"Thunder from a Clear Sky: On Lessing’s Redemption of Horace," Modern Language Quarterly62:3 (2001), 203 – 18. Brian Hulse, Nick Nesbit (2010); “If Music is Ongoing Experience, What Might Music Theory Be: A Suggestion from the Drastic” in Musiktheorie/ Musikwissenschaft: Geschichte-Methoden-Perspectiven, eds. His concert works are published by Schott Music. Jackson joins the Creative Practice and Critical Inquiry graduate program and will also teach for Theater, Dance and Media (TDM). and M.M. Her book Freedom Sounds: Civil Rights Calls Out to Jazz and Africa addresses these issues in the jazz world of the 1950s and 1960s. She is also author of Saying Something, which concerns the interactive and communal dimensions of jazz improvisation as a musical process. Lynette Bowring and Seth Monahan have been appointed Assistant Professor Adjunct of Music History and Visiting Associate Professor Adjunct of Music Analysis and Musicianship, respectively, at the Yale … 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. 1970-82 co-editor, Richard-Wagner-Gesamtausgabe, Munich. Working with the Sound Lab, Rehding’s recent work has particularly explored the interaction of music theory with culture and technology. Song and Remembrance Among Syrian Jews (1998, finalist for the National Jewish Book Award) and Soundscapes. Professor Hasty has taught at Rutgers University, Yale University, where he founded the undergraduate Chamber Music Performance Program, and the University of Pennsylvania, where he founded and directed the College House Music Program. At Yale, students selected from all parts of the world are brought together to study with a distinguished faculty. In addition to his publications, Kajikawa served as contributing editor for the Grove Dictionary of American Music, Second Edition (Oxford 2013), soliciting and editing all hip-hop and rap music related entries. In both Afatsim (1996) and String Quartet (1995), a game is made of changing the identity of the instruments by creating “meta instruments”—combining a few instruments into one identity and then separating them. Most graduate courses in historical musicology are research seminars; many treat specific topics and theoretical approaches, while others deal with methodology and recent trends in the field. Edward Jones, Gund University Organist and Choirmaster Tutschku taught electroacoustic composition at IRCAM in Paris from 1997-2001 and at the conservatory of Montbéliard from 2001-2004. Friendship Commission. Richard K. Wolf, Professor of Music and South Asian Studies, began teaching in the Music Department at Harvard in 1999. All Music Department graduate students receive tuition scholarship and a 12-month stipend for the full five years of the program. A strong advocate for new music, he has premiered new works by György Kurtág, Lera Auerbach, and Jeremy Gill. Monson is a former chair of the Department of Music and served as an Interim Dean of Arts and Humanities.  Monson also served as an expert witness for the Marvin Gaye family in the high profile Blurred Lines copyright infringement case in 2015. Monson's secondary interest is in the music of Mali, which has led to her forthcoming third book The Voice of Kendougou, about virtuosic Malian balafonist Neba Solo. 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. 617-495-2791. She did her undergraduate and master’s degrees at King’s College London (UK) and graduated with an MFA (1993) and PhD (1997) from Princeton University. His latest release, the GRAMMY Award-nominated “New Throned King” (5Passion, 2014), features music based on Arará cantos and rhythms and has been called the “musical culmination of his spiritual exploration” (All About Jazz). She has taught at Harvard since the fall of 2003. She received the Everett S. Mendelsohn Excellence in Mentoring Award at Harvard; the 2015 Distinguished Service Award from the Society for American Music; and the President’s Distinguished Alumni Medal from the Graduate School of CUNY. from the New England Conservatory, as well as two M.M. At Westminster, you will learn American and public musicology from our distinguished faculty of renowned musicians, as well as professional public musicologists from such prominent institutions as the Rock ‘n Roll Hall of Fame and Museum, the New York Philharmonic, the New Jersey Symphony, the Alice Paul Institute and the Oral History of American Music Institute at Yale University. 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. 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. from Stetson University, Pi Kappa Lambda. Over the past decade she has given the world premieres of hundreds of new works for the flute in performances throughout the Americas, Europe and Asia, and she has championed new music throughout the world by building organizations, forming alliances, pioneering commissioning initiatives and supporting educational programs that reach new audiences. 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. He is particularly interested in how listeners make sense of musical form as it unfolds and in recognizing the interrelated roles of composers, performers, and listeners in the creation of musical meaning. In this project they use the “Golden Record” of the enormously ambitious interstellar Voyager mission (1977) as a starting point for a multi-media exploration of how we might use music to communicate across cultures, species, even planets. Additionally, Chase has begun performing excerpts of Pan, a new 90-minute work for solo flutist, live electronics, and a large ensemble of players from the community in which it is staged, which she will premiere in full in the fall. Exploring Music in a Changing World (2001, second edition 2006, third edition 2015). A Fellow of the American Academy of Arts and Sciences and the American Academy for Jewish Research, the American Philosophical Society, and the Ethiopian Academy of Sciences, she is a Past President of the Society for Ethnomusicology. 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). Chase joined the Harvard faculty in July, 2017. Music Building 303-S, Yvette Janine Jackson is a composer of electroacoustic, chamber, and orchestral musics for concert, theatre, and installation. Calendar of Events This interest has found expression in an exhibition (with online catalog) "Sounding China in Enlightenment Europe" (2010), which he curated with a group of graduate students, as well as a number of article-length studies on a range of topics including ancient Greek music theory (with John McKay), ancient Egyptian music, and enharmonicism in Rameau and Rousseau. They touch on a strange and unfamiliar kind of “physics”, which toys with our expectations. and University of Toronto (MusBac). 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. Lecturer on Music / Resident Dean, Dunster House Maim (2001-07), for a large orchestra and a group of soloists, and other works from the 2000s including the electronic works of the experimental studio, speculate about the physicality and motion of material. His recordings with the Parker Quartet can be heard on the Zig-Zag Territoires, Albany Records, and Naxos labels. She has co-edited Pain and Its Transformations. 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. He has been conducting ethnomusicological research in South Asia since 1982 and in Central Asia since 2012. Outside of music, Jessica enjoys cooking, practicing yoga, biking, and hiking with her husband, violinist Daniel Chong, and their vizsla, Bodie. Yale School of Music offers its students an intimate and supportive environment in which to excel in their respective area of study. Sindhumathi Revuluri, Harvard University Historical Musicology 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. facebook.com/vijayiyermusic, Assistant Professor He also served as Assistant Conductor to Robert Spano at the Brooklyn Philharmonic and to Daniele Gatti at the Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome. Wolf is currently preparing a monograph and an ethnographic film concerning music, language, and moral being among the Wakhi people of adjacent parts of Tajikistan, Afghanistan, Pakistan and western China. Theresa Steward is a musicologist, pianist, organist, and teacher living in Richmond, VA. Dr. Ethnomusicology rwolf@fas.harvard.edu Harvard-Radcliffe Collegium Musicum. 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. The New York Times observes, “There’s probably no frame wide enough to encompass the creative output of the pianist Vijay Iyer.” Iyer has released twenty-three albums covering diverse terrain, most recently for the ECM label. He is the Allston Burr Resident Dean of Dunster House and Assistant Dean of Harvard College. In 1986 she moved to the United States to study at Bard College with Eli Yarden and Joan Tower. Kee plays on an 1844 Giaccomo Rivolta cello made in Milan, as well as a custom-made bow from Benoit Rolland, made in 2007. Terry photo by Bill Dougart. Rehding is also at work on a forthcoming Introduction to the History of Music Theory, and a multi-volume Cultural History of Music for Bloomsbury (with David Irving). At the graduate level, she has taught Schenkerian Analysis (MUS 222r), Neo-Riemannian Theory (MUS 223r), Current Trends in Music Theory (MUS 221r), Quirks in the Major-Minor System (MUS 220r), and Theory and Analysis of Sonata Forms (MUS 230r). A current research project (with Daniel Chua) bears the exceptionally modest title An Intergalactic Music Theory of Everything (IMTE). She taught at Columbia University (1977-1982), New York University (1982-1990), and Wesleyan University (1990-1992), before joining the Harvard faculty in 1992. Emily Dolan, Brown University His concert works are published by Schott Music. Marks and William H. Marks Assistant Professor at Radcliffe Institute Her book in progress deals with lesser-known sound-technological artifacts from the nineteenth and early twentieth centuries, and how they are used (and misused) to construct histories of human hearing and listening. His publications include the following essays: “Sounding Belief: ‘Tuning Up’ and The Gospel Imagination,” in Exploring Christian Song, “‘This Must Be The Single’: Valuing The Live Recording in Contemporary Gospel Performance,” in Living the Life I Sing, and “Gospel Goes To Church (Again): Richard Smallwood’s Hybridity as Liturgical Compromise,” in Readings in African American Church Music and Worship, vol 2. GSAS Alumni Noel Bisson, Harvard University In addition, Rehding convened a colloquy on media theory and music that was published in JAMS in 2017. 1975-83 Lecturer then Reader in Music, King’s College, U. of London. Abbate’s research crosses many disciplines. If approved, the candidate is then recommended for the degree of Doctor of Musical Arts, which is conferred at the close of said academic year. Cortese studied composition and conducting at the Conservatorio di Santa Cecilia in Rome and subsequently studied at the Hochschule für Musik in Vienna. Emeriti 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. 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). He, along with the members of the Parker Quartet, will begin teaching at Harvard University's music department beginning Fall of 2014. This has taken his work in a number of different directions from Ancient Greek music to the Eurovision Song Contest—and even into outer space. The question of Nature has long held special appeal to music theory. Suzannah Clark specializes in the music of Franz Schubert, the history of music theory, and medieval vernacular music. He has given keynote addresses, master classes, and presentations at several advanced research institutes, including the Max Plank Institute, Berlin; the Golandsky Institute, Princeton; the Mannes Institute, NY; the Penn Humanities Forum; the Radcliffe Institute for Advanced Studies; and at numerous universities, including Oxford, Princeton, Stanford, University of Basel, University of Chicago, and Yale. Outside academia, she has worked as a dramaturg and director. Music Theory The music theory area offers outstanding instruction for Penn State undergraduate music majors in the intellectual and aural comprehension of the … Funding. In 2012, she served as Chair of the Publication Awards Committee for the Society for Music Theory. An active pianist, recording artist, bandleader, composer, improviser, and scholar, he has has released twenty-three albums of his original music on ECM Records, ACT Records, Sunnyside Records, Savoy Music, Pi Recordings, Artist House, and Asian Improv Records. Yuji Numano, Scholar, Yo-Yo Ma, Artistic Director and Founder D. in Musicology from Columbia University in 1984. He taught at the University of Mainz and the University of Leipzig and was a research fellow at the Bach-Archiv, Leipzig, before joining the Yale faculty in 2003. Andrew Hamilton, Max Paddison (2014). He finished a DEA (master in musicology) at the Parisian Sorbonne and completed his PhD in Composition with Professor Dr. Jonty Harrison at the University of Birmingham in UK in 2003. Graduate Advisor in CPCI, spring 2021 Shelemay received a B.M. Before arriving at Harvard, he taught as a course lecturer at McGill University in Montreal, Quebec, where he also completed a PhD in Music Theory under the co-supervision of Robert Hasegawa and Jonathan Sterne. "Die Erziehung des Teufels: Über Hoffmanns Berganza-Novelle," Hölderlin-Jahrbuch 36 (2009), 75 – 84. 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. Music Building 302 S from Yale and a PhD from Princeton; she has taught at Princeton and the University of Pennsylvania and (as visiting faculty) at the Freie Universität Berlin; and held research fellowships and lectureships at the Wissenschaftskolleg Berlin, Kings College Cambridge, the University of Hong Kong, and the Institute for Advanced Study Princeton. Joseph’s research has appeared in the pages of Music Theory Online and on the programs of conferences in the US, Canada, the UK, and France. michaeluy@fas.harvard.edu 70 Arts Circle Drive, Evanston, IL 60208-2405. The Music Faculty at Oxford sustains a large and diverse research culture in musicology, broadly defined. His current projects include an article on the poetics of gospel vamps, an article on music and protest in the North Carolina-based Moral Mondays movement, and a book-length study of African American gospel performance. Other publications include Let Jasmine Rain Down. She is a member of Harvard's Standing Committee on the Graduate Program in American Studies, the Standing Committee for Theater, Dance, and Media, and the Steering Committee of the Charles Warren Center for American History. He spent one year studying at IRCAM in Paris (1994), and in 1995 participated in composition workshops with Klaus Huber and Brian Ferneyhough. Bick was an inaugural member of Royal Society’s New College of Scholars, Artists and Scientists in Canada in recognition of her academic work (2014). "Modernity, Translation, and Poetic Prose in Lessing's Briefe, die neueste Literatur betreffend," Lessing Jahrbuch 36 (2004/2005), 79 – 96. Promoted to a full professorship in 2006 and named Fanny Peabody Professor of Music in 2009, Rehding served as department chair between 2011 and 2014. A new article, "Maderna Goes to Tanglewood: The Role of American Networks in the Origins and Reception of Venetian Journal and Satyricon," is forthcoming in the volume Utopia, Innovation, Tradition: Bruno Maderna's Cosmos, edited by Angela Ida de Benedictis and published by the Paul Sacher Foundation. Shelemay CV, Assistant Professor of Music, Both of these articles are based on research from his dissertation, “Sounds, Signals, Signs: Transductive Currents in Post-Spectral Music at IRCAM,” which examines the articulation of post-spectral aesthetics to psychoacoustics and technological development at the Institut de recherche et coordination acoustique/musique (IRCAM) in Paris. She spent a year at the Humboldt University as a visiting student in 1994–1995. "Philology and Music in the Work of Pascal Quignard,"Studies in Twentieth- and Twenty-first-Century Literature 33 (2009): 43 – 67. Faculty Cortese has conducted several prominent symphony orchestras, including Atlanta, Dallas, BBC Scottish Symphony Orchestra, Sydney Symphony and Oslo Philharmonic. Shreffler is currently working on a book project, entitled "Musical Utopias: Progressive Music and Progressive Politics in the Twentieth Century" (under contract with University of California Press). She was Professor of Composition at the University of California San Diego from 1997-2006, a professor at the University of Music and Performing Arts in Vienna from 2006-2009, and in 2009 was appointed Walter Bigelow Rosen Professor of Music at Harvard. We offer courses in the history of Western music in all historical periods; ethnomusicology, including courses in African, Japanese, Latin American, American Indian, and Euro-American musics; and in special topics such as aesthetics, music and ritual, progressive rock, history of opera, and world music theories. From 2006 to 2011 Rehding served as co-editor of Acta musicologica (the journal of the International Musicological Society), and has been Editor-in-chief of the Oxford Handbook Online series in Music since 2011. Tobias Janz, Jan Sprick (2011); “Learning in Time” in Visions of Research in Music Education, vol. 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