2015-2016 Undergraduate Course Catalog - Harvard University Undergraduate Course Catalog . Fall 2015 Music Theory * 51a Theory Ia AI ... Schumann, and Schoenberg. Class will explore

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2015-2016 Undergraduate Course Catalog

Fall 2015 Music Theory

* 51a Theory Ia AI

142r Foundations of Modern Jazz: West African Musical Traditions

150a Theory IIa

155 Modal Counterpoint

Musicology and Ethnomusicology

* 97b Music History & Repertory: Classical to Contemporary

190r Performing and Theorizing the Classical in South Indian Music AI/CB

191r Concepts of Love and Sin in the Songs and Motets of the Middle Ages

Composition

4 Introduction to Composition

160r Proseminar in Composition

167 Introduction to Electronic Music

Conducting

127r Advanced Conducting and Orchestral Repertory Analysis

Performance Practice

105r Fundaments of Improvisation & Composition, Dance

181r Performance and Culture: Renaissance Music

Freshman Seminars, General Education, and Cross-Listed Courses FRS31 Chant

FRS34v Broadway Musicals: History and Performance

AI24 First Nights AI/CB

FWK11B The Art of Listening AI

Ensembles 189r Chamber Music Performance

# 10A Harvard Radcliffe Orchestra

# 12A Harvard Dance Project

# 14A Harvard-Radcliffe Collegium Musicum

# 15A Harvard Glee Club

# 16A Radcliffe Choral Society

* Denotes courses that are requirements for a Full Concentration. Italics denote courses that do not count towards a Full or Joint Concentration, but may count towards a Secondary. # Denotes courses offered as one half-course over the span of a year. They may be taken repeatedly, but to receive credit the course must be taken in the Fall and Spring terms consecutively. A maximum of four semesters (two years) may be counted as degree credit.&

Spring 2016 Music Theory

2 Foundations of Tonal Music I AI

* 51b Theory Ib AI

142r Foundations of Modern Jazz: Art Blakey’s Jazz Messengers

150b Theory IIb

151 Tonal Analysis

Musicology and Ethnomusicology

1 1000 Years of Listening AI

* 97c Music History & Repertory: Music in Cross-Cultural Perspective

176r Special Topics: Music and Disabilities

193rs Music Since 1945

194r Music and Violence

Composition

161r Advanced Composition

167 Introduction to Electronic Music

Performance Practice

173r Creative Music: Critical Practical Studio

Freshman Seminars, General Education, and Cross-Listed Courses FR35C Soundtracking

AI62 California in the ‘60s AI/CB

AAAS 182

From R & B to Neo Soul AI/CB

Ensembles 189r Chamber Music Performance

# 10B Harvard Radcliffe Orchestra

# 12B Harvard Dance Project

# 14B Harvard-Radcliffe Collegium Musicum

# 15B Harvard Glee Club

# 16B Radcliffe Choral Society &

* Denotes courses that are requirements for a Full Concentration. Italics denote courses that do not count towards a Full or Joint Concentration, but may count towards a Secondary # Denotes courses offered as one half-course over the span of a year. They may be taken repeatedly, but to receive credit the course must be taken in the Fall and Spring terms consecutively. A maximum of four semesters (two years) may be counted as degree credit.&

Supervised Reading & Research (91r)

This course consists of individual work with a faculty member of the student’s choice. The elective may count for concentration credit with advance department approval. Contact the Undergraduate Coordinator for more information.

Senior Tutorial (99r)

Two terms of Senior Tutorial through the department of primary concentration are required for all Honors degree candidates.

&

Graduate Level Courses

Enrollment strictly by permission of the instructor. These courses may count for concentration credit with advance department approval. Course descriptions can be found online.

Course Descriptions

1

MUSIC 1. 1000 Years of L istening

Catalog Number: 156060

Emily Dolan

Credits: 4. M., W., 1-2.

This course aims to introduce you to a variety of music,

and a range of ways of thinking, talking and writing

about music. The majority of music dealt with will be

drawn from the so-called "Classical" repertory, from the

medieval period to the present day, including

Monteverdi, Bach, Handel, Mozart, Beethoven,

Schumann, and Schoenberg. Class will explore the

technical workings of music and together we will build a

vocabulary for analyzing music and articulating a

response to it; we will explore music as a cultural

phenomenon. By the end of class, students will be

equipped to embark on a lifetime of informed listening.

Notes: May not be taken for concentration credit. This

course, when taken for a letter grade, meets the General

Education requirement for Aesthetic and Interpretive

Understanding. This course fulfills the requirement that

one of the eight General Education courses also engage

substantially with Study of the Past.

MUSIC 2. Foundations of Tonal Music I


Osnat Netzer

Credits: 4. M., W., F., 11-12.

Seeks to develop a greater understanding of music,

musical analysis, and critical listening. We will study

some of the organizing principles of musical works (from

a range of styles) by means of composition projects,

score analysis, and aural skills. While reading knowledge

of simple musical notation is helpful, there will be at least

one section for students with no previous experience.

Notes: Open to all students. May not be counted for

concentration credit. This course, when taken for a letter

grade, meets the General Education requirement for

Aesthetic and Interpretive Understanding.

2

MUSIC 4. Introduction to Composit ion


Osnat Netzer

Credits: 4. Th., 3–5.

EXAM GROUP: FAS09_C

Open to students with little or no prior experience in

composition. Explores ways of thinking about and

organizing basic compositional elements such as melody,

harmony, rhythm and instrumental color, as well as

developing skills of score preparation and analytical

listening. The primary focus of the course is a series of

short compositional exercises, culminating in a

somewhat longer final project. Workshop performances

of students' music take place throughout the term.

Prerequisite: Recommended: Some prior experience in

music theory or permission of the instructor.

Notes: May not be counted for concentration credit.

MUSIC 10hfr. Harvard-Radcli ffe Orchestra

Catalog Number: 110112/160694

Federico Cortese

Credits: 4. M., Th., 7–9:30 p.m.

EXAM GROUP: FAS06_D

This is an experiential learning course. The ensemble

gives several concerts each year, sometimes joining with

the chorus to perform large-scale works. Students are

required to attend all rehearsals and certain special

Saturday "retreats" announced in advance. Students are

expected to practice the music outside the rehearsal

time. Grades are based on attendance and

participation.

Note: Enrollment: By audition prior to first class meeting

of the year. Two contrasting movements or pieces

chosen by candidate. The course is graded SAT/UNSAT

based on attendance and participation. This course may

be taken repeatedly, but to receive credit the course

must be taken in the Fall and Spring semesters

consecutively. A maximum of four semesters (two years)

may be counted as credit towards the degree.

3

MUSIC 12hfr. The Harvard Dance Project


Enrollment: Students chosen by workshop audition held

at the start of the fall semester.

Jill Johnson

Credits: 4. Tu., Th., 3–6.

EXAM GROUP: FAS09_A

The Harvard Dance Project cultivates invention and

fosters the courage of artistry. This faculty-led,

performance company gives students the opportunity to

be original cast members and collaborators in two or

more diverse dance works created by preeminent

professional choreographers. The project focuses on

performance research, collaboration, choreographic

composition, and links choreographic thinking to other

fields. It is a studio-based course which includes at least

12 performances at major venues on campus. Fall 2015

includes works by: Merce Cunningham, Anne Teresa

DeKeersmaeker, Jill Johnson; performances at the ICA,

Carpenter Center & Dance Center. Enrollment

determined by audition during the first week of class.

Dance experience required. Full-year course (runs fall to

spring); students must complete both parts of this course

(parts A and B) within the same academic year in order to

receive credit.

Notes: The course is graded SAT/UNSAT based on

attendance and participation. This course may be taken

repeatedly, but to receive credit the course must be

taken in the Fall and Spring semesters consecutively. A

maximum of four semesters (two years) may be counted

as credit towards the degree.

MUSIC 14hfr. Harvard-Radcli ffe Collegium

Musicum


Enrollment: By audition prior to first class meeting.

Andrew Gregory Clark

Credits: 4. Fall: Tu., W., 4:15–6:30.

EXAM GROUP: FAS05_B

Harvard's nationally acclaimed mixed choir, the

Collegium performs a dynamic and innovative repertoire

from classical masterpieces to new compositions by

4

renowned composers as well as HRCM members.

Through collaborative endeavors, tours, and community

engagement, the ensemble fosters a passionate

community of student musicians. The Collegium

frequently combines with the Glee Club and Choral

Society, as well as the Harvard-Radcliffe Orchestra, to

perform large-scale works. Students must complete both

parts of this course (parts A and B) within the same

academic year in order to receive credit.

Notes: Audition required. The course is graded

SAT/UNSAT based on attendance and participation. This

course may be taken repeatedly, but to receive credit

the course must be taken in the Fall and Spring

semesters consecutively. A maximum of four semesters

(two years) may be counted as credit towards the

degree.

MUSIC 15hfr. Harvard Glee Club



Andrew Gregory Clark

Credits: 4. M., W., 4:15–6:30. EXAM GROUP: FAS06_C

As the nation's oldest collegiate chorus, the Glee Club is

a tenor and bass ensemble exploring music written in the

male chorus tradition. The Glee Club performs

throughout the year, collaborating with arts groups on

campus and at other universities, and across the world

on annual tours. Through excellence in performance,

student-management, education, community, tradition,

and philanthropy, the Glee Club offers a unique musical

experience for all members. The Glee Club frequently

combines with the Collegium and the Choral Society, as

well as the Harvard-Radcliffe Orchestra, to perform large-

scale works. Students must complete both parts of this

course (parts A and B) within the same academic year in

order to receive credit.







degree.

5

MUSIC 16hfr. Radcl i ffe Choral Society



Andrew Gregory Clark and Margaret Weckworth

Credits: 4. M., 7-9:30 p.m., W., 4:15-6:40.

EXAM GROUP: FAS06_E

The Radcliffe Choral Society is dedicated to the

celebration and performance of women’s choral music.

Founded in 1899, RCS is Harvard's oldest women's

organization and one of the country’s premier women's

choruses. The Choral Society sings a wide variety of

repertoire including Medieval chant, Renaissance

polyphony, Romantic masterworks, international folk

songs, and contemporary women’s choral music. RCS

tours annually. The Choral Society frequently combines

with the Collegium and the Glee Club, as well as the

Harvard-Radcliffe Orchestra, to perform large-scale

works. Students must complete both parts of this course

(parts A and B) within the same academic year in order to

receive credit.







degree.

MUSIC 51a. Theory Ia


Richard Beaudoin

Credits: 4. W., 2–4.

EXAM GROUP: FAS14_H

Course unfolds the foundations of tonal music, including

line, harmony, counterpoint, rhythm, timbre, and form.

Includes regular practical exercises in model

composition, analysis, ear-training, keyboard skills, and

musicianship.

Prerequisite: Recommended: Basic theory and ear

training skills. Basic keyboard skills are useful.

Notes: For this course a placement exam is required,

which is offered the week before classes begin. Please

6

see the Canvas course website for M51a for more

information. Music 51a or its equivalent is required of all

concentrators. Students planning to concentrate in Music

are encouraged to take the course in their freshman year.

Concentrators should plan to meet this requirement by

no later than the end of the sophomore year. This



Understanding.

MUSIC 51b. Theory Ib


Richard Beaudoin

Credits: 4. W., 2–4.

Continuation of the principles in Music 51a. Course

engages advanced topics in harmony, counterpoint,

rhythm, timbre and form. Includes regular practical

exercises in model composition, analysis, ear-training,

keyboard skills and musicianship.

Prerequisite: Recommended: Music 51a.

Notes: Music 51b or its equivalent is required of all

concentrators. Students planning to concentrate in Music

are encouraged to take the course in their freshman year.

Concentrators should plan to meet this requirement by

no later than the end of the sophomore year. This



Understanding.

MUSIC 97B. Music History & Repertory:

Classical to Contemporary


Anne C. Shreffler

Credits: 4. M., W., F., 10-11.

EXAM GROUP: FAS12_A

A survey of Western classical music from the 18th to the

21st centuries, continuing from Music 97a. The course

emphasizes listening, analysis, and historical context.

Two semesters of Music 97 are required of all

concentrators, preferably taken in the sophomore year,

or earlier by permission.

Notes: Music 97 is required of all concentrators,

preferably taken in the sophomore year, or earlier by

7

permission. Each third of the course culminates in an

examination testing students' knowledge of a large

listening repertory. These examinations must be passed

in order to receive credit for the course.

Prerequisite: Recommended: Music 51 may be taken

concurrently.

MUSIC 97C. Music History & Repertory:

Music in Cross-Cultural Perspective


Richard Wolf

Credits: 4. M., W., F., 10-12.

An introduction to selected world music repertories, as

well as research methods and interpretive issues in the

field of ethnomusicology.

Notes: Music 97 is required of all concentrators,

preferably taken in the sophomore year, or earlier by

permission. There are no pre-requisites. Students from

other departments are warmly invited.

MUSIC 105R. Fundaments of Improvisation

& Composit ion, Dance


Jill Johnson

Credits: 1. W., F., 3-5.

EXAM GROUP: FAS13_D

A dance course that explores fundamental skills of

improvisation and composition. Using wide-ranging

musical styles, experimentation, problem solving, and an

equal curiosity about both success and failure. This

course explores the processes of analytical and intuitive

decision making in the dancing body. Students will learn a series of specific physical tasks, tools, and

systems taught through intensive exercises, guided

improvisations and rigorous real-time composition.

Physical research and written work in the course connect

dance to architecture, the visual arts, mathematics,

philosophy, science, theater, and literature in ways which

link the mind and body to innovation.

Notes: Minimal dance experience required.

8

MUSIC 127R. Advanced Conducting and

Orchestral Repertory Analys is


Federico Cortese

Credits: 4. Th., 1-4.

EXAM GROUP: FAS15_E

The focus of this conducting course will be determined

at the beginning of the class.

Notes: Auditions at first class meeting. First movement

of Brahms (introduction and beginning of exposition) At

the first class meeting appropriate skills levels will be

evaluated.

MUSIC 142R. Foundations of Modern Jazz:

West African Musical Tradit ions


Yosvany Terry

Credits: 4. Tu., 2-4.

EXAM GROUP: FAS03_C

This course is designed to familiarize students with the

key structural elements in West African music and how to

recognize them in modern jazz. Students will be given

tools that will allow them to demonstrate these key

concepts in both their improvisational work and assigned

compositional exercises. Through coursework, students

will deepen their knowledge, understanding and

appreciation of important rhythms, melodic patterns, and

phrase models, but the fundamental goal is to enable

them to feel these elements before and apart from their

interpretation of written music. This attention to

improvisation will develop the student’s creative abilities

and introduce them to methods of music composition.

Exercises that involve the clapping and singing of

specific rhythmic patterns will help students approach

sight-reading in an intuitive and responsive way, because

strong ear-training and musicianship skills are a key

requirements for successful interpretations of and

improvisations on the score. By examining instructional

DVDs, historical and contemporary recordings, scholarly

books and articles, and through the analysis and

discussion of class material, the class will collectively

develop a more thorough understanding of the

principles guiding modern jazz musicians and

9

composers. Students will be expected to contemplate

and practice on their instruments the repertoire given to

them between class meetings. The West African

Ensemble’s repertoire consists primarily of original

compositions by Lionel Loueke (Benin), Avishai Cohen

(Israel), Dafnis Prieto (Cuba), Edward Simons (Venezuela),

and Yosvany Terry (Cuba). Other composers will be

explored in accordance with the time limits and the

direction of each class.

MUSIC 142R. Foundations of Modern Jazz:

Art Blakey’s Jazz Messengers

Catalog Number 160642

Yosvany Terry

Credits: 4. T., 12-2.

Art Blakey's Jazz Messengers. The Jazz Messengers were

more than just a musical group; they were one of the

greatest institutions in modern jazz, paving the way for

several generations of musicians to develop new and

original approaches to composition and improvisation.

This course will introduce students to the Jazz

Messengers and the concept of hard bop as a necessary

evolutionary step after Be-Bop in modern jazz, created

by artists searching for new musical expressions.

Students will be made familiar with the Jazz Messengers’

repertoire, gaining insight and practical experience by

first playing and memorizing their songs, and,

afterwards, transcribing and studying the recordings of

key compositions. Additionally, students will gain

proficiency in performing compositions by some of the

Messengers’ most prolific alumnae, including pianist

Horace Silver, saxophonist Wayne Shorter, pianist Cedar

Walton, saxophonist Benny Golson, and trumpeter

Freddie Hubbard. Finally, students will select, rehearse,

and perform some of the class material in an end-of-

semester concert.

10

MUSIC 150A. Theory I Ia


Andrew Friedman

Credits: 4. W., 2-4.

EXAM GROUP: FAS14_H

Continues the work of Music 51. The fall term focuses on

the Classical style (Haydn, Mozart, Beethoven and their

contemporaries). Topics include harmony, phrase

structure, and musical forms. Concepts are developed

through written & aural analysis, model composition,

keyboard harmony and ear-training exercises.

Prerequisite: Recommended: Music 51 or equivalent.

MUSIC 150B. Music Theory I Ib


Richard Beaudoin


Explores chromatic harmony in 19th-century instrumental

and vocal forms. Concepts are developed through

analysis, model composition, keyboard harmony and ear-

training exercises.

Prerequisite: Recommended: Music 150a.

MUSIC 151. Tonal Analysis


Suzannah Clark


Intensive study of tonal theory and methods of analysis

through a detailed examination of music from the late

eighteenth and nineteenth centuries. Students are

introduced to the history of music theory, as well as

numerous modern theoretical and analytical techniques.

Prerequisite: Recommended: Music 51a and 51b.

MUSIC 155. Modal Counterpoint


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.

11

MUSIC 160R. Proseminar Composit ion


Richard Beaudoin


EXAM GROUP: FAS09_B

Open to students prepared for individual work in

composition. Incorporates readings and final

performance of students' work.

Prerequisite: Recommended: One course in

theory/composition or permission of the instructor.

MUSIC 161R. Advanced Composit ion


Josh Levine


Advanced course in musical composition. Focus on the

string quartet, including contemporary repertoire survey,

short exercises, and a final project of modest dimensions

Consists of a mixture of one-on-one and group

meetings.


theory/composition or permission of the instructor.

MUSIC 167. Introduction to

Electroacoustic Music


Hans Tutschku

Credits: 4. M., 2-4.

EXAM GROUP: FAS14_F

Composition and performance with analogue and digital

electronic media. Projects realized using recording gear

and computers; study of relevant aspects of acoustic and

electronic theory; repertoire since 1948 of musique

concrete, acousmatic, and live-electronic music;

synthesis, sampling, digital recording, and live

performance techniques. Hands-on work will culminate in

a final performance of individual projects.


theory/composition or permission of instructor.

12

MUSIC 173R. Creative Music:

Crit ical Practice Studio


Vijay Iyer


This course is an intensive, research-oriented workshop

environment for advanced improviser-composers. Open

to both undergraduate and graduate students. Through

critical listening, readings, term papers, and collaborative

musical projects, students will engage with a range of

contemporary musical perspectives and practices.

Graduate students are welcome.

Notes: Between December 22 and January 12, each

student should submit a recording, up to fifteen minutes.

MUSIC 176R. Special Topics :

Music and Disabili t ies


Andrew Clark

Credits: 4. W., 12-1:30.

Music and Disabilities: Through field work, readings,

discussions, and presentations, this course will explore

topics related to disability in music history, music theory,

and performance studies, and examine recent

developments in neuroscience, music therapy, and music

education. Defining disability as a cultural construction

rather than as a medical pathology, the course will also

consider the practice of music as a vehicle of

empowerment, reflecting on music’s generative role in

shaping communities and advancing social justice and

human rights. Students will design and implement

inclusive and democratic community music projects,

partnering with local service organizations and

educational institutions.

Notes : Students from other departments are welcome.

MUSIC 181R. Performance and

Interpretation: Renaissance Music


Kate van Orden


EXAM GROUP: FAS08_G

In this course, you become an amateur musician in

13

Renaissance England and learn to play the viola da

gamba in a consort. Through this combination of

research and hands-on learning, we investigate

repertory, culture and musical life circa 1600.

Notes

May be taken by students from other departments and

graduate students with permission of instructor.

MUSIC 189R. Chamber Music Performance


Jessica Bodner, Daniel Chong, Kee-Hyun Kim and Ying

Xue

Credits: 4. Tu., W., 7-10.

EXAM GROUP: FAS05_B

Through auditions, students will be divided into chamber

music ensembles by the Parker Quartet and have weekly

coachings with members of the Parker Quartet and

Heng-Jin Park of the Boston Trio. Students will be

expected to rehearse between each coaching and to

participate in chamber music studio classes throughout

the semester, which will be led by the Parker Quartet.

Auditions will be held in the first week of the semester,

either in conjunction with HRO auditions or on a

separate non-HRO audition day. Students interested in

enrolling only in Music 189, auditions will be held at

dates to be announced.

Notes : Auditions for Music 189rs are scheduled on

Wednesday, September 2 from 2:00 pm - 5:00 pm in

Office A. See Music Department bulletin board for sign-

up sheet. This course is only offered for

Satisfactory/Unsatisfactory grade. The course listed

above (Music 189r) may be taken for a letter grade.

MUSIC 190R. Performing and Theoriz ing the

Classical South Indian Music


Richard Wolf

Credits: 4. F., 3-5. (Section likely M., 3-4.)

EXAM GROUP: FAS13_F

Performing and Theorizing the Classical in South Indian

Music. Analysis of contemporary South Indian classical

composition and improvisational forms and investigation

into the notion of the classical in the South Indian

14

context. Students will have the option of learning to sing

or play an Indian instrument.

Notes: Students from other departments are warmly

invited with permission of instructor.

MUSIC 191R. Concepts of Love and S in in

the Songs and Motets of the Middle Ages


Suzannah Clark


EXAM GROUP: FAS03_C

Concepts of Love and Sin in the Songs and Motets of the

Middle Ages. This course will explore the lyric traditions

of the troubadours and trouveres, and their influence on

the development of the ars antiqua motet. We will

examine how chivalry, courtly love, lust, and the sacred

adoration of the Virgin Mary are depicted musically

sometimes in combination in a single work. Our cast of

characters will include knights, clerics, nuns, monks,

students, lords and ladies, and shepherds and

shepherdesses. We will address such questions as: Did

cupid’s arrow make a sound? How did different

expressions of love amongst different social classes

generate different musical and poetic genres? Where

might we draw the line between fact and fiction in the

tales depicted and does the music provide an answer?

What were the prized attributes of men and women in

the game of love and how were they expected to sing or

play along? No knowledge of medieval French or Latin is

required.

Notes: May be taken by students from other

departments with permission of instructor.

MUSIC 193RS. Topics in Music f rom 1800-

Present: Music Since 1945


Anne Shreffler


A survey of music since the Second World War, including

concert music, jazz, experimental, and traditional,

focusing mainly on North America and Europe.

15

MUSIC 194R. Special Topics :

Music and Violence


Marié Abe

Credits: 4. W., 3-5.

Music can be a form of weapon or torture; a mediating

force in a process of conflict resolution; a force complicit

with violence; storehouse of memory and/or process of

healing for survivors of violence; a mode of resistance

against a violent regime; and a creative process of

alliance-building, among many others. This seminar

explores the various intersections of music and violence,

considered broadly from mass political conflict to

everyday violence that is structural, symbolic, and

otherwise, and the emerging body of scholarship within

ethnomusicology over the last decade dedicated to the

subject. At the heart of seminar discussions will be an

investigation into the role of expressive culture in

reflecting, generating, and sustaining political and other

social movements, and the question of how sound and

music enable us to think creatively through the

relationship between critical attention, compassion, and

commitment.

Notes: Students from other departments are welcome.

AESTHINT 24. First Nights:

Five Performance Premieres


Thomas Forrest Kelly

Credits: 4. Tu., Th., 11-12.

EXAM GROUP: FAS04_A

A study of five famous pieces of music, both as timeless

works of art and as moments of cultural history. Close

attention is given to techniques of musical listening, and

to the details of the first performance of each work, with

a consideration of the problems involved in assembling

such a picture. Works studied are Beethoven, Symphony

no. 9; Berlioz, Symphonie fantastique; Stravinsky, Le

sacre du printemps; Handel, Messiah; Monteverdi,

Orfeo. The course concludes with the first performance

of a new work especially commissioned for this course.

Notes: This course, when taken for a letter grade, meets

the General Education requirement for Aesthetic and

16

Interpretive Understanding or Culture and Belief, but not

both. This course fulfills the requirement that one of the

eight General Education courses also engage

substantially with Study of the Past.

AESTHINT 62. Cal ifornia in the 60's


Kate van Orden

Credits: 4. M., W., 12-1.

This course examines American youth culture in the

"long" 1960s through the lens of music in California.

Both "popular" and "art" music will be considered,

including early minimalism, songs from L.A. and the

Laurel Canyon crowd, and San Francisco psychedelia. In

addition to understanding musical forms, performance

styles, and the effects of technology (radio, recording,

electric instruments), the class will delve into the politics

of race, gender, resistance, and the draft.


the General Education requirement for Aesthetic and

Interpretive Understanding or Culture and Belief, but not

both.

AFRAMER 182. From R & B to Neo Soul:

Black Popular Music and Cultural

Transformation


Ingrid Monson

Credits: 4. T., Th., 11-12.

The course focuses on the history of African American

popular music from Ray Charles to P-Funk to Erykah

Badu with particular emphasis on its long-term impact on

American culture. The rise of classic R & B, Soul,

Motown, Funk, the Philly Sound and Neo-Soul are

featured. Key artists include Ray Charles, Aretha Franklin,

the Supremes, Curtis Mayfield, James Brown, Stevie

Wonder, George Clinton, Michael Jackson, Prince, Jill

Scott, Erykah Badu, Usher, Alicia Keys, and D'Angelo.

The course is especially concerned with tracing the

interrelationships among music, politics, spirituality, and

race relations during the Civil Rights and Black Power

years and their legacy for today. During these years the

sound of African America indelibly shaped mainstream

17

American popular culture in far reaching and

transformative ways.


the General Education requirement for either Culture

and Belief or Aesthetic and Interpretive Understanding,

but not both.

FRSEMR 31L. Gregorian Chant


Thomas Forrest Kelly

Credits: 4. Th., 3-5:30.

EXAM GROUP: FAS09_C

Introduction to medieval chant. Medieval Latin church

music, usually called Gregorian Chant, is the oldest

surviving repertory of music in western culture, and is still

sung today. We will consider the function of chant in

medieval society, and the role of chant in ritual and

liturgy. Members of the seminar will be expected to sing,

but no previous experience or knowledge of notation is

required. We will examine manuscript in the Houghton

Library. We will study the musical aspects of a few pieces

in great detail, and will come to know the great variety

and artistry of this timeless repertory.

Prerequisite: Course open to Freshman Students Only

FRSEMR 34V. Broadway Musicals :

History and Performance


Carol Oja

Credits: 4. T., 1-3.

EXAM GROUP: FAS15_D

This seminar will explore a core group of Broadway

musicals. Historical, musical, and theatrical discussions

will be paired with student performances and staging of

individual scenes (done under the guidance of Allegra

Libonati from the A.R.T. Institute). The seminar will touch

on signal moments over the course of the Golden Age of

the musical, stretching up to the present day: Oklahoma!

(1943), South Pacific (1949), West Side Story (1957), A

Chorus Line (1975), Wicked (2003), and In the Heights

(2008). The class will attend a performance of Stephen

Sondheim’s A Little Night Music at Boston's Huntington

Theatre. Blending historical study and hands-on practice,

18

this seminar aims to offer a wide range of perspectives

on the interpretation and performance of Broadway

musicals.

Prerequisite: Course open to Freshman Students Only

Notes: Student musicians and actors are welcome in the

course, as are students who love to watch shows but not

necessarily perform in them. Ability to read music is

desirable but not required.

FRSEMR 35C. Soundtracking


Christopher Hasty


This course will offer a critical, close-reading approach

and a creative art-making approach to exploring ways of

combining sound and moving image. The first few weeks

will involve analysis and discussion of uses of

music/sound in excerpts from a variety of movies and TV

series episodes and mastering skills for working with

ProTools, a digital audio workstation system that can

incorporate video. As skills with Pro Tools develop

emphasis will shift to composition exercises that

experiment with combining sound and image. Since all

students will be given the same assignments we will have

the opportunity of testing and discussing various

solutions. The seminar will accept students with and

without compositional training and the ability to notate

music. Sound will be composed in various ways, many of

which will not involve conventional music notation. All

students will learn to use high quality field recorders to

gather sound materials that can then be sculpted with

Pro Tools. The final project will be the production of a

sound track to an assigned short film (5-10 minutes) and

a public screening.

Course Notes: The ability to read musical notation is not

a pre-requisite. &

&

HUMAN 11B. Frameworks:

The Art of L istening


Alexander Rehding

Credits: 4. W., 11-12.

EXAM GROUP: FAS07_F

Our world is steeped in sound, but we must learn to pay

attention to listening. Sounds produce emotions, mark

out spaces, call up memories; silence can be deafening;

voice is a marker of identity. This course will sharpen our

ears. We explore the sonic world through diverse

readings and creative projects with sound. Discussions

and assignments will open our minds (and ears) to

listening practices, what the arts teach us about listening,

and how we describe our experiences as listeners. We

examine the relationships between sound and time,

community, responsibility and attentiveness, and explore

the soundscape in which we live.

Notes: Though the University will be on a "Monday"

schedule, this course will still have its first lecture on

Wednesday, September 2. This course, when taken for a

letter grade, meets the General Education requirement

for Aesthetic and Interpretive Understanding.

Music&Concentration&Worksheet&Basic&and&Honors&Track&

&Name:&_______________________________________&&&&email:&_________________________&&Basic&Track&(13&half0courses)&&Music&Theory&

• Music&51a&and&51b.&• Any&two&courses&chosen&from&Music&142,&and/or&Music&150A159.&

Musicology&and&Ethnomusicology&• Western/World&Music&History&and&Repertory:&Music&97a,&97b,&and&97c.&• Any&two&courses&chosen&from&Music&190r,&191r,&192r&(or&182r),&193r&(or&183r),&or&194r.&

Electives:&Any&four&from&the&following:&• Composition:&Music&160r&through&Music&167r.&• PerformanceAoriented:&Music&173r,&175r,&180r,&181r,&185r,&or&186r.&• Conducting&or&orchestration:&Music&121a&through&Music&128r.&• Further&courses&in&Theory&and&Musicology&and&Ethnomusicology,&including&176r.&

• Supervised&Reading&and&Research:&Music&91r&(concentration&credit&requires&advance&petition).&

&Honors&Track&(15&half0courses)&

All&the&Basic&requirements&listed&above,&with&the&addition&of&two&half&courses&of&senior&tutorial&(99r)&and&the&completion&of&a&thesis.&More&information&is&available&in&the&Undergraduate&Handbook&(http://bit.ly/1Ey92KY)&and&on&the&Department&website.&&&

& Course& Term& Course& Term& Course& Term&

Music&Theory& 51a& & 51b& & && & & & &

Western/World&Music&History&and&Repertory&

97a& & 97b& & 97c& && & & &

Electives& & & & && & & &

Senior&Tutorial&and&Thesis& 99r& & 99r& &***Note:&This&worksheet&was&created&using&information&in&the&Undergraduate&Handbook&for&and&should&be&

used&for&planning&purposes&only.***&&&&&&revised&10/15&

&

Music&Concentration&Worksheet&Joint&Track&

&Name:&_______________________________________&&&&email:&_________________________&&Joint&Track&(8&half0courses)&&Music&Theory&

• Music&51a&and&51b.&Musicology&and&Ethnomusicology&

• Western/World&Music&History&and&Repertory:&any&two&semesters&of&Music&97&(a,&b,&and/or&c).&

Electives:&Any&four&from&the&following:&• Further&Music&Theory:&Music&142,&and/or&150&–&159.&• Further&Musicology&and&Ethnomusicology:&Music&176r,&190r,&191r,&192r&(or&182r),&193r&(or&183r),&or&194r,&or&the&remaining&semester&of&Music&97.&

• Composition:&Music&160r&through&Music&167r.&• PerformanceAoriented:&Music&173r,&175r,&180r,&181r,&185r,&or&186r.&• Conducting&or&orchestration:&Music&121a&through&Music&128r.&• Supervised&Reading&and&Research:&Music&91r&(concentration&credit&requires&advance&petition).&

&Senior&Tutorial:&two&terms&of&99r,&enrolled&in&the&primary&department.&Does&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&noted&below:&

• No&more&than&one&half0course&may&be&selected&from&Music&1,&Music&2,&Music&3,&Music&4,&Music&6,&Gen&Ed&Courses,&or&Freshman&Seminars.&

• No&more&than&one&half0course&may&be&selected&from&the&Music&120&series&(conducting),&Music&175,&or&the&Music&180&series&(performance&and&analysis).&

• No&more&than&one&half0course&may&be&selected&from&Music&10hfr016hfr&(which&may&be&graded&SAT/UNSAT).&

• Courses&counting&for&secondary&field&credit&may&not&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&not&specific&requirements&of&the&secondary&field.&Occasionally,&with&the&permission&of&the&instructor,&secondary&field&students&may&take&upper0level&courses&without&having&taken&certain&prerequisites.&

Courses&taken&abroad&or&in&the&summer&school&can&be&counted&in&the&secondary&field&only&with&the&permission&of&the&department,&normally&granted&only&after&the&course&has&been&completed.&

&Course&Name& Course&#& Term&

& & && & && & && & && & &***Note:&This&worksheet&was&created&using&information&in&the&Undergraduate&Handbook&for&and&

should&be&used&for&planning&purposes&only.***&&&&&&revised&4/15&

&For More Information, Contact Us

Mary MacKinnon Undergraduate Coordinator

617-384-9507 [email protected] Office: Music Building 101S

Hours: M/T/Th/F 9:00am – 5:00pm

Professor Hans Tutschku Assistant Director of Undergraduate Studies

[email protected] Office: Music Building G3&

Professor Suzannah Clark Director of Undergraduate Studies

[email protected] Office: Music Building G6

&

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.

Documents

2015-2016 Undergraduate Course Catalog - Harvard University Undergraduate Course Catalog . Fall 2015 Music Theory * 51a Theory Ia AI ... Schumann, and Schoenberg. Class will explore