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Faculty Bookshelf







Carolyn Abbate
Paul and Catherine Buttenwieser University Professor

Music Building 8

Carolyn Abbate’s work centers on opera history, music and philosophy, ephemeral art, and on film and sound studies. Her writings have been translated into several languages, and she herself is a translator (most recently, of Vladimir Jankélévitch’s La musique et l’ineffable). Current research projects include: operetta and ethical frivolity; the transition to early sound film, and its technologies as a “vernacular philosophy” of sounding animation and rendered symbol.

Abbate faculty page


Richard Beaudoin
Music Building G-2

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.

Beaudoin faculty page



Jessica Bodner

Visiting Lecturer on Music/Parker Quartet
Music Building Room A

Jessica Bodner, described by the New York Times as a "soulful soloist", is the violist of the Grammy award-winning Parker Quartet. A native of Houston, TX, Jessica began her musical studies on the violin at the age of two, and then switched to the viola at the age of twelve because of her love of the deeper sonority.

Bodner faculty page



Daniel Chong

Visiting Lecturer on Music/Parker Quartet
Music Building Room A

GRAMMY Award-winning violinist Daniel Chong leads a multi-faceted career having concertized extensively as a soloist and chamber musician throughout the world. Since 2002, as the founding first violinist of the Parker Quartet, he has garnered wide recognition for his performances in such venues as Carnegie Hall, the Library of Congress, the Musikverein, and Wigmore Hall.

Chong faculty page



Andrew Clark
Senior Lecturer on Music, Director of Choral Activities
Music Building G-7

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 (Graduate Advisor in Theory/Asst. Director of Undergraduate Studies)
Music Building G-6

Suzannah Clark specializes in the music of Franz Schubert, the history of music theory, and medieval vernacular 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
Music Building G-5

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, fall)
(On leave spring 2016)
Music Building 308N

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




Emily Dolan
Gardner Cowles Associate Professor of Music (on leave fall 2015)
Music Building 306 N

Emily I. Dolan joined the Harvard faculty in 2014. Previously, she was an associate professor of music at the University of Pennsylvania, where she taught since 2006. She specializes in late Enlightenment and early Romantic music and aesthetics. In particular, she focuses on issues of orchestration and instrumentality and on the intersections of music, science, and technology.

She has published articles in Current Musicology, Eighteenth-Century Music, Popular Music, Studia Musicologica, Keyboard Perspectives, and 19th-Century Music. Dolan is interested in the intertwined history of musical and scientific instruments: in 2011, she published a co-authored essay with John Tresch (UPenn, History of Science) in Opera Quarterly on the role and reception of machines in French grand opera and in 2013 Tresch and Dolan published “Toward a New Organology” in Osiris. In April 2008, she organized an interdisciplinary conference at Penn, Herder, Music, and Enlightenment, which explored the role of music in Herder’s philosophy. In 2009-2010, Dolan was a fellow at the Radcliffe Institute for Advanced Study, where she worked on her first book, The Orchestral Revolution: Haydn and the Technologies of Timbre (Cambridge University Press, 2013).

She received her PhD from Cornell University in 2006. In 2005, she was awarded the Alvin H. Johnson AMS 50 Dissertation Fellowship by the American Musicology Society. Currently, Dolan is working on a collaborative project on timbre with Alexander Rehding and on her second book, "Instruments and Order."

Dolan faculty page





Christopher Hasty
Walter W. Naumburg Professor of Music

Music Building 3

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




Vijay Iyer
Franklin D. and Florence Rosenblatt Professor of the Arts
Music Building

Grammy-nominated composer-pianist Vijay Iyer's career has spanned the sciences, the humanities and the arts. He has published in Journal of Consciousness Studies, Wire, Music Perception, JazzTimes, Journal of the Society for American Music, Critical Studies in Improvisation, in the anthologies Arcana IV, Sound Unbound, Uptown Conversation, The Best Writing on Mathematics: 2010, and in the forthcoming Oxford Handbook of Critical Improvisation Studies. Iyer has taught at Manhattan School of Music, New York University, and the New School, and he is the Director of The Banff Centre’s International Workshop in Jazz and Creative Music, an annual 3-week program in Alberta, Canada founded by Oscar Peterson. Iyer recently finished a multi-year residency with San Francisco Performances, performing and working with schools and community organizations. His most recent honors include a 2013 MacArthur fellowship. Iyer was appointed the Franklin D. and Florence Rosenblatt Professor of the Arts in January 2014.

Iyer faculty page

[Photo by Alicia Anstead/Harvard Office for the Arts]

Jill Johnson
Dance Director, Office for the Arts at Harvard, Dance Program
Senior Lecturer, Department of Music
Harvard Dance Center
60 Garden Street, Cambridge

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





Thomas Forrest Kelly
Morton B. Knafel Professor of Music
Historical Musicology
Music Building 203 S

Professor Kelly's main fields of interest are chant and performance practice.

Kelly faculty page




Kee-Hyun Kim

Visiting Lecturer on Music/Parker Quartet
Music Building Room A

A native of Seoul, Korea, cellist Kee-Hyun Kim has been praised for his "assertive style...and vital musical spirit." (Pittsburgh Tribune) He has participated in many prestigious festivals, including the Mostly Mozart Festival, the Kronberg Cello Masterclasses and Festival, the World Cello Congress III, the Aspen Music Festival, and Music Academy of the West, among others.

Kim faculty page




Ingrid Monson
Quincy Jones Professor of African American Music, supported by the Time Warner Endowment
Music Building 202 S

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




Osnat Netzer
Preceptor in Music
Music Building 307 N
617-495-1531 s

Osnat Netzer is a composer, pianist and educator based in Boston. She was born in Haifa, Israel and studied at the Jerusalem Academy of Music and Dance, Mannes College of Music and New England Conservatory, where she completed her doctorate in composition in 2011. In 2009-10 she researched experimental theater in Berlin with the support of a fellowship from the Frank Huntington Beebe Foundation. While in Berlin, she composed her opera The Wondrous Woman Within, an adaptation of the play by Hanoch Levin. The first scene of this opera was performed on New York City Opera’s VOX 2012 and received critical acclaim from The New York Times and The Wall Street Journal. The complete opera will receive its world premiere this season in a production that will travel to both Tel Aviv and Jerusalem thanks to a substantial grant from the Israeli Lottery Council for the Arts. Her works have been performed at Tanglewood, June in Buffalo and the Bowdoin Music Festival and in countries including Germany, France, the Netherlands, Israel and South Korea. Recent honors include recognition from the ASCAP Morton Gould Young Composer Awards and winning of the Boston Modern Orchestra Project Competition, the Zeltsman Marimba Competition and the Donald Martino Award for Excellence in Composition. Dr. Netzer is also active as a pianist in classical and contemporary concert music, as well as improvisatory folk, klezmer, and jazz-influenced works. She joins the Harvard faculty after serving on the faculty of New England Conservatory for five years.

Netzer faculty page




Carol Oja
William Powell Mason Professor of Music (Department Chair)
Historical Musicology
Music Building

Chair's office: 104 S phone: 617-495-9854
Department Reception: 617-495-2791

Professorial office: 304 S phone: 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. In 2013-14, she is Leonard Bernstein Scholar-in-Residence with the New York Philharmonic.

Oja faculty page




Alexander Rehding
Fanny Peabody Professor of Music (Director of Graduate Studies)
Music Building 305 N

Rehding's 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
Historical Musicology (Director of Undergraduate Studies)
Music Building 302 S

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 (on leave 2015-16)
G. Gordon Watts Professor of Music
Professor of African and African American Studies
Music Building 7

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 (Graduate Advisor in Historical Musicology)
Affiliate, Department of Germanic Languages and Literatures
Historical Musicology
Music Building 301S

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

Yosvany Terry
Visiting Senior Lecturer on Music / Director of Jazz Bands
Office and contact info to come

Yosvany Terry is an internationally acclaimed Cuban musician, American composer, saxophonist, percussionist, bandleader, educator and cultural bearer of the Afro-Cuban tradition. Born into a musical family in Camaguey, Cuba, Yosvany Terry went on to classical music training in Havana at the prestigious National School of Arts (ENA) and Amadeo Roldan Conservatory. After graduating, Terry worked with major figures in every realm of Cuban music including pianists Chucho Valdes, Frank Emilio, and the celebrated nueva trova singer/guitarist Silvio Rodriguez. From his earliest days in New York, Terry has been welcomed by the jazz and contemporary music community, playing with Branford Marsalis, Rufus Reid, Dave Douglas, Steve Coleman, Roy Hargrove, Henry Threadgill, Avishai Cohen, Jeff “Tain” Watts, Gonzalo Rubalcaba, Taj Mahal and Eddie Palmieri Afro-Caribbean Sextet.

His latest release, the GRAMMY Award-nominated “New Throned King” (5Passion, 2014), features music based on Arará cantos and rhythms and has been called the “musical culmination of his spiritual exploration” (All About Jazz). His previous album, “Today’s Opinion” (Criss Cross, 2012), was selected as one of the Top 10 Albums of the Year by the New York Times’ Nate Chinen. In 2015, Terry was named a recipient of the prestigious Doris Duke Artist Award. He has received recent commissions by the Yerba Buena Garden Festival (“Noches de Parranda” for 12-piece ensemble with the support of The MAP Fund), the French-American Jazz Exchange (“Ancestral Memories” with pianist Baptiste Trotignon and support from the Mid Atlantic Arts Foundation and Doris Duke Charitable Foundation), and the Harlem Stage (the score for the opera “Makandal”, premiering in 2015). Terry received a grant from Rockefeller Philanthropy Advisors and New York State Music Fund to create Afro-Cuban Roots: Yedégbé, a suite of Arará music. His latest project, The Bohemian Trio, is a genre-defying contemporary music ensemble based in New York that will be releasing its first album in the fall of 2015.

Terry website




Hans Tutschku
Fanny P. Mason Professor of Music, Director of the Harvard University Studio for Electroacoustic Composition (HUSEAC)
Composition (Graduate Advisor in Composition, spring)
Music Building G-3

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.

Tutschku faculty page




Kate van Orden
Dwight P. Robinson Jr. Professor of Music
Historical Musicology
Music Building 204 S

Professor van Orden specializes in the cultural history of early modern France and Italy. Her current publications investigate music and the cultures of print and include Music, Authorship, and the Book in the First Century of Print (2013) and Materialities: Books, Readers, and the Chanson in 16th-c. Europe. Thanks to generous research grants from the ACLS and Delmas Foundation, her new cross-cultural project examines French music, migration, and the performance of ethnic identity in Cinquecento Italy. Before taking a Ph.D. from the University of Chicago in 1996, van Orden began her career in Europe, where she studied historical performance practice. She performs and records regularly on early bassoons and makes a point of working at history through performance.

van Orden faculty page





Richard Wolf
Professor of Music (Graduate Advisor in Ethnomusicology)
031 Memorial Hall (office location only/mailing address is Music Building)
Postal address: Music Building / Harvard University / Cambridge, MA 02138

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




Ying Xue

Visiting Lecturer on Music/Parker Quartet
Music Building Room A

An accomplished and versatile soloist and chamber musician Ying Xue has won accolades on the competition stage around the world. She is the second prizewinner of the 2011 International Mozart Competition Salzburg, first prizewinner of the 2007 Corpus Christi Competition, and has won medals at the Hudson Valley, Irving M. Klein International and New England Conservatory Concerto competitions among others. As a soloist, she has appeared with the Camerata Salzburg, Nanning Symphony Orchestra, Jinfan Symphony Orchestra, and NEC Symphony Orchestra.

Xue faculty page

c 2015 President and Fellows of Harvard College