Carolyn Abbate Professor of Music [appointment begins Jan 1, 2013] cabbate@fas.harvard.edu Music Building 306 N 617-495-2791 Many of Professor Abbate’s writings focus on opera, from its beginnings around 1600 through the first half of the 20th century. She also writes about instrumental traditions from the Enlightenment to the present and has lately embraced the topics of film music and sound technology. Dr. Abbate is author of In Search of Opera (2001) and Unsung Voices (1991) and coauthor (with Roger Parker) of the forthcoming Opera: The Last Four Hundred Years. She received a Guggenheim Fellowship in 1995, a National Endowment for the Humanities Fellowships for Independent Study and Research in 1986 and 1994, and was awarded the Dent Medal of the Royal Music Association in 1993. She speaks often at public events, often participating in the opera quizzes that enliven the weekly radio broadcasts from the Metropolitan Opera. Abbate faculty page
	Richard Beaudoin Preceptor on Music beaudoin@fas.harvard.edu Music Building G-2 617-494-7737 Richard Beaudoin's music has been commissioned and performed widely in Europe and America. His recent compositions involve micro-temporal measurements of recorded performances. His research fields include musical resemblance and time. website: www.richardbeaudoin.com
	Andrew Clark Senior Lecturer on Music, Director of Choral Music at Harvard agclark@fas.harvard.edu Paine Hall 8 617-495-8827 Clark serves as Director of Choral Activities and Senior Lecturer on Music. He is the Music Director of the Harvard Glee Club, the Radcliffe Choral Society, and the Harvard-Radcliffe Collegium Musicum and teaches courses in conducting and music theory. He leads the Holden Choruses in performances throughout Europe and the United States, in studio recordings, and collaborations with distinguished conductors, composers, and ensembles. His choirs have been hailed as “first rate” (Boston Globe), “cohesive and exciting” (Opera News), and “beautifully blended” (Providence Journal), achieving performances of “passion, conviction, adrenalin, [and] coherence” (Worcester Telegram). Prior to his appointment at Harvard, Clark was Artistic Director of the Providence Singers and Director of Choral Activities at Tufts University for seven years. Clark has performed prominent venues including Carnegie Hall, Lincoln Center, the Kennedy Center and Boston’s Symphony Hall. He has collaborated with the Pittsburgh and New Haven Symphonies, the Rhode Island and Boston Philharmonic Orchestras, the Boston Pops, Stephen Sondheim, Sweet Honey in the Rock, the Trinity Wall Street Choir, the Kronos Quartet, and the Dave Brubeck Quartet. Clark faculty page
	Suzannah Clark Professor of Music Theory sclark@fas.harvard.edu Music Building 307N 617-495-4009 Suzannah Clark specializes in the music of Franz Schubert, the history of music theory, and medieval music. Her book Analyzing Schubert was published by Cambridge University Press in 2011. She co-edited Music Theory and Natural Order from the Renaissance to the Early Twentieth Century (Cambridge University Press, 2001; pbk 2005) with Alexander Rehding, and co-edited Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned (Boydell & Brewer, 2005) with Elizabeth Eva Leach. She is currently working on a book, Quirks in Tonality: Aspects in the History of Tonal Space, which focuses on major issues in the history of tonal theory, such as changing conceptions of modulation, changing perceptions of key relations, constructions of diatonicism versus chromaticism, and even why theorists like to draw musical diagrams of what has come to be known as “tonal space.” Clark faculty page
	Federico Cortese Senior Lecturer on Music, Conductor of the Harvard-Radcliffe Orchestra fcortese@fas.harvard.edu Music Building G-5 617-495-1533 Federico Cortese has served as Music Director of the Boston Youth Symphony Orchestras since 1999 and in the same capacity for the New England String Ensemble since 2005. He has conducted operatic and symphonic engagements throughout the United States, Australia, Asia and Europe.   Cortese faculty page
	Chaya Czernowin Walter Bigelow Rosen Professor of Music; Graduate Advisor in Composition Composition (on leave fall 2012) chayaczernowin@gmail.com Music Building 308N 617-495-3647 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. 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 faculty page
	Christopher Hasty Walter W. Naumburg Professor of Music Theory hasty@fas.harvard.edu Paine Hall 3 617-495-2692 Professor Hasty’s scholarly work engages problems in the theory and analysis of music from the 16th to the 20th centuries from the standpoint of process and experience. His book, Meter as Rhythm (1997) won the Wallace Berry Award from the Society for Music Theory  His current research interests include process philosophy, poetic prosody, and ecological and post-cognitivist psychology.  . Hasty faculty page
	Jill Johnson Dance Director, Office for the Arts at Harvard, Dance Program Senior Lecturer, Department of Music johnson@fas.harvard.edu Harvard Dance Center 60 Garden Street, Cambridge 617-495-8683 Ms. Johnson is an innovative and accomplished dancer, choreographer, educator and producer. A 26-year veteran of the dance field, she has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt. A protégé and 22-year close collaborator of choreographer William Forsythe, she stages and produces Forsythe's ballets on companies worldwide, including The Norwegian National Ballet, Paris Opera Ballet, Alterballetto, Netherlands Dans Theater, Batsheva Dance Company, The National Ballet of Canada, Pacific Northwest Ballet, Boston Ballet, La Scala, and American Ballet Theatre. Johnson faculty page [Photo by Alicia Anstead/Harvard Office for the Arts]
	Thomas Forrest Kelly Morton B. Knafel Professor of Music; Head Tutor Historical Musicology (on leave spring 2013) tkelly@fas.harvard.edu Music Building 203 S 617-495-2791 Professor Kelly's main fields of interest are chant and performance practice. Kelly faculty page
	Robert Levin Dwight P. Robinson, Jr. Professor of Music Performance & Analysis (on leave fall 2012) rlevin@fas.harvard.edu Music Building G-7 617-496-6527 Robert Levin has performed throughout the United States, Europe, Australia and Asia, appearing with the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Philadelphia, Toronto, 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, the Orchestre Révolutionnaire et Romantique, and Philharmonia Baroque on period pianos. Renowned for his improvised cadenzas in Classical period repertoire, Levin has made recordings of a wide range of repertoire for DG Archiv, Decca/London, Deutsche Harmonia Mundi, ECM, Hänssler, Klavier Festival Ruhr, 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; the Beethoven concertos with Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Roman­tique for DG Archiv; and the complete piano music of Dutilleux for ECM. 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), Thomas Oboe Lee’s Piano Concerto (2007), and Hans Peter Türk’s Träume (2012). 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 and other unfinished works have been recorded and performed throughout the world. In 2005 his completion of the Mozart C-minor Mass, commissioned by Carnegie Hall, was premiered there and has since been widely heard in the United States and Europe. After more than a quarter century as an artist teacher at the Sarasota Music Festival he 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). Levin faculty page
	Ingrid Monson Quincy Jones Professor of African American Music, supported by the Time Warner Endowment (on leave 2012-2013) Ethnomusicology, Musicology imonson@fas.harvard.edu Music Building 202 S 617-494-7740 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. She has recently written 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. Monson was a founding member of the Klezmer Conservatory Band. Monson faculty page
	Carol Oja William Powell Mason Professor of Music (on leave 2012-2013) Historical Musicology coja@fas.harvard.edu Music Building 304 S 617-495-3971 Oja's research focuses on 20th- and 21st-century American musical traditions, often in transnational contexts. She has written extensively about modernist composers (Aaron Copland, Henry Cowell, Ruth Crawford, William Grant Still, and Edgard Varèse), cross-cultural composition (Colin McPhee), and high-low intersections (George Gershwin and Leonard Bernstein). Her current research focuses on Broadway musicals of the 1940s and on the racial desegregation of performance.  Oja faculty page
	Olaf Post Preceptor on Music post [at] fas.harvard.edu Music Building G-6 617-495-1531 Post's research focuses on music cognition and performance analysis. Post faculty page
	Alexander Rehding Fanny Peabody Professor of Music; Chair Theory arehding[at]fas.harvard.edu Music Building 305 N (Professorial: 496-6646) Music Building 104 S (Chair's office: 617-495-9854 ) Department Reception: 617-495-2791 Research interests are located at the intersection between theory and history, and cover a wide spectrum from Ancient Greek music to the Eurovision Song Contest. Rehding is interested in the history of music theory, paleo- and neo-Riemannian theory, music-aesthetic questions, and issues of sound and media. Rehding faculty page
	Sindhumathi Revuluri Associate Professor of Music (on leave 2012-2013) Historical Musicology revuluri@fas.harvard.edu Music Building 302 S 617-496-9317 Revuluri's research interests include 19th and 20th century France (especially modernism and exoticism), global pop music, film and media studies, and critical and postcolonial theory. Revuluri faculty page
	Kay Kaufman Shelemay G. Gordon Watts Professor of Music Professor of African and African American Studies Ethnomusicology shelemay@fas.harvard.edu Paine Hall 7 617-495-4008 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. Shelemay faculty page
	Anne C. Shreffler James Edward Ditson Professor of Music Historical Musicology acshreff@fas.harvard.edu Music Building 301S 617-494-7742 Anne C. Shreffler’s research interests include 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. Shreffler faculty page
	Daniel Stepner Preceptor in Music Performance: Chamber Music stepner@brandeis.edu Music Building G-7 617-495-2791 Stepner is first violinist for the Lydian String Quartet (in residence at Brandeis University), Artistic Director of the Aston Magna Festival, and a founding member of the Boston Museum Trio (resident at the Museum of Fine Arts).  Stepner faculty page
	Hans Tutschku Fanny P. Mason Professor of Music, Director of the Harvard University Studio for Electroacoustic Composition (HUSEAC) Composition tutschku@fas.harvard.edu Music Building G-3 617-495-2314 http://www.tutschku.com 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 tours regularly with his Ensemble für Intuitive Musik Weimar. Professor Tutschku is a Radcliffe Fellow for the year 2013-2014. Tutschku faculty page
	Richard Wolf Professor of Music (on leave 2012-2013) Ethnomusicology rwolf@fas.harvard.edu 031 Memorial Hall (office location only/mailing address is Music Building) Postal address: Music Building / Harvard University / Cambridge, MA 02138 617-494-7678 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. He writes on issues of music and Islam in south Asia, and on south Indian folk and tribal music. Wolf faculty page
Visiting Faculty/Instructors 2012-13
John Luther Adams,Visiting Lecturer Called "one of the most original musical thinkers of the new century" (Alex Ross, New Yorker), Adams is a composer whose life and work are deeply rooted in the natural world. Adams composes for orchestra, chamber ensembles, percussion an delectronic media, and his music is recorded on Cold Blue, New World, Mode, Cataloupe, and New Albian. John Luther Adams website
Scott Edwards, Harvard College Fellow Edwards will be teaching Music 1a and 1b as well as a proseminar on pop music. Scott recently completed a PhD at UC Berkeley writing on renaissance music in Bohemia/Moravia.
Larry Hamberlin, Visiting Associate Professor (Middlebury College) Larry Hamberlin teaches courses in Western classical music, American music, jazz, rock, and musical theater. His publications include That Opera Rag: Operatic Novelties in the Ragtime Era (Oxford University Press, forthcoming); as well as articles on Beethoven and American popular music. In 2004 the Society of American Music awarded the Mark Tucker Prize to his paper “Caruso and His Cousins: Portraits of Italian Americans in the Operatic Novelty Songs of Edwards and Madden.” He has presented several papers, on topics ranging from music at the 1893 Chicago World’s Fair to Puccini’s influence on American popular song.
Daniel Henderson, Lecturer on Music Daniel Henderson teaches "Jazz Harmony" and "Jazz Improvisation" in the Department of Music, where he has been awarded the Harvard University Certificate of Teaching Excellence three times. He has taught in the Musicology, Music Theory, and Jazz Studies Departments at New England Conservatory, and directed numerous jazz ensembles. He holds DMA and MM degrees in Jazz Composition with Academic Honors from New England Conservatory, where he was awarded the 2011 Gunther Schuller Medal. Daniel studies the music of a variety of jazz composers, including Duke Ellington, Thelonious Monk, and his early mentor, Billy May. Two current projects include the development of a new analytical and pedagogical approach to the way jazz improvisers “jazz up” the melodies of popular songs, and a study of children’s albums produced by Capitol Records in the 1940s and 50s. Daniel is a trumpeter, vocalist, composer, and arranger whose music has been heard worldwide as a member of The New Hot 5, a New Orleans-style jazz band that accidentally became famous for their Youtube video, “Jazz for Cows,” which has been featured on Conan O’Brien, Good Morning America, The Tonight Show with Jay Leno, and on television stations worldwide.
Wayne Marshall, Lecturer on Music Marshall specializes in the intersections between Caribbean and American popular music. He received his AB from Harvard and his doctorate from the University of Wisconsin-Madison in 2007. His dissertation, "Routes, Rap, Reggae: Hearing the Histories of Hip-hop and Reggae Together," examines the musical interplay between Jamaica and the US in the late twentieth century. Building on this research, he co-edited Reggaeton (Duke University Press 2009). He has taught at MIT (Mellon Fellow 2009-11), Brandeis (Florence Levy Kay Fellow in Ethnomusicology 2007-2009), and the University of Chicago, is exploring the nascent field of "techno-musicology," and maintains the blog, "Wayne&Wax." Wayne Marshall website.
Roger Reynolds, Fromm Foundation Visiting Composer Reynold's output ranges from instrumental compositions to elaborate dramatic works for singers, actors, instruments and multichannel computer processed sound. He works at the interface between high technology and art in such projects as ILLUSION, commissioned for Esa Pekka Salonen by the Los Angeles Philharmonic in cooperation with the Rockefeller and Koussevitzky Foundations; 22, a collaboration with dancer Bill T. Jones, and the Arts Media and Engineering program at ASU, SANCTUARY (supported by the National Gallery of Art and red fish blue fish); Submerged Memories for Paul Dresher's Electroacoustic Band with tenor John Dykers (commissioned by the Fromm Foundation); and SEASONS (supported by the NEA, National Gallery of Arts, and New Music Concerts/Toronto). Roger Reynolds website.
Kate van Orden, Visiting Professor of Music (University of Californai, Berkeley) (fall term) Van Orden is a specialist in cultural history and has published many articles and boos chapters on French vernacular culture and the Renaissance chanson. After receiving a Ph.D. in Music History and Theory at the University of Chicago (1996), van Orden held fellowships at the Warburg Insitute in London and the Columbia Society of Fellows in the Humanities. She has taught at Berkeley since 1997. National awards include the Noah Greenberg Award, the Lewis Lockwood Award and the Paul Pisk Prize, all from AMS, as well as the Nancy Lyman Roelker Prize from the Sixteenth Century Society. She has been interviewed on BBC, NPR, and given many pre-concert talks and colloquia. Van Orden also specializes in historical performance on the bassoon. She has over 40 CDs to her credit and has performed in concerts across America and Europe.
Amnon Wolman, Shustermann Fellow Amnon Wolman composes music and texts for miscellaneous instruments along with the computer. His catalogue of compositions includes works involving computer generated and processed sounds, symphonic works, vocal and chamber pieces for different ensembles, film music, and music for theater and dance. His recently premiered pieces include "Picnic Site" used for a choreography by Trisha Brown and Steve Paxton for the Lyon Biannale; "End Divided Road" for Flute and electronics for Mario Carolli at the TRAIETTORIE Festival in Parma, Italy; "Cruising Prohibited when Lights Flashing" for the Gay Gotham Chorus at the Greenwich House, New York; and "and her mind moves upon silence", for harpsichord and electronic sounds, for Vivienne Spiteri in Toronto, Canada.
Associates of the Department 2012-13 Special Students, Fellows, and Visiting Scholars             Matthew Gouldstone, Visiting Fellow             Louisa Hunter-Bradley, Fellow             Terry Russ Manitt, Visiting Post-Doc             Tiago de Oliveria Pinto, Visiting Scholar             Rebecca Vogels, Visiting Fellow             Rebecca Wolf, Visiting Fellow Associates Noel Bisson (Harvard University) Phoebe Carrai, Harvard Baroque Chamber Orchestra Jody Diamond (Artist-in-Residence, Gamelan Music Studio) Shadi Ebrahimi, Associate Tom Everett, Director of Harvard Bands Edward Jones (Gund University Organist andChoirmaster) Christian Lane, Assistant Organist and Choirmaster Steven Takasugi, Associate Silk Road Project Packard Humanities CPE Bach Project Chiara String Quartet, Blodgett Artists-in-Residence John Harbison, Blodgett Artist-in-Residence (fall 2012) Packard Humanities Institute Silk Road Ensemble
Emeriti	In Memorium Leon Kirchner Reinhold Brinkmann James Yannatos John Milton Ward
	Mario Davidovsky Professor Emeritus Composition Directed the Columbia/Princeton Electronic Music Center for many years while he was MacDowell Professor of Music at Columbia University. He also served as Director of the Composers' Conference at Wellesley for 29 years. Professor Davidovsky received the Walter Channing Cabot Fellowship. In 2000-2001, two CDs of his works were recently released by Bridge Records: Flashback and Canticum Cantorum; and his Cantione Sine Textu, for soprano and chamber ensemble, was published by C.F. Peters. Davidovsky served as vice-president of the Koussevitzky Foundation at the Library of Congress; vice-president of the Robert Miller Fund for Music, and consulted for the Guggenheim Foundation both in the U.S. and Latin America. He is Director of the Harvard University Studio for Electroacoustic Composition.
	David G. Hughes Professor Emeritus Historical Musicology Prof. Hughes was educated at Harvard (A.B., M.A. and Ph.D.), with a dissertation on line and counterpoint in Gothic music. He studied theory and composition with Irving Fine, Randall Thompson and Walter Piston, and musicology with A. Tillman Merritt, Stephen Tuttle and Otto Gombosi. Hughes taught at Harvard as Fanny P. Mason Professor of Music from 1964 until his retirement in 1994. He worked primarily in the areas of Gregorian and post-Gregorian chant, liturgical music and medieval polyphony, notation and modal theory. He co-compiled the Index of Gregorian Chant, and was editor-in-chief of the Journal of the American Musicological Society (1959-63). Hughes published many articles and was honored with a Festschrift on his 70th birthday, Essays on Medieval Music in Honor of David Hughes (1995).
	Lewis Lockwood Fanny Peabody Research Professor of Music Historical Musicology llockw@fas.harvard.edu 710 Widener Library 617-495-7574 Lewis Lockwood's recent book, Beethoven: The Music and the Life (New York: W.W. Norton, 2003) was a finalist for the 2003 Pulitzer Prize in biography. Lockwood took the B.A. at Queens College, New York, studying with Edward Lowinsky, and did his graduate work at Princeton with OIiver Strunk and Arthur Mendel. He taught at Princeton from 1958 to 1980, when he came to Harvard, where he was named Fanny Peabody Professor of Music in 1985. He was President of the American Musicological Society in 1987-88 and was named an Honorary Member of the AMS in 1993. His scholarly work has focused on music in the Italian Renaissance and on Beethoven and his era. In 1997 he was presented with a volume entitled Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, edited by Jessie Ann Owens and Anthony Cummings (Detroit, 1997). He won the Einstein and Kinkeldey awards of the AMS, and an ASCAP-Deems Taylor Award for his book, Beethoven: Studies in the Creative Process (Cambridge, MA: Harvard University Press, 1992). In 2005 the American Musicological Society established an annual award in his name for the best book by a younger scholar.
	Jameson Marvin Choral Director Website: www.jamesonmarvin.com 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.
	Rulan Pian Professor Emerita East Asian Studies, Ethnomusicology Prof. Pian was educated at Radcliffe and studied Western music history and theory with Tillman Merritt (B.A. and M.A.). She received her Ph.D. from Harvard with a dissertation on the Song dynasty. She join the Harvard music department, teaching Chinese music, in 1961, and was made a professor of east Asian languages and civilizations and professor of music in 1974. Pian was appointed fellow of the Academica Sinaica in Taiwan in 1994. She has published widely on Song dynasty, musical sources, Peking opera, Peking drum songs and other historical and contemporary genres. Since the late 1970s, she has travelled to China regularly, bringing the latest Western ideas there, and returning to America with a wealth of fieldwork data and audio-visual recordings, materials that preserve and illustrate Chinese music to American audiences.
	John Stewart Musicianship 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.
	Bernard Rands Research Professor Composition amc65aum@aol.com Rands taught at several universities in the U.K., and at U.C. San Diego and Boston University in the U.S. before coming to Harvard in 1989. He's won a Pulitzer, and has had works commissioned by the New York Philharmonic for their 150th Anniversary and Carnegie Hall for their 100th Anniversary. Bernard Rands website
	Christoph Wolff Adams University Research Professor Curator of the Isham Memorial Library Historical Musicology cwolff@fas.harvard.edu Paine Hall 1 617-495-2791 Wolff's primary research interests extend to the music from the 17th to the early 19th century, especially to Bach and Mozart studies. Wolff faculty page Mozart at the Gateway to his Fortune. Music Facsimilies and Recordings
Staff
Nancy Shafman, Director of Administration Lesley Bannatyne, Managing Communications Coordinator Kaye Denny, Front Office Co-Manager Mary Gerbi, Undergraduate & Events Coordinator Alison Hearn, Staff Assistant Eva Kim, Assistant to the Chair Jean Moncrieff, Director of Events Karen Rynne, Manager of Administration and Finance Charles Stillman, Front Office Co-Manager Seth Torres, HUSEAC Technical Director Fernando Viesca, Building Manager Affiliated Staff Piano Technical Services Lesley Bannatyne, Managing Communications Coordinator bannatyn@fas.harvard.edu Music Building, 102S 617-495-2791 Lesley oversees website maintenance, publicity, department directories, scholarly publications, the newsletter, and other special projects. She also meets with and dispenses information to prospective students. Kaye Denny, Front Office Co-Manager denny2@fas.harvard.edu Music Building, Reception 617-495-2791 Kaye is reponsible for room reservations, mail operations, practice rooms and all reception duties. Mary Gerbi, Undergraduate and Events Coordinator gerbi@fas.harvard.edu Music Building, 104S 617-495-9854 Mary is primary point of contact for the undergraduates in the department, including Harvard/NEC students. She also assists with concert hall rentals and event management. Alison Hearn, Staff Assistant hearn@fas.harvard.edu Music Building, 101S 617-495-2791 Alison assists the Financial Manager and works on special projects. Eva Kim, Assistant to the Chair evakim@fas.harvard.edu Music Building, 104S 617-495-2791 Eva assists faculty, organizes the University Hall Recitals, schedules meetings for the Chair, coordinates committees and maintains department data. Jean Moncrieff, Director of Events moncrief@fas.harvard.edu Paine Hall 4 617-495-9859 Jean books Paine Concert Hall and produces the department's concerts, lectures and conferences. She also administers the Fromm Foundation at Harvard. Karen Rynne, Manager of Administration and Finance rynne@fas.harvard.edu Music Building, 101S 617-496-3253 Karen handles all department billing and payments, and manages financial accounts and services the copiers. Nancy Shafman, Director of Administration nshafman@fas.harvard.edu Music Building, 103S 617-495-9855 Nancy coordinates the academic programs for the department and works closely with the chair and faculty. She supervises the department and is knowledgable about teaching requirements, exams, fellowships, financial aid, and the philosophy and organization of the department. Charles Stillman, Front Office Co-Manager stillman@fas.harvard.edu Music Building, Reception 617-495-2791 Charles is reponsible for room reservations, mail operations, practice rooms and all reception duties. Seth Torres, HUSEAC Technical Director storres@fas.harvard.edu Paine Hall 21 617-496-6683 Seth maintains and manages the electronic music studio and assists Hans Tutschku, studio director. Fernando Viesca, Building Manager fviesca@fas.harvard.edu G-4 617-495-9851 Fernando manages all things having to do with the physical plant: electrical and internet connections, telephones, computers, heat, and air conditioning, plumbing and all special construction projects.