Master of Science Course Options 2025-26

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.

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.

Covers the physics and acoustics of music and musical instruments, computational models of musical acoustics, and digital signal processing techniques for audio effects. Topics include the basics of sound propagation and auditory perception; the specific acoustical phenomena of wind, string, and percussion instruments as well as the voice; room acoustics; vibration and acoustic measurement techniques; historical contexts of instrument designs; instrument building and design; music synthesis; physical modeling synthesis including digital waveguides, modal models, and finite difference schemes; programming of digital audio effects such as equalization and filtering, delay effects, dynamic range control, reverberation, and distortion.

Emphasis will be placed on practical applications including measurements, real-time audio programming, critical listening, and physical making.  Many problem sets and labs will feature creative and artistic uses of the techniques being studied. Students will work on a significant final project with topics including building an instrument, augmenting an instrument with an acoustic or digital intervention, developing a synthesis model of an instrument, or programming a real-time audio effect not covered in the class. Students taking the graduate version will complete extended assignments.

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.

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.

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.

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.

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.

Seminar that develops skills needed to explore a broad range of musical questions through a diversity of music systems and cultures, research tools and approaches, and scholarly viewpoints. Engaging the ambiguity, uncertainty, and unsolved (or even unsolvable) questions in music research, students practice thinking humanistically and critically about their own priorities, assumptions, and understandings of musical knowledge while gaining the tools to ask new questions and conduct independent research. Strong emphasis on discussion, interdisciplinary thinking, and practical applications of research skills. Students taking graduate version complete different assignments.

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.

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.

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.

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.

Explores the ways in which electronic music is controlled and performed. A solid historical perspective is presented, tracing the development of various families of electronic musical controllers and instruments from their genesis in the late 1800s onwards. Design principles and engineering detail are also given for various current and classic controllers. Evolving issues in the control of computer music for live performance and interactive installations are discussed, including computer mapping of sensor signals and transduced gesture onto sound, music, and other media. Weekly reading assignments are given, and a final project or paper is required.

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.

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.

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.