2015-2016 undergraduate course catalog - harvard university undergraduate course catalog . fall 2015...
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Fall 2015 Music Theory
* 51a Theory Ia AI
142r Foundations of Modern Jazz: West African Musical Traditions
150a Theory IIa
155 Modal Counterpoint
Musicology and Ethnomusicology
* 97b Music History & Repertory: Classical to Contemporary
190r Performing and Theorizing the Classical in South Indian Music AI/CB
191r Concepts of Love and Sin in the Songs and Motets of the Middle Ages
Composition
4 Introduction to Composition
160r Proseminar in Composition
167 Introduction to Electronic Music
Conducting
127r Advanced Conducting and Orchestral Repertory Analysis
Performance Practice
105r Fundaments of Improvisation & Composition, Dance
181r Performance and Culture: Renaissance Music
Freshman Seminars, General Education, and Cross-Listed Courses FRS31 Chant
FRS34v Broadway Musicals: History and Performance
AI24 First Nights AI/CB
FWK11B The Art of Listening AI
Ensembles 189r Chamber Music Performance
# 10A Harvard Radcliffe Orchestra
# 12A Harvard Dance Project
# 14A Harvard-Radcliffe Collegium Musicum
# 15A Harvard Glee Club
# 16A Radcliffe Choral Society
* Denotes courses that are requirements for a Full Concentration. Italics denote courses that do not count towards a Full or Joint Concentration, but may count towards a Secondary. # Denotes courses offered as one half-course over the span of a year. They may be taken repeatedly, but to receive credit the course must be taken in the Fall and Spring terms consecutively. A maximum of four semesters (two years) may be counted as degree credit.&
Spring 2016 Music Theory
2 Foundations of Tonal Music I AI
* 51b Theory Ib AI
142r Foundations of Modern Jazz: Art Blakey’s Jazz Messengers
150b Theory IIb
151 Tonal Analysis
Musicology and Ethnomusicology
1 1000 Years of Listening AI
* 97c Music History & Repertory: Music in Cross-Cultural Perspective
176r Special Topics: Music and Disabilities
193rs Music Since 1945
194r Music and Violence
Composition
161r Advanced Composition
167 Introduction to Electronic Music
Performance Practice
173r Creative Music: Critical Practical Studio
Freshman Seminars, General Education, and Cross-Listed Courses FR35C Soundtracking
AI62 California in the ‘60s AI/CB
AAAS 182
From R & B to Neo Soul AI/CB
Ensembles 189r Chamber Music Performance
# 10B Harvard Radcliffe Orchestra
# 12B Harvard Dance Project
# 14B Harvard-Radcliffe Collegium Musicum
# 15B Harvard Glee Club
# 16B Radcliffe Choral Society &
* Denotes courses that are requirements for a Full Concentration. Italics denote courses that do not count towards a Full or Joint Concentration, but may count towards a Secondary # Denotes courses offered as one half-course over the span of a year. They may be taken repeatedly, but to receive credit the course must be taken in the Fall and Spring terms consecutively. A maximum of four semesters (two years) may be counted as degree credit.&
Supervised Reading & Research (91r)
This course consists of individual work with a faculty member of the student’s choice. The elective may count for concentration credit with advance department approval. Contact the Undergraduate Coordinator for more information.
Senior Tutorial (99r)
Two terms of Senior Tutorial through the department of primary concentration are required for all Honors degree candidates.
&
Graduate Level Courses
Enrollment strictly by permission of the instructor. These courses may count for concentration credit with advance department approval. Course descriptions can be found online.
Course Descriptions
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MUSIC 1. 1000 Years of L istening
Catalog Number: 156060
Emily Dolan
Credits: 4. M., W., 1-2.
This course aims to introduce you to a variety of music,
and a range of ways of thinking, talking and writing
about music. The majority of music dealt with will be
drawn from the so-called "Classical" repertory, from the
medieval period to the present day, including
Monteverdi, Bach, Handel, Mozart, Beethoven,
Schumann, and Schoenberg. Class will explore the
technical workings of music and together we will build a
vocabulary for analyzing music and articulating a
response to it; we will explore music as a cultural
phenomenon. By the end of class, students will be
equipped to embark on a lifetime of informed listening.
Notes: May not be taken for concentration credit. This
course, when taken for a letter grade, meets the General
Education requirement for Aesthetic and Interpretive
Understanding. This course fulfills the requirement that
one of the eight General Education courses also engage
substantially with Study of the Past.
MUSIC 2. Foundations of Tonal Music I
Catalog Number: 118594
Osnat Netzer
Credits: 4. M., W., F., 11-12.
Seeks to develop a greater understanding of music,
musical analysis, and critical listening. We will study
some of the organizing principles of musical works (from
a range of styles) by means of composition projects,
score analysis, and aural skills. While reading knowledge
of simple musical notation is helpful, there will be at least
one section for students with no previous experience.
Notes: Open to all students. May not be counted for
concentration credit. This course, when taken for a letter
grade, meets the General Education requirement for
Aesthetic and Interpretive Understanding.
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MUSIC 4. Introduction to Composit ion
Catalog Number: 11353
Osnat Netzer
Credits: 4. Th., 3–5.
EXAM GROUP: FAS09_C
Open to students with little or no prior experience in
composition. Explores ways of thinking about and
organizing basic compositional elements such as melody,
harmony, rhythm and instrumental color, as well as
developing skills of score preparation and analytical
listening. The primary focus of the course is a series of
short compositional exercises, culminating in a
somewhat longer final project. Workshop performances
of students' music take place throughout the term.
Prerequisite: Recommended: Some prior experience in
music theory or permission of the instructor.
Notes: May not be counted for concentration credit.
MUSIC 10hfr. Harvard-Radcli ffe Orchestra
Catalog Number: 110112/160694
Federico Cortese
Credits: 4. M., Th., 7–9:30 p.m.
EXAM GROUP: FAS06_D
This is an experiential learning course. The ensemble
gives several concerts each year, sometimes joining with
the chorus to perform large-scale works. Students are
required to attend all rehearsals and certain special
Saturday "retreats" announced in advance. Students are
expected to practice the music outside the rehearsal
time. Grades are based on attendance and
participation.
Note: Enrollment: By audition prior to first class meeting
of the year. Two contrasting movements or pieces
chosen by candidate. The course is graded SAT/UNSAT
based on attendance and participation. This course may
be taken repeatedly, but to receive credit the course
must be taken in the Fall and Spring semesters
consecutively. A maximum of four semesters (two years)
may be counted as credit towards the degree.
3
MUSIC 12hfr. The Harvard Dance Project
Catalog Number: 110113/160653
Enrollment: Students chosen by workshop audition held
at the start of the fall semester.
Jill Johnson
Credits: 4. Tu., Th., 3–6.
EXAM GROUP: FAS09_A
The Harvard Dance Project cultivates invention and
fosters the courage of artistry. This faculty-led,
performance company gives students the opportunity to
be original cast members and collaborators in two or
more diverse dance works created by preeminent
professional choreographers. The project focuses on
performance research, collaboration, choreographic
composition, and links choreographic thinking to other
fields. It is a studio-based course which includes at least
12 performances at major venues on campus. Fall 2015
includes works by: Merce Cunningham, Anne Teresa
DeKeersmaeker, Jill Johnson; performances at the ICA,
Carpenter Center & Dance Center. Enrollment
determined by audition during the first week of class.
Dance experience required. Full-year course (runs fall to
spring); students must complete both parts of this course
(parts A and B) within the same academic year in order to
receive credit.
Notes: The course is graded SAT/UNSAT based on
attendance and participation. This course may be taken
repeatedly, but to receive credit the course must be
taken in the Fall and Spring semesters consecutively. A
maximum of four semesters (two years) may be counted
as credit towards the degree.
MUSIC 14hfr. Harvard-Radcli ffe Collegium
Musicum
Catalog Number: 110114/160655
Enrollment: By audition prior to first class meeting.
Andrew Gregory Clark
Credits: 4. Fall: Tu., W., 4:15–6:30.
EXAM GROUP: FAS05_B
Harvard's nationally acclaimed mixed choir, the
Collegium performs a dynamic and innovative repertoire
from classical masterpieces to new compositions by
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renowned composers as well as HRCM members.
Through collaborative endeavors, tours, and community
engagement, the ensemble fosters a passionate
community of student musicians. The Collegium
frequently combines with the Glee Club and Choral
Society, as well as the Harvard-Radcliffe Orchestra, to
perform large-scale works. Students must complete both
parts of this course (parts A and B) within the same
academic year in order to receive credit.
Notes: Audition required. The course is graded
SAT/UNSAT based on attendance and participation. This
course may be taken repeatedly, but to receive credit
the course must be taken in the Fall and Spring
semesters consecutively. A maximum of four semesters
(two years) may be counted as credit towards the
degree.
MUSIC 15hfr. Harvard Glee Club
Catalog Number: 110115/160660
Enrollment: By audition prior to first class meeting.
Andrew Gregory Clark
Credits: 4. M., W., 4:15–6:30. EXAM GROUP: FAS06_C
As the nation's oldest collegiate chorus, the Glee Club is
a tenor and bass ensemble exploring music written in the
male chorus tradition. The Glee Club performs
throughout the year, collaborating with arts groups on
campus and at other universities, and across the world
on annual tours. Through excellence in performance,
student-management, education, community, tradition,
and philanthropy, the Glee Club offers a unique musical
experience for all members. The Glee Club frequently
combines with the Collegium and the Choral Society, as
well as the Harvard-Radcliffe Orchestra, to perform large-
scale works. Students must complete both parts of this
course (parts A and B) within the same academic year in
order to receive credit.
Notes: Audition required. The course is graded
SAT/UNSAT based on attendance and participation. This
course may be taken repeatedly, but to receive credit
the course must be taken in the Fall and Spring
semesters consecutively. A maximum of four semesters
(two years) may be counted as credit towards the
degree.
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MUSIC 16hfr. Radcl i ffe Choral Society
Catalog Number: 110128/160661
Enrollment: By audition prior to first class meeting.
Andrew Gregory Clark and Margaret Weckworth
Credits: 4. M., 7-9:30 p.m., W., 4:15-6:40.
EXAM GROUP: FAS06_E
The Radcliffe Choral Society is dedicated to the
celebration and performance of women’s choral music.
Founded in 1899, RCS is Harvard's oldest women's
organization and one of the country’s premier women's
choruses. The Choral Society sings a wide variety of
repertoire including Medieval chant, Renaissance
polyphony, Romantic masterworks, international folk
songs, and contemporary women’s choral music. RCS
tours annually. The Choral Society frequently combines
with the Collegium and the Glee Club, as well as the
Harvard-Radcliffe Orchestra, to perform large-scale
works. Students must complete both parts of this course
(parts A and B) within the same academic year in order to
receive credit.
Notes: Audition required. The course is graded
SAT/UNSAT based on attendance and participation. This
course may be taken repeatedly, but to receive credit
the course must be taken in the Fall and Spring
semesters consecutively. A maximum of four semesters
(two years) may be counted as credit towards the
degree.
MUSIC 51a. Theory Ia
Catalog Number: 125212
Richard Beaudoin
Credits: 4. W., 2–4.
EXAM GROUP: FAS14_H
Course unfolds the foundations of tonal music, including
line, harmony, counterpoint, rhythm, timbre, and form.
Includes regular practical exercises in model
composition, analysis, ear-training, keyboard skills, and
musicianship.
Prerequisite: Recommended: Basic theory and ear
training skills. Basic keyboard skills are useful.
Notes: For this course a placement exam is required,
which is offered the week before classes begin. Please
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see the Canvas course website for M51a for more
information. Music 51a or its equivalent is required of all
concentrators. Students planning to concentrate in Music
are encouraged to take the course in their freshman year.
Concentrators should plan to meet this requirement by
no later than the end of the sophomore year. This
course, when taken for a letter grade, meets the General
Education requirement for Aesthetic and Interpretive
Understanding.
MUSIC 51b. Theory Ib
Catalog Number: 125213
Richard Beaudoin
Credits: 4. W., 2–4.
Continuation of the principles in Music 51a. Course
engages advanced topics in harmony, counterpoint,
rhythm, timbre and form. Includes regular practical
exercises in model composition, analysis, ear-training,
keyboard skills and musicianship.
Prerequisite: Recommended: Music 51a.
Notes: Music 51b or its equivalent is required of all
concentrators. Students planning to concentrate in Music
are encouraged to take the course in their freshman year.
Concentrators should plan to meet this requirement by
no later than the end of the sophomore year. This
course, when taken for a letter grade, meets the General
Education requirement for Aesthetic and Interpretive
Understanding.
MUSIC 97B. Music History & Repertory:
Classical to Contemporary
Catalog Number: 125867
Anne C. Shreffler
Credits: 4. M., W., F., 10-11.
EXAM GROUP: FAS12_A
A survey of Western classical music from the 18th to the
21st centuries, continuing from Music 97a. The course
emphasizes listening, analysis, and historical context.
Two semesters of Music 97 are required of all
concentrators, preferably taken in the sophomore year,
or earlier by permission.
Notes: Music 97 is required of all concentrators,
preferably taken in the sophomore year, or earlier by
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permission. Each third of the course culminates in an
examination testing students' knowledge of a large
listening repertory. These examinations must be passed
in order to receive credit for the course.
Prerequisite: Recommended: Music 51 may be taken
concurrently.
MUSIC 97C. Music History & Repertory:
Music in Cross-Cultural Perspective
Catalog Number: 125786
Richard Wolf
Credits: 4. M., W., F., 10-12.
An introduction to selected world music repertories, as
well as research methods and interpretive issues in the
field of ethnomusicology.
Notes: Music 97 is required of all concentrators,
preferably taken in the sophomore year, or earlier by
permission. There are no pre-requisites. Students from
other departments are warmly invited.
MUSIC 105R. Fundaments of Improvisation
& Composit ion, Dance
Catalog Number: 107426
Jill Johnson
Credits: 1. W., F., 3-5.
EXAM GROUP: FAS13_D
A dance course that explores fundamental skills of
improvisation and composition. Using wide-ranging
musical styles, experimentation, problem solving, and an
equal curiosity about both success and failure. This
course explores the processes of analytical and intuitive
decision making in the dancing body. Students will learn a series of specific physical tasks, tools, and
systems taught through intensive exercises, guided
improvisations and rigorous real-time composition.
Physical research and written work in the course connect
dance to architecture, the visual arts, mathematics,
philosophy, science, theater, and literature in ways which
link the mind and body to innovation.
Notes: Minimal dance experience required.
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MUSIC 127R. Advanced Conducting and
Orchestral Repertory Analys is
Catalog Number: 126275
Federico Cortese
Credits: 4. Th., 1-4.
EXAM GROUP: FAS15_E
The focus of this conducting course will be determined
at the beginning of the class.
Notes: Auditions at first class meeting. First movement
of Brahms (introduction and beginning of exposition) At
the first class meeting appropriate skills levels will be
evaluated.
MUSIC 142R. Foundations of Modern Jazz:
West African Musical Tradit ions
Catalog Number: 138072
Yosvany Terry
Credits: 4. Tu., 2-4.
EXAM GROUP: FAS03_C
This course is designed to familiarize students with the
key structural elements in West African music and how to
recognize them in modern jazz. Students will be given
tools that will allow them to demonstrate these key
concepts in both their improvisational work and assigned
compositional exercises. Through coursework, students
will deepen their knowledge, understanding and
appreciation of important rhythms, melodic patterns, and
phrase models, but the fundamental goal is to enable
them to feel these elements before and apart from their
interpretation of written music. This attention to
improvisation will develop the student’s creative abilities
and introduce them to methods of music composition.
Exercises that involve the clapping and singing of
specific rhythmic patterns will help students approach
sight-reading in an intuitive and responsive way, because
strong ear-training and musicianship skills are a key
requirements for successful interpretations of and
improvisations on the score. By examining instructional
DVDs, historical and contemporary recordings, scholarly
books and articles, and through the analysis and
discussion of class material, the class will collectively
develop a more thorough understanding of the
principles guiding modern jazz musicians and
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composers. Students will be expected to contemplate
and practice on their instruments the repertoire given to
them between class meetings. The West African
Ensemble’s repertoire consists primarily of original
compositions by Lionel Loueke (Benin), Avishai Cohen
(Israel), Dafnis Prieto (Cuba), Edward Simons (Venezuela),
and Yosvany Terry (Cuba). Other composers will be
explored in accordance with the time limits and the
direction of each class.
MUSIC 142R. Foundations of Modern Jazz:
Art Blakey’s Jazz Messengers
Catalog Number 160642
Yosvany Terry
Credits: 4. T., 12-2.
Art Blakey's Jazz Messengers. The Jazz Messengers were
more than just a musical group; they were one of the
greatest institutions in modern jazz, paving the way for
several generations of musicians to develop new and
original approaches to composition and improvisation.
This course will introduce students to the Jazz
Messengers and the concept of hard bop as a necessary
evolutionary step after Be-Bop in modern jazz, created
by artists searching for new musical expressions.
Students will be made familiar with the Jazz Messengers’
repertoire, gaining insight and practical experience by
first playing and memorizing their songs, and,
afterwards, transcribing and studying the recordings of
key compositions. Additionally, students will gain
proficiency in performing compositions by some of the
Messengers’ most prolific alumnae, including pianist
Horace Silver, saxophonist Wayne Shorter, pianist Cedar
Walton, saxophonist Benny Golson, and trumpeter
Freddie Hubbard. Finally, students will select, rehearse,
and perform some of the class material in an end-of-
semester concert.
10
MUSIC 150A. Theory I Ia
Catalog Number: 114188
Andrew Friedman
Credits: 4. W., 2-4.
EXAM GROUP: FAS14_H
Continues the work of Music 51. The fall term focuses on
the Classical style (Haydn, Mozart, Beethoven and their
contemporaries). Topics include harmony, phrase
structure, and musical forms. Concepts are developed
through written & aural analysis, model composition,
keyboard harmony and ear-training exercises.
Prerequisite: Recommended: Music 51 or equivalent.
MUSIC 150B. Music Theory I Ib
Catalog Number: 127186
Richard Beaudoin
Credits: 4. Tu., 2-4.
Explores chromatic harmony in 19th-century instrumental
and vocal forms. Concepts are developed through
analysis, model composition, keyboard harmony and ear-
training exercises.
Prerequisite: Recommended: Music 150a.
MUSIC 151. Tonal Analysis
Catalog Number: 119522
Suzannah Clark
Credits: 4. Th., 1-3.
Intensive study of tonal theory and methods of analysis
through a detailed examination of music from the late
eighteenth and nineteenth centuries. Students are
introduced to the history of music theory, as well as
numerous modern theoretical and analytical techniques.
Prerequisite: Recommended: Music 51a and 51b.
MUSIC 155. Modal Counterpoint
Catalog Number: 121992
Christopher Hasty
Credits: 4. F., 1-3.
EXAM GROUP: FAS08_H
Study of representative styles and genres of 16th-century
polyphony. Detailed analytic work will be combined with
compositional exercises. Prerequisite: Recommended:
Music 150 or permission of instructor.
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MUSIC 160R. Proseminar Composit ion
Catalog Number: 119811
Richard Beaudoin
Credits: 4. Tu., 3-5.
EXAM GROUP: FAS09_B
Open to students prepared for individual work in
composition. Incorporates readings and final
performance of students' work.
Prerequisite: Recommended: One course in
theory/composition or permission of the instructor.
MUSIC 161R. Advanced Composit ion
Catalog Number: 119812
Josh Levine
Credits: 4. Tu., 2-4.
Advanced course in musical composition. Focus on the
string quartet, including contemporary repertoire survey,
short exercises, and a final project of modest dimensions
Consists of a mixture of one-on-one and group
meetings.
Prerequisite: Recommended: One course in
theory/composition or permission of the instructor.
MUSIC 167. Introduction to
Electroacoustic Music
Catalog Number: 118185
Hans Tutschku
Credits: 4. M., 2-4.
EXAM GROUP: FAS14_F
Composition and performance with analogue and digital
electronic media. Projects realized using recording gear
and computers; study of relevant aspects of acoustic and
electronic theory; repertoire since 1948 of musique
concrete, acousmatic, and live-electronic music;
synthesis, sampling, digital recording, and live
performance techniques. Hands-on work will culminate in
a final performance of individual projects.
Prerequisite: Recommended: One course in
theory/composition or permission of instructor.
12
MUSIC 173R. Creative Music:
Crit ical Practice Studio
Catalog Number: 110311
Vijay Iyer
Credits: 4. M., 2-4.
This course is an intensive, research-oriented workshop
environment for advanced improviser-composers. Open
to both undergraduate and graduate students. Through
critical listening, readings, term papers, and collaborative
musical projects, students will engage with a range of
contemporary musical perspectives and practices.
Graduate students are welcome.
Notes: Between December 22 and January 12, each
student should submit a recording, up to fifteen minutes.
MUSIC 176R. Special Topics :
Music and Disabili t ies
Catalog Number: 160644
Andrew Clark
Credits: 4. W., 12-1:30.
Music and Disabilities: Through field work, readings,
discussions, and presentations, this course will explore
topics related to disability in music history, music theory,
and performance studies, and examine recent
developments in neuroscience, music therapy, and music
education. Defining disability as a cultural construction
rather than as a medical pathology, the course will also
consider the practice of music as a vehicle of
empowerment, reflecting on music’s generative role in
shaping communities and advancing social justice and
human rights. Students will design and implement
inclusive and democratic community music projects,
partnering with local service organizations and
educational institutions.
Notes : Students from other departments are welcome.
MUSIC 181R. Performance and
Interpretation: Renaissance Music
Catalog Number: 108419
Kate van Orden
Credits: 4. M., 1-4.
EXAM GROUP: FAS08_G
In this course, you become an amateur musician in
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Renaissance England and learn to play the viola da
gamba in a consort. Through this combination of
research and hands-on learning, we investigate
repertory, culture and musical life circa 1600.
Notes
May be taken by students from other departments and
graduate students with permission of instructor.
MUSIC 189R. Chamber Music Performance
Catalog Number: 153042
Jessica Bodner, Daniel Chong, Kee-Hyun Kim and Ying
Xue
Credits: 4. Tu., W., 7-10.
EXAM GROUP: FAS05_B
Through auditions, students will be divided into chamber
music ensembles by the Parker Quartet and have weekly
coachings with members of the Parker Quartet and
Heng-Jin Park of the Boston Trio. Students will be
expected to rehearse between each coaching and to
participate in chamber music studio classes throughout
the semester, which will be led by the Parker Quartet.
Auditions will be held in the first week of the semester,
either in conjunction with HRO auditions or on a
separate non-HRO audition day. Students interested in
enrolling only in Music 189, auditions will be held at
dates to be announced.
Notes : Auditions for Music 189rs are scheduled on
Wednesday, September 2 from 2:00 pm - 5:00 pm in
Office A. See Music Department bulletin board for sign-
up sheet. This course is only offered for
Satisfactory/Unsatisfactory grade. The course listed
above (Music 189r) may be taken for a letter grade.
MUSIC 190R. Performing and Theoriz ing the
Classical South Indian Music
Catalog Number: 110638
Richard Wolf
Credits: 4. F., 3-5. (Section likely M., 3-4.)
EXAM GROUP: FAS13_F
Performing and Theorizing the Classical in South Indian
Music. Analysis of contemporary South Indian classical
composition and improvisational forms and investigation
into the notion of the classical in the South Indian
14
context. Students will have the option of learning to sing
or play an Indian instrument.
Notes: Students from other departments are warmly
invited with permission of instructor.
MUSIC 191R. Concepts of Love and S in in
the Songs and Motets of the Middle Ages
Catalog Number: 111726
Suzannah Clark
Credits: 4. Tu., 2-4.
EXAM GROUP: FAS03_C
Concepts of Love and Sin in the Songs and Motets of the
Middle Ages. This course will explore the lyric traditions
of the troubadours and trouveres, and their influence on
the development of the ars antiqua motet. We will
examine how chivalry, courtly love, lust, and the sacred
adoration of the Virgin Mary are depicted musically
sometimes in combination in a single work. Our cast of
characters will include knights, clerics, nuns, monks,
students, lords and ladies, and shepherds and
shepherdesses. We will address such questions as: Did
cupid’s arrow make a sound? How did different
expressions of love amongst different social classes
generate different musical and poetic genres? Where
might we draw the line between fact and fiction in the
tales depicted and does the music provide an answer?
What were the prized attributes of men and women in
the game of love and how were they expected to sing or
play along? No knowledge of medieval French or Latin is
required.
Notes: May be taken by students from other
departments with permission of instructor.
MUSIC 193RS. Topics in Music f rom 1800-
Present: Music Since 1945
Catalog Number: 156587
Anne Shreffler
Credits: 4. Th., 3-5.
A survey of music since the Second World War, including
concert music, jazz, experimental, and traditional,
focusing mainly on North America and Europe.
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MUSIC 194R. Special Topics :
Music and Violence
Catalog Number: 108983
Marié Abe
Credits: 4. W., 3-5.
Music can be a form of weapon or torture; a mediating
force in a process of conflict resolution; a force complicit
with violence; storehouse of memory and/or process of
healing for survivors of violence; a mode of resistance
against a violent regime; and a creative process of
alliance-building, among many others. This seminar
explores the various intersections of music and violence,
considered broadly from mass political conflict to
everyday violence that is structural, symbolic, and
otherwise, and the emerging body of scholarship within
ethnomusicology over the last decade dedicated to the
subject. At the heart of seminar discussions will be an
investigation into the role of expressive culture in
reflecting, generating, and sustaining political and other
social movements, and the question of how sound and
music enable us to think creatively through the
relationship between critical attention, compassion, and
commitment.
Notes: Students from other departments are welcome.
AESTHINT 24. First Nights:
Five Performance Premieres
Catalog Number: 110744
Thomas Forrest Kelly
Credits: 4. Tu., Th., 11-12.
EXAM GROUP: FAS04_A
A study of five famous pieces of music, both as timeless
works of art and as moments of cultural history. Close
attention is given to techniques of musical listening, and
to the details of the first performance of each work, with
a consideration of the problems involved in assembling
such a picture. Works studied are Beethoven, Symphony
no. 9; Berlioz, Symphonie fantastique; Stravinsky, Le
sacre du printemps; Handel, Messiah; Monteverdi,
Orfeo. The course concludes with the first performance
of a new work especially commissioned for this course.
Notes: This course, when taken for a letter grade, meets
the General Education requirement for Aesthetic and
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Interpretive Understanding or Culture and Belief, but not
both. This course fulfills the requirement that one of the
eight General Education courses also engage
substantially with Study of the Past.
AESTHINT 62. Cal ifornia in the 60's
Catalog Number: 156264
Kate van Orden
Credits: 4. M., W., 12-1.
This course examines American youth culture in the
"long" 1960s through the lens of music in California.
Both "popular" and "art" music will be considered,
including early minimalism, songs from L.A. and the
Laurel Canyon crowd, and San Francisco psychedelia. In
addition to understanding musical forms, performance
styles, and the effects of technology (radio, recording,
electric instruments), the class will delve into the politics
of race, gender, resistance, and the draft.
Notes: This course, when taken for a letter grade, meets
the General Education requirement for Aesthetic and
Interpretive Understanding or Culture and Belief, but not
both.
AFRAMER 182. From R & B to Neo Soul:
Black Popular Music and Cultural
Transformation
Catalog Number: 124607
Ingrid Monson
Credits: 4. T., Th., 11-12.
The course focuses on the history of African American
popular music from Ray Charles to P-Funk to Erykah
Badu with particular emphasis on its long-term impact on
American culture. The rise of classic R & B, Soul,
Motown, Funk, the Philly Sound and Neo-Soul are
featured. Key artists include Ray Charles, Aretha Franklin,
the Supremes, Curtis Mayfield, James Brown, Stevie
Wonder, George Clinton, Michael Jackson, Prince, Jill
Scott, Erykah Badu, Usher, Alicia Keys, and D'Angelo.
The course is especially concerned with tracing the
interrelationships among music, politics, spirituality, and
race relations during the Civil Rights and Black Power
years and their legacy for today. During these years the
sound of African America indelibly shaped mainstream
17
American popular culture in far reaching and
transformative ways.
Notes: This course, when taken for a letter grade, meets
the General Education requirement for either Culture
and Belief or Aesthetic and Interpretive Understanding,
but not both.
FRSEMR 31L. Gregorian Chant
Catalog Number: 159738
Thomas Forrest Kelly
Credits: 4. Th., 3-5:30.
EXAM GROUP: FAS09_C
Introduction to medieval chant. Medieval Latin church
music, usually called Gregorian Chant, is the oldest
surviving repertory of music in western culture, and is still
sung today. We will consider the function of chant in
medieval society, and the role of chant in ritual and
liturgy. Members of the seminar will be expected to sing,
but no previous experience or knowledge of notation is
required. We will examine manuscript in the Houghton
Library. We will study the musical aspects of a few pieces
in great detail, and will come to know the great variety
and artistry of this timeless repertory.
Prerequisite: Course open to Freshman Students Only
FRSEMR 34V. Broadway Musicals :
History and Performance
Catalog Number: 156241
Carol Oja
Credits: 4. T., 1-3.
EXAM GROUP: FAS15_D
This seminar will explore a core group of Broadway
musicals. Historical, musical, and theatrical discussions
will be paired with student performances and staging of
individual scenes (done under the guidance of Allegra
Libonati from the A.R.T. Institute). The seminar will touch
on signal moments over the course of the Golden Age of
the musical, stretching up to the present day: Oklahoma!
(1943), South Pacific (1949), West Side Story (1957), A
Chorus Line (1975), Wicked (2003), and In the Heights
(2008). The class will attend a performance of Stephen
Sondheim’s A Little Night Music at Boston's Huntington
Theatre. Blending historical study and hands-on practice,
18
this seminar aims to offer a wide range of perspectives
on the interpretation and performance of Broadway
musicals.
Prerequisite: Course open to Freshman Students Only
Notes: Student musicians and actors are welcome in the
course, as are students who love to watch shows but not
necessarily perform in them. Ability to read music is
desirable but not required.
FRSEMR 35C. Soundtracking
Catalog Number: 161177
Christopher Hasty
Credits: 4. Th., 3-5.
This course will offer a critical, close-reading approach
and a creative art-making approach to exploring ways of
combining sound and moving image. The first few weeks
will involve analysis and discussion of uses of
music/sound in excerpts from a variety of movies and TV
series episodes and mastering skills for working with
ProTools, a digital audio workstation system that can
incorporate video. As skills with Pro Tools develop
emphasis will shift to composition exercises that
experiment with combining sound and image. Since all
students will be given the same assignments we will have
the opportunity of testing and discussing various
solutions. The seminar will accept students with and
without compositional training and the ability to notate
music. Sound will be composed in various ways, many of
which will not involve conventional music notation. All
students will learn to use high quality field recorders to
gather sound materials that can then be sculpted with
Pro Tools. The final project will be the production of a
sound track to an assigned short film (5-10 minutes) and
a public screening.
Course Notes: The ability to read musical notation is not
a pre-requisite. &
&
HUMAN 11B. Frameworks:
The Art of L istening
Catalog Number: 109855
Alexander Rehding
Credits: 4. W., 11-12.
EXAM GROUP: FAS07_F
Our world is steeped in sound, but we must learn to pay
attention to listening. Sounds produce emotions, mark
out spaces, call up memories; silence can be deafening;
voice is a marker of identity. This course will sharpen our
ears. We explore the sonic world through diverse
readings and creative projects with sound. Discussions
and assignments will open our minds (and ears) to
listening practices, what the arts teach us about listening,
and how we describe our experiences as listeners. We
examine the relationships between sound and time,
community, responsibility and attentiveness, and explore
the soundscape in which we live.
Notes: Though the University will be on a "Monday"
schedule, this course will still have its first lecture on
Wednesday, September 2. This course, when taken for a
letter grade, meets the General Education requirement
for Aesthetic and Interpretive Understanding.
Music&Concentration&Worksheet&Basic&and&Honors&Track&
&Name:&_______________________________________&&&&email:&_________________________&&Basic&Track&(13&half0courses)&&Music&Theory&
• Music&51a&and&51b.&• Any&two&courses&chosen&from&Music&142,&and/or&Music&150A159.&
Musicology&and&Ethnomusicology&• Western/World&Music&History&and&Repertory:&Music&97a,&97b,&and&97c.&• Any&two&courses&chosen&from&Music&190r,&191r,&192r&(or&182r),&193r&(or&183r),&or&194r.&
Electives:&Any&four&from&the&following:&• Composition:&Music&160r&through&Music&167r.&• PerformanceAoriented:&Music&173r,&175r,&180r,&181r,&185r,&or&186r.&• Conducting&or&orchestration:&Music&121a&through&Music&128r.&• Further&courses&in&Theory&and&Musicology&and&Ethnomusicology,&including&176r.&
• Supervised&Reading&and&Research:&Music&91r&(concentration&credit&requires&advance&petition).&
&Honors&Track&(15&half0courses)&
All&the&Basic&requirements&listed&above,&with&the&addition&of&two&half&courses&of&senior&tutorial&(99r)&and&the&completion&of&a&thesis.&More&information&is&available&in&the&Undergraduate&Handbook&(http://bit.ly/1Ey92KY)&and&on&the&Department&website.&&&
& Course& Term& Course& Term& Course& Term&
Music&Theory& 51a& & 51b& & && & & & &
Western/World&Music&History&and&Repertory&
97a& & 97b& & 97c& && & & &
Electives& & & & && & & &
Senior&Tutorial&and&Thesis& 99r& & 99r& &***Note:&This&worksheet&was&created&using&information&in&the&Undergraduate&Handbook&for&and&should&be&
used&for&planning&purposes&only.***&&&&&&revised&10/15&
&
Music&Concentration&Worksheet&Joint&Track&
&Name:&_______________________________________&&&&email:&_________________________&&Joint&Track&(8&half0courses)&&Music&Theory&
• Music&51a&and&51b.&Musicology&and&Ethnomusicology&
• Western/World&Music&History&and&Repertory:&any&two&semesters&of&Music&97&(a,&b,&and/or&c).&
Electives:&Any&four&from&the&following:&• Further&Music&Theory:&Music&142,&and/or&150&–&159.&• Further&Musicology&and&Ethnomusicology:&Music&176r,&190r,&191r,&192r&(or&182r),&193r&(or&183r),&or&194r,&or&the&remaining&semester&of&Music&97.&
• Composition:&Music&160r&through&Music&167r.&• PerformanceAoriented:&Music&173r,&175r,&180r,&181r,&185r,&or&186r.&• Conducting&or&orchestration:&Music&121a&through&Music&128r.&• Supervised&Reading&and&Research:&Music&91r&(concentration&credit&requires&advance&petition).&
&Senior&Tutorial:&two&terms&of&99r,&enrolled&in&the&primary&department.&Does¬&count&toward&concentration&credit.&&Completion&of&a&thesis:&more&information&is&available&in&the&Undergraduate&Handbook&(http://bit.ly/1Ey92KY)&and&on&the&Department&website.&&
& Course& Term& Course& Term&
Music&Theory& 51a& & 51b& &Western/World&Music&Hist&&&Rep& 97(&&)& & 97(&&)& &
Electives& & & & && & & &
Senior&Tutorial&and&Thesis& 99r& & 99r& &***Note:&This&worksheet&was&created&using&information&in&the&Undergraduate&Handbook&for&and&should&be&
used&for&planning&purposes&only.***&&&&&&revised&10/15&
&
Music&as&a&Secondary&Field&Worksheet&&
Name:&_______________________________________&&&&email:&_________________________&&Secondary*Field*(5*half2courses)*
Any&five&half0courses&selected&from&among&the&courses&offered&in&Music&(including&Gen&Ed&courses&and&Freshman&Seminars&taught&by&Music&Department&faculty),&with&the&exceptions¬ed&below:&
• No&more&than&one&half0course&may&be&selected&from&Music&1,&Music&2,&Music&3,&Music&4,&Music&6,&Gen&Ed&Courses,&or&Freshman&Seminars.&
• No&more&than&one&half0course&may&be&selected&from&the&Music&120&series&(conducting),&Music&175,&or&the&Music&180&series&(performance&and&analysis).&
• No&more&than&one&half0course&may&be&selected&from&Music&10hfr016hfr&(which&may&be&graded&SAT/UNSAT).&
• Courses&counting&for&secondary&field&credit&may¬&be&taken&Pass/Fail,&other&than&one&Freshman&Seminar&(graded&SAT/UNS)&and&one&ensemble&(Music&10hfr016hfr).&
Other&Information&
While&the&department&recommends&taking&a&portion&of&the&foundational&courses&of&the&concentration&(51&and&97),&these&are¬&specific&requirements&of&the&secondary&field.&Occasionally,&with&the&permission&of&the&instructor,&secondary&field&students&may&take&upper0level&courses&without&having&taken&certain&prerequisites.&
Courses&taken&abroad&or&in&the&summer&school&can&be&counted&in&the&secondary&field&only&with&the&permission&of&the&department,&normally&granted&only&after&the&course&has&been&completed.&
&Course&Name& Course&#& Term&
& & && & && & && & && & &***Note:&This&worksheet&was&created&using&information&in&the&Undergraduate&Handbook&for&and&
should&be&used&for&planning&purposes&only.***&&&&&&revised&4/15&
&For More Information, Contact Us
Mary MacKinnon Undergraduate Coordinator
617-384-9507 mackinnon@fas.harvard.edu Office: Music Building 101S
Hours: M/T/Th/F 9:00am – 5:00pm
Professor Hans Tutschku Assistant Director of Undergraduate Studies
tutschku@fas.harvard.edu Office: Music Building G3&
Professor Suzannah Clark Director of Undergraduate Studies
sclark@fas.harvard.edu Office: Music Building G6
&
Phone: 617-495-2791 Email : musicdpt@fas.harvard.edu Web: http://www.music.fas.harvard.edu The Harvard University Department of Music, including the John Knowles Paine Concert Hall, the
Loeb Music Library, and the Davison Room, are located directly behind the Science Center.
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