Harvard University Department of M usic

MUSICnewsletter Vol. 14, No. 1 Winter 2014 Border Crossings: Kate van Orden Looks at 16th-Century Musical Migration Music Building When Professor Kate van Orden tracked a North Yard 16th-century French chansonnier across the Harvard University Alps to Italy, she discovered she’d embarked Cambridge, MA 02138 on a rich new vein of research. She’d also 617-495-2791 become the first Renaissance scholar to ask what it means when vernacular musics travel www.music.fas.harvard.edu beyond their natural, national contexts. “Western art music has always been INSIDE categorized: Lied is German; chanson, French; madrigal, Italian. But some genres 2 Abbate named University Professor cross borders. Following the migration of 2 Faculty News music and musicians disrupts the nationalist 3 Jason Robert Brown, A-I-R history of music in Europe.” Scholars of European music have long 3 Remembering Rulan Pian been working within the parameters of the Van Orden joined the Music Department faculty in July, 2013. She 19th century, says van Orden, which often 4 Czernowin’s Revolution also specializes in historical performance on the bassoon. sanitized history to give nations a false sense of wholeness, an ethnic purity. From this we have hard to write. In France, you feel the effect of the the myth of “folk,” who never traveled. Revolution, that two hundred plus years ago most “It’s just not true,” she explains. “People were of the books were thrown into piles and destroyed. really mobile in the 16th century. There were This didn’t happen in Italy. The source material is Germans in Venice, Italians in Lyon and London. deep. And, thankfully, the handwriting on Italian In 1600, there were 30,000 Spaniards living in manuscripts is much easier to read.” 5 Wolff Fund Announced Rome.” Van Orden’s been working with Italian travel- 6 Klingenberg in Uganda Van Orden’s research will soon be published ogues, Montaigne’s diary of his trip to Italy, church in Musica Transalpina: French Music, Musicians, archives and French confraternity records in Rome, 6 Graduate Student News and Culture in Cinquecento Italy, a volume in and Venetian musical collections. She’s examining 7 Alumni News which she theorizes the musical performance of demographic records—censuses and lists of births, 7 Stetson’s Hacking Arts ethnicity in early modern Europe by concentrating deaths, and marriages—to learn where foreigners on migratory contexts like that of Rome, where lived and who intermarried, as well as early maps 8 Library News cross-cultural encounters threw identities into high from the Harvard Map Collection to understand 9 The Art of Listening contrast. how conceptions of national borders and power “I look into what it meant to be French in centers shifted over time. 10 Calendar of Events 16th-century Italy, to sing in French. I examine “No one’s worked on this before, so I have 12 Parker Quartet in Residence songs that traveled, mixed languages, or were lots of freedom. It’s a rare chance to expand my translations, to understand newly urban cultures horizons both linguistically and as a scholar. We Department Chair where immigrants made up a large part of the music historians tend to conduct our research in Alexander Rehding population.” the physical places central to our disciplines, and Director of Administration Van Orden has concentrated her focus on this adds a whole new country to mine. It’s revi- Nancy Shafman major international trade centers; multi-ethnic talizing. And music is so revealing. These French Newsletter Editor cities where immigrants were key across all strata of songs—we can get the sound back. Polyphonic Lesley Bannatyne society, such as Lyon in France, and Rome, Venice, notation gives a remarkably precise record of how [email protected] and Ferrara. people did things together in groups, what speech “I’d been working intensively on French patterns were like. Polyphonic songs even give us chansons in France. But those histories can be some sense of ethnic expression and insight into HarvardMusicDepartment van Orden, continued Faculty News Photo by Stephanie Mitchell Renaissance stereotypes of foreigners. Preceptor on Music Richard Beaudoin About her career in general, she says: completed a millisecond-level microtiming “Coming to Harvard is proving such a won- analysis of Pablo Casals’ 1936 recording of derful opportunity to retool. The resources for the D minor Sarabande from Bach’s Suite, research and teaching that open up what I can BWV 1008 [image of sketches below]. Mu- do are exciting. My Spectacular France course, sic that incorporates such microtimings con- for example (which van Orden taught as a Visit- tinues to be composed and performed, most ing Professor in fall of 2012), featured dance, recently in December 2013, when The Artist something that’s usually left at the door of and his Model I – La fille floutée was given music history classes because it has no notation. by Constantine Finehouse at the Nicholas But with digital media ever easier to produce Roerich Museum in New York City. and share, I was able to stock our course website with hours of videos for the students to watch. Carolyn Abbate has been named the Paul and This spring, together with ethnomusicologist Catherine Buttenwieser University Professor, Kay Kaufman Shelemay, I’ll co-teach a course Harvard’s highest honor for a faculty member. on music and migration. It’s giving our class “Carolyn Abbate’s imagination and sense a chance to cross some disciplinary borders of intellectual adventure have changed the and study historical musics ethnically rather course of musicology,” said President Drew than in terms of nation. Next year, the general Faust. “With its original and highly interdis- education course I’m hoping to teach will have ciplinary outlook, her work helps us to see an audio glossary, podcasts with instrumental the many disparate elements of opera each in demos, a visual encyclopedia, and an interactive relation to the other, as part of a polyphonic Dwight P. Robinson, Jr. Professor time-map. whole, and to see great works in their social Robert Levin toured worldwide, giving “When you think about it, this is and cultural contexts. And by illuminating concerts in Malaysia, Tokyo, Germany, UK, an amazing moment in musicology.” such considerations as the intentions of the and France. Notable performances included composer, the technical challenges facing the Beethoven Triple Concerto with Sarah Van Orden’s Music, performers, and the subjective experiences of Braun and Rafael Popper-Keizer, Emmanuel Authorship, and the audience members, she enlarges and enlivens Music, Boston; a solo recital of the Bach Book in the First our understanding not just of opera but of English Suites 2, 3, 6 on harpsichord, Kings Century of Print music more generally.” Place, London; the Mendelssohn Double (2014) is published Abbate has focused her research principal- Concerto in A-flat with Ya-Fei Chuang, by University of Cali- ly on opera as it has evolved over the past four Orchestra of the Age of Enlightenment; fornia Press, and her centuries, with special emphasis on the 19th Schubert Fantasy in F minor (with Ya-Fei Materialities: Books, and 20th centuries. Beyond her academic work, Chuang), Bristol St. George’s, London; Readers, and the Abbate is herself a talented performer, and she and a solo recital of Mozart, Philadelphia Chanson in 16th-c. has been active in staging musical and oper- Chamber Music Society. He also chaired the Europe is forthcoming atic works, including serving as a dramaturg Viola Jury at the ARD Music Competition from Oxford Univer- for productions at the Metropolitan Opera. in Munich. T h e sity Press. [excerpted from the Harvard Gazette 11.20.13] Department is delighted to welcome Os- w Lockwood, Gosman: Beethoven’s “Eroica” Sketchbook continued on page 5 Beethoven’s “Eroica” Sketchbook: A Critical Edition, Transcribed, witness to a pivotal period in his creative development.” Edited, and with a Commentary by Lewis Lockwood and Alan Gos- The “Eroica” Sketchbook is essentially a diary of Beethoven's creative man was published by Urbana: University of Illinois Press, 2013 work during one of the great turning points in his career. This edition in 2 volumes. Lockwood is Fanny Peabody Research Professor makes available both a complete facsimile and transcription of the sketch- and Alan Gosman received his PhD from Harvard in 2001 and is book for the first time, along with a detailed commentary on the origins, currently Associate Professor of Music at University of Michigan. contents, and significance of this vitally important source. The publication is part of the Beethoven Sketchbook Series Joseph Kerman calls the edition, “A very impressive scholarly edition issued by the University of Illniois Press of which William Kin- of the most famous and important of Beethoven’s sketchbooks, long trea- derman is General Editor. Kinderman writes in his preface to the sured for their illumination of Beethoven’s works. The difficult notations publication, “The most famous of all Beethoven's sketchbooks is are deciphered scrupulously and ingeniously, and Lockwood and Gosman that known as the ‘Eroica’ Sketchbook (Landsberg 6) whose pages have not hesitated to add their clarifications of obscure notations right were filled mainly during 1803-04...this sketchbook bears special on the transcription pages.”

2 Tony-Award-Winner Jason Remembering Rulan Chao Pian Robert Brown Named Blodgett April 20, 1922-November 30, 2013 Artist-in-Residence Rulan Chao Pian, an eminent scholar of Chinese music, an influential Chi- The Harvard Department of Music and the nese language teacher, and a mentor Office for the Arts at Harvard have appointed to students and younger colleagues in Jason Robert Brown as Blodgett Artist-in-Res- China, Hong Kong, Taiwan and North idence during the spring of 2014. A celebrated America, died at the age of 91. American composer, Brown is known best as Pian’s seminal publications, public the award-winning composer and lyricist of the lectures, and personal guidance ex- musical The Last 5 Years, and the Tony-award panded the intellectual scope of Chi- winning composer of Parade. nese music studies; her many decades Brown will visit Professor Carol Oja’s of Chinese language teaching laid the course, American Musical Theater, as well as foundation for a generation of scholars Dr. Allen Counter and students unveil a portrait of Professor Emerita Dr. give master classes and workshops for Harvard who went on to establish the field of Rulan Pian, Harvard’s first minority House Master at Cabot House. Photo: students though the OFA Learning From Chinese studies in North America; and Harvard News Office. Performers Program. In addition, Brown’s her mentorship nurtured students inside and teaching assistant. In 1961 she started teach- music will be showcased in a concert/cabaret outside Harvard University, where she taught ing courses related to Chinese music, and performance at the Oberon theater on March from 1947 through 1992. later began mentoring graduate students in 27, 2014. Pian’s Sonq Dynasty Musical Sources and the Departments of Music and of East Asian Brown won a 1999 Tony Award for his Their Interpretation (1967; 2003 reprint) Languages and Civilizations. In 1974 she was score to Parade, a musical written with Alfred was a path-breaking work in both Histori- appointed Professor in both departments, one Uhry and directed by Harold Prince, which cal Musicology and Sinology that received of the first women professors at Harvard, a subsequently won both the Drama Desk and the Otto Kinkeldey Award. Her extensive position she held until 1992, when she retired. New York Drama Critics’ Circle Awards for fieldwork in Taiwan on Peking Opera dur- In 1975-78 she and her husband Theodore H. Best New Musical. Brown is the winner of the ing the 1960s resulted in a series of critically H. Pian were appointed Co-Housemasters of 2002 Kleban Award for Outstanding Lyrics and important research papers. In 1969, Pian and South House (now Cabot House), the first the 1996 Gilman & Gonzalez-Falla Foundation several prominent Chinese scholars in North ethnic minorities to hold such a position at Award for Musical Theatre. America, including her father, founded the Harvard. After her retirement, Pian devoted Additionally, Brown was conductor and Conference on Chinese Oral and Performing her time almost entirely to the compilation orchestrator for Yoko Ono’s musical, New York Literature, a scholarly organization devoted to and editing of the complete works of her Rock. He has conducted and created arrange- the research, analysis and interpretation of oral father, the pre-eminent linguist and composer ments and orchestrations for Liza Minnelli, and performing traditions. When Mainland Yuen Ren Chao, published as the 20-volume John Pizzarelli, Tovah Feldshuh, and Laurie China opened its doors to foreign scholars, Zhao Yuanren Quanji (2002). Beechman, and his songs, including the caba- Pian began fieldwork there on narrative songs As a teacher, Pian’s influence reached ret standard “Stars and the Moon,” have been and folksongs and published several important far beyond her Harvard classrooms and the performed and recorded by Audra McDonald, papers. Other distinguished recognitions frequent gatherings at her Cambridge home. Betty Buckley, Karen Akers, Renée Fleming, include selection as a Fellow of the Academia Pian was the first music scholar from the West Philip Quast, Jon Hendricks, and many others. Sinica (Taiwan, 1994), Honorary Member to lecture in China after the establishment The Blodgett Artist-in-Residence program of the Society for Ethnomusicology (2004), of the Peoples Republic, and in subsequent is made possible through a gift from Mr. and and numerous Honorary Professorships and years, and particularly after the early 1980s, Mrs. John W. Blodgett, Jr. Recent appoint- Fellowships in China, Taiwan and Hong Kong. she visited and lectured there regularly and ments have been Koo Nimo (Ghanaian music), In the early 1970s Pian was among the frequently, introducing her Chinese colleagues Sir Harrison Birtwistle (composer), Neba Solo first ethnomusicologists to embrace the latest and students to contemporary Western musi- (Malian balafon musician), and jazz pioneer technology of videotaping in her fieldwork. cology and ethnomusicology, to recent schol- Geri Allen. Photo: USC The result was a rare and precious collection arship in Chinese music outside of China, and of videotapes of traditional performances that to her own work. she captured in the 1970s, 1980s and 1990s. Pian received a BA (1944) and MA In 2009, she donated almost the entirety of (1946), both in Western music history, from her personal collection, including over 5,500 Radcliffe College, and a PhD (1960) in East items of audio-visual material and 250 boxes Asian Languages and in Music, from Radcliffe- of books and notes, to the library of the Chi- Harvard. A memorial celebration will take nese University of Hong Kong. place on 3.30.2014 at 4pm in Cabot House. Pian began her teaching career at Harvard —Bell Yung, Robert Provine, Joseph Lam, University in 1947 as a Chinese language Amy Stillman, Siu Wah Yu [excerpt]

3 Czernowin’s Revolution: Composer-in-Residence at 2013 Lucerne Festival

As composer-in-residence at the 2013 Lu- Each year the Lucerne festival programs cerne Festival, Chaya Czernowin was honored music based on a theme. 2013’s theme was by several orchestral and chamber perfor- revolution. mances throughout the summer, including “I loved this! It was such a great honor two world premieres of two orchestra pieces to work with Barenboim and to have my and a new production of her chamber opera, concerts visited by Boulez and Holliger. It Pnima… Inwards. The Festival, celebrating its was absolutely enriching to interact with 75th anniversay this year, is one of the most many excellent musicians of the younger well-known music festivals in the world. generation, who performed my work and “The best orchestras come to Lucerne,” understood it so well.” says Czernowin. “That’s a big part of what the At the fringe of our gaze, for orchestra festival is. Most play classic and romantic and concertino ensemble, was commissioned music but an important place is kept every by the Lucerne Festival and received its year for new music. It is rare to hear so much world premiere by the West-Eastern Divan new music played on such a high level so Orchestra under the direction of Daniel consistently in one festival.” Barenboim. Scored for large orchestra and Czernowin spent a month in Lucerne, sur- a separate ensemble of violin, viola, cello, prised to be recognized on the street by people clarinet, piano and percussion, fringe strips stretches. However, once they figured it out who had been to concerts of her music. traditional musical layers to create a large it was doubly rewarding. Howard Arman, the “I would be at the bakery and someone landscape where time both stands still and conductor, claimed the piece completely; he would tell me that they enjoyed one of my is moving simultaneously. understood it and performed it in a manner pieces. Or at a department store they would “I admired the fact that Barenboim was that was raw and very different from past insist I come first in line and ask me when curious about the work. It is remarkable that performances.” my opera would premiere. For some of the a musician on his level and at his age is still Additional events dedicated to Czer- women visiting the festival, I think it was curious and ready to venture into a new area. nowin’s music included the world premiere meaningful that I was a woman.” The players, as well, were curious and open. of White Wind Waiting, a concerto for guitar They hadn’t played a lot of music like mine, and orchestra with guitarist Stephan Schmidt and after the first rehearsal, they asked me to and SWR Freiburg and Baden Baden, teach them how to think about it. I talked Francois Xavier Roth, conducting; a perfor- for forty minutes, really taking them on a mance of Anea Crystal by the JACK Quartet tour inside my head. When they played the and Quatuor Diotima, as well as Lovesong piece later their playing was stunning. They performed by Ensemble Intercontempo- really went the extra mile.” rain, Sheva by Ensemble Ascolta, a portrait The Lucerne Festival’s production of concert featuring Afatsim, Die Kreuzung, Pnima… Inwards, Czernowin’s chamber Manoalchadia, Sahaf, fardanceCLOSE, and opera from 2000, featured the Lucerne a performance of Czernowin’s recent Slow Symphony Orchestra and soloists of the Summer Stay I: Lakes. Lucerne Theater conducted by Howard Ar- Czernowin is currently writing a man with direction by David Hermann and 40-minute long quartet for the JACK and stage design by Magdalena Gut. These artists electronics to be premiered at IRCAM in its gave the piece an entirely new interpretation, ManiFeste festival in June, 2014 in Paris. which was very philosophical, universal, and Her commissions now stretch into 2018, exciting to Czernowin and, she says, she’s in exactly the right niche “I came to the first rehearsal not know- as a new music composer. “It was a strange ing what to expect. I found that the first experience to be recognized on the street violinist was someone who had played my in Lucerne. I am glad this doesn't happen work in the past in another orchestra. It was anywhere else. I did, though, finally learn to like meeting an old friend—her being there bow properly when called to the stage. You made for such a warm welcome. The soloist bow down, then look at your shoes long parts are difficult in Pnima, and usually, new enough to say, ‘Good Morning shoes,’ and music specialists play them. This was not the then straighten.” A scene from Czernowin's opera, Pnima. case this time. So there were some tougher

4 Faculty news continued Department Announces Christoph Wolff Fund for Music nat Netzer as Preceptor in Music. Netzer he Harvard Music Department is is a composer, pianist, and educator. She delighted to announce the Chris- studied at the Jerusalem Academy of Mu- toph Wolff Fund for Music, an sic and Dance, Mannes College of Music, Tinitiative established through the generosity and New England Conservatory, where she of Jay Panetta (AB 1972, PhD 1991) and completed her doctorate in composition in Eunice Johnson Panetta (AB 1990). The 2011. Netzer is also active as a pianist in Fund will bring a distinguished visitor to the classical and contemporary concert music, Department each year in honor of Christoph, as well as improvisatory folk, klezmer, and who served the University as William Powell jazz-influenced works. She joins the Harvard Mason Professor of Music and Department faculty after serving on the faculty of New Chair, Acting Director of the Harvard England Conservatory for five years. University Libraries, Dean of the Graduate William Powell Mason Professor Carol School of Arts and Sciences, and Adams Oja was appointed Leonard Bernstein University Professor. Scholar-in-Residence with the New York We are extremely fortunate to have Philharmonic for the 2013-14 season. She had Christoph in the Music Department also published a blog post for NPR, “Sym- for more than 35 years. It is impossible to phonic for the People: The Mid-Century think of Christoph without thinking of his American Symphony”; and an article, “Ever- extensive, groundbreaking studies of Bach ett Lee and the Racial Politics of Orchestral and Mozart. Yet in fact his expertise ranges provided the Christoph Wolff Fund for Conducting” in American Music Review. over five centuries of music and across several Music with a solid foundation. Beyond that Oja was awarded a publication subvention continents. Christoph has been the recipient we hope to encourage a wider group of Chris- from AMS for “Bernstein Meets Broadway: of numerous international prizes and honor- toph’s supporters to contribute to the fund Collaborative Art in a Time of War” (forth- ary degrees. He currently holds an honorary in order to ensure that this lasting tribute coming from Oxford University Press). She professorship at the University of Freiburg, will benefit future generations of scholars and also chaired the selection committee for the as well as memberships in the American musicians in the fullest possible way. It will first Virgil Thomson Fellowship, served on Academy of Arts and Sciences, the American mean so much to Christoph to know that a the board of the Virgil Thomson Founda- Philosophical Society, and the Sächsische group of his students, colleagues, and friends tion, the Kinkeldey Award Committee of Akademie der Wissenschaften. Christoph has has contributed to bringing this important the AMS, and the editorial board of the profoundly enriched the intellectual lives of idea to fruition. Journal of the Society for American Music. countless students and colleagues both here We plan to appoint the first Christoph Fanny Peabody Professor Alexander at Harvard and at other institutions, and Wolff Distinguished Scholar as early as Rehding published articles on Beethoven, many of us have been touched as well by his 2015. All contributions to the Wolff Fund Tacitus’s Germania, and the Eurovision generosity and kindness. will be counted toward the ongoing Harvard Song Contest (with Andrea Bohlman). The We will honor Christoph’s exceptional Campaign. We hope very much that you website “Sounding China In Enlightenment record of service, scholarship, and vision will be able to participate in this wonderful Europe” (based on an exhibition co-curated with a fund that will appreciably enhance the project with us, and we greatly look forward with a group of graduate students in 2012) intellectual and aesthetic life of the Depart- to hearing from you. is now up and running at hcs.harvard.edu/ ment. The Christoph Wolff Fund for —Alexander Rehding soundingchina/. He is currently organizing Music will enable us to offer a short-term To contribute: the 2013-14 Sawyer Seminar, “Hearing residency each year to an eminent musicolo- With the enclosed envelope: Please check the Modernity.” gist, composer, theorist, or performer. The “øther” box and write “Christoph Wolff G. Gordon Watts Professor Kay Fund will also underwrite programming Fund for Music” on the dotted line. Kaufman Shelemay was inducted into related to the particular interests of each visi- Online (credit card): the American Philosophical Society in No- tor, including lectures, seminars, colloquia, -Go to http://alumni.harvard.edu/give/ vember at their meeting in Philadelphia. and performances. This program, which has (you do not need to be a Harvard alum to She also delivered the Lyceum Lecture at been developed in direct consultation with participate) and follow instructions. Baylor University, Texas in September, and Christoph, will support activities dear to his -choose “Make a gift to a School,” then in October, hosted a Radcliffe Workshop own interests and passions, and will repre- select “College,” then select “Other” from titled “Multidisciplinary Frameworks for the sent an enduring tribute to the exemplary the “Select a fund within the Harvard Study of Ethnicity, Migration, and Human contributions he has made to the life of the College Fund” drop down box and write Rights.” Department and the University. “Christoph Wolff Fund for Music” in the w The generosity of the Panettas has comment box.

5 Graduate Student News Klingenberg in Uganda: Exploring the Landscape of Global Pop

Elizabeth Craft received the Barbara Nat- Krystal Klingenberg came to Harvard with too, and I became intrigued with how that terson and Zachary Horowitz Graduate Student a keen interest in African immigrant musical might play into a more global appreciation of Dissertation Fellowship. culture. In her first year as a graduate student Jamaican music styles and how they became Sarah Hankins won the Marcia Herndon she took Professor Revuluri’s Global Pop indigenized.” Prize from the Gender and Sexualities Section at course as well as Professor Shelemay’s Research Klingenberg realized she needed to study SEM this year. Methods in Ethnomusicology course, where not just the music, but Ugandan music insti- Hannah Lewis presented a paper at she observed the choir at St Peter’s Anglican tutions and music platforms. “The HiPipo AMS: “‘The Music Has Something to Say’: Church of Uganda, Boston in Waltham as a Music Awards, for example, are genre-based, The Musical Revisions of L’Atalante (1934),” field work project.. like the Grammys; what role do they play in about French director Jean Vigo’s and com- “I was interested in how music can instan- determining genre in global pop? The local poser Maurice Jaubert’s 1934 film. tiate home, especially when far from it,” says news media plays a large role in shaping the Kai Polzhofer published “Expressivität Klingenberg, “and I was able to get access to lo- pop music scene, but a mapping of those me- und Introversion. Zu Mark Andres iv 2 für cal Ugandan participants so that I could focus dia institutions and the actors that represent Violoncello Solo” in Musik und Ästhetik and on what singing in the “Tombeau” for ensemble, Brühl, Köln (Edi- church meant to them. tion Gravis). St. Peter’s uses the same Panayotis League and Ana welcomed Luganda hymnal used by their daughter Violet Mares-Guia League on the Church of Uganda, December 19. familiar to everyone in Thomas Lin co-authored “Giasone: A the congregation. The Source Overview,” which was just recently music created Uganda in published in Readying Cavalli’s Operas for the Waltham, even if just for Stage: Manuscript, Edition, Production, edited a moment.” by Ellen Rosand. This past summer, Marek Poliks and Tim McCormack Klingenberg received conducted a joint residency at Wesleyan funding from Harvard University, which included a concert of their for travel to Uganda to music performed by Christopher Otto & study Swahili and con- Kevin McFarland of the JACK Quartet. duct pre-dissertation re- Stefan Prins published “Compos- search. “My mom is from Krystal Klingenberg and her mother learn the Amadinda xylophone—Uganda’s most ing Today - Luft von diesem Planeten” in Uganda, and I still have iconic instrument—with instruction from performer/teachers from Ndere Troupe Klangforum Wien, and gave lectures on his a lot of family there. But music at Moscow Conservatory and Arsenal I hadn’t ever had a chance to explore the local them has not been conducted. Basically, I went Center for Contemporary Art in Nizhnii music scene as a scholar.” to Uganda with one set of questions and came Novgorod. A recording of his “Generation For seven weeks, five days a week, four home with another.” Kill” performed by Nadar Ensemble was hours a day, she received one-on-one language Klingenberg’s interests grew more fo- released. Prins’s works were performed in instruction. In between lessons, Klingenberg cused on how cultural identity is transmitted several countries, including “Flesh+Prosthesis spent time researching Ugandan popular and through music online—where it’s coming #1” by Nikel Ensemble and “Fremdkörper traditional music. “I visited Ndere Center, from, who listens, and how. “With YouTube, #1” performed by Ensemble Mosaik during home of Ndere troupe, performers of tra- the speed at which something new can travel Wien Modern Festival; “Piano Hero #1” ditional music and dance. I also visited the into the diaspora and bounce back is amaz- performed by several pianists in the USA, Klaus Wachsmann Music Archive at Makerere ing. I would like to find out how it travels, Brasil, Germany, and Spain; and “Ventrilo- University and met with its curator, Dr. Sylvia who’s watching, where from, and what that quium” performed by Gageego ensemble in Nannyonga-Tamusuza. I left with a longer communication means. For example, there is Götheburg, Sweden. A portrait concert of his to-do list than when I arrived.” more Ugandan music web content available works was performed by Nadar Ensemble at Ultimately, the Uganda trip allowed than ever, but video and audio streaming in “Rumor” cyclus in Utrecht, The Netherlands. Klingenberg to get a sense of the popular Uganda itself is expensive. What role does Daniel Walden’s article, “Frozen Mu- music landscape. “It wasn’t what I expected. money play in access to popular music, and sic: Music and Architecture in Vitruvius’ De I saw that Dancehall—a popular genre from how might the web representation of Ugandan Architectura,” is forthcoming in the Journal of Jamaica—was a bigger part of the scene than music be driven by members of the diaspora?” Greek and Roman Musical Studies. His thesis hip hop, and should definitely be included Krystal Klingenberg is currently in her second for the MPhil at University of Cambridge in my study. Ragga and reggae are really big year of graduate study in the Ethnomusicology continued on page 9 PhD program.

6 Alumni News Kathleen Stetson: Hacking Arts Aaron Berkowitz (PhD 2008) is one of the Kathleen Stetson (AB 2003) graduated with a con- Chief Residents in the Partners Neurology centration in music, and after a one-year stint in New Residency Program at Massachusetts Gen- York City, pursued her MM in vocal performance at eral Hospital and Brigham and Women’s. He NEC. She wanted to study voice seriously enough to received the Trainee Award for Excellence in decide whether or not to pursue a professional career Medical Education in Neurology presented as an opera singer. by the Harvard Medical School Class of 2013. “My teachers at NEC were always telling me, ‘Get Berkowitz also serves as a clinician-educator in out of your head, Kathleen; feel it!’” said Stetson. She neurology in Haiti and Malawi in collabora- tried, and though she left NEC with more confidence tion with Physicians for Haiti and Partners in her voice than ever, she decided to give in to her true in Health. He has published two articles in nature. “I am in my head—that’s where I live!” the Clinical Reasoning section of the journal She found a one-year MS program at Rochester Neurology, and his book The Improvising Mind: Polytechnic Institute in architectural acoustics, some- Cognition and Creativity in the Musical Move- thing that had intrigued her ever since her mother, a ment was published by Oxford University professional architect, took her for the first time to the Press in 2011. Meyerson Symphony Center in Dallas and told her, “You could design spaces like this.” “Within a year I went from a singer and SAT tutor to working as an acoustic consultant with Arup, one of the best engineering firms in the world.” Stetson loved working with architects (one of the projects she helped design, Athens’ first opera house, is under construction right now), but she wanted to feel even closer to art-making. And she wanted to explore the possibility of starting her own business, one that combined music and technology, a company she named Trill. “Trill is a web and mobile platform for live show discovery. It’s designed to get more people As the lone neurologist in Haiti, Berkowitz was asked to to more shows—to make it easier for audiences to find performances that interest them. Today’s give lectures on stroke, epilepsy, neuropathy, meningitis/ audiences are omnivorous in their tastes. Trill will list everything that happens on a stage, from encephalitis, HIV-related neurologic disorders, coma, hip hop to opera to jazz, to give the performing arts just as much exposure as the popular arts.” headache, and interpretation of head CT To help her get started with Trill, Stetson enrolled in the MIT Sloan School of Management The 2013 Kurt Weill Prize for outstand- MBA program. In September, she launched (with co-chair Catherine Halaby) a two-day event ing article has been awarded to Christopher called Hacking Arts. Chowrimootoo (PhD 2014) for “Bourgeois “Boston didn’t have any kind of conference addressing entertainment and the arts. Catherine Opera: Death in Venice and the Aesthetics and I founded Hacking Arts with the goal of moving the arts forward through technology. We of Sublimation,” published in the Cambridge included fashion, visual art and design, performing arts, music, and film and television, and Opera Journal in 2011. The prize panel com- organized panels of speakers as well as presentations by young founders of early-stage creative mended the essay for taking on “a work, a industry startups. The goal was to inspire students from all over Boston to create their own composer, a defined period in the history of companies in the arts.” a genre, and a larger critical approach and at- Hacking Arts also included live performances and an art exhibit, both of which included titude towards musical style and meaning that works created specifically for the event. The pieces all used technology as a creative medium: potentially touches all scholars of 20th-century one, for example, made the fermentation of vegetables audible. music.” Chowrimootoo, an Assistant Professor In the most hands-on session of the event, Stetson and her team arranged structured brain- continued on page 8 storming sessions around 20 themes. The participants then gave 30-second pitches of their ideas and formed teams. A twenty-hour hack-a-thon ensued. “Sixty ideas were whittled down to 18 teams from all different parts of the creative indus- tries and across software, hardware, networks, and platforms. Our judges included an executive from Mass Challenge and a venture capitalist, and we awarded prizes. The “most creative” prize, for example, went to a web-based platform called Shazart, which takes any song and creates customized videos using pictures that relate to the lyrics. The “best hack” prize went to a speech analytics app meant to help people with public speaking on stage and in the boardroom. It analyzes volume, speed, and other aspects of speech.” Stetson says that Hacking Arts will be a yearly event, but also a “community of creative people, a forum where you can ask for help, post jobs, share ideas and opportunities. Our goal is Aaron Allen and Kailan Rubinoff welcomed Taliesin to bring together artists, musicians, engineers, and entrepreneurs to move the creative industries Robert Allen-Rubinoff in August. Taliesin (literally “shining brow”) is named after a 6th-century Welsh bard. forward and create something cool.” If you’d like to be involved with Hacking Arts, contact [email protected]

7 Library News Alumni News continued Carl Philipp Emanuel Bach: Two Exhibitions of Musicology and Liberal Studies at the Celebrate the 300th Anniversary of the Composer’s Birth University of Notre Dame, also received the Royal Musical Association’s Jerome Roche C.P.E. Bach’s oeuvre encompassed virtually eration with the Bach-Archiv Leipzig, the Prize for his article. every musical genre of the time, except opera, Sächsische Akademie zu Wissenschaften zu Glenda Goodman (PhD 2012) and he wrote one of the most important Leipzig, and Harvard University—is produc- received the Richard L. Morton Award for and enduring music treatises on keyboard ing a critical edition, Carl Philipp Emanuel 2012. instruments. During his lifetime he enjoyed Bach: The Complete Works, projected to run Ulrich Kreppein (PhD 2011) re- a high reputation, and his music was widely to 115 volumes, with more than half that ceived the UC College-Conservatory of distributed in print and in manuscript. number now in print. Music’s prestigious Zemlinsky Prize, an Drawing on a wealth of materials at The Houghton exhibition explores award that recognizes achievement in com- Harvard, with a selection of important items Bach’s intellectual and musical background position for artists 35 or younger. Kreppein generously lent by other institutions and by documenting the Bach family heritage, received first prize for his work, The Play of individuals, Houghton Library and the Loeb his service in the court of Frederick the Great, the Shadows. Music Library are mounting complementary his interactions with authors, his important exhibitions to celebrate the 300th birthday keyboard treatise, his reputation in his life- of C.P.E. Bach. The Loeb Library exchibition time, his standing with his contemporaries, focuses on the editorial challenges and cur- his later career in Hamburg, and his musical rent editorial practices behind the ongoing legacy. publication of Bach’s complete works. The Both exhibitions will be open through Packard Humanities Institute—in coop- April 5, 2014.

Treasures of the Loeb Music Library Photo: Kerry Masteller Students who attended “Treasures of the Loeb Lei Liang (PhD 2006), above with Music Library,” a Wintersession event hosted Takae Ohnishi and son Albert, was inducted by Library Assistant Peter Laurence, Reference into the Grove Dictionary of American Music and Digital Program Librarian Kerry Masteller (Oxford University Press). and Music Reference and Research Librarian Liza Vick, arrived at the Merritt Room to a cross-section of the library’s rare recordings, Zoe Lang’s medieval manuscripts, annotated scores and (PhD 2006) early edition songbooks. book, The Leg- “The best part of a special collections acy of Johann open house is telling students they can turn scope of the library’s collection. A 1609 score Strauss, will be the pages,” said Masteller. written for qin, a Chinese musical instrument, available from At her encouragement, a participant is one of 19 in existence, and underwent Cambridge Uni- flipped through the heart-shaped Chanson- conservation during the Qing Dynasty. Also versity Press in nier De Jean De Montchenu, a facsimile of a showcased was a more recent transcript of March. 15th-century collection of French and Italian Bulgarian music as collected by Martha Forsyth secular music bound in red velvet. in the early 1980s. Another paused at a set of three 1930s “It’s interesting to look at even if you don’t Adam Roberts (PhD 2010) released his albums from the Timely Recording Com- understand all the words,” said Vick. first album, Leaf Metal, on the Tzadi label. pany. The rare albums feature labor songs and Oliver Peña, a GSAS special studies stu- The record features the Arditti Quartet, Le artwork connected to the Communist Party, dent visiting from Mexico City, was especially Nouvel Ensemble Moderne, Eric Alexander including compositions by Hanns Eisler and drawn to a manuscript of Jean Baptiste Lully’s Hewitt and the Boston Conservatory Wind words by Berthold Brecht. Not long after the 1722 opera, Isis. “I actually sang an aria from Ensemble, Gabriela Diaz and Ben Schwartz. records were produced, growing concerns this opera,” he said. Zachary Sheets (AB 2013, joint with about the label’s leftist ties led its founder “I often share my favorites,” Masteller Romance Languages & Literatures) received deny he created the materials. added. “I always gain new insight into our a Hoopes Prize for his thesis, You alone are “They’re really unique,” Laurence said. collections by watching students make con- stranger here, a concert-opera in one act for “These were the first three ever published on nections between the items I’ve chosen and singers and chamber orchestra and accom- the label.” their own knowledge of musical works." panying academic paper. Other items on display hinted at the — Beth Giudicessi, HCL Communications Jon Wild (PhD 2007), John McKay

8 (PhD 2013), Christoph Neidhofer (PhD The Art of Listening 1999), Ben Steege (PhD 2007), and Frank Taught for the first time in fall 2013, students studied exemplary texts, sounds, images, and objects Lehman (PhD 2012) presented papers at to parse the meaning of listening in The Art of Listening, given by Professors John Hamilton (Comp. this year’s SMT conference in Charlotte, Lit.) & Alexander Rehding (Music). North Carolina. November’s SEM conference included ound can be described as the brain’s interpreta- presenters Will Cheng (PhD 2013), Kiri tion of the tingling microscopic hairs inside of Miller (2005), Marc Gidal (2010), an ear being bombarded by a constant rush of Swaves of air molecules. It is around us, all the time, Meredith Schweig (2013), Patricia Tang (2001), and Katherine Lee (2012). everywhere. But how is sound interpreted? How is it Schweig won the Lise Waxer Popular Music mediated and affected by nature, space, technologies, Section Student Paper Prize. David Trip- politics, economy, by the control of humans, and by pett (2010) won the Klaus P. Wachsmann the ways in which it is beyond our control? Could Prize for Advanced and Critical Essays in language exist without sound? Organology for editing and translating Carl How people listen, what they do when they lis- Stumpf’s writings. ten, what we choose to listen to, and what we think listening is, were all questions explored The following alumni have recently in The Art of Listening, a course intended to introduce students to fundamental problems, accepted academic appointments: Ashley histories, and critical methods that open out onto more advanced work in a variety of disci- Fure (PhD 2013) a post-doc position at plines. Columbia University; David Kim (AM “Many aspects of this course impressed me deeply but perhaps none as much as the 2009) a position at Whitman University; openness of students to listen with care—and in unorthodox ways—to the world around us,” Hannah Lash (PhD 2010) a position at said TA Peter McMurray. “Our first section began with a performance of Pauline Oliveros’s the Yale School of Music; Frank Lehman ‘Tuning Meditation,’ which consists of a few lines of text and requires intensive listening (PhD 2012) a position at Tufts University; and improvisation from performers. I’m not sure I’ve ever been in a course (as a student or and Gina Rivera (PhD 2013), a post-doc teacher) where that could have happened in a serious way—let alone on the first day of class. position at University of Pennsylvania. But the students showed tremendous goodwill in not just going along with such activities, but in diving headlong into them.” A large part of the course was, as promised in the title, listening, and thinking about Graduate student news continued listening—not only to music but to speech, noise, and silence. Students visited library instru- was awarded the 2013 William Barclay Squire ment collections on campus, listened to recorded poetry, explored Gamelan Si Betty (a set of Essay Prize, and he presented a paper at the percussion instruments originating in Java and Bali) and the historic Lowell House Bells, as conference “Daniele Barbaro: 500,”at the well as read widely on the history and mechanics of sound and listening. They also learned Centre d’études superieures de la Rénais- to use both digital and analog sound recording and editing equipment. sance in Tours, France, entitled “Barbaro’s “Their first assignment was a mixtape,” recounts McMurray. “One student led her mix- Della Musica and the Mechanics of Vitruvian tape off with the sounds of her deaf cousin telling a joke. We listened to it in class without Music Theory and Practice.” knowing what it was—then found out. Students were both floored and deeply moved. In Congratulations to the students and another assignment, students were supposed to remix a digital composition by a classmate. Teaching Fellows who were awarded Harvard The aesthetic range was striking. One student took a series of fairly banal discussions about Certificates of distinction in teaching: Joe musical taste and transformed them into a powerful commentary on paparazzi/celebrity Fort, Justin Hoke, David Kim, Frank culture. Lehmann, Peter McMurray, Trevor “Music courses so often create a distinction between theory/research, on the one hand, Baca, Anne Cleare, Austin McMahon, and practice/performance, on the other. I’d like to think that by assuming that any under- Heng-Jin Park, Kristopher Tong, and graduate is capable of composing sound in powerful ways, we came to discover a tremendous Josiah Oberholtzer. amount about what listening is and how it shapes our world.”

Students created podcasts on poetry and listening, in-class­ collaborative performances, a short video project, and a soundmap—a sonic cartographi- cal examination of their environment. ABOVE: a student film score forMan Matthew Mugmon with a Movie Camera. BELOW, students and Madeleine wel- watch film footage of “The People's comed Owen Alex- Microphone,”done on the last day of ander deBlois Mug- class on the steps of Memorial Church. mon on August 6.

9 Spring 2014 calendar of events Hearing Modernity: BLODGETT CHAMBER MUSIC SERIES: Chiara Quartet Exploring the World of Sound Studies Friday March 7 The JOHN E. SAWYER SEMINAR Bartok String Quartets Nos. 1, 3, 5 at Harvard University Friday April 11 sponsored by the Andrew W. Bartok String Quartets Nos. 2, 4, 6 Mellon Foundation

Mondays at 4:15 pm [except where noted] Holden Chapel Elision Ensemble hearingmodernity.org

February 24: Hearing Through the Body Chiara Quartet Mara Mills, NYU Mark Butler, Northwestern University March 11 (Tuesday): Sounds and the Brain Vijay Iyer, Harvard University HARVARD GROUP FOR NEW MUSIC Aniruddh Patel,Tufts University March 8: Hand Werk (The Thelma E. Goldberg Concert) March 31: Aural Memory April 5: Ensemble Nikel Wolfgang Ernst, Humboldt University Berlin May 17: Elision Ensemble Karin Bijsterveld, Maastricht University April 14: Philosophical Reflections on the Voice Brian Massumi, McGill University Fromm Players at Harvard Steven Connor, University of Cambridge The natural | The artifical with Ensemble Dal Niente February 28 and March 1, 2014 April 21, 2014 at 5:15 p.m. Paine Concert Hall Louis E. Elson Lecture [concluding event of Sawyer Seminar] J a c q u e s A tt a l i , French economist Professor, writer, Honorary Member of the Coun- cil of State, Special Adviser to the President of the Republic from 1981 to 1991, founder and first President of the European Bank for Reconstruc- tion and Development in London from 1991 to 1993, Jacques Attali is currently CEO of A&A, an international consulting firm in strategy, based February 28 in Paris, and President of PlaNet Finance, an Carola Bauckholt Vollmond, unter null international non-profit organisation assisting Evan Johnson: die bewegung der augen microfinance institutions all over the world. Erin Gee: Mouthpiece Segment of the Fourth Letter Rick Burkhardt: Alban Wolf Edwards: the road from Mutlaa to Basra (World Premiere) March 1 Marianthi Papalexandri Yarn Aaron Einbond: Without Words Hans Tutschku: Still Air 3 (World Premiere) Ming Tsao: Mozart /The Book of Virtual Transcriptions Enno Poppe: Salz

10 2014 Norton Lectures: Herbie Hancock on The Ethics of Jazz

Set 1: Monday, February 3 Monday, March 3, 2014 at 8 Ppm The Wisdom of Miles Davis INAUDITA IMPONERE Set 2: Wednesday, February 12 Johannes Ciconia, motets and songs Breaking the Rules 1390-1410 Set 3: Thursday, February 27 with MALA PAUNICA Cultural Diplomacy and the Voice of Freedom Pedro Memelsdorff, director Set 4: Monday, March 10 Innovation and New Technologies Set 5: Monday, March 24 Buddhism and Creativity Set 6: Monday, March 31 Once Upon a Time…

All events begin at 4:00 pm at Sanders Theatre, 45 Quincy Street Free and open to the public. Free tickets available at Sanders Theatre beginning at noon on the day of performance, or online (also beginning at noon) from the Harvard Box Office. 617-496-2222.

Joyful Noise and Alice Parker Residency BARWICK Colloquium Series 4:15 pm, Davison Room CONCERT: (Music Library 2nd floor) BOUNDLESS REALMS OF JOY April 11, 2014 Tuesday, February 18 8:00 pm Sanders Theatre Brian Hyer, University of Wisconsin, Madison Harvard-Radcliffe Collegium Musicum, On the Poetics of Dé/nouement in Act 3 Scene 1 Joseph Fort, conductor of Pelléas et Mélisande Joyful Noise, Allison Fromm, conductor Brattle Street Chamber Players, Tuesday, March 25 Alice Parker, guest conductor Georgina Born, University of Oxford For a Relational Musicology SYMPOSIUM: BEYOND THE CONCERT HALL April 12, 2014 Tuesday, April 15 9 am - 3:15 pm Lowell Lecture Hall Liza Lim, University of Huddersfield Exploring the neurological, therapeutic, and social benefits of community singing. Knots and Other Forms of Entanglement (a discussion of recent compositions) Tickets for the concert are available at Harvard Box Office. The Symposium is free and open to the public. Monday, April 28 Charles Garrett, University of Michigan Thrifting, Shaking, and Styling: Participatory Culture and Contemporary Pop For news & events, Like us on events are free and take place at 8:00 p.m. in john knowles FACEBOOK paine concert hall unless otherwise noted. Free passes required www.facebook.com/HarvardMusicDepartment for the Chiara Quartet concerts and are available two weeks before each concert at the Harvard Box Office.

11 Harvard University Department of Music Non-Profit Org. Music Building U.S. Postage Harvard University PAID Cambridge, MA 02138 Boston, MA Permit No. 1636

Parker Quartet Named Full-Time Blodgett Quartet-in-Residence “Thanks to the Blodgett Artists-in-Residence Program, we have been fortunate to have had a Quartet-in-Residence for four weeks a year since 1985,” said Music Department chair Alexander Rehding. “However, the role of performance in the music department and the University has changed significantly, and this is the right time to bring professional musicians to campus as full-time residents. We are confident that the extended exposure to the string quartet will be highly beneficial to our students, especially our many talented under- graduate performers, allowing them to engage in the practice of chamber music on an unprecedented scale. We welcome the Parker Quartet to Harvard with immense pleasure.” The renowned Parker Quartet (Daniel Chong, Ying Xue, violin; Jessica Bodner, viola; Kee-Hyun Kim, cello) will, as part of the expanded Blodgett residency, present free concerts each on the international circuit after winning the Concert Artists Guild Competition as year for the general public and recitals as part of the Dean’s well as the Grand Prix and Mozart Prize at the Bordeaux International String Quartet Noontime concert series. They will teach, participate in class Competition in France. Chamber Music America awarded the quartet the prestigious demonstrations, read and perform student compositions, and biennial Cleveland Quartet Award for the 2009-2011 seasons. coach Harvard undergraduate chamber ensembles in weekly The Parker Quartet’s members hold graduate degrees in performance and cham- master classes for Harvard credit. The Parker Quartet’s full ber music from the New England Conservatory of Music and were part of the New time presence in the program will allow for the expansion of England Conservatory’s prestigious Professional String Quartet Training Program from the chamber music and performance study opportunities for 2006-2008. Some of their most influential mentors include the Cleveland Quartet, students in the Harvard University Music Department. Kim Kashkashian, György Kurtág, and Rainer Schmidt. Formed in 2002, the Grammy Award-winning Parker The Parker Quartet will begin their residency at Harvard in the fall of 2014 Quartet has rapidly distinguished itself as one of the preemi- through the Blodgett Artist-in-Residence program, made possible through a gift from nent ensembles of its generation. The quartet began touring Mr. and Mrs. John W. Blodgett, Jr. and the FAS Dean’s Office.

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