'As if Memories Could Deceive Me,' 1986, documents a performance or rehearsal of the New England Conservatory Symphony Orchestra, through close-ups, split-screen effects, and collage techniques. Instruments are filmed close-up and appear in boxed-off portions of the screen. As the music rises, archival film images begin to creep in. Many times they are superimposed over the instruments. Film footage includes the interior of a colorful palace, Hitler propaganda and Nuremberg trials, and a men's clothing store. The original footage produced for this work was shot at the New England Conservatory of Music, the Goethe Institute, and a Louis clothing store. Robert Schumann's 'Manfred' and 'Drum and Gong Sounds' by F. Marschall and U. Timmermann are the musical works performed by New England Conservatory Symphony Orchestra. 'As if Memories Could Deceive Me' was created by Marcel Odenbach for The Contemporary Art Television (CAT) Fund and was co-produced by the Goethe Institute in Boston. It was later broadcast as a segment of Episode 304 of the 1987 season of 'New Television.'

This module represents a discussion of the music during what is referred to as the Classic Period in music. It is the period of Haydn and Mozart (and others.) Comments are made regarding tempo, rhythm, tone quality, dynamics and other aspects of performing music of this period.

In this From the Top at Carnegie Hall video segment, 17-year-old guitarist Kimani Griffin of Winston-Salem, North Carolina, plays the third movement Preludio e toccatina from Aquarelle by Sérgio Assad.

Basic writing skills in music of the common-practice period (Bach to Brahms). Work includes regular written assignments leading to the composition of short pieces, analyzing representative works from the literature, keyboard laboratory, and sight-singing choir. It is recommended that entering students have some concert music listening or playing background. Enrollment may be limited.

This module represents an introduction to interpreting choral music according to the period and style in which the music is written. Discussion questions are given as well as suggested readings for more detailed information regarding choral styles.

Gives students a broad overview of Western music from the Middle Ages to the twentieth century, with emphasis on late Baroque, Classical, Romantic, and Modernist styles. Enhances the musical experience by developing listening skills and an understanding of diverse forms and genres. Major composers and works placed in social and cultural contexts. Weekly lectures feature demonstrations by professional performers, and introduce topics to be discussed in sections.

A survey of major works of the twentieth century, beginning with Mahler, Schoenberg, Stravinsky, Bartok, and Ives; continuing with Varese, Webern, Hindemith, Prokofiev, among other composers. A general view of the current scene. Description from course home page:This subject covers a specific branch of music history: Western concert music of first sixty years of the twentieth century. Although we will be listening to and studying many pieces (most of the highest caliber) the goal of the course is not solely to build up a repertory of works in our memory (though that is indeed a goal). We will be most concerned with larger questions of continuity and change in music. We will also consider questions of reception, or historiography - that is, the creation of history and our perception of it. Why do we perceive much of this music, so much closer in time to us than Mozart or Beethoven, to be so foreign? Is this music aloof and separate from popular music of the twentieth century or is there a real connection (perhaps hidden)? The subject will continue to follow some topics of central interest to music before 1960, such as serialism and aleatory, beyond the 1960 cutoff. Conversely a few topics which get their start just before 1960 but which flourish later (minimalism, computer music) will be covered only in 21M.263.

This site presents 130 music manuscripts, letters, and materials representative of a 3,500-item collection documenting the history of Western music from the medieval period through the modern era. Essays by musicologists discuss items from Bach, Beethoven, Brahms, Chopin, Handel, Liszt, Mozart, Schoenberg, Stravinsky, and other composers.

Directed composition of larger forms of original writing involving voices and/or instruments. Includes a weekly seminar in composition for the presentation and discussion of student work in progress. Students are expected to produce at least one substantive work, performed in public, by the end of the term. Contemporary compositions and major works from twentieth-century music literature are studied. Meets with graduate subject 21M.505, but assignments vary.

Begins with the premise that the 1960s mark a great dividing point in the history of twentieth-century Western musical culture, and explores the ways in which various social and artistic concerns of composers, performers, and listeners have evolved since that decade. Focuses on works by classical composers from around the world. Topics to be explored include: the impact of rock, as it developed during the 1960s-70s; the concurrent emergence of post-serial, neo-tonal, Minimalist, and New Age styles; the globalization of Western musical traditions; the impact of new technologies; and the significance of music video, video games, and other versions of (digital) multimedia. Interweaves discussion of these topics with close study of seminal musical works, evenly distributed across the four decades since 1960. Works by MIT composers included.

An introduction to the analysis of tonal music. Students develop analytical techniques based upon concepts learned in Harmony and Counterpoint I and II. Students study harmony, counterpoint, melodic line and motivic relationships at local and large scale levels of musical structure. Three 7-page papers, one revised paper, and one oral presentation required.

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.

For middle school and up, an introduction to nineteenth-century Western classical music.

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.

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.

An explanation of some of the terms used to classify music.

" 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."