Prof. Tom Kelly interviews Elson Lecturer James Levine.

Profs. Shreffler, Monson, Oja, and Shelemay with graduate student Ryan Banagale at a presentation on faculty/student collaboration.

Prof. Wolff conducts an orchestra composed of students and staff to illustrate Bach's composing process.

Prof. Robert Levin at work.

To learn more about the interests, affiliations
and recent activities of the 2007-2008 Harvard Department of Music permanent faculty, click on the names below.

Click here for Emeriti

Quincy Jones Professor of African American Music, Supported by the Time Warner Endowment/ CHAIR of the Music Department

Carolyn Abbate

Radcliffe Alumnae Professor at Radcliffe Institute for Advanced Study;
Fanny Peabody Professor of Music

Reinhold Brinkmann

James Edward Ditson Professor of Music, Emeritus

Mauro Calcagno

Associate Professor of Music

Mario Davidovsky

Fanny P. Mason Professor of Music, Emeritus

Sean Gallagher

Associate Professor of Music

Elliott Gyger

Assistant Professor of Music

Christopher Hasty

Walter W. Naumburg Professor of Music

David G. Hughes

Fanny B. Mason Professor of Music, Emeritus

Thomas Forrest Kelly

Morton B. Knafel Professor of Music

Leon Kirchner

Walter Bigelow Rosen Professor of Music, Emeritus

Robert D. Levin

Dwight P. Robinson, Jr. Professor of Music

Lewis Lockwood

Fanny Peabody Research Professor of Music

Jameson N. Marvin

Senior Lecturer on Music, Director of Choral Activities

Carol Oja

William Powell Mason Professor of Music

Rulan Chao Pian

Professor of East Asian Languages and Civilizations and of Music, Emerita

Bernard Rands

Walter Bigelow Rosen Research Professor of Music, Emeritus

Alexander Rehding

Professor of Music

Kay Kaufman Shelemay

G. Gordon Watts Professor of Music and Professor of African and African American Studies

Anne Shreffler

James Edward Ditson Professor of Music

Daniel Stepner

Preceptor in Music

John Stewart

Senior Preceptor in Music

Hans Tutschku

Gardner Cowles Associate Professor of Music and Director of HUSEAC

John Ward

William Powell Mason Professor of Music, Emeritus

Richard Wolf

Professor of Music

Christoph Wolff

Adams University Professor, Curator of Isham Memorial Library

James D. Yannatos

Senior Lecturer on Music, Conductor of the Harvard-Radcliffe Orchestra

Carolyn Abbate
Radcliffe Alumnae Professor at Radcliffe, Institute for Advanced Study; Fanny Peabody Professor of Music
abbate@fas.harvard.edu
Music Building 7 Paine
495-8227


Carolyn Abbate ranks among the world’s foremost musicologists. Her academic work has explored the particular, physical impact of the medium upon performer and audience alike, focusing most recently on the resistance to the ephemeral and phenomenal in intellectual culture. Her current interests include music and early cinema in Germany, and music technology. She is also active in opera production as a dramaturg and a director. She has been a Presidential Lecturer at Stanford University, a visiting Professor at the Free University in Berlin, and a Fellow at the Wissenschaftskolleg in Berlin. A recipient of awards from the Guggenheim Foundation and the National Endowment for the Humanities, she has also won the Dent Medal of the Royal Music Association. Her books In Search of Opera (2001) and Unsung Voices (1991) have been translated into several languages. Her translations from French include Vladimir Jankelevitch’s La musique et l’ineffable (2003).

Sean Gallagher
Associate Professor of Music (on leave fall 2007)
Historical Musicology
sgallagh@fas.harvard.edu
Music Building 306N
495-2791

Sean Gallagher holds B.Mus. and M.Mus. degrees from the Peabody
Conservatory, where he was a student of Leon Fleisher. He received a Ph.D. in musicology from Harvard (1998) with a dissertation on fifteenth-century motets. He taught at the University of North Carolina at Chapel Hill (1997-2002) before joining the Harvard faculty in 2002.

In 2002 he was awarded a Ryskamp Fellowship from the American Council of Learned Societies. He is on the editorial board of Ars nova: nuova serie, published by Libreria Musicale Italiana. In Fall 2007 he will be Robert Lehman Visiting Professor at Villa I Tatti in Florence.

His research focuses on late medieval and renaissance music and culture, with particular emphasis on France, Italy, and the Low Countries in the fifteenth century. He is co-editor of Western Plainchant in the First Millennium: Studies in the Medieval Liturgy and its Music (Ashgate, 2003), and of The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory and Performance (Harvard Univ. Press, forthcoming). He is currently writing a book on the composer Johannes Regis.

Recent and forthcoming publications include:

"The Berlin Chansonnier and French Song in Florence, 1450-1490: A New Dating and its Implications," Journal of Musicology 24 (2007), 339-64.

"Seigneur Leon's Papal Sword: Ferrara, Du Fay, and His Songs of the 1440s," Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 57 (2007), 3-28.

“Busnoys, Burgundy, and the Song of Songs,” in Uno gentile et subtile ingenio: Studies in Renaissance Music, ed. M. J. Bloxam and G. Filocamo (Brepols, forthcoming).

“Caron and Florence: A New Ascription and the Copying of the Pixérécourt Chansonnier,” in Studies on Renaissance Music in Honour of Ignace Bossuyt (Leuven Univ. Press, 2007, in press).

“Boncompagno da Signa: On Memory,” in The Medieval Craft of Memory: An Anthology of Words and Pictures, ed. M. Carruthers and J. Ziolkowski (Univ. of Pennsylvania Press, 2002).

“Pater optime: Vergilian Allusion in Obrecht's Mille quingentis,” Journal of Musicology 18 (2001).

Christopher Hasty
Walter W. Naumburg Professor of Music
Theory
hasty@fas.harvard.edu
Music Building 5 Paine
495-2791

Hasty is a specialist in music of the 20th century. Hasty received the Samuel F.B. Morse fellowship, 1985; and Paul Mellon fellowship, 1988. Hasty's publications treat problems in the theory and analysis of post-tonal music, particularly in relation to problems of temporality, and his book, Meter as Rhythm, won the Wallace Berry Award from the Society for Music Theory as the outstanding theory study of 1998. Among works now in progress is a book on problems of musical form conceived as process. Hasty was editor of the Journal of Music Theory (1987-90), and served on the editorial board of Music Theory Spectrum (1982-87). He began his teaching at Harvard in the fall of 2002.

Thomas Forrest Kelly
Morton B. Knafel Professor of Music
Historical Musicology (Head Tutor); Graduate Advisor for Musicology
tkelly@fas.harvard.edu
Music Building 203S
495-2791

Professor Kelly received his B.A. from Chapel Hill; spent two years on a Fulbright in France studying musicology, chant, and organ. He holds a Ph.D. from Harvard (1973) with a dissertation on office tropes. He has taught at Wellesley, Smith, Amherst, and at Oberlin, where he directed the Historical Performance Program and served as acting Dean of the Conservatory. He was named a Harvard College Professor in 2000 and the Morton B. Knafel Professor of Music in 2001.

Professor Kelly's main fields of interest are chant and performance practice. He won the Otto Kinkeldey Award of the American Musicological Society for The Beneventan Chant (Cambridge University Press, 1989). His most recent books are First Nights: Five Musical Premieres, (Yale University Press, 2000) and First Nights at the Opera (Yale, 2004).

Robert Levin
Dwight P. Robinson, Jr. Professor of Music (on leave 2007-2008)
Performance & Analysis
rlevin@fas.harvard.edu
Music Building G-7
495-2791

Pianist Robert Levin has performed throughout the United States, Europe, Australia and in Asia, appearing with the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway and with the Academy of Ancient Music, the English Baroque Soloists, the Handel & Haydn Society, the London Classical Players, the Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique on period pianos. Renowned for his improvised cadenzas in Classical period repertoire, Robert Levin has made recordings of a wide range of repertoire for Deutsche Harmonia Mundi, DG Archiv, Decca/London, ECM, Hänssler, New York Philomusica, Philips, and SONY Classical. His recordings include Bach's complete keyboard concertos, the six English Suites and both books of the Well-Tempered Clavier (Hänssler Edition Bachakademie); a Mozart concerto cycle with Christopher Hogwood and the Academy of Ancient Music for Decca/Oiseau Lyre; and the Beethoven concertos with Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique for DG Archiv. A passionate advocate of new music, Robert Levin has commissioned and premiered a large number of works, including Joshua Fineberg's Veils (2001), John Harbison's Second Sonata (2003), Yehudi Wyner's piano concerto Chiavi in mano (Pulitzer Prize, 2006), Bernard Rands' Preludes (2007) and Thomas Oboe Lee's Piano Concerto (2007).

Robert Levin appears frequently with his wife, pianist Ya-Fei Chuang, in duo recitals and with orchestra, and with violist Kim Kashkashian. A noted Mozart scholar, Mr. Levin's completions of Mozart's Requiem, C-minor Mass and other unfinished works have been recorded and performed throughout the world. After more than a quarter century as an artist teacher at the Sarasota Music Festival he was made Associate Artistic Director in 2004 and succeeded Paul Wolfe as Artistic Director in 2007. A member of the American Academy of Arts and Sciences and the Akademie für Mozartforschung, he is President of the International Johann Sebastian Bach Competition (Leipzig, Germany).

Jameson Marvin
Director of Choral Activities
Senior Lecturer on Music
jmarvin@fas.harvard.edu
Music Building Paine Hall 9
495-2791

Dr. Marvin received a Doctor of Musical Arts degree in Choral Music from the University of Illinois, a Master of Arts in Choral Conducting from Stanford University, and a Bachelor of Arts in Music Composition from the UCSB. He was Director of Choral Ensembles at Vassar College before coming here in 1978. Dr. Marvin conducts the Harvard Glee Club, Radcliffe Choral Society, and the Harvard-Radcliffe Collegium Musicum, and offers courses in Choral Conducting and Choral Analysis/Interpretation. He has conducted 80 choral-orchestral works and is a conductor, teacher, author, scholar, editor and arranger. Dr. Marvin has written on subjects ranging from choral intonation to Renaissance music for men's voices including "The Conductor's Process," Five Centuries of Choral Music: "Essays in Honor of Howard Swan," Pengragon Press, "Mastery of Choral Ensemble," E. C. Schirmer, Choral Excellence: Elements of Successful Leadership, and "Perfection and Naturalness: A Practical Guide to Renaissance Choral Performance," Oxford University Press. Dr. Marvin has sustained and expanded a choral environment rich enought to attract thousands of students to his program, from the beginning singer to the advanced musician. The choral program at Harvard was named the top collegiate choral program in the country by Classical Singer magazine.

Ingrid Monson, Department Chair
Quincy Jones Professor of African American Music, supported by the Time Warner Endowment
Ethnomusicology, Musicology
imonson@fas.harvard.edu
Music Building 202S (Professorial)
Music Building 104 S (Chair's office: 495-9854 )
Department Reception: 495-2791

Professor Monson won the Sonneck Society's 1998 Irving Lowens Prize for the best book in American music for her 1996 Saying Something, Jazz Improvisation and Interaction. Came to Harvard in 2001 from Washinton University in St. Louis. Was also a founding member of the nationally known Klezmer Conservatory Band, and plays trumpet with jazz and salsa bands.

Monson was previously Associate Professor of Music at Washington University in St. Louis; she also taught at University of Michigan, Harvard (as Visiting Professor) and University of Chicago. She has a Ph.D. and an M.A. in Musicology from NYU, and a B.M. from New England Conservatory. Monson is currently working on two books: one on the impact of the Civil Rights Movement and African Independence on the history of jazz, and one on the musics of the African Diaspora. She was a founding member of the Klezmer Conservatory Band.

Carol Oja
William Powell Mason Professor of Music
Historical Musicology
coja@fas.harvard.edu
Music Building 304S
495-2791

Oja's research focuses on 20th-century American music, bringing broad-ranging cultural and transnational perspectives to a panoply of modernist compositional styles and to musical theater. Her book, Making Music Modern: New York in the 1920s (Oxford University Press, 2000), won the Lowens Book Award from the Society for American Music and an ASCAP-Deems Taylor Award. Recently, she co-edited Copland and his World with Judith Tick (Princeton University Press) and served as scholar-in-residence for the Bard Festival's celebration of Copland in 2005. She was one of the directors for Harvard's "Leonard Bernstein--Boston to Broadway," a conference and festival that took place in 2006, and she is co-director, with Nancy Cott, of "Cultural Reverberations of Modern War," the Warren Center workshop for 2006-07. Her previous books include Colin McPhee: Composer in Two Worlds; A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock; and American Music Recordings: A Discography of 20th-Century U.S. Composers. She has written about diverse American composers, including Marc Blitzstein, Aaron Copland, Henry Cowell, George Gershwin, Leo Ornstein, Dane Rudhyar, Ruth Crawford Seeger, Elie Siegmeister, William Grant Still, and Virgil Thomson, and she has explored such topics as the patronage of composers by women, the institutional infrastructure of new music, and the historiography of cultural hierarchy in American musical repertories. Oja is at work on a study of Leonard Bernstein's work for musical theater (to be published by Yale University Press). She is past-president of the Society for American Music and a member of the board of directors of the American Musicological Society. At Harvard, she is on the Standing Committee of the History of American Civilization, as well as on the Faculty Council on the Arts. Her previous academic appointments were at Brooklyn College and the Graduate School of the City University of New York, where she directed the Institute for Studies in American Music, and at the College of William and Mary (in Music and American Studies).

Alexander Rehding
Professor of Music
Theory
Director of Graduate Studies; Graduate Advisor in Theory
arehding[at]fas.harvard.edu
Music Building 305N


Rehding spent many years at the other Cambridge (BA, MA, MPhil, PhD Cantab.) and held research fellowships at Emmanuel College Cambridge, the Penn Humanities Forum and the Princeton Society of Fellows before joining the Harvard Department in 2003 as Assistant Professor. His research is located at the intersection between theory and history, focusing on German musical culture between the 18th and 21st centuries.

Recent publications include the articles "On the Record," "Wax Cylinder Revolutions," "Rameau, Rousseau and Enharmonic Furies in the French Enlightenment" and the books Hugo Riemann and the Birth of Modern Musical Thought (2003), and Music Theory and Natural Order from the Renaissance to the Early Twentieth Century (co-edited with Suzannah Clark, 2001). His article "The Quest for the Origins of Music in Germany Circa 1900" was awarded the inaugural Jerome Roche Prize of the Royal Musical Association in 2001.

Rehding is co-editor of Acta musicologica with Philippe Vendrix, was a recent guest editor for Contemporary Music Review and Opera Quarterly (with Elliott Gyger), and serves on the editorial board of Music Theory Spectrum. Current research projects include a collection of analytical and historical essays on Riemann Perspectives (co-edited with Edward Gollin), a monograph on musical monumentality, a study of musical degeneracy, as well as questions of sound media and sound art.

Sindhu Revuluri
Assistant Professor of Music
Historical Musicology
revuluri@fas.harvard.edu
Music Building 302S
495-2791

Profesor Revuluri received her PhD in musicology from Princeton University in 2007, where she also taught for one year. Her research interests include exoticism and modernism in fin-de-siècle France, contemporary Indian music and film, trends in global pop music, and post-colonial approaches to music history. She is currently working on a study of the relationship between empire and modernist musical thought in France, as well as a project on popular musical expression in south India. She joined the Harvard faculty in 2007.

Kay Kaufman Shelemay
G. Gordon Watts Professor of Music (on leave 2007-08)
Professor of African and African American Studies
Ethnomusicology
shelemay@fas.harvard.edu
Music Building 6 Paine
495-2791

B.M. (1970), M.A. (1972), and Ph.D. (1977), University of Michigan. She taught at Columbia University (1977-1982), New York University (1982-1990), and Wesleyan University (1990-1992), before joining the Harvard faculty in 1992. At Harvard, Shelemay has served as Chair of the Department of Music (1994-1999; acting chair, spring 2002; chair, spring 2005) and is active in interdisciplinary studies across several domains. A Fellow of the American Academy of Arts and Sciences and the American Academy for Jewish Research, she is a Past President of the Society for Ethnomusicology. A Congressional appointee to the Board of Trustees of the American Folklife Center at the Library of Congress since 2000, she was Chair of that Board from 2002-2004. She has received fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, the American Council of Learned Societies, and the Radcliffe Institute. Shelemay was recently named the Chair in Modern Culture at the John W. Kluge Center of the Library of Congress during August and September, 2007.

In addition to longtime interests in musical ethnography and music and memory, Shelemay's current research is on Ethiopian music and musicians in their North American diaspora. Her monograph Music, Ritual, and Falasha History (1986, 1989) won the ASCAP-Deems Taylor Award and the Prize of the International Musicological Society. In addition to the seven-volume collection Garland Readings in Ethnomusicology (1990) and A Song of Longing. An Ethiopian Journey (1991), Shelemay edited the three-volume Ethiopian Christian Liturgical Chant. An Anthology (1994, 1995, 1997, with Peter Jeffery). Other recent publications include Let Jasmine Rain Down. Song and Remembrance Among Syrian Jews (1998, finalist for the National Jewish Book Award) and Soundscapes. Exploring Music in a Changing World (2001, second edition 2006). She has co-edited Pain and Its Transformations. The Interface of Biology and Culture (with Sarah Coakley), to be published by Harvard University Press in 2007. Shelemay received an Award for Distinguished Teaching from the Columbia University School of General Studies in 1982, and in 2006 at Harvard, the Joseph R. Levenson Memorial Teaching Prize and the Phi Beta Kappa Teaching Prize.

Anne Shreffler
James Edward Ditson Professor of Music (on leave 2007-08)
Historical Musicology
acshreff@fas.harvard.edu
Music Building 301S
495-2791

Anne C. Shreffler is currently working on an intellectual history of the musical avant-garde after 1945 in Europe and America, with special emphasis on the political and ideological associations of new music. Other research interests include historiography, composers in emigration, performance theory, and contemporary opera. Topics of recent articles include Varèse and technology, the music historians Carl Dahlhaus and Georg Knepler, Shostakovich's "Leningrad" Symphony, and Elliott Carter's opera What Next? She has published widely on Webern, including a book, Webern and the Lyric Impulse: Songs and Fragments on Poems by Georg Trakl (Oxford University Press, 1994) as well as the article "'Mein Weg geht jetzt vorueber': The Vocal Origins of Webern's Twelve-Tone Composition," for which she received the Alfred Einstein Award of the American Musicological Society in 1995. Anne Shreffler started out as a flutist (receiving the B.Mus. in flute performance in 1979 from New England Conservatory) and then got a Master's in music theory from the same institution; after doctoral studies in musicology at Harvard (where she got her PhD in 1989), she taught at the University of Chicago. From 1994 until 2003 she was a professor at the Musikwissenschaftliches Institut of the University of Basel in Switzerland.

Professor Shreffler is currently a member of the Stiftungsrat (Board) of the Paul Sacher Foundation in Basel and is on the editorial board of the Journal of Musicology. She has served on the AMS Council, the AMS-50 Fellowship Committee, and the Program Committee. Shreffler recently received a John Simon Guggenheim Memorial Foundation grant.

Daniel Stepner
Preceptor in Music
Performance: Chamber Music
stepner@brandeis.edu
Music Building G-7
495-2791

Daniel Stepner is first violinist for the Lydian String Quartet (inresidence at Brandeis University), concert master ofHandel & Haydn Society Orchestra, and a founding member of the BostonMuseumTrio. He is also Artistic Director of the Aston Magna Festival, a period instrument summer concert series in the Berkshires. Stepner is well-known for his versatility in Baroque and modern violin.

John Stewart
Senior Preceptor in Music
Musicianship
jdstewar@fas.harvard.edu
Music Building G-6
495-2791

Stewart teaches undergraduate analysis, musicianship and theory, and Music B. He holds a Ed.D. from Harvard and a B.M. from the New England Conservatory of Music. He recently received a Clarke Fund Award. Stewart founded and directed the Young Musician's Program of the Ernest Bloch Music Festival in Newport, Oregon, where he also premiered his work, Threnody (Chorale Partita), Luise Vosgerchian In Memoriam. His Ives Fantasy Suite received its Boston premiere at The New England Conservatory. Stewart continued his work on Music 51 and Music A web pages, implementing pedagogical applications of the web for these courses including ear training and dictation exercises as well as course materials and musical examples over the internet.

Hans Tutschku
Gardner Cowles Associate Professor of Music and Director of the Harvard University Studio for Electroacoustic Composition (HUSEAC) (Graduate Advisor for Composition)
Composition
tutschku@fas.harvard.edu
Music Building G-3
495-2791

Tutschku studied electroacoustic composition in Dresden, and between 1989 and 1991 accompanied Karlheinz Stockhausen on several concert tours for the purpose of studying sound diffusion. In 1991 he attended the international one-year course in sonology at the Royal Conservatory in The Hague, where he worked primarily in the field of digital sound processing. He spent one year studying at IRCAM in Paris (1994), and in 1995 participated in composition workshops with Klaus Huber and Brian Ferneyhough. Tutschku taught electroacoustic composition at IRCAM in Paris from 1997-2001 and at the conservatory of Montbéliard from 2001-2004. He finished a DEA at the Parisian Sorbonne and completed his PhD in Composition with Professor Dr. Jonty Harrison at the University of Birmingham in UK in 2003. The same year he was the "Edgar Varèse Gast Professor" at the "Technische Universität" Berlin.

Tutschku has composed music for film, theatre, and ballet as well as instrumental and electroacoustic music. He has also conceived several sound installations and published articles on sound diffusion. A main focus of Tutschku's work is improvisation with live-electronics, and he is regularly invited to give lectures and workshops on this topic. He has toured more than 30 countries with his "Ensemble für Intuitive Musik Weimar," and with the Ensemble, has realized many multimedia productions, often creating the projected images and choreography for dance as well as the music.

Tutschku joined the faculty in 2004 and has since overseen the total renovation of the HUSEAC studios, which were completed in 2005. He also conceived the 32-loudspeaker diffusion system HYDRA, which has already been presented in numerous concerts. He has also served as a jury member of several international composition competitions and is the recipient of many international composition prizes: Bourges, Hanns-Eisler-Preis, CIMESP Sao Paulo, Prix Ars Electronica, Prix Musica Nova, and Prix Noroit. In 2005 Tutschku received the culture prize of the city of Weimar.

Richard Wolf
Professor of Music (Graduate Advisor for Ethnomusicology)
Ethnomusicology
rwolf@fas.harvard.edu
031 Memorial Hall
495-2791

Specialist in the musical traditions of South Asia, joined the faculty in 1999. Wolf teaches and performs on the South Indian vina and writes about classical, folk and tribal music in South India.  He has also been exploring musical traditions associated with Shiism and Sufism in North India, Pakistan, and Iran. Wolf's recent publications include the article "The poetics of 'Sufi' practice: Drumming, dancing, and complex agency at Madho Lal Husain (and beyond)" American Ethnologist (2006) and the book The Black Cow's Footprint: Time, Space, and Music in the Lives of the Kotas of South India (The University of Illinois Press [2006] and Permanent Black [2005]), which was awarded the Edward Cameron Dimock, Jr.Prize in the Humanities. Wolf is currently engaged in two collaborative projects. With the phonetician Peri Bhaskar Rao, he is analyzing relationships between melody and language in the songs of the Todas of South India. With the folklorist Sabir Badalkhan, Wolf is studying Sufi musical performance of Baluchistan. In an effort to promote a study of South Asian music that transcends conventional boundaries of geography and discipline, Wolf is editing a book entitled Theorizing the Local: Music, Practice and Experience in South Asia and Beyond, which stems from an International Council for Traditional Music colloquium and Radcliffe Advanced Seminar. He is also working on his own monograph entitled Reciting Remembrance: Resonances of Popular Islam in South Asia.

Christoph Wolff
Adams University Professor (on leave 2007-08)
and Curator of the Isham Memorial Library
Historical Musicology
cwolff@fas.harvard.edu
Music Building 204S
495-2791

Professor Wolff received an Artist Diploma (organ, historical keyboards, conducting) from the Hochschule für Musik Berlin in 1963 and the Dr. Phil. (historical musicology) from the University of Erlangen in 1966; Mus. D. (New England Conservatory, 1999), L.H.D. (Valparaiso, 2002), Dr. Phil. h. c. (Jena-Weimar, 2005). He taught at the University of Erlangen (1963-68), the University of Toronto (1968-70), and Columbia University (1970-76) before joining the Harvard faculty in 1976. At Harvard he served as Chair of the Department of Music (1980-88, 1990-91), Acting Director of the University Library (1991-92), and Dean of the Graduate School of Arts and Sciences (1992-2000).

Appointed to an honorary professorship at the University of Freiburg, Germany, elected to membership of the American Academy of Arts and Sciences, the American Philosophical Society, the Saxon Academy of Sciences at Leipzig, and the Akademie für Mozart-Forschung in Salzburg, he currently serves as Director of the Bach-Archiv Leipzig, President of the Commission mixte of the Rèpertoire International des Sources Musicales, and on the Board of the Packard Humanities Institute.

His primary research interests extend to the music from the 17th to the early 19th century, especially to Bach and Mozart studies. Recent publications include Bach: Essays on His Life and Music (1991), Mozart's Requiem (1994), The New Bach Reader (1998), Driven into Paradise: The Musical Migration from Nazi Germany to the United States (1999; ed. with R. Brinkmann), and Music of My Future. The Schoenberg Quartets and Trio (2001; ed. with R. Brinkmann) and Die Orgein J. S. Bachs: Ein Handbuch (2006; with M. Zepf). A recipient of the Dent Medal of the International Musicological Society (1978) the Humboldt Research Prize (1996), and the Bach Prize of the royal Academy of Music (2006), he won the Otto Kinkeldey Award of the American Musicological Society for Johann Sebastian Bach: The Learned Musician (2000), which has been translated into eight languages.

James Yannatos
Senior Lecturer on Music
Conducting and Orchestration
yannatos@fas.harvard.edu
Music Building G-5
495-2791

Dr. Yannatos is a conductor, violinist and composer. He received his PhD from the University of Iowa before coming to Harvard in 1964. He directs the Harvard-Radcliffe Orchestra and teaches an undergraduate course in conducting. Recent publications of his work include the violin concerto and cello concerto: Symphony No. 7 (Symphonies Sacred and Secular). Albany Records has released seven CDs of his music. The most recent includes his violin concerto, Symphony Brevis, and
Concerto for Contra Bass with the Harvard-Radcliffe Orchestra. Yannatos celebrated 40 years at Harvard University during the 2004-2005 season.

Reinhold Brinkmann
Professor Emeritus
Historical Musicology
brinkman@fas.harvard.edu

Professor Brinkmann wrote his dissertation on Schoenberg's Opus 11 at the University of Freiburg (1967, paperback edition with a new preface 2001) and taught at several German universities before coming to Harvard in 1985. His main area of research are music, music theory and aesthetics from the 18th century to the present (with a hidden love for the music of the Middle Ages). He recently published a monograph on Brahms' second symphony; a paperback on Schumann and Eichendorff; an essay on Brahms and the painters Feuerbach, Böcklin, Klinger and Menzel; an essay brochure entitled "Schoenberg and the Angel of History"; and a study on the Lieder inserted in the first edition of Goethe's novel Wilhelm Meister. He co-edited a volume on the migration from Nazi Germany to the US and a book, Music of My Future: The Schoenberg Quartets and Trio. He is currently working on two book projects: a history of the Lied from Schubert to Wolf, and a study on Nazi ideology and music. He was awarded the Alexander von Humboldt Prize 1998/99 and the Ernst von Siemens Music Prize 2001.

Mario Davidovsky
Professor Emeritus
Composition
617-495-2791

Directed the Columbia/Princeton Electronic Music Center for many years while he was MacDowell Professor of Music at Columbia University. He also served as Director of the Composers' Conference at Wellesley for 29 years. Professor Davidovsky received the Walter Channing Cabot Fellowship. In 2000-2001, two CDs of his works were recently released by Bridge Records: Flashback and Canticum Cantorum; and his Cantione Sine Textu, for soprano and chamber ensemble, was published by C.F. Peters. Davidovsky served as vice-president of the Koussevitzky Foundation at the Library of Congress; vice-president of the Robert Miller Fund for Music, and consulted for the Guggenheim Foundation both in the U.S. and Latin America. He is Director of the Harvard University Studio for Electroacoustic Composition.

David G. Hughes
Professor Emeritus
Historical Musicology
617-495-2791

Prof. Hughes was educated at Harvard (A.B., M.A. and Ph.D.), with a dissertation on line and counterpoint in Gothic music. He studied theory and composition with Irving Fine, Randall Thompson and Walter Piston, and musicology with A. Tillman Merritt, Stephen Tuttle and Otto Bombosi. Hughes taught at Harvard as Fanny P. Mason Professor of Music from 1964 until his retirement in 1994. He worked primarily in the areas of Gregorian and post-Gregorian chant, liturgical music and medieval polyphony, notation and modal theory. He co-compiled the Index of Gregorian Chant, and was editor-in-chief of the Journal of the American Musicological Society (1959-63). Hughes published many articles and was honored with a Festschrift on his 70th birthday, Essays on Medieval Music in Honor of David Hughes (1995).

Leon Kirchner
Professor Emeritus
Composition
617-495-2791

Raised in Los Angeles after WWI, Kirchner enjoyed early mentoring by Toch and Schoenberg. He studied with Block at UC Berkeley, where he was awarded the George Ladd Prix de Paris. Kirchner taught at the University of Southern California, then Mills College, then succeeded Walter Piston as the Walter Bigelow Rosen Professor of Music. He has been prolific as a composer, receiving recognition and awards from the Guggenheim Foundation, the American Academy of Arts and Letters, The American Academy of Arts and Sciences, the New York Critics Circle, and a Naumburg Award. He received the Pulitzer Prize for his Third Quartet.

Lewis Lockwood
Fanny Peabody Research Professor of Music
Historical Musicology
llockw@fas.harvard.edu
710 Widener Library
617-495-7574

Lewis Lockwood's recent book, Beethoven: The Music and the Life (New York: W.W. Norton, 2003) was a finalist for the 2003 Pulitzer Prize in biography. Lockwood took the B.A. at Queens College, New York, studying with Edward Lowinsky, and did his graduate work at Princeton with OIiver Strunk and Arthur Mendel. He taught at Princeton from 1958 to 1980, when he came to Harvard, where he was named Fanny Peabody Professor of Music in 1985. He was President of the American Musicological Society in 1987-88 and was named an Honorary Member of the AMS in 1993. His scholarly work has focused on music in the Italian Renaissance and on Beethoven and his era. In 1997 he was presented with a volume entitled Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, edited by Jessie Ann Owens and Anthony Cummings (Detroit, 1997). He won the Einstein and Kinkeldey awards of the AMS, and an ASCAP-Deems Taylor Award for his book, Beethoven: Studies in the Creative Process (Cambridge, MA: Harvard University Press, 1992). In 2005 the American Musicological Society established an annual award in his name for the best book by a younger scholar.

Rulan Pian
Professor Emerita
East Asian Studies, Ethnomusicology
Thhpian@aol.com
617-495-2791

Prof. Pian was educated at Radcliffe and studied Western music history and theory with Tillman Merritt (B.A. and M.A.). She received her Ph.D. from Harvard with a dissertation on the Song dynasty. She join the Harvard music department, teaching Chinese music, in 1961, and was made a professor of east Asian languages and civilizations and professor of music in 1974. Pian was appointed fellow of the Academica Sinaica in Taiwan in 1994. She has published widely on Song dynasty, musical sources, Peking opera, Peking drum songs and other historical and contemporary genres. Since the late 1970s, she has travelled to China regularly, bringing the latest Western ideas there, and returning to America with a wealth of fieldwork data and audio-visual recordings, materials that preserve and illustrate Chinese music to American audiences.

Bernard Rands
Research Professor
Composition
amc65aum@aol.com

Rands taught at several universities in the U.K., and at U.C. San Diego and Boston University in the U.S. before coming to Harvard in 1989. He's won a Pulitzer, and has had works commissioned by the New York Philharmonic for their 150th Anniversary and Carnegie Hall for their 100th Anniversary.

John Ward
Professor Emeritus
Historical Musicology
617-495-2791

Prof. Ward studied with Gombosi at the University of Washington (M.M.), Herzog at Columbia, and Sachs and Reese at NYU (Ph.D., 1953). He joined the Harvard faculty in 1955 and was William Powell Mason Professor Music from 1961 to 1985. Ward's special interests are in 16th century instrumental music, especially that of Spain and England, Elizabethan music in general, and English popular and folk music from the 16th century to the present. He has published numerous articles on these subjects over the course of his career. Ward is the general editor of the Pantomime, Ballet and Social Dance group of the series Music for London Entertainment (London, 1990--).