This collection uses primary sources to explore the golden age of musical theatre on Broadway. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

This course develops the theory and design of hydrofoil sections, including lifting and thickness problems for sub-cavitating sections, unsteady flow problems, and computer-aided design of low drag cavitation-free sections. It also covers lifting line and lifting surface theory with applications to hydrofoil craft, rudder, control surface, propeller and wind turbine rotor design. Other topics include computer-aided design of wake adapted propellers, steady and unsteady propeller thrust and torque; performance analysis and design of wind turbine rotors in steady and stochastic wind; and numerical principles of vortex lattice and lifting surface panel methods. Projects illustrate the development of computational methods for lifting, propeller and wind turbine flows, and use of state-of-the-art simulation methods for lifting, propulsion and wind turbine applications.

Students use their singing voices to take turns improvising and creating melodic phrases on a given theme.

This course is an interdisciplinary exploration of three broad topics concerning music in relation to time.Music as Architecture: the creation of musical shapes in time;Music as Memory: how musical understanding depends upon memory and reminiscence, with attention to analysis of musical structures; andTime as the Substance of Music: how different disciplines such as philosophy and neuroscience view the temporal dimension of musical processes and/or performances.Classroom discussion of these topics is complemented by three weekend concerts with pre-concert forums, jointly presented by the Boston Chamber Music Society (BCMS) and MIT Music & Theater Arts.

Offered in the spring and fall terms, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures.

An Introduction to Technical Theatre draws on the author’s experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices.

Introduction to Technical Theatre’s accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text’s modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling.

Examines the field of theatrical lighting design. Students gain an overall technical working knowledge of the tools of the trade and learn how and where to apply them to a final design. Explores artistic, conceptual, and collaborative processes of the craft. Hands-on approach with several classes spent in the theater. Students take advantage of the Boston theater scene by touring several off campus spaces and learning how theater architecture affects design choices. Assignments include: written script analysis, plot and paperwork for theoretical design in MIT theater space, and adaptation of plot to different spatial situations and locations. Oral presentations and in-class critiques. Final project required in which students execute a fully realized production (frequently a dance concert) from start to finish. This class explores the artistry of Lighting Design. Students gain an overall technical working knowledge of the tools of the trade, and learn how, and where to apply them to a final design. However essential technical expertise is, the class stresses the artistic, conceptual, collaborative side of the craft. The class format is a "hands on" approach, with a good portion of class time spent in a theatre.

Students brainstorm strategies to guide their listening as they describe and label music of different genres.

A free and open-source introduction to the art and science of cinema. From the earliest iterations to the latest innovations, this introductory text explores the tools and techniques of mise-en-scene, narrative form, cinematography, editing, sound and acting, how each has contributed to the evolution of cinematic language, and how that evolution implicates critical issues of representation in mass media. Moving Pictures offers in-depth examination of how cinema communicates, and what, exactly, it is trying to say.

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.

This collection is the first of five dealing with the rudiments of music.

This collection is the second of five dealing with the rudiments of music.

Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.