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Prof. Tom Kelly interviews Elson Lecturer James Levine. |
Profs. Shreffler, Monson, Oja, and Shelemay with graduate student Ryan Banagale at a presentation on faculty/student collaboration. |
Prof. Wolff conducts an orchestra composed of students and staff to illustrate Bach's composing process. |
Prof. Robert Levin at work. |
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| Anne Shreffler Chair 2008-2011 |
James Edward Ditson Professor of Music |
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James Edward Ditson Professor of Music, Emeritus |
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| Suzannah Clark | Gardner Cowles Associate Professor of Music |
| Federico Cortese | Senior Lecturer on Music |
| Chaya Czernowin | Walter Bigelow Rosen Professor of Music |
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Fanny P. Mason Professor of Music, Emeritus |
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Associate Professor of Music |
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Walter W. Naumburg Professor of Music |
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Fanny B. Mason Professor of Music, Emeritus |
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Morton B. Knafel Professor of Music |
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Walter Bigelow Rosen Professor of Music, Emeritus |
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Dwight P. Robinson, Jr. Professor of Music |
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Fanny Peabody Research Professor of Music |
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Senior Lecturer on Music, Director of Choral Activities |
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| Ingrid Monson | Quincy Jones Professor of African American Music, supported by the Time Warner Endowment |
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William Powell Mason Professor of Music |
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Professor of East Asian Languages and Civilizations and of Music, Emerita |
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| Olaf Post | Preceptor in Music |
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Walter Bigelow Rosen Research Professor of Music, Emeritus |
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Fanny Peabody Professor of Music |
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| Sindhumathi Revuluri | Assistant Professor of Music |
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G. Gordon Watts Professor of Music and Professor of African and African American Studies |
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Preceptor in Music |
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| John Stewart | Emeritus |
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Fanny P. Mason Professor of Music and Director of HUSEAC |
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William Powell Mason Professor of Music, Emeritus |
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Professor of Music |
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Adams University Professor, Curator of Isham Memorial Library |
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| James Yannatos | Emeritus |
| Visiting Faculty 2009-2010 |
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William Bares, College Fellow in the Department of Music |
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 Professor Ingrid Monson playing an African balafon |
| Music Department Faculty 2009-2010 |
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Suzannah Clark Clark works on the history of music theory, and has focussed in particular on Rameau, Fétis, Oettingen, Schenker, as well as on neo-Riemannian approaches. She is interested in how theorists underpin their systems with appeals to external phenomena and how this affects their conceptions of tonal space. She is also currently working on a book Analyzing Schubert, which is a reception history of Schubert’s harmony in both the songs and instrumental music. Additionally, she works on 13th-century French motets and its intersection with the trouvères repertory through the use of the refrain. She recently co-edited, with Elizabeth Eva Leach, Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned (2005). Clark serves on the editorial boards of Music Analysis and Music Theory Spectrum and is a council member of the Royal Musical Association.
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Federico Cortese Cortese has conducted several prominent symphony orchestras, including Atlanta, Dallas, BBC Scottish Symphony Orchestra, Sydney Symphony and Oslo Philharmonic. Opera engagements have included, among others, Maggio Musicale in Florence, the Spoleto Festival in Italy and, in the United States, the Boston Lyric Opera, the St. Louis Opera, the Finnish National Opera and the Washington Opera. Cortese has been music coordinator and associate conductor of the Spoleto Festival in Italy. He also served as Assistant Conductor to Robert Spano at the Brooklyn Philharmonic and to Daniele Gatti at the Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome. Cortese studied composition and conducting at the Conservatorio di Santa Cecilia in Rome and subsequently studied at the Hochschule für Musik in Vienna. In addition, he has been a conducting fellow at the Tanglewood Music Center. Cortese studied literature and humanities and holds a law degree from La Sapienza University in Rome.
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Chaya Czernowin Chaya Czernowin was born in 1957 in Israel and studied composition at the Tel Aviv Rubin Academy of Music from 1976 until 1982. Fellowships and studies followed in Berlin (DAAD scholarship 83- 85), the USA (University of California, where she received her PhD, 87-93), and Japan (93-95 Asahi Shimbun Fellowship and National Endowment of the Arts Fellowship USA), and in Germany (fellow, Akademie Schloss Solitude, Stuttgart, 1996). During these years she was able to concentrate on forming her musical language and thought. Her main teachers were: Abel Ehrlich, Izhak Sadai, Dieter Schnebel, Eli Yarden, Joan Tower, Brian Ferneyhough, and Roger Reynolds. Czernowin’s chamber and orchestral music has been played at more than forty festivals all over the world and include commissions by major ensembles, orchestras, and festivals (Ensemble Modern, Klangforum Wien, Intercontemporain IRCAM, ELISION, Recherche, San Francisco Contemporary Players, ORF Orchestra, Vienna, SWR Baden-Baden Orchestra, and Munich Philharmonic to mention a few). Characteristic of her work are attempts to find alternative temporalities, changing perspectives and scale, fragmentation, examination, and stretching of identity; all coupled with a strong physical imprint and high emotional intensity. Czernowin wrote the opera “Pnima…ins Innere” for the Munich Biennale 2000. This work hauntingly treats the difficulty of communicating a traumatic experience, in this case the Jewish holocaust. The work was awarded the Bavarian Theater Prize and was named “Best Premiere of the Year 2000” by the critic's survey of the magazine Opernwelt. In 2005 and in 2006 Czernowin was composer in residence at the Salzburg Festival, where she was commissioned to supplement Mozart's opera “Zaïde.” The resulting work “Zaide/Adama, fragments,” is a first attempt of its kind to answer an unfinished work with an intervening contemporary “counterpoint work.” “Zaide/Adama, fragments” was broadcast on ARD TV and recorded on Deutsche Gramophone. Czernowin sees composition teaching as directly connected to her compositional work. In addition to numerous other prizes, Czernowin was awarded the IRCAM reading panel commission in 1998, a few scholarships of the SWR experimental Studio Freiburg, Förderpreis of the Ernst-von-Siemens Music Foundation in 2003, an award from the Rockefeller Foundation in 2004, and the Fromm Foundation Award in 2008. Her work is published by Schott.
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Sean Gallagher Sean Gallagher studied piano at the Peabody Conservatory, where he was a student of Leon Fleisher. He received a Ph.D. in musicology from Harvard (1998) with a dissertation on fifteenth-century motets. He taught at the University of North Carolina at Chapel Hill before joining the Harvard faculty in 2002. He is a member of the Committee on Medieval Studies and, in 2007, was Robert Lehman Visiting Professor at Villa I Tatti, Harvard’s Center for Italian Renaissance Studies. He was awarded a Ryskamp Fellowship from the American Council of Learned Societies in 2002, and in 2008 received the Phi Beta Kappa Prize for excellence in teaching. Gallagher's research focuses on medieval and early modern music and culture, with particular emphasis on Italy, France, and the Low Countries in the fifteenth century. He is co-editor of two volumes of essays: Western Plainchant in the First Millennium: Studies in the Medieval Liturgy and its Music (Ashgate, 2003), and The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory and Performance (Harvard Univ. Department of Music; Harvard Univ. Press, 2008). His book on the composer Johannes Regis will be published later this year. The volume will include CDs with Regis’s complete works performed by The Clerks’ Group. Other recent and forthcoming publications include: Current and recent courses include: (For Undergraduates) (Graduate seminars)
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Christopher
Hasty
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Thomas
Forrest Kelly Professor Kelly's main fields of interest are chant and performance practice. He won the Otto Kinkeldey Award of the American Musicological Society for The Beneventan Chant (Cambridge University Press, 1989). His most recent books are First Nights: Five Musical Premieres, (Yale University Press, 2000) and First Nights at the Opera (Yale, 2004).
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Robert
Levin Pianist Robert Levin has performed throughout the United States, Europe, Australia and in Asia, appearing with the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway and with the Academy of Ancient Music, the English Baroque Soloists, the Handel & Haydn Society, the London Classical Players, the Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique on period pianos. Renowned for his improvised cadenzas in Classical period repertoire, Robert Levin has made recordings of a wide range of repertoire for Deutsche Harmonia Mundi, DG Archiv, Decca/London, ECM, Hänssler, New York Philomusica, Philips, and SONY Classical. His recordings include Bach's complete keyboard concertos, the six English Suites and both books of the Well-Tempered Clavier (Hänssler Edition Bachakademie); a Mozart concerto cycle with Christopher Hogwood and the Academy of Ancient Music for Decca/Oiseau Lyre; and the Beethoven concertos with Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique for DG Archiv. A passionate advocate of new music, Robert Levin has commissioned and premiered a large number of works, including Joshua Fineberg's Veils (2001), John Harbison's Second Sonata (2003), Yehudi Wyner's piano concerto Chiavi in mano (Pulitzer Prize, 2006), Bernard Rands' Preludes (2007) and Thomas Oboe Lee's Piano Concerto (2007). Robert Levin appears frequently with his wife, pianist Ya-Fei Chuang, in duo recitals and with orchestra, and with violist Kim Kashkashian. A noted Mozart scholar, Mr. Levin's completions of Mozart's Requiem, C-minor Mass and other unfinished works have been recorded and performed throughout the world. After more than a quarter century as an artist teacher at the Sarasota Music Festival he was made Associate Artistic Director in 2004 and succeeded Paul Wolfe as Artistic Director in 2007. A member of the American Academy of Arts and Sciences and the Akademie für Mozartforschung, he is President of the International Johann Sebastian Bach Competition (Leipzig, Germany). In addition to his performing activities, Robert Levin is a noted theorist and Mozart scholar, and is the author of a number of articles and essays on Mozart. A member of the Akademie für Mozartforschung, his completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Carus, Peters, and Wiener Urtext Edition, and have been recorded and performed throughout the world. Levin’s cadenzas to the Mozart violin concertos have been recorded by Gidon Kremer with Nikolaus Harnoncourt and the Vienna Philharmonic for Deutsche Grammophon and published by Universal-Edition. Henle has issued his cadenzas to the flute, flute and harp, oboe, horn and bassoon concertos and to the Beethoven violin concerto. His reconstruction of the Symphonie concertante in E-flat major for four winds and orchestra, K.297B, was premièred by the Vienna Philharmonic Orchestra at the Mozartwoche in Salzburg, and has subsequently been performed worldwide. The first of the many recordings of the work, by Philips, won the 1985 Grand Prix International du Disque. In August 1991 Robert Levin’s completion of the Mozart Requiem was premièred by Helmuth Rilling at the European Music Festival in Stuttgart, Germany, to a standing ovation. His completion of the Mozart Mass in C minor, K. 427, commissioned by Carnegie Hall, was premiered by Rilling in New York in January 2005 and in Europe two months later. Both works have been performed worldwide and are published by Carus-Verlag.
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Jameson
Marvin Dr. Marvin received a Doctor of Musical Arts degree in Choral Music from the University of Illinois, a Master of Arts in Choral Conducting from Stanford University, and a Bachelor of Arts in Music Composition from the UCSB. He was Director of Choral Ensembles at Vassar College before coming here in 1978. Dr. Marvin conducts the Harvard Glee Club, Radcliffe Choral Society, and the Harvard-Radcliffe Collegium Musicum, and offers courses in Choral Conducting and Choral Analysis/Interpretation. He has conducted 80 choral-orchestral works and is a conductor, teacher, author, scholar, editor and arranger. Dr. Marvin has written on subjects ranging from choral intonation to Renaissance music for men's voices including The Conductor's Process, Five Centuries of Choral Music: Essays in Honor of Howard Swan, Pengragon Press, Mastery of Choral Ensemble, E. C. Schirmer, Choral Excellence: Elements of Successful Leadership, and Perfection and Naturalness: A Practical Guide to Renaissance Choral Performance, Oxford University Press. Dr. Marvin has sustained and expanded a choral environment rich enought to attract thousands of students to his program, from the beginning singer to the advanced musician. The choral program at Harvard was named the top collegiate choral program in the country by Classical Singer magazine.
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Ingrid
Monson Professor Monson won the Sonneck Society's 1998 Irving Lowens Prize for the best book in American music for her 1996 Saying Something, Jazz Improvisation and Interaction. Came to Harvard in 2001 from Washinton University in St. Louis. Was also a founding member of the nationally known Klezmer Conservatory Band, and plays trumpet with jazz and salsa bands. Monson was previously
Associate Professor of Music at Washington University in St.
Louis; she also taught at University of Michigan, Harvard
(as Visiting Professor) and University of Chicago. She has a
Ph.D. and an M.A. in Musicology from NYU, and a B.M. from
New England Conservatory. Monson just published Freedom Sounds on the impact of the Civil Rights Movement and
African Independence on the history of jazz, and is working on a book on the
musics of the African Diaspora. She was a founding member of
the Klezmer Conservatory Band.
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Carol
Oja Oja's research focuses on 20th- and 21st-century American musical traditions. Her book, Making Music Modern: New York in the 1920s (2000), won the Lowens Book Award from the Society for American Music and an ASCAP-Deems Taylor Award. Other books include Copland and his World (co-edited with Judith Tick, 2005); Colin McPhee: Composer in Two Worlds; A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock; and American Music Recordings: A Discography of 20th-Century U.S. Composers. She is at work on a book provisionally titled Leonard Bernstein and Broadway (to be published by Yale University Press), and in 2008-09 she will be a resident fellow at the Newhouse Center for the Humanities at Wellesley College. Oja was one of the directors for Harvard's Leonard Bernstein--Boston to Broadway, a conference and festival that took place in 2006, and she is co-director (with Anne Shreffler) of Crosscurrents: American and European Music in Interaction, 1900-2000, a conference scheduled for Harvard in the fall of 2008 and Munich the following spring. She is also a member of Harvard's Standing Committee of the History of American Civilization, as well as its Faculty Council on the Arts, and she is past-president of the Society for American Music.
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Olaf Post Post holds a PhD in music theory from Columbia University, as well as master's degrees in philosophy and biotechnology. He also studied piano and composition at the Conservatory of Amsterdam, and is active as a pianist and organist. Prior to joining the Harvard faculty, Post was a research fellow in music cognition at The Ohio State University. His research focuses on neuroscience of music and music philosophy. Specific interests include audience responses to live performances, concert hall acoustics, and electronic dance music. |
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Kay
Kaufman Shelemay B.M. (1970), M.A. (1972), and Ph.D. (1977), University of Michigan. She taught at Columbia University (1977-1982), New York University (1982-1990), and Wesleyan University (1990-1992), before joining the Harvard faculty in 1992. At Harvard, Shelemay has served as Chair of the Department of Music (1994-1999; acting chair, spring 2002; chair, spring 2005) and is active in interdisciplinary studies across several domains. A Fellow of the American Academy of Arts and Sciences and the American Academy for Jewish Research, she is a Past President of the Society for Ethnomusicology. A Congressional appointee to the Board of Trustees of the American Folklife Center at the Library of Congress since 2000, she was Chair of that Board from 2002-2004. She has received fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, the American Council of Learned Societies, and the Radcliffe Institute. Shelemay was named the Chair in Modern Culture at the John W. Kluge Center of the Library of Congress during August and September, 2007 and June, 2008. In addition to longtime interests in musical ethnography and music and memory, Shelemay's current research is on Ethiopian music and musicians in their North American diaspora. Her monograph Music, Ritual, and Falasha History (1986, 1989) won the ASCAP-Deems Taylor Award and the Prize of the International Musicological Society. In addition to the seven-volume collection Garland Readings in Ethnomusicology (1990) and A Song of Longing. An Ethiopian Journey (1991), Shelemay edited the three-volume Ethiopian Christian Liturgical Chant. An Anthology (1994, 1995, 1997, with Peter Jeffery). Other recent publications include Let Jasmine Rain Down. Song and Remembrance Among Syrian Jews (1998, finalist for the National Jewish Book Award) and Soundscapes. Exploring Music in a Changing World (2001, second edition 2006). She has co-edited Pain and Its Transformations. The Interface of Biology and Culture (with Sarah Coakley), published by Harvard University Press in 2007. Shelemay received an Award for Distinguished Teaching from the Columbia University School of General Studies in 1982, and in 2006 at Harvard, the Joseph R. Levenson Memorial Teaching Prize and the Phi Beta Kappa Teaching Prize.
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Anne
Shreffler Anne C. Shreffler is currently working on an intellectual history of the musical avant-garde after 1945 in Europe and America, with special emphasis on the political and ideological associations of new music. Other research interests include historiography, composers in emigration, performance theory, and contemporary opera. Topics of recent articles include Varèse and technology, the music historians Carl Dahlhaus and Georg Knepler, Shostakovich's Leningrad Symphony, and Elliott Carter's opera What Next? She has published widely on Webern, including a book, Webern and the Lyric Impulse: Songs and Fragments on Poems by Georg Trakl (Oxford University Press, 1994) as well as the article 'Mein Weg geht jetzt vorueber': The Vocal Origins of Webern's Twelve-Tone Composition, for which she received the Alfred Einstein Award of the American Musicological Society in 1995. Shreffler's most recent book is Elliott Carter: A Centennial Portrait in Letters and Documents, co-authored with Felix Meyer and published by the Boydell Press in 2008. Professor Shreffler is currently a member of the Stiftungsrat (Board) of the Paul Sacher Foundation in Basel and is on the editorial board of the Journal of Musicology. She has served on the AMS Council, the AMS-50 Fellowship Committee, and the Program Committee. In 2007-08 she was the recipient of a fellowship from the John Simon Guggenheim Memorial Foundation.
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Daniel
Stepner
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Hans
Tutschku Tutschku studied electroacoustic composition in Dresden, and between 1989 and 1991 accompanied Karlheinz Stockhausen on several concert tours for the purpose of studying sound diffusion. In 1991 he attended the international one-year course in sonology at the Royal Conservatory in The Hague, where he worked primarily in the field of digital sound processing. He spent one year studying at IRCAM in Paris (1994), and in 1995 participated in composition workshops with Klaus Huber and Brian Ferneyhough. Tutschku taught electroacoustic composition at IRCAM in Paris from 1997-2001 and at the conservatory of Montbéliard from 2001-2004. He finished a DEA at the Parisian Sorbonne and completed his PhD in Composition with Professor Dr. Jonty Harrison at the University of Birmingham in UK in 2003. The same year he was the Edgar Varèse Gast Professor at the Technische Universität Berlin. Tutschku has composed music for film, theatre, and ballet as well as instrumental and electroacoustic music. He has also conceived several sound installations and published articles on sound diffusion. A main focus of Tutschku's work is improvisation with live-electronics, and he is regularly invited to give lectures and workshops on this topic. He has toured more than 30 countries with his Ensemble für Intuitive Musik Weimar, and with the Ensemble, has realized many multimedia productions, often creating the projected images and choreography for dance as well as the music. Tutschku joined the faculty in 2004 and has since overseen the total renovation of the HUSEAC studios, which were completed in 2005. He also conceived the 32-loudspeaker diffusion system HYDRA, which has already been presented in numerous concerts. He has also served as a jury member of several international composition competitions and is the recipient of many international composition prizes: Bourges, Hanns-Eisler-Preis, CIMESP Sao Paulo, Prix Ars Electronica, Prix Musica Nova, and Prix Noroit. In 2005 Tutschku received the culture prize of the city of Weimar.
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Richard
Wolf In 1980, an extraordinary performance of south Indian classical (Karnatak) music forever changed the life of Richard Wolf, erstwhile electric guitarist and student of Renaissance lute and classical guitar. In 1982 this experience led him to devote a year of music and Tamil language study in south India. After returning to Oberlin College the following year, he completed the last few courses toward a bachelor's degree in Mathematics (1984) and then devoted himself to ethnomusicological study. Following fourteen months of further study in India, Wolf began his graduate work at the University of Illinois at Urbana-Champaign; there he completed a Master of Music thesis exploring social-cultural as well as technical components of Karnatak “style” (bani) (1989). For his PhD dissertation, Wolf conducted fieldwork for two years on the music and ritual of one of the tribal minority populations of the Nilgiri Hills, the Kotas (1997). In November 1996, the final draft of Wolf's PhD thesis was still in the mail when he boarded a plane with his wife to commence two-and-a-half years of new field research. This work in north India and Pakistan centered on drumming, “recitation,” and music in public Islamic contexts. Wolf returned from south Asia to take up a position at Harvard in 1999 and has remained there ever since. Wolf's thematic interests include emotional complexity in ceremonial contexts, the constitutive properties of musical action in rituals, the poetics of non-verbal activities, the musical qualities of languages and the analytic potentials of particular languages for the study of music. Wolf speaks Tamil and draws from his study of several other languages, including Urdu and Persian, in his research and writings. His studies of the Kota language, soon be published, will include a dictionary. Several publications address issues of music and Islam in south Asia including “The poetics of Sufi practice: Drumming, dancing, and complex agency at Madho Lal Husain (and beyond),” (American Ethnologist 2006). His monograph entitled Reciting Remembrance: Performing Popular Islam in South Asia is currently under preparation for the University of Illinois Press. He has also drafted another monograph, provisionally titled Song and Subjectivity in Modern India, based on continuing research on south Indian folk and tribal music. Wolf's interest in sociomusical processes that transcend the borders of South Asia is reflected in the edited volume, Theorizing the Local: Music, Practice, and Experience in South Asia and Beyond (Oxford University Press, New York, 2009). Wolf has been the recipient of numerous grants and fellowships, including recent awards from the Radcliffe Institute for Advanced Study, the American Council of Learned Societies, the Social Science Research Council, the National Endowment for the Humanities, and the American Institute of Pakistan Studies. Wolf's first book, The Black Cow's Footprint: Time, Space, and Music in the Lives of the Kotas of South India (Permanent Black, 2005 and University of Illinois Press, 2006), earned the Edward Cameron Dimock, Jr. Prize in the Humanities. In the summer of 2009, Wolf was Professeur Invite at the Ecole des Hautes Etudes en Sciences Sociales in Paris and Gastprofessur fur ethnologische Nilgiriforschung at the Institute for Social and Cultural Anthropology at the University of Munich. He has served on several editorial boards and currently serves on the Executive Committee and Board of Trustees of the American Institute of Pakistan Studies. In addition to teaching and writing about music, Wolf occasionally performs on the vina; he is a disciple of the renowned performer, Ranganayaki Rajagopalan.
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Christoph
Wolff Appointed to an honorary professorship at the University of Freiburg, Germany, elected to membership of the American Academy of Arts and Sciences, the American Philosophical Society, the Saxon Academy of Sciences at Leipzig, and the Akademie für Mozart-Forschung in Salzburg, he currently serves as Director of the Bach-Archiv Leipzig, President of the Commission mixte of the Rèpertoire International des Sources Musicales, and on the Board of the Packard Humanities Institute. His primary research interests extend to the music from the 17th to the early 19th century, especially to Bach and Mozart studies. Recent publications include Bach: Essays on His Life and Music (1991), Mozart's Requiem (1994), The New Bach Reader (1998), Driven into Paradise: The Musical Migration from Nazi Germany to the United States (1999; ed. with R. Brinkmann), and Music of My Future. The Schoenberg Quartets and Trio (2001; ed. with R. Brinkmann) and Die Orgein J. S. Bachs: Ein Handbuch (2006; with M. Zepf). A recipient of the Dent Medal of the International Musicological Society (1978) the Humboldt Research Prize (1996), and the Bach Prize of the royal Academy of Music (2006), he won the Otto Kinkeldey Award of the American Musicological Society for Johann Sebastian Bach: The Learned Musician (2000), which has been translated into eight languages.
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Mario
Davidovsky
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David
G. Hughes
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Leon
Kirchner
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Lewis
Lockwood
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Rulan
Pian
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John Stewart Emeritus Musicianship jdstewar@fas.harvard.edu Music Building G-6 617-495-2791 Stewart holds a Ed.D. from Harvard and a B.M. from the New England Conservatory of Music. He founded and directed the Young Musician's Program of the Ernest Bloch Music Festival in Newport, Oregon, where he also premiered his work, Threnody (Chorale Partita), Luise Vosgerchian In Memoriam. His Ives Fantasy Suite received its Boston premiere at The New England Conservatory.
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Bernard
Rands
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John
Ward
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James Yannatos Dr. Yannatos is a conductor, violinist and composer. he received his PhD from the University of Iowa before coming to Harvard in 1964. Several of his works were published in the past few years: 8 Haiku for flute and clarinet; Death Songs for flute and mezzo soprano; Symphony No. 2: Earth, Fire, Air, Water; Quod Libet for rass trio and percussion; and Tunes and Dances: A New England Overture. CDs of his music have been released by Albany Records. Yannatos celebrated 40 years at Harvard University during the 2004-2005 year.
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