Romantics Wagner, Verdi, Brahms, Strauss, Farwell, and Mahler. Required reading, score-reading, and listening assignments.

Innovation in expression -- as realized in media, tangible objects, and performance, and more -- generates new questions and new potentials for human engagement. When and how does expression engage us deeply? While "deep engagement" seems fundamental to the human psyche, it is hard to define, difficult to reliably design for, and hard to critically measure or assess. Are there principles we can articulate? Are there evaluation metrics we can use to insure quality of experience? Many personal stories confirm the hypothesis that once we experience deep engagement, it is a state we long for, remember, and want to repeat. We need to better understand these principles and innovate methods that can insure higher-quality products (artifacts, experiences, environments, performances, etc.) that appeal to a broad audience and that have lasting value over the long term.

This course will explore the rich diversity of women's voices and experiences as reflected in writings and films by and about Latina writers, filmmakers, and artists. Through close readings, class discussions and independently researched student presentations related to each text, we will explore not only the unique, individual voice of the writer, but also the cultural, social and political contexts which inform their narratives. We will also examine the roles that gender, familial ties and social and political preoccupations play in shaping the values of the writers and the nature of the characters encountered in the texts and films.

A chronological survey of masterpieces of the symphonic literature, ranging from the mid-eighteenth to the early twenty-first century. Includes one work by each major figure. As a participatory subject, students give oral presentations concerning composers and their symphonies. Prior musical score-reading experience is helpful. Students attend two or three symphonic concerts during the term.

Looks at special structural and artistic challenges of theatrical scenery, effects, and construction needs. Explores the technical design process from initial meetings to realization on stage. Emphasizes safety, budgeting, and problem solving. Work includes actual production assignments and paper design projects. Final project required to explore each student's specific interests.

Studies the relations between literature (primarily of the Renaissance and Early Modern periods) and the technologies associated with its production and dissemination. Instruction and practice in oral and written communication. Topic for Spring: Hypertexts and Hyperrealities. This course explores the properties of non-sequential, multi-linear, and interactive forms of narratives as they have evolved from print to digital media. Works covered in this course range from the Talmud, classics of non-linear novels, experimental literature, early sound and film experiments to recent multi-linear and interactive films and games. The study of the structural properties of narratives that experiment with digression, multiple points of view, disruptions of time, space, and of storyline is complemented by theoretical texts about authorship/readership, plot/story, properties of digital media and hypertext. Questions that will be addressed in this course include: How can we define "non-sequentiality/multi-linearity", "interactivity", "narrative". To what extend are these aspects determined by the text, the reader, the digital format? What are the roles of the reader and the author? What kinds of narratives are especially suited for a non-linear/interactive format? Are there stories that can only be told in a digital format? What can we learn from early non-digital examples of non-linear and interactive story telling?

Opportunity for the study of theater arts topics not covered by regular subject listings, including experimental subjects offered by permanent and visiting faculty. Students seeking an individual program of study with a faculty member must also obtain the approval of the Director of Theater Arts. Consult Theater Arts Office for departmental form.

Podcasting is a dynamic way to use your smarts and creativity to tell stories about compelling subjects. This handbook provides instruction and tools to produce your own podcast — whether you are a professional in journalism, the arts, sciences, business or law, an activist or just someone who has a story to tell. The tools discussed are focused on keeping costs low for entry-level podcasters and designed to help anyone who wants to record, edit and distribute podcasts.

Word table that includes a selection of OERs that deal with various aspects of film and video production, including digital cinematography, film editing, movie production, and film aesthetics.

Word table that includes a selection of OERs that deal with the topic of music.

Word table that includes a selection of OERs that deal with the subject of music, including music theory, music appreciation, voice, and music history.

This course is an invitation to German film-making since the end of the Second World War. We investigate how German cinema captured the atmosphere of the immediate post-war years and discuss extensively major works of the "New German Cinema" of the Sixties and Seventies. We also look at examples of East Germany's film production and finally observe the very different roads German cinema has been taking from the 1990's into the present.

"This semester, we will read writing about travel and place from Columbus's Diario through the present. Travel writing has some special features that will shape both the content and the work for this subject: reflecting the point of view, narrative choices, and style of individuals, it also responds to the pressures of a real world only marginally under their control. Whether the traveler is a curious tourist, the leader of a national expedition, or a starving, half-naked survivor, the encounter with place shapes what travel writing can be. Accordingly, we will pay attention not only to narrative texts but to maps, objects, archives, and facts of various kinds. Our materials are organized around three regions: North America, Africa and the Atlantic world, the Arctic and Antarctic. The historical scope of these readings will allow us to know something not only about the experiences and writing strategies of individual travelers, but about the progressive integration of these regions into global economic, political, and knowledge systems. Whether we are looking at the production of an Inuit film for global audiences, or the mapping of a route across the North American continent by water, these materials do more than simply record or narrate experiences and territories: they also participate in shaping the world and what it means to us. Authors will include Olaudah Equiano, Caryl Philips, Claude L?vi-Strauss, Joseph Conrad, Jamaica Kincaid, William Least Heat Moon, Louise Erdrich, ?lvar N

" In this course we will read essays, novels, memoirs, and graphic texts, and view documentary and experimental films and videos which explore race from the standpoint of the multiracial. Examining the varied work of multiracial authors and filmmakers such as Danzy Senna, Ruth Ozeki, Kip Fulbeck, James McBride and others, we will focus not on how multiracial people are seen or imagined by the dominant culture, but instead on how they represent themselves. How do these authors approach issues of family, community, nation, language and history? What can their work tell us about the complex interconnections between race, gender, class, sexuality, and citizenship? Is there a relationship between their experiences of multiraciality and a willingness to experiment with form and genre? In addressing these and other questions, we will endeavor to think and write more critically and creatively about race as a social category and a lived experience."

" This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required."

" 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."