2015-2016 Undergraduate Course Catalog

Harvard& Department&of&Music& University& & 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 From R & B to Neo Soul AI/CB 182 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 &

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. 12

Course Descriptions

MUSIC 1. 1000 Years of Listening MUSIC 4. Introduction to Composition Catalog Number: 156060 Catalog Number: 11353 Emily Dolan Osnat Netzer Credits: 4. M., W., 1-2. Credits: 4. Th., 3–5. This course aims to introduce you to a variety of music, EXAM GROUP: FAS09_C and a range of ways of thinking, talking and writing Open to students with little or no prior experience in about music. The majority of music dealt with will be composition. Explores ways of thinking about and drawn from the so-called "Classical" repertory, from the organizing basic compositional elements such as melody, medieval period to the present day, including harmony, rhythm and instrumental color, as well as Monteverdi, Bach, Handel, Mozart, Beethoven, developing skills of score preparation and analytical Schumann, and Schoenberg. Class will explore the listening. The primary focus of the course is a series of technical workings of music and together we will build a short compositional exercises, culminating in a vocabulary for analyzing music and articulating a somewhat longer final project. Workshop performances response to it; we will explore music as a cultural of students' music take place throughout the term. phenomenon. By the end of class, students will be Prerequisite: Recommended: Some prior experience in equipped to embark on a lifetime of informed listening. music theory or permission of the instructor. Notes: May not be taken for concentration credit. This Notes: May not be counted for concentration credit. course, when taken for a letter grade, meets the General Education requirement for Aesthetic and Interpretive MUSIC 10hfr. Harvard-Radcliffe Orchestra Understanding. This course fulfills the requirement that Catalog Number: 110112/160694 one of the eight General Education courses also engage Federico Cortese substantially with Study of the Past. Credits: 4. M., Th., 7–9:30 p.m. EXAM GROUP: FAS06_D MUSIC 2. Foundations of Tonal Music I This is an experiential learning course. The ensemble Catalog Number: 118594 gives several concerts each year, sometimes joining with Osnat Netzer the chorus to perform large-scale works. Students are Credits: 4. M., W., F., 11-12. required to attend all rehearsals and certain special Seeks to develop a greater understanding of music, Saturday "retreats" announced in advance. Students are musical analysis, and critical listening. We will study expected to practice the music outside the rehearsal some of the organizing principles of musical works (from time. Grades are based on attendance and a range of styles) by means of composition projects, participation. score analysis, and aural skills. While reading knowledge Note: Enrollment: By audition prior to first class meeting of simple musical notation is helpful, there will be at least of the year. Two contrasting movements or pieces one section for students with no previous experience. chosen by candidate. The course is graded SAT/UNSAT Notes: Open to all students. May not be counted for based on attendance and participation. This course may concentration credit. This course, when taken for a letter be taken repeatedly, but to receive credit the course grade, meets the General Education requirement for must be taken in the Fall and Spring semesters Aesthetic and Interpretive Understanding. consecutively. A maximum of four semesters (two years) may be counted as credit towards the degree.

MUSIC 12hfr. The Harvard Dance Project renowned composers as well as HRCM members. Catalog Number: 110113/160653 Through collaborative endeavors, tours, and community Enrollment: Students chosen by workshop audition held engagement, the ensemble fosters a passionate at the start of the fall semester. community of student musicians. The Collegium Jill Johnson frequently combines with the Glee Club and Choral Credits: 4. Tu., Th., 3–6. Society, as well as the Harvard-Radcliffe Orchestra, to EXAM GROUP: FAS09_A perform large-scale works. Students must complete both The Harvard Dance Project cultivates invention and parts of this course (parts A and B) within the same fosters the courage of artistry. This faculty-led, academic year in order to receive credit. performance company gives students the opportunity to Notes: Audition required. The course is graded be original cast members and collaborators in two or SAT/UNSAT based on attendance and participation. This more diverse dance works created by preeminent course may be taken repeatedly, but to receive credit professional choreographers. The project focuses on the course must be taken in the Fall and Spring performance research, collaboration, choreographic semesters consecutively. A maximum of four semesters composition, and links choreographic thinking to other (two years) may be counted as credit towards the fields. It is a studio-based course which includes at least degree. 12 performances at major venues on campus. Fall 2015 includes works by: Merce Cunningham, Anne Teresa MUSIC 15hfr. Harvard Glee Club DeKeersmaeker, Jill Johnson; performances at the ICA, Catalog Number: 110115/160660 Carpenter Center & Dance Center. Enrollment Enrollment: By audition prior to first class meeting. determined by audition during the first week of class. Andrew Gregory Clark Dance experience required. Full-year course (runs fall to Credits: 4. M., W., 4:15–6:30. EXAM GROUP: FAS06_C spring); students must complete both parts of this course As the nation's oldest collegiate chorus, the Glee Club is (parts A and B) within the same academic year in order to a tenor and bass ensemble exploring music written in the receive credit. male chorus tradition. The Glee Club performs Notes: The course is graded SAT/UNSAT based on throughout the year, collaborating with arts groups on attendance and participation. This course may be taken campus and at other universities, and across the world repeatedly, but to receive credit the course must be on annual tours. Through excellence in performance, taken in the Fall and Spring semesters consecutively. A student-management, education, community, tradition, maximum of four semesters (two years) may be counted and philanthropy, the Glee Club offers a unique musical as credit towards the degree. 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- MUSIC 14hfr. Harvard-Radcliffe Collegium scale works. Students must complete both parts of this Musicum course (parts A and B) within the same academic year in Catalog Number: 110114/160655 order to receive credit. Enrollment: By audition prior to first class meeting. Notes: Audition required. The course is graded Andrew Gregory Clark SAT/UNSAT based on attendance and participation. This Credits: 4. Fall: Tu., W., 4:15–6:30. course may be taken repeatedly, but to receive credit EXAM GROUP: FAS05_B the course must be taken in the Fall and Spring Harvard's nationally acclaimed mixed choir, the semesters consecutively. A maximum of four semesters Collegium performs a dynamic and innovative repertoire (two years) may be counted as credit towards the from classical masterpieces to new compositions by degree. 65

see the Canvas course website for M51a for more MUSIC 16hfr. Radcliffe Choral Society information. Music 51a or its equivalent is required of all Catalog Number: 110128/160661 concentrators. Students planning to concentrate in Music Enrollment: By audition prior to first class meeting. are encouraged to take the course in their freshman year. Andrew Gregory Clark and Margaret Weckworth Concentrators should plan to meet this requirement by Credits: 4. M., 7-9:30 p.m., W., 4:15-6:40. no later than the end of the sophomore year. This EXAM GROUP: FAS06_E course, when taken for a letter grade, meets the General The Radcliffe Choral Society is dedicated to the Education requirement for Aesthetic and Interpretive celebration and performance of women’s choral music. Understanding. Founded in 1899, RCS is Harvard's oldest women's organization and one of the country’s premier women's MUSIC 51b. Theory Ib choruses. The Choral Society sings a wide variety of Catalog Number: 125213 repertoire including Medieval chant, Renaissance Richard Beaudoin polyphony, Romantic masterworks, international folk Credits: 4. W., 2–4. songs, and contemporary women’s choral music. RCS Continuation of the principles in Music 51a. Course tours annually. The Choral Society frequently combines engages advanced topics in harmony, counterpoint, with the Collegium and the Glee Club, as well as the rhythm, timbre and form. Includes regular practical Harvard-Radcliffe Orchestra, to perform large-scale exercises in model composition, analysis, ear-training, works. Students must complete both parts of this course keyboard skills and musicianship. (parts A and B) within the same academic year in order to Prerequisite: Recommended: Music 51a. receive credit. Notes: Music 51b or its equivalent is required of all Notes: Audition required. The course is graded concentrators. Students planning to concentrate in Music SAT/UNSAT based on attendance and participation. This are encouraged to take the course in their freshman year. course may be taken repeatedly, but to receive credit Concentrators should plan to meet this requirement by the course must be taken in the Fall and Spring no later than the end of the sophomore year. This semesters consecutively. A maximum of four semesters course, when taken for a letter grade, meets the General (two years) may be counted as credit towards the Education requirement for Aesthetic and Interpretive degree. Understanding.

MUSIC 51a. Theory Ia MUSIC 97B. Music History & Repertory: Catalog Number: 125212 Classical to Contemporary Richard Beaudoin Catalog Number: 125867 Credits: 4. W., 2–4. Anne C. Shreffler EXAM GROUP: FAS14_H Credits: 4. M., W., F., 10-11. Course unfolds the foundations of tonal music, including EXAM GROUP: FAS12_A line, harmony, counterpoint, rhythm, timbre, and form. A survey of Western classical music from the 18th to the Includes regular practical exercises in model 21st centuries, continuing from Music 97a. The course composition, analysis, ear-training, keyboard skills, and emphasizes listening, analysis, and historical context. musicianship. Two semesters of Music 97 are required of all Prerequisite: Recommended: Basic theory and ear concentrators, preferably taken in the sophomore year, training skills. Basic keyboard skills are useful. or earlier by permission. Notes: For this course a placement exam is required, Notes: Music 97 is required of all concentrators, which is offered the week before classes begin. Please preferably taken in the sophomore year, or earlier by 78

permission. Each third of the course culminates in an MUSIC 127R. Advanced Conducting and examination testing students' knowledge of a large Orchestral Repertory Analysis listening repertory. These examinations must be passed Catalog Number: 126275 in order to receive credit for the course. Federico Cortese Prerequisite: Recommended: Music 51 may be taken Credits: 4. Th., 1-4. concurrently. EXAM GROUP: FAS15_E The focus of this conducting course will be determined MUSIC 97C. Music History & Repertory: at the beginning of the class. Music in Cross-Cultural Perspective Notes: Auditions at first class meeting. First movement Catalog Number: 125786 of Brahms (introduction and beginning of exposition) At Richard Wolf the first class meeting appropriate skills levels will be Credits: 4. M., W., F., 10-12. evaluated. An introduction to selected world music repertories, as well as research methods and interpretive issues in the MUSIC 142R. Foundations of Modern Jazz: field of ethnomusicology. West African Musical Traditions Notes: Music 97 is required of all concentrators, Catalog Number: 138072 preferably taken in the sophomore year, or earlier by Yosvany Terry permission. There are no pre-requisites. Students from Credits: 4. Tu., 2-4. other departments are warmly invited. EXAM GROUP: FAS03_C This course is designed to familiarize students with the MUSIC 105R. Fundaments of Improvisation key structural elements in West African music and how to & Composition, Dance recognize them in modern jazz. Students will be given Catalog Number: 107426 tools that will allow them to demonstrate these key Jill Johnson concepts in both their improvisational work and assigned Credits: 1. W., F., 3-5. compositional exercises. Through coursework, students EXAM GROUP: FAS13_D will deepen their knowledge, understanding and A dance course that explores fundamental skills of appreciation of important rhythms, melodic patterns, and improvisation and composition. Using wide-ranging phrase models, but the fundamental goal is to enable musical styles, experimentation, problem solving, and an them to feel these elements before and apart from their equal curiosity about both success and failure. This interpretation of written music. This attention to course explores the processes of analytical and intuitive improvisation will develop the student’s creative abilities decision making in the dancing body. Students will and introduce them to methods of music composition. learn a series of specific physical tasks, tools, and Exercises that involve the clapping and singing of systems taught through intensive exercises, guided specific rhythmic patterns will help students approach improvisations and rigorous real-time composition. sight-reading in an intuitive and responsive way, because Physical research and written work in the course connect strong ear-training and musicianship skills are a key dance to architecture, the visual arts, mathematics, requirements for successful interpretations of and philosophy, science, theater, and literature in ways which improvisations on the score. By examining instructional link the mind and body to innovation. DVDs, historical and contemporary recordings, scholarly Notes: Minimal dance experience required. 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 109

composers. Students will be expected to contemplate MUSIC 150A. Theory IIa and practice on their instruments the repertoire given to Catalog Number: 114188 them between class meetings. The West African Andrew Friedman Ensemble’s repertoire consists primarily of original Credits: 4. W., 2-4. compositions by Lionel Loueke (Benin), Avishai Cohen EXAM GROUP: FAS14_H (Israel), Dafnis Prieto (Cuba), Edward Simons (Venezuela), Continues the work of Music 51. The fall term focuses on and Yosvany Terry (Cuba). Other composers will be the Classical style (Haydn, Mozart, Beethoven and their explored in accordance with the time limits and the contemporaries). Topics include harmony, phrase direction of each class. structure, and musical forms. Concepts are developed through written & aural analysis, model composition, MUSIC 142R. Foundations of Modern Jazz: keyboard harmony and ear-training exercises. Art Blakey’s Jazz Messengers Prerequisite: Recommended: Music 51 or equivalent. Catalog Number 160642 Yosvany Terry MUSIC 150B. Music Theory IIb Credits: 4. T., 12-2. Catalog Number: 127186 Art Blakey's Jazz Messengers. The Jazz Messengers were Richard Beaudoin more than just a musical group; they were one of the Credits: 4. Tu., 2-4. greatest institutions in modern jazz, paving the way for Explores chromatic harmony in 19th-century instrumental several generations of musicians to develop new and and vocal forms. Concepts are developed through original approaches to composition and improvisation. analysis, model composition, keyboard harmony and ear- This course will introduce students to the Jazz training exercises. Messengers and the concept of hard bop as a necessary Prerequisite: Recommended: Music 150a. evolutionary step after Be-Bop in modern jazz, created by artists searching for new musical expressions. MUSIC 151. Tonal Analysis Students will be made familiar with the Jazz Messengers’ Catalog Number: 119522 repertoire, gaining insight and practical experience by Suzannah Clark first playing and memorizing their songs, and, Credits: 4. Th., 1-3. afterwards, transcribing and studying the recordings of Intensive study of tonal theory and methods of analysis key compositions. Additionally, students will gain through a detailed examination of music from the late proficiency in performing compositions by some of the eighteenth and nineteenth centuries. Students are Messengers’ most prolific alumnae, including pianist introduced to the history of music theory, as well as Horace Silver, saxophonist Wayne Shorter, pianist Cedar numerous modern theoretical and analytical techniques. Walton, saxophonist Benny Golson, and trumpeter Prerequisite: Recommended: Music 51a and 51b. Freddie Hubbard. Finally, students will select, rehearse, and perform some of the class material in an end-of- MUSIC 155. Modal Counterpoint semester concert. 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. 1112

MUSIC 160R. Proseminar Composition MUSIC 173R. Creative Music: Catalog Number: 119811 Critical Practice Studio Richard Beaudoin Catalog Number: 110311 Credits: 4. Tu., 3-5. Vijay Iyer EXAM GROUP: FAS09_B Credits: 4. M., 2-4. Open to students prepared for individual work in This course is an intensive, research-oriented workshop composition. Incorporates readings and final environment for advanced improviser-composers. Open performance of students' work. to both undergraduate and graduate students. Through Prerequisite: Recommended: One course in critical listening, readings, term papers, and collaborative theory/composition or permission of the instructor. musical projects, students will engage with a range of contemporary musical perspectives and practices. MUSIC 161R. Advanced Composition Graduate students are welcome. Catalog Number: 119812 Notes: Between December 22 and January 12, each Josh Levine student should submit a recording, up to fifteen minutes. Credits: 4. Tu., 2-4. Advanced course in musical composition. Focus on the MUSIC 176R. Special Topics: string quartet, including contemporary repertoire survey, Music and Disabilities short exercises, and a final project of modest dimensions Catalog Number: 160644 Consists of a mixture of one-on-one and group Andrew Clark meetings. Credits: 4. W., 12-1:30. Prerequisite: Recommended: One course in Music and Disabilities: Through field work, readings, theory/composition or permission of the instructor. discussions, and presentations, this course will explore topics related to disability in music history, music theory, MUSIC 167. Introduction to and performance studies, and examine recent Electroacoustic Music developments in neuroscience, music therapy, and music Catalog Number: 118185 education. Defining disability as a cultural construction Hans Tutschku rather than as a medical pathology, the course will also Credits: 4. M., 2-4. consider the practice of music as a vehicle of EXAM GROUP: FAS14_F empowerment, reflecting on music’s generative role in Composition and performance with analogue and digital shaping communities and advancing social justice and electronic media. Projects realized using recording gear human rights. Students will design and implement and computers; study of relevant aspects of acoustic and inclusive and democratic community music projects, electronic theory; repertoire since 1948 of musique partnering with local service organizations and concrete, acousmatic, and live-electronic music; educational institutions. synthesis, sampling, digital recording, and live Notes : Students from other departments are welcome. performance techniques. Hands-on work will culminate in a final performance of individual projects. MUSIC 181R. Performance and Prerequisite: Recommended: One course in Interpretation: Renaissance Music theory/composition or permission of instructor. Catalog Number: 108419 Kate van Orden Credits: 4. M., 1-4. EXAM GROUP: FAS08_G In this course, you become an amateur musician in 1314

Renaissance England and learn to play the viola da context. Students will have the option of learning to sing gamba in a consort. Through this combination of or play an Indian instrument. research and hands-on learning, we investigate Notes: Students from other departments are warmly repertory, culture and musical life circa 1600. invited with permission of instructor. Notes May be taken by students from other departments and graduate students with permission of instructor. MUSIC 191R. Concepts of Love and Sin in the Songs and Motets of the Middle Ages MUSIC 189R. Chamber Music Performance Catalog Number: 111726 Catalog Number: 153042 Suzannah Clark Jessica Bodner, Daniel Chong, Kee-Hyun Kim and Ying Credits: 4. Tu., 2-4. Xue EXAM GROUP: FAS03_C Credits: 4. Tu., W., 7-10. Concepts of Love and Sin in the Songs and Motets of the EXAM GROUP: FAS05_B Middle Ages. This course will explore the lyric traditions Through auditions, students will be divided into chamber of the troubadours and trouveres, and their influence on music ensembles by the Parker Quartet and have weekly the development of the ars antiqua motet. We will coachings with members of the Parker Quartet and examine how chivalry, courtly love, lust, and the sacred Heng-Jin Park of the Boston Trio. Students will be adoration of the Virgin Mary are depicted musically expected to rehearse between each coaching and to sometimes in combination in a single work. Our cast of participate in chamber music studio classes throughout characters will include knights, clerics, nuns, monks, the semester, which will be led by the Parker Quartet. students, lords and ladies, and shepherds and Auditions will be held in the first week of the semester, shepherdesses. We will address such questions as: Did either in conjunction with HRO auditions or on a cupid’s arrow make a sound? How did different separate non-HRO audition day. Students interested in expressions of love amongst different social classes enrolling only in Music 189, auditions will be held at generate different musical and poetic genres? Where dates to be announced. might we draw the line between fact and fiction in the Notes : Auditions for Music 189rs are scheduled on tales depicted and does the music provide an answer? Wednesday, September 2 from 2:00 pm - 5:00 pm in What were the prized attributes of men and women in Office A. See Music Department bulletin board for sign- the game of love and how were they expected to sing or up sheet. This course is only offered for play along? No knowledge of medieval French or Latin is Satisfactory/Unsatisfactory grade. The course listed required. above (Music 189r) may be taken for a letter grade. Notes: May be taken by students from other departments with permission of instructor. MUSIC 190R. Performing and Theorizing the Classical South Indian Music Catalog Number: 110638 MUSIC 193RS. Topics in Music from 1800- Richard Wolf Present: Music Since 1945 Credits: 4. F., 3-5. (Section likely M., 3-4.) Catalog Number: 156587 EXAM GROUP: FAS13_F Anne Shreffler Performing and Theorizing the Classical in South Indian Credits: 4. Th., 3-5. Music. Analysis of contemporary South Indian classical A survey of music since the Second World War, including composition and improvisational forms and investigation concert music, jazz, experimental, and traditional, into the notion of the classical in the South Indian focusing mainly on North America and Europe. 1516

MUSIC 194R. Special Topics: Interpretive Understanding or Culture and Belief, but not Music and Violence both. This course fulfills the requirement that one of the Catalog Number: 108983 eight General Education courses also engage Marié Abe substantially with Study of the Past. Credits: 4. W., 3-5. Music can be a form of weapon or torture; a mediating AESTHINT 62. California in the 60's force in a process of conflict resolution; a force complicit Catalog Number: 156264 with violence; storehouse of memory and/or process of Kate van Orden healing for survivors of violence; a mode of resistance Credits: 4. M., W., 12-1. against a violent regime; and a creative process of This course examines American youth culture in the alliance-building, among many others. This seminar "long" 1960s through the lens of music in California. explores the various intersections of music and violence, Both "popular" and "art" music will be considered, considered broadly from mass political conflict to including early minimalism, songs from L.A. and the everyday violence that is structural, symbolic, and Laurel Canyon crowd, and San Francisco psychedelia. In otherwise, and the emerging body of scholarship within addition to understanding musical forms, performance ethnomusicology over the last decade dedicated to the styles, and the effects of technology (radio, recording, subject. At the heart of seminar discussions will be an electric instruments), the class will delve into the politics investigation into the role of expressive culture in of race, gender, resistance, and the draft. reflecting, generating, and sustaining political and other Notes: This course, when taken for a letter grade, meets social movements, and the question of how sound and the General Education requirement for Aesthetic and music enable us to think creatively through the Interpretive Understanding or Culture and Belief, but not relationship between critical attention, compassion, and both. commitment. Notes: Students from other departments are welcome. AFRAMER 182. From R & B to Neo Soul: Black Popular Music and Cultural AESTHINT 24. First Nights: Transformation Five Performance Premieres Catalog Number: 124607 Catalog Number: 110744 Ingrid Monson Thomas Forrest Kelly Credits: 4. T., Th., 11-12. Credits: 4. Tu., Th., 11-12. The course focuses on the history of African American EXAM GROUP: FAS04_A popular music from Ray Charles to P-Funk to Erykah A study of five famous pieces of music, both as timeless Badu with particular emphasis on its long-term impact on works of art and as moments of cultural history. Close American culture. The rise of classic R & B, Soul, attention is given to techniques of musical listening, and Motown, Funk, the Philly Sound and Neo-Soul are to the details of the first performance of each work, with featured. Key artists include Ray Charles, Aretha Franklin, a consideration of the problems involved in assembling the Supremes, Curtis Mayfield, James Brown, Stevie such a picture. Works studied are Beethoven, Symphony Wonder, George Clinton, Michael Jackson, Prince, Jill no. 9; Berlioz, Symphonie fantastique; Stravinsky, Le Scott, Erykah Badu, Usher, Alicia Keys, and D'Angelo. sacre du printemps; Handel, Messiah; Monteverdi, The course is especially concerned with tracing the Orfeo. The course concludes with the first performance interrelationships among music, politics, spirituality, and of a new work especially commissioned for this course. race relations during the Civil Rights and Black Power Notes: This course, when taken for a letter grade, meets years and their legacy for today. During these years the the General Education requirement for Aesthetic and sound of African America indelibly shaped mainstream 1718

American popular culture in far reaching and this seminar aims to offer a wide range of perspectives transformative ways. on the interpretation and performance of Broadway Notes: This course, when taken for a letter grade, meets musicals. the General Education requirement for either Culture Prerequisite: Course open to Freshman Students Only and Belief or Aesthetic and Interpretive Understanding, Notes: Student musicians and actors are welcome in the but not both. course, as are students who love to watch shows but not necessarily perform in them. Ability to read music is FRSEMR 31L. Gregorian Chant desirable but not required. Catalog Number: 159738 Thomas Forrest Kelly FRSEMR 35C. Soundtracking Credits: 4. Th., 3-5:30. Catalog Number: 161177 EXAM GROUP: FAS09_C Christopher Hasty Introduction to medieval chant. Medieval Latin church Credits: 4. Th., 3-5. music, usually called Gregorian Chant, is the oldest This course will offer a critical, close-reading approach surviving repertory of music in western culture, and is still and a creative art-making approach to exploring ways of sung today. We will consider the function of chant in combining sound and moving image. The first few weeks medieval society, and the role of chant in ritual and will involve analysis and discussion of uses of liturgy. Members of the seminar will be expected to sing, music/sound in excerpts from a variety of movies and TV but no previous experience or knowledge of notation is series episodes and mastering skills for working with required. We will examine manuscript in the Houghton ProTools, a digital audio workstation system that can Library. We will study the musical aspects of a few pieces incorporate video. As skills with Pro Tools develop in great detail, and will come to know the great variety emphasis will shift to composition exercises that and artistry of this timeless repertory. experiment with combining sound and image. Since all Prerequisite: Course open to Freshman Students Only students will be given the same assignments we will have the opportunity of testing and discussing various FRSEMR 34V. Broadway Musicals: solutions. The seminar will accept students with and History and Performance without compositional training and the ability to notate Catalog Number: 156241 music. Sound will be composed in various ways, many of Carol Oja which will not involve conventional music notation. All Credits: 4. T., 1-3. students will learn to use high quality field recorders to EXAM GROUP: FAS15_D gather sound materials that can then be sculpted with This seminar will explore a core group of Broadway Pro Tools. The final project will be the production of a musicals. Historical, musical, and theatrical discussions sound track to an assigned short film (5-10 minutes) and will be paired with student performances and staging of a public screening. individual scenes (done under the guidance of Allegra Course Notes: The ability to read musical notation is not Libonati from the A.R.T. Institute). The seminar will touch a pre-requisite. 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, HUMAN 11B. Frameworks: The Art of Listening 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& 51a& & 51b& & & Music&Theory& & & & & & Western/World&Music& 97a& & 97b& & 97c& & History&and&Repertory& & & & & & & & & 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& not&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&10hfr0 16hfr&(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

Professor Suzannah Clark Professor Hans Tutschku Director of Undergraduate Studies Assistant Director of Undergraduate Studies [email protected] [email protected] Office: Music Building G6 Office: Music Building G3& &

Mary MacKinnon Undergraduate Coordinator 617-384-9507 [email protected] Office: Music Building 101S Hours: M/T/Th/F 9:00am – 5:00pm

Phone: 617-495-2791 Email: [email protected] 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.