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Memorials:
John Milton Ward
Reinhold Brinkmann
Leon Kirchner

James Yannatos

Rulan Pian


Music Department office:
phone: 617-495-2791
fax: 617-496-8081
email: musicdpt@fas.harvard.edu

 



People

 


Faculty

Carolyn ABBATE
Paul and Catherine Buttenwieser University Professor
cabbate@fas.harvard.edu

(on leave 2014-2015)
Music Building PH 8
617-496-6527
Richard BEAUDOIN Preceptor in Music
beaudoin@fas.harvard.edu
Music Building G 2
617-494-7737
website: www.richardbeaudoin.com
Jessica BODNER Visiting Lecturer on Music (Parker Quartet)
email to come
Music Building, Room A
617-495-2791
Daniel Chong Visiting Lecturer on Music (Parker Quartet)
email to come
Music Building, Room A
617-495-2791
Andrew CLARK Senior Lecturer on Music, Director of Choral Music at Harvard
agclark@fas.harvard.edu
Music Building G 7
617-495-8827
Suzannah CLARK.

Professor of Music
Theory
sclark@fas.harvard.edu
(on leave 2014-2015)
Music Building G 6
617-495-4009

Federico CORTESE Senior Lecturer on Music, Director of the Harvard-Radcliffe Orchestra
fcortese@fas.harvard.edu
Music Building G 5
617-495-1533
Chaya CZERNOWIN. Walter Bigelow Rosen Professor of Music
Composition
chayaczernowin@gmail.com
Music Building 308 N
617-495-3647
Emily DOLAN Gardner Cowles Associate Professor of Music
Musicology
edolan@fas.harvard.edu
Music Building 306 N
617-495-2791
Christopher HASTY Walter W. Naumburg Professor of Music
Theory (Graduate Advisor in Theory)
hasty@fas.harvard.edu
Music Buildling PHl 3
617-495-2692
Vijay IYER Franklin D. and Florence Rosenblatt Professor of the Arts
vijayiyer@fas.harvard.edu
Music Building
617-496-4304
Jill JOHNSON Director of Dance, Office for the Arts at Harvard Dance Program
Senior Lecturer, Department of Music
johnson@fas.harvard.edu
Harvard Dance Center
60 Garden Street, Cambridge
617-495-8683
Thomas Forrest KELLY. Morton B. Knafel Professor of Music (Assistant Head Tutor)
Historical Musicology
tkelly@fas.harvard.edu
Music Building 203 S
617-495-2791
Kee-Hyun Kim Visiting Lecturer on Music (Parker Quartet)
email to come
Music Building, Room A
67-495-2791
Ingrid MONSON Quincy Jones Professor of African American Music, supported by the Time Warner Endowment
Ethnomusicology (Graduate Advisor in Ethnomusicology)
imonson@fas.harvard.edu
Music Building 202 S
617-494-7740
Osnat NETZER

Preceptor in Music
netzer@fas.harvard.edu
Music Building 307 N
617-495-1531

Carol J. OJA William Powell Mason Professor of Music
Historical Musicology (Chair of the Department)
coja@fas.harvard.edu
Music Building 304 S [professorial] 617-495-3971
Music Building 104 S [Chair's office] 617-495-9854
Department Reception: 617-495-2791
Alexander REHDING. Fanny Peabody Professor of Music
Theory
arehding[at]fas.harvard.edu
(on leave 2014-15)
Music Building 305 N
617-496-6646
Sindhumathi REVULURI. Associate Professor of Music
Historical Musicology (Head Tutor, Graduate Advisor in Musicology)
revuluri@fas.harvard.edu
Music Building 302 S
617-496-9317
Kay Kaufman SHELEMAY G. Gordon Watts Professor of Music
Professor of African and African American Studies
Ethnomusicology (Director of Graduate Studies)
shelemay@fas.harvard.edu
Music Building PH 7
617-495-4008
Anne C. SHREFFLER James Edward Ditson Professor of Music
Affiliate, Department of Germanic Languages and Literatures
Historical Musicology (on leave spring 2015)
acshreff@fas.harvard.edu
Music Building 301S
617-494-7742
Hans TUTSCHKU. Fanny P. Mason Professor of Music, Director of the Harvard University Studio for Electroacoustic Composition (HUSEAC) (Graduate Advisor in Composition)
Composition
tutschku@fas.harvard.edu
Music Building G-3
617-495-2314
Kate VAN ORDEN Professor of Music
Historical Musicology (on leaver 2014-15)
vanorden@fas.harvard.edu
Music Bulidling 204S
617-495-3198
Richard K. WOLF Professor of Music
Ethnomusicology
rwolf@fas.harvard.edu
031 Memorial Hall (office location only/mailing address is Music Building)
Postal address: Music Building / Harvard University / Cambridge, MA 02138
617-494-7678
Ying Xue Visiting Lecturer on Music (Parker Quartet)
email to come
Music Building, Room A
67-495-2791


 

 

 

 

 

 

 


 

 

 























Faculty at a Glance


Carolyn Abbate
Paul and Catherine Buttenwieser University Professor
(on leave 2014-2015)
cabbate@fas.harvard.edu

Music Building 8
617-495-3529

Carolyn Abbate’s work centers on opera history, music and philosophy, ephemeral art, and on film and sound studies. Her writings have been translated into several languages, and she herself is a translator (most recently, of Vladimir Jankélévitch’s La musique et l’ineffable). Current research projects include: operetta and ethical frivolity; the transition to early sound film, and its technologies as a “vernacular philosophy” of sounding animation and rendered symbol.



Abbate faculty page


   

Richard Beaudoin
Preceptor
beaudoin@fas.harvard.edu
Music Building G-2
617-494-7737

Richard Beaudoin's music has been commissioned and performed widely in Europe and America. His recent compositions involve micro-temporal measurements of recorded performances. His research fields include musical resemblance and time.


website: www.richardbeaudoin.com


   

Jessica Bodner, Visiting Lecturer on Music (Parker Quartet)

Jessica Bodner, described by the New York Times as a "soulful soloist", is the violist of the Grammy award-winning Parker Quartet. A native of Houston, TX, Jessica began her musical studies on the violin at the age of two, and then switched to the viola at the age of twelve because of her love of the deeper sonority.

In 2014 Jessica joined the faculty of Harvard University's Department of Music in conjunction with the Parker Quartet's appointment as the Blodgett Quartet-in-Residence. She has most recently given masterclasses at institutions such as the Eastman School of Music, Longy School of Music, Amherst College, University of Minnesota, and at the El Sistema program in Venezuela. Individually, Jessica has appeared at the International Viola Congress, as a guest of the East Coast Chamber Orchestra, and been a finalist for a Pro Musicis Award, and as a founding member of the Parker Quartet, she has won a Grammy Award, the Cleveland Quartet Award, the Bordeaux International String Quartet Competition, and the Concert Artists Guild Competition. With the Quartet, Ms. Bodner has recently appeared at venues such as Carnegie Hall, The Library of Congress, the Concertgebouw in Amsterdam, Wigmore Hall in London, the Musikverein in Vienna, and Seoul Arts Center, and has appeared at festivals including Caramoor, Yellow Barn, Perigord Noir in France, and Mecklenburg-Vorpommern in Germany.

Jessica holds degrees from the New England Conservatory, where her primary teachers were Kim Kashkashian and Martha Strongin Katz. Outside of music, Jessica enjoys cooking, practicing yoga, biking, and hiking with her husband, violinist Daniel Chong, and their vizsla, Bodie.


 

   

Daniel Chong, Lecturer on Music (Parker Quartet)

GRAMMY Award-winning violinist Daniel Chong leads a multi-faceted career having concertized extensively as a soloist and chamber musician throughout the world. Since 2002, as the founding first violinist of the Parker Quartet, he has garnered wide recognition for his performances in such venues as Carnegie Hall, the Library of Congress, the Musikverein, and Wigmore Hall. In addition, he is a member of the East Coast Chamber Orchestra and Ensemble DITTO. Mr. Chong has received several awards and prizes such as the 2009-2011Cleveland Quartet Award and top prizes at the Concert Artists Guild Competition, Young Concert Artists International Auditions, and the Bordeaux International String Quartet Competition. His recordings with the Parker Quartet can be heard on the Zig-Zag Territoires, Albany Records, and Naxos labels.

Mr. Chong has performed at several major music festivals including the Marlboro Music Festival, Mostly Mozart, Yellow Barn Music School and Festival, Bridgehampton Chamber Music Festival, and the Perigord Noir Music Festival. He has given masterclasses throughout the world and has taught extensively for El Sistema in Venezuela, the University of Minnesota, and University of South Carolina. Other artists that he has collaborated with include David Soyer, Kim Kashkashian, Shai Wosner, Roger Tapping, and members of the Cleveland and Tokyo Quartets. A strong advocate for new music, he has premiered new works by György Kurtág, Lera Auerbach, and Jeremy Gill.

Originally from Southern California, Mr. Chong's major teachers were Robert Lipsett, Donald Weilerstein, and Kim Kashkashian. He studied at the Curtis Institute of Music, Cleveland Institute of Music, and the New England Conservatory where he received his B.M. and M.M. Other musical mentors that continue to influence him are Rainer Schmidt and Helmut Lachenmann.



 

   

Andrew Clark
Senior Lecturer on Music, Director of Choral Activities
agclark@fas.harvard.edu
Music Building G-7
617-495-8827

Clark serves as Director of Choral Activities and Senior Lecturer on Music. He is the Music Director of the Harvard Glee Club, the Radcliffe Choral Society, and the Harvard-Radcliffe Collegium Musicum and teaches courses in conducting and music theory. He leads the Holden Choruses in performances throughout Europe and the United States, in studio recordings, and collaborations with distinguished conductors, composers, and ensembles. His choirs have been hailed as “first rate” (Boston Globe), “cohesive and exciting” (Opera News), and “beautifully blended” (Providence Journal), achieving performances of “passion, conviction, adrenalin, [and] coherence” (Worcester Telegram). Prior to his appointment at Harvard, Clark was Artistic Director of the Providence Singers and Director of Choral Activities at Tufts University for seven years. Clark has performed prominent venues including Carnegie Hall, Lincoln Center, the Kennedy Center and Boston’s Symphony Hall. He has collaborated with the Pittsburgh and New Haven Symphonies, the Rhode Island and Boston Philharmonic Orchestras, the Boston Pops, Stephen Sondheim, Sweet Honey in the Rock, the Trinity Wall Street Choir, the Kronos Quartet, and the Dave Brubeck Quartet.

Clark faculty page



 

 

 

sclark

Suzannah Clark
Professor of Music
(on leave 2014-15)
Theory
sclark@fas.harvard.edu
Music Building G-6
617-495-4009

Suzannah Clark specializes in the music of Franz Schubert, the history of music theory, and medieval music. Her book Analyzing Schubert was published by Cambridge University Press in 2011. She co-edited Music Theory and Natural Order from the Renaissance to the Early Twentieth Century (Cambridge University Press, 2001; pbk 2005) with Alexander Rehding, and co-edited Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned (Boydell & Brewer, 2005) with Elizabeth Eva Leach. She is currently working on a book, Quirks in Tonality: Aspects in the History of Tonal Space, which focuses on major issues in the history of tonal theory, such as changing conceptions of modulation, changing perceptions of key relations, constructions of diatonicism versus chromaticism, and even why theorists like to draw musical diagrams of what has come to be known as “tonal space.”

Clark faculty page


 

 

 

fcortese

Federico Cortese
Senior Lecturer on Music, Conductor of the Harvard-Radcliffe Orchestra
fcortese@fas.harvard.edu
Music Building G-5
617-495-1533

Federico Cortese has served as Music Director of the Boston Youth Symphony Orchestras since 1999 and in the same capacity for the New England String Ensemble since 2005. He has conducted operatic and symphonic engagements throughout the United States, Australia, Asia and Europe.  

Cortese faculty page



 

 

 

cczernowin


chayaczernowin.com

Chaya Czernowin
Walter Bigelow Rosen Professor of Music
Composition
chayaczernowin@gmail.com
Music Building 308N
617-495-3647

Czernowin’s chamber and orchestral music has been played at more than forty festivals all over the world and include commissions by major ensembles, orchestras, and festivals. Characteristic of her work are attempts to find alternative temporalities, changing perspectives and scale, fragmentation, examination, and stretching of identity; all coupled with a strong physical imprint and high emotional intensity.

Czernowin faculty page



 

 

 





photo: Tony Rinaldo

Emily Dolan
Gardner Cowles Associate Professor of Music
edolan@fas.harvard.edu
Music Building 306 N
617-495-2791

Emily I. Dolan joined the Harvard faculty in 2014. Previously, she was an associate professor of music at the University of Pennsylvania, where she taught since 2006. She specializes in late Enlightenment and early Romantic music and aesthetics. In particular, she focuses on issues of orchestration and instrumentality and on the intersections of music, science, and technology.

She has published articles in Current Musicology, Eighteenth-Century Music, Popular Music, Studia Musicologica, Keyboard Perspectives, and 19th-Century Music. Dolan is interested in the intertwined history of musical and scientific instruments: in 2011, she published a co-authored essay with John Tresch (UPenn, History of Science) in Opera Quarterly on the role and reception of machines in French grand opera and in 2013 Tresch and Dolan published “Toward a New Organology” in Osiris. In April 2008, she organized an interdisciplinary conference at Penn, Herder, Music, and Enlightenment, which explored the role of music in Herder’s philosophy. In 2009-2010, Dolan was a fellow at the Radcliffe Institute for Advanced Study, where she worked on her first book, The Orchestral Revolution: Haydn and the Technologies of Timbre (Cambridge University Press, 2013).

She received her PhD from Cornell University in 2006. In 2005, she was awarded the Alvin H. Johnson AMS 50 Dissertation Fellowship by the American Musicology Society. Currently, Dolan is working on a collaborative project on timbre with Alexander Rehding and on her second book, "Instruments and Order."



Dolan faculty page



 

 

 

chasty

Christopher Hasty
Walter W. Naumburg Professor of Music (Graduate Advisor in Theory
)
Theory
hasty@fas.harvard.edu
Music Building 3
617-495-2692

Professor Hasty’s scholarly work engages problems in the theory and analysis of music from the 16th to the 20th centuries from the standpoint of process and experience. His book, Meter as Rhythm (1997) won the Wallace Berry Award from the Society for Music Theory  His current research interests include process philosophy, poetic prosody, and ecological and post-cognitivist psychology. 


Hasty faculty page


 

 

 

Vijay Iyer
Franklin D. and Florence Rosenblatt Professor of the Arts
vijayiyer@fas.harvard.edu
Music Building
617-496-4304

Grammy-nominated composer-pianist Vijay Iyer's career has spanned the sciences, the humanities and the arts. He has published in Journal of Consciousness Studies, Wire, Music Perception, JazzTimes, Journal of the Society for American Music, Critical Studies in Improvisation, in the anthologies Arcana IV, Sound Unbound, Uptown Conversation, The Best Writing on Mathematics: 2010, and in the forthcoming Oxford Handbook of Critical Improvisation Studies. Iyer has taught at Manhattan School of Music, New York University, and the New School, and he is the Director of The Banff Centre’s International Workshop in Jazz and Creative Music, an annual 3-week program in Alberta, Canada founded by Oscar Peterson. Iyer recently finished a multi-year residency with San Francisco Performances, performing and working with schools and community organizations. His most recent honors include a 2013 MacArthur fellowship. Iyer was appointed the Franklin D. and Florence Rosenblatt Professor of the Arts in January 2014.



Iyer faculty page




[Photo by Alicia Anstead/Harvard Office for the Arts]

Jill Johnson
Dance Director, Office for the Arts at Harvard, Dance Program
Senior Lecturer, Department of Music
johnson@fas.harvard.edu
Harvard Dance Center
60 Garden Street, Cambridge
617-495-8683

Ms. Johnson is an innovative and accomplished dancer, choreographer, educator and producer. A 26-year veteran of the dance field, she has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt. A protégé and 22-year close collaborator of choreographer William Forsythe, she stages and produces Forsythe's ballets on companies worldwide, including The Norwegian National Ballet, Paris Opera Ballet, Alterballetto, Netherlands Dans Theater, Batsheva Dance Company, The National Ballet of Canada, Pacific Northwest Ballet, Boston Ballet, La Scala, and American Ballet Theatre.

Johnson faculty page



 

 

 

tkelly

Thomas Forrest Kelly
Morton B. Knafel Professor of Music (Assistant Head tutor)
Historical Musicology
tkelly@fas.harvard.edu
Music Building 203 S
617-495-2791

Professor Kelly's main fields of interest are chant and performance practice.

Kelly faculty page


 

 

 

Kee-Hyun Kim, Lecturer on Music (Parker Quartet)

A native of Seoul, Korea, cellist Kee-Hyun Kim has been praised for his "assertive style...and vital musical spirit." (Pittsburgh Tribune) He has participated in many prestigious festivals, including the Mostly Mozart Festival, the Kronberg Cello Masterclasses and Festival, the World Cello Congress III, the Aspen Music Festival, and Music Academy of the West, among others.

A winner of numerous competitions both at home and abroad, Kee won top prizes in virtually all of the major competitions in Korea, including the Ehwa, Sae-gae, and Korean Newspaper Competitions, as well as placing second in the Pusan National Competition. He was the recipient of the Landgraf-von-Hessen Prize at the 1999 Kronberg Cello Masterclasses, and won second prize in the Hudson Valley String competition in 2002. As a member of the Parker Quartet, of which he is a founding member, some awards and distinctions include 1st prize at the Bordeaux String Quartet competition, the Cleveland Quartet Award, and 2010's Grammy Award for "Best Chamber Music Performance.

Mr. Kim started his musical education very early on, starting at the Juilliard pre-college in 1992. Since then, he has attended the preparatory divisions of the Korean National University of the Arts, the New England Conservatory, and the Walnut Hill School. He holds a B.M. from the New England Conservatory, as well as two M.M. from the same institution. He, along with the members of the Parker Quartet, will begin teaching at Harvard University's music department beginning Fall of 2014.

When not playing the cello, Kee's other interests include maintaining physical and mental health and well-being, international cuisine, world music, and his cat, Sammy.

Kee plays on an 1844 Giaccomo Rivolta cello made in Milan, as well as a custom-made bow from Benoit Rolland, made in 2007.


 

 

 

Ingrid Monson
Quincy Jones Professor of African American Music, supported by the Time Warner Endowment
Ethnomusicology (Graduate Advisor in Ethnomusicology)
imonson@fas.harvard.edu
Music Building 202 S
617-494-7740

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. She has recently written on the impact of the Civil Rights Movement and African Independence on the history of jazz, and is working on a book on the musics of the African Diaspora. Monson was a founding member of the Klezmer Conservatory Band.

Monson faculty page



 

 

 

Osnat Netzer
Preceptor in Music
netzer@fas.harvard.edu
Music Building 307 N
617-495-1531 s

Osnat Netzer is a composer, pianist and educator based in Boston. She was born in Haifa, Israel and studied at the Jerusalem Academy of Music and Dance, Mannes College of Music and New England Conservatory, where she completed her doctorate in composition in 2011. In 2009-10 she researched experimental theater in Berlin with the support of a fellowship from the Frank Huntington Beebe Foundation. While in Berlin, she composed her opera The Wondrous Woman Within, an adaptation of the play by Hanoch Levin. The first scene of this opera was performed on New York City Opera’s VOX 2012 and received critical acclaim from The New York Times and The Wall Street Journal. The complete opera will receive its world premiere this season in a production that will travel to both Tel Aviv and Jerusalem thanks to a substantial grant from the Israeli Lottery Council for the Arts. Her works have been performed at Tanglewood, June in Buffalo and the Bowdoin Music Festival and in countries including Germany, France, the Netherlands, Israel and South Korea. Recent honors include recognition from the ASCAP Morton Gould Young Composer Awards and winning of the Boston Modern Orchestra Project Competition, the Zeltsman Marimba Competition and the Donald Martino Award for Excellence in Composition. Dr. Netzer is also active as a pianist in classical and contemporary concert music, as well as improvisatory folk, klezmer, and jazz-influenced works. She joins the Harvard faculty after serving on the faculty of New England Conservatory for five years.


 

 

 

Carol Oja
William Powell Mason Professor of Music (Department Chair)
Historical Musicology
coja@fas.harvard.edu
Music Building

Chair's office: 104 S phone: 617-495-9854
Department Reception: 617-495-2791

Professorial office: 304 S phone: 617-495-3971

Oja's research focuses on 20th- and 21st-century American musical traditions, often in transnational contexts. She has written extensively about modernist composers (Aaron Copland, Henry Cowell, Ruth Crawford, William Grant Still, and Edgard Varèse), cross-cultural composition (Colin McPhee), and high-low intersections (George Gershwin and Leonard Bernstein). Her current research focuses on Broadway musicals of the 1940s and on the racial desegregation of performance. In 2013-14, she is Leonard Bernstein Scholar-in-Residence with the New York Philharmonic.

Oja faculty page


 

 

 

rehding

Alexander Rehding
Fanny Peabody Professor of Music
Theory (on leave 2014-15)
arehding[at]fas.harvard.edu
Music Building 305 N
496-6646


Rehding's research interests are located at the intersection between theory and history, and cover a wide spectrum from Ancient Greek music to the Eurovision Song Contest. Rehding is interested in the history of music theory, paleo- and neo-Riemannian theory, music-aesthetic questions, and issues of sound and media.

Rehding faculty page



 

 

 

srevuluri

Sindhumathi Revuluri
Associate Professor of Music
Historical Musicology (Head Tutor, Graduate Advisor in Musicology)
revuluri@fas.harvard.edu
Music Building 302 S
617-496-9317

Revuluri's research interests include 19th and 20th century France (especially modernism and exoticism), global pop music, film and media studies, and critical and postcolonial theory.

Revuluri faculty page



 

 

 

Kay Kaufman Shelemay
G. Gordon Watts Professor of Music
Professor of African and African American Studies
Ethnomusicology (Director of Graduate Studies)
shelemay@fas.harvard.edu
Music Building 7
617-495-4008

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.

Shelemay faculty page


 

 

 

Anne C. Shreffler
James Edward Ditson Professor of Music
Affiliate, Department of Germanic Languages and Literatures
Historical Musicology (on leave spring 2015)
acshreff@fas.harvard.edu
Music Building 301S
617-494-7742

Anne C. Shreffler’s research interests include 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.

Shreffler faculty page



 

 

 

Hans Tutschku
Fanny P. Mason Professor of Music, Director of the Harvard University Studio for Electroacoustic Composition (HUSEAC)
Composition (Graduate Advisor in Composition)
tutschku@fas.harvard.edu
Music Building G-3
617-495-2314

http://www.tutschku.com

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 tours regularly with his Ensemble für Intuitive Musik Weimar.

Professor Tutschku is a Radcliffe Fellow for the year 2013-2014.

Tutschku faculty page


 

 

 

Kate van Orden
Professor of Music
Historical Musicology (on leave 2014-15)
vanorden@fas.harvard.edu
Music Building 204 S
495-3198

Professor van Orden specializes in the cultural history of early modern France and Italy. Her current publications investigate music and the cultures of print and include Music, Authorship, and the Book in the First Century of Print (2013) and the forthcoming Materialities: Books, Readers, and the Chanson in 16th-c. Europe. Thanks to generous research grants from the ACLS and Delmas Foundation, her new cross-cultural project examines French music, migration, and the performance of ethnic identity in Cinquecento Italy. Before taking a Ph.D. from the University of Chicago in 1996, van Orden began her career in Europe, where she studied historical performance practice. She performs and records regularly on early bassoons and makes a point of working at history through performance.

van Orden faculty page


   
 

 

 

rwolf

Richard Wolf
Professor of Music
Ethnomusicology
rwolf@fas.harvard.edu
031 Memorial Hall (office location only/mailing address is Music Building)
Postal address: Music Building / Harvard University / Cambridge, MA 02138
617-494-7678

Wolf's thematic interests include emotional complexity in ceremonial contexts, the constitutive properties of musical action in rituals, the poetics of non-verbal activities, the musical qualities of languages and the analytic potentials of particular languages for the study of music. He writes on issues of music and Islam in south Asia, and on south Indian folk and tribal music.

Wolf faculty page


 

 

 

Ying Xue, Lecturer on Music (Parker Quartet)

An accomplished and versatile soloist and chamber musician Ying Xue has won accolades on the competition stage around the world. She is the second prizewinner of the 2011 International Mozart Competition Salzburg, first prizewinner of the 2007 Corpus Christi Competition, and has won medals at the Hudson Valley, Irving M. Klein International and New England Conservatory Concerto competitions among others. As a soloist, she has appeared with the Camerata Salzburg, Nanning Symphony Orchestra, Jinfan Symphony Orchestra, and NEC Symphony Orchestra.

A passionate chamber musician, Ying has collaborated with artists of international acclaim including Donald Weilerstein, András Schiff, Pamela Frank, Kim Kashkashian, and Gidon Kremer among many others. She has been engaged by the Kronberg Chamber Music, Caramoor, Ravinia and Yellow Barn Music festivals, as well as the Winter Chamber Festival in Israel. Outside of her experiences in classical music, Ying enjoys exploring many musical genres and has enjoyed performing with non-classical artists such as Sting.

Born in Urumqi, China, Ying began her violin studies at age four. When she was eighteen, Ying moved to Boston where she received B.M. and M.M. degrees under the tutelage of Donald Weilerstein and Miriam Fried as the recipient of the Irene M. Stare Presidential Scholarship at the New England Conservatory. In 2012 Ying moved to Germany to continue her musical studies with Heime Müller at the Musikhochschule Lübeck, but returned to Boston in 2013 to join the Parker Quartet.






Visiting Faculty/Instructors
2014-15

 

 

 

Tamar Barzel, Lecturer on Music (spring 2015)

Barzel is an ethnomusicologist specializing in the music of the United States, with a focus on jazz. Her research focuses on New York City's downtown music scene, and especially on an artistic and cultural phenomenon called "Radical Jewish Culture." The composer/improvisers who developed the downtown scene of the 1980s-2000s had wide-ranging interests that included jazz and free jazz, free improvisation, experimental concert music, noise, blues, hardcore rock, funk, and "No Wave." In the 1990s, many artists turned their attention to writing unconventional music that drew on Jewish music and heritage in idiosyncratic ways. Barzel's work on this uniquely American, boundary-crossing musical avant-garde has led her to develop new analytical tools to engage with the music while also addressing its layered cultural, philosophical, and historical contexts.She has presented her research nationally and internationally at conferences including the Society for Ethnomusicology, the Society for American Music, the American Jewish Historical Society, the Jewish Music Forum, and the Center for Jazz Studies at Columbia University. Her articles appear in such journals as the Michigan Quarterly Review and the Journal of the Society for American Music, as well as such collections as Jazz from the Outside In: Genres, Practices, Meanings (University of California), and "People Get Ready!" The Future of Jazz Is Now (Duke).

 

 

 


 


 

Scott Edwards, Lecturer on Music (spring 2015)

Edwards will be teaching Music 1a and 1b as well as a proseminar on comedy in early modern music. Scott recently completed a PhD at UC Berkeley writing on renaissance music in Bohemia/Moravia.

   

 



Andrew Friedman, Lecturer on Music (fall 2014)


Friedman has a BA from Princeton University and a PhD from Harvard. HIs interests include temporality, phenomenology, and aesthetics.



   

Daniel Henderson, Lecturer on Music

Daniel Henderson teaches Jazz Harmony and Jazz Improvisation in the Department of Music. With a reputation as an innovative, enthusiastic, and captivating lecturer, he has been awarded the Harvard University Certificate of Teaching Excellence five times.

Daniel has long loved the world of jazz harmony, and explores with his students the music of Ellington and Strayhorn, Thelonious Monk, the Great American Songbook, the late works of Antonio Carlos Jobim, and a variety of mid-century big band composers, including Sauter-Finegan, George Handy, and Daniel’s early mentor and inspiration, Billy May. He also explores the intersections of jazz harmony and “non-jazz” music in the works of Stevie Wonder, Jamiroquai, Ravel, Debussy, Stravinsky, Frank Sinatra, and the mid-century orchestral pop and children’s recordings of Capitol Records.

With his Jazz Improvisation students, Dr. Henderson has been developing a new systematic approach to analyzing and talking about what jazz musicians actually do when they “jazz up” familiar melodies. He has presented this new method at the national conference of the Society for American Music and as a nationally-touring speaker in the Harvard Alumni Association’s Speaker’s Bureau Program, and is writing a book on the subject.

With a passion for big band jazz composition, Daniel has composed or arranged dozens of pieces for large ensemble, including new arrangements of some of the music of Harvard's own Vijay Iyer. Daniel was involved for six years with New England Conservatory’s pioneering Jazz Composers’ Workshop Orchestra, including three years as Assistant Director.

As a trumpeter specializing in early jazz styles, Daniel’s playing has been heard worldwide as a member of the New-Orleans-style jazz band The New Hot 5, whose viral Youtube video “Jazz for Cows” vaulted the band to unexpected stardom in the bovine community. The band has recorded four CDs (including two due out in late 2014), and has traveled internationally.

Daniel holds a Bachelor’s degree in Trumpet Performance from Brigham Young University, and Master’s and Doctoral degrees in Jazz Composition with Academic Honors from New England Conservatory, where he studied with Ken Schaphorst, Bob Brookmeyer, and Michael Gandolfi. He is the recipient of the 2011 Gunther Schuller Medal.

 





Mathew McDonald, Visiting Associate Professor (spring 2015)

Matthew McDonald is Assistant Professor of Music and member of the Media and Screen Studies faculty at Northeastern, where he directs the music theory program and teaches courses in music theory, music history, and film music. He holds a B.A. in music from Carleton College, an M.A. in music theory and an M.M. in piano performance from the University of Minnesota, and a Ph.D. in music theory from Yale University. Prior to Northeastern, he taught at New York University and the University of Exeter (U.K.). His research combines music-theoretical and -historical concerns, focusing on early modernist music and music in film. His articles have been published in the journals 19th-Century Music,Music AnalysisThe Musical Quarterly, and the Journal of the American Musicological Society, and he has recently written several essays on music and film for edited collections. In 2010 he was awarded an ACLS Fellowship to support his book on the music of Charles Ives, which will be published by Indiana University Press.

   


Michael Pisaro, Fromm Visiting Professor of Composition (fall 2014)

Michael Pisaro (born 1961 in Buffalo, New York) is a guitarist and composer. A member of the Wandelweiser Composers Ensemble, he has composed over 80 works for a great variety of instrumental combinations, including several pieces for variable instrumentation. A particularly large category of Pisaro's works are solo works, notably a series of 36 pieces (grouped into 6 longer works) for the three-year, 156-concert series organized by Carlo Inderhees at the Zionskirche in Berlin-Mitte from 1997-1999. Another solo piece, pi (1-2594), was performed in installments by the composer on 15 selected days in February 1999, in Evanston, Illinois, in Düsseldorf in 2000-2001 and at the Huddersfield Contemporary Music Festival in 2009 (with Philip Thomas, pianist). Pisaro has also devoted works to poets including among others, his harmony series, which functions as both a kind of poetic anthology and a collection of indeterminate scores, and July Mountain which is a translation of the poem of the same name by Wallace Stevens, into a score for field recordings and several layers of percussion. Reading Spinoza is an accompanied reading of the Fifth Book of Baruch Spinoza's Ethics. Much of Pisaro's recent work for percussion has been recorded by frequent collaborator Greg Stuart. Another recent interest has been in field recording, which began to be represented in Pisaro's Transparent City (2004-2006).

   

 



Janet Schmalfeldt, Visiting Professor of Music (spring 2015)

Schmalfldt received her B.A. and B.Mus. from Lawrence University; her M.M.A. in Piano Performance from Yale School of Music and a Ph.D. in Music Theory from Yale University. She is the author of Berg's Wozzeck: Harmonic Language and Dramatic Design, and of articles on analysis-performance relationships, Berg's Piano Sonata, Op. 1, works by Purcell, Beethoven, Schubert, Schumann, and Chopin, and the idea of musical form as process. Schmalfeldt has served as President of New England Conference of Music Theorists, 1993-95, and President of the Society for Music Theory, 1997-99. Performances as pianist have included chamber, concerto, and solo music. Her new book was released in Spring 2011 by Oxford University Press; its title is In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Shmalfeldt is professor emeritus at Tufts University.


 

 

 




Associates of the Department 2014-15


Associates, Visiting Scholars, Fellows, and Artists-in-Residence


Severin Ballon, Visiting Fellow
Betsey Biggs, Fellow
Noel Bisson Harvard University
Donald Braden, Interim Conductor, Monday Jazz Band
Phoebe Carrai, Harvard Baroque Chamber Orchestra
Brigid Cohen, Visiting Scholar
Jody Diamond, Artist-in-Residence, Gamelan Music Studio
Shadi Ebrahimi, Associate
Zohar Eitan, Visiting Scholar
Tom Everett, Associate
Jess Herdman, Visiting Fellow
Arni Ingolfsson, Fellow
Edward Jones, Gund University Organist and Choirmaster
Christian Lane, Assistant Organist and Choirmaster
Elizabeth Lucas, Visiting Scholar
Brooke McCorkle, Visiting Fellow
Max Murray, Visiting Fellow
Mark Olson, Interim Director of the Harvard Bands
Hengjin Park, Artist-in-Residence, Chamber Music
Balboni Schillingi, Visiting Scholar
Steven Takasugi, Associate
Silk Road Project
Packard Humanities CPE Bach Project



 
Emeriti
In Memorium
Leon Kirchner
Reinhold Brinkmann
James Yannatos
John Milton Ward
Rulan Pian

 

 

Mario Davidovsky
Professor Emeritus
Composition


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


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 Gombosi. 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).

 

 

 


Curriculum vitae


Robert Levin
Professor Emeritus
rlevin@fas.harvard.edu

Robert Levin is renowned for his restoration of the Classical period practice of improvised embellishments and cadenzas; his Mozart and Beethoven performances have been hailed for their active mastery of the Classical musical language.

Robert Levin faculty page

The Robert Levin Prize in Musical Performance

 

 

 

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.

 

 

 

Jameson Marvin
Choral Director

Website: www.jamesonmarvin.com

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.

 

 

 

John Stewart
Musicianship

Stewart holds a Ed.D. from Harvard and a B.M. from the New England Conservatory of Music. He 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.

 

 

 



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.

Bernard Rands website

cwolff

 

Christoph Wolff
Adams University Research Professor
Curator of the Isham Memorial Library
Historical Musicology
cwolff@fas.harvard.edu
Paine Hall 1
617-495-2791

Wolff's primary research interests extend to the music from the 17th to the early 19th century, especially to Bach and Mozart studies.

Wolff faculty page

Mozart at the Gateway to his Fortune. Music Facsimilies and Recordings




 

 

 

 

 

 

Staff  

Nancy Shafman, Director of Administration
Lesley Bannatyne, Managing Communications Coordinator
Christopher Danforth, Technical Manager

Kaye Denny, Front Office Co-Manager
Alison Hearn, Staff Assistant
Eva Kim, Assistant to the Chair
Jean Moncrieff, Director of Events
Abby Rahn, Undergraduate Coordinator and Events Assistant
Karen Rynne, Manager of Administration and Finance
Charles Stillman, Front Office Co-Manager
Seth Torres, HUSEAC Technical Director
Fernando Viesca, Building Manager

Affiliated Staff
Piano Technical Services

Lesley Bannatyne, Managing Communications Coordinator
bannatyn@fas.harvard.edu
Music Building, 102S
617-495-2791
Lesley oversees website maintenance, publicity, department directories, scholarly publications, the newsletter,
and other special projects. She also meets with and dispenses information to prospective students.

Christopher Danforth, Technical Manager
cdanforth@fas.harvard.edu
Ethnomusicology Lab 201S
Music Building
617-495-2791 x. 20
Chris manages the tech aspects of the Ethnomusicology Lab, the Sound Lab, and assists faculty projects

Kaye Denny, Front Office Co-Manager
denny2@fas.harvard.edu
Music Building, Reception
617-495-2791
Kaye is reponsible for room reservations, mail operations, practice rooms and all reception duties.

Alison Hearn, Staff Assistant
hearn@fas.harvard.edu
Music Building, 101S
617-495-2791
Alison assists the Financial Manager and works on special projects.

Eva Kim, Assistant to the Chair
evakim@fas.harvard.edu
Music Building, 104S
617-495-2791
Eva assists faculty, organizes the University Hall Recitals, schedules meetings for the Chair, coordinates committees and maintains department data.

Jean Moncrieff, Director of Events
moncrief@fas.harvard.edu
Paine Hall 4
617-495-9859
Jean books Paine Concert Hall and produces the department's concerts, lectures and conferences.
She also administers the Fromm Foundation at Harvard.

Abby Rahn, Undergraduate and Events Coordinator
Abby monitors and advises students and faculty on the progress of concentrators, joint or secondary concentrators, and students enrolled in the New England Conservatory/Harvard program. She also assists the Director of Events with concerts and other activities held in Paine Hall.

Karen Rynne,
Manager of Administration and Finance
rynne@fas.harvard.edu
Music Building, 101S
617-496-3253
Karen handles all department billing and payments, and manages financial accounts and
services the copiers.

Nancy Shafman, Director of Administration
nshafman@fas.harvard.edu
Music Building, 103S
617-495-9855
Nancy coordinates the academic programs for the department and works closely with the chair and faculty. She supervises the department and is knowledgable about teaching requirements, exams, fellowships, financial aid, and the philosophy and organization of the department.

Charles Stillman, Front Office Co-Manager
stillman@fas.harvard.edu
Music Building, Reception
617-495-2791
Charles is reponsible for room reservations, mail operations, practice rooms and all reception duties.

Seth Torres, HUSEAC Technical Director
storres@fas.harvard.edu
Paine Hall 21
617-496-6683
Seth maintains and manages the electronic music studio and assists Hans Tutschku, studio director.

Fernando Viesca, Building Manager
fviesca@fas.harvard.edu
Paine Hall 10
617-495-9851
Fernando manages all things having to do with the physical plant: electrical and internet connections, telephones, computers, heat, and air conditioning, plumbing and all special construction projects.

   

c 2014 President and Fellows of Harvard College