Online courses directory (2511)

This course is a continuation of 18.014. It covers the same material as 18.02 (Multivariable Calculus), but at a deeper level, emphasizing careful reasoning and understanding of proofs. There is considerable emphasis on linear algebra and vector integral calculus.

This course uses computer-aided design methodologies for synthesis of multivariable feedback control systems. Topics covered include: performance and robustness trade-offs; model-based compensators; Q-parameterization; ill-posed optimization problems; dynamic augmentation; linear-quadratic optimization of controllers; H-infinity controller design; Mu-synthesis; model and compensator simplification; and nonlinear effects. The assignments for the course comprise of computer-aided (MATLAB®) design problems.

This course covers the growth, development and structure of normal bone and joints, the biomechanics of bone connective tissues, and their response to stress, calcium and phosphate homeostasis. Additional topics include regulation by parathyroid hormone and vitamin D, the pathogenesis of metabolic bone diseases and diseases of connective tissues, joints and muscle with consideration of possible mechanisms and underlying metabolic derangements.

Lecturers

In this course, we will rebuild the everyday sounds of nature, machines, and animals from scratch and encapsulate them in dynamic sound objects which can be embedded into computer games, animations, movies, virtual environments, sound installations, and theatre productions. You will learn how to analyze and model sounds and resynthesize them with the open-source graphical programming environment Pure Data (Pd). Our work will be guided by Andy Farnell's book Designing Sound (MIT Press, 2010). No previous programming experience is required.

This course features directed composition of larger forms of original writing involving voices and/or instruments. It 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, performed in public, by the end of the term. Contemporary compositions and major works from 20th-century music literature are studied.

This course features directed composition of larger forms of original writing involving voices and/or instruments. It 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, performed in public, by the end of the term. Contemporary compositions and major works from 20th-century music literature are studied.

This course is an introduction to selected musical traditions of West Africa. A variety of musical practices and their cultural contexts will be explored through listening, reading, and written assignments, with an emphasis on class discussion. The course includes in-class instruction in West African drumming, song and dance, as well as lecture-demonstrations by guest artists.

After an introductory unit, the course will be organized around four main geographical areas: Senegal, Mali, Ghana, and Nigeria. An in-depth study of music from these countries will be interspersed with brief overviews of Southern, Central, and East Africa.

This course 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. Students explore the practice the ragas and talas through learning songs, dance, and drumming compositions, and develop insights through listening, readings, and concert attendance.

This course is a survey of perceptual and cognitive aspects of the psychology of music, with special emphasis on underlying neuronal and neurocomputational representations and mechanisms. Basic perceptual dimensions of hearing (pitch, timbre, consonance/roughness, loudness, auditory grouping) form salient qualities, contrasts, patterns and streams that are used in music to convey melody, harmony, rhythm and separate voices. Perceptual, cognitive, and neurophysiological aspects of the temporal dimension of music (rhythm, timing, duration, temporal expectation) are explored. Special topics include comparative, evolutionary, and developmental psychology of music perception, biological vs. cultural influences, Gestaltist vs. associationist vs. schema-based theories, comparison of music and speech perception, parallels between music cognition and language, music and cortical action, and the neural basis of music performance.

This course begins with the premise that the 1960s mark a great dividing point in the history of 20th 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. It focuses on works by classical composers from around the world. Topics include the impact of rock, as it developed during the 1960s - 70s; the concurrent emergence of post serial, neotonal, 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 multimedia. The course interweaves discussion of these topics with close study of seminal musical works, evenly distributed across the four decades since 1960; works by MIT composers are included.

This class is an introduction to the analysis of tonal music. Students develop analytical techniques based upon concepts learned in 21M.301-21M.302. Students study rhythm and form, harmony, line and motivic relationships at local and large scale levels of musical structure. Three papers (totaling 20 pages, one to be revised) and one oral presentation are required.

In this course, students study concepts and practice techniques of improvisation in solo and ensemble contexts. The course examines relationships between improvisation, composition, and performance based in traditional and experimental approaches. Hands-on music making will be complemented by discussion of the aesthetics of improvisation. Weekly lab sessions support work on musical technique. Guest artist / lecturers will engage students through mini-residencies in jazz with film, Indian music, electronic music, and blending improvisation with classic music; and an accompanying concert series will feature these artists in performance. Open by audition to instrumental or vocal performers.

Human beings are symbol-making as well as tool-making animals. We understand our world and shape our lives in large part by assigning meanings to objects, beings, and persons; by connecting things together in symbolic patterns; and by creating elaborate forms of symbolic action and narrative. In this introductory subject we consider how symbols are created and structured; how they draw on and give meaning to different domains of the human world; how they are woven into politics, family life, and the life cycle; and how we can interpret them.

The semester will be devoted to a number of topics in symbolism.

1. Metaphor and Other Figurative Language
2. The Raw Materials of Symbolism, especially Animals and The Human Body
3. Cosmology and Complex Symbolic Systems
4. Ritual, including Symbolic Curing and Magic
5. Narrative and Life
6. Mythology