Within a classroom on the third floor of the MIT Media Lab, it’s serene; the disc jockey is preparing. At the conclusion of a conference table surrounded by chairs, two turntables are placed on either side of a mixer along with a well-used crossfader. A MacBook is positioned to the right of the arrangement.
Today’s lesson — CMS.303/803/21M.365 (DJ History, Technique, and Technology) — transports students to the 1970s, which encompasses disco, funk, rhythm and blues, as well as the breaks that laid the groundwork for early hip-hop. Instructor Philip Tan ’01, SM ’03 initiates with a needle drop. The class is about to commence.
Tan is a research scientist at the MIT Game Lab — part of the Institute’s Comparative Media Studies/Writing (CMS/W) program. An accomplished DJ and founder of a DJ collective at MIT, he has been instructing students on traditional turntable and mixing methods since 1998. Tan is also an experienced game designer whose expertise covers digital, live-action, and tabletop games, both in production and oversight. However, today’s emphasis is on two turntables, a mixer, and sound.
“DJ’ing is about treating the platter as a musical instrument,” Tan shares as students start entering the classroom, “and crafting a program for audiences to appreciate.”
Originally from Singapore, Tan made his way to the United States — first as a high school student in 1993, and later as an MIT student in 1997 — to pursue studies in the humanities. He brought along his enthusiasm for DJ culture.
“A high school buddy in Singapore introduced me to DJ’ing in 1993,” he reminisces. “We DJ’d a couple of school functions together and participated in the same DJ contests. Prior to that, however, I created mix tapes, stopping the cassette recorder while preparing the following song on cassette, CD, or vinyl.”
Eventually, Tan contemplated if his enthusiasm could evolve into a feasible course, pondering the idea over several years. “I wanted to seek out and connect with others on campus who might share an interest in DJ’ing,” he explains. During MIT’s Independent Activities Period (IAP) in 2019, he conducted a four-week “Discotheque” lecture series at the Lewis Music Library, discussing vinyl records, DJ mixers, speakers, and digital audio. He also organized meetups for campus DJs in the MIT Music Production Collaborative.
“We couldn’t truly hold meetups and live performances during the pandemic, but I had the chance to provide a spring Experiential Learning Opportunity for MIT undergraduates, centered on DJ’ing via livestreams,” he mentions. The CMS/W program ultimately allowed Tan to extend the IAP course into a full-semester, full-credit course in spring 2023.
Instructing students on the fundamentals
In the class, students acquire the essential skills required for live DJ mixing. They also examine a selected contemporary or historical dance scene from across the globe. The course examines the progression of DJ’ing and the technology that enables it. Students are tasked with writing and presenting their findings to the class based on historical research and interviews; crafting a mix tape that highlights their investigation into a historical evolution in dance music, mixing techniques, or DJ technology; concluding the semester with a live DJ event for the MIT community. Access to this sought-after course is determined through a lottery.
“From circuits to signal processing, we have been able to witness practical applications of our course subjects in a fun and engaging manner,” remarks Madeline Leano, a second-year student majoring in computer science and engineering with a minor in mathematics. “I’ve also always harbored a deep love for music, and this class has already expanded my musical tastes as well as enhanced my appreciation for music production.”
Leano praised the course’s relevance to her studies in engineering and computer science. “[Tan] consistently highlights how all components of the mixing board function technically, which involves various electrical engineering and physics concepts,” she notes. “It was incredibly enjoyable to observe the intersection of our technical coursework with this class.”
During today’s session, Tan guides students through the progression of the DJ’s instruments, illustrating the transformations in DJ’ing that evolved in tandem with technological advancements by manufacturers of the equipment. Tan explores the distinctions between hardware intended for disco and hip-hop DJs, including how certain devices like the Bozak CMA-10-2DL mixer lacked a crossfader, while the UREI 1620 music mixer consisted solely of knobs. Needs evolved alongside cultural shifts, Tan details, and so did the DJ’s instruments.
He also immerses the class in musical and cultural history, discussing the origins of disco and hip-hop in the early 1970s and how the former thrived throughout the decade as the latter developed concurrently. Club culture within the LGBTQ+ community, safe spaces for marginalized groups to dance and express themselves, as well as previously untold narratives from these individuals are thoroughly uncovered and examined.
“Exploring meter, analyzing music history, and acquiring new skills”
As the class nears its conclusion, each student takes their place behind the turntables. They’re groping by instinct for the fluidity with which Tan transitions between two tracks, attempting to achieve the appropriate synergy of beats to maintain the crowd’s interest. You can observe their confidence growing visibly as he carefully guides them through the steps: find the groove, navigate between them, blend the beats. They begin to realize that it’s more challenging than it may seem.
“I’m not expecting students to become expert scratchers,” Tan mentions. “We’re exploring meter, analyzing music history, and acquiring new skills.”
“Philip is one of the most remarkable instructors I have encountered here at MIT!” Leano exclaims. “You can just sense from his presence in class how both knowledgeable and passionate he is about DJ history and technology.”
Observing Tan demonstrate techniques to students, it’s easy to recognize the talent and precision needed to both DJ effectively and to instruct others on how to do so. He’s deeply entrenched in the art of DJ’ing, equally adept with traditional turntables and mixers as he is with a digital setup preferred by DJs from various genres, such as electronic dance music. Students, including Leano, acknowledge his expertise, capability, and dedication.
“Any inquiry that any classmate may pose is consistently addressed with such thoroughness he seems like a walking encyclopedia,” she states. “Furthermore, he makes the class so interactive by inviting us to the front and utilizing the board, ensuring everyone comprehends what is transpiring.”