Dear Arts,
A friendly note with a few upcoming Dudley events:
*1. Play: Trans Scripts; Friday, Feb 3, 7:30 pm - $15 (open to Dudley House
members + 1 guest)*
Drawn from dozens of interviews conducted around the world, *Trans
Scripts* uses
the real words of women to shed light on the rich and diverse experiences
within the transgender community. Jo Bonney (*Father Comes Home From the
Wars (Parts 1, 2 & 3)*) directs a cast of seven in the US premiere of this
moving, humorous, and timely work that received a Fringe First Award for
new writing at the 2015 Edinburgh Festival Fringe.
*2. Cabaret tickets; Thursday, Feb 9, 7:30 pm - $40 (open to Dudley House
members + 1 guest)*
Come see CABARET, Broadway's Tony-winning masterpiece! Get tickets to see
this treasured musical genius at the Boston Opera House, Thursday, February
9 at 7:30 PM. Cost is $40 per ticket, and sales are open to both Dudley
House members and one guest.
*3. Art Workshops - Painting and Charcoal; Thurs and Fri Feb 16 and 17,
7-9pm - $10/class (open to Dudley House members +1 guest)*
Paint and draw your stress away during these two days of art workshops!
Come to just one, or come to both.
Stop by the third floor of Dudley House to add your name to the list (for
Trans Scripts and for the Art Workshops) and get your tickets (for Cabaret).
Have a lovely day,
Tal
Dear Arts folks,
A note with a few upcoming Dudley events:
*1. Robert burns Night; TODAY - THURSDAY, 8PM - FREE*
Date: Thursday, January 26, 2017, 8:00pm
Location: Dudley House Common Room
Join us for this traditional evening celebrating the life of Scotland's
national poet Robert Burns! There will be poetry, Scottish snacks, a
whiskey tasting, and live fiddle music by JENNA MOYNIHAN
(www.jennamoynihan.com) <http://www.jennamoynihan.com/>
<http://www.jennamoynihan.com/>
**** Please note: *capacity for this event is limited. We will close the
door when capacity is reached. Come early to secure your spot! ***
*2. Play: Trans Scripts; Friday, Feb 3, 7:30 pm - $15 (open to Dudley House
members + 1 guest)*
Drawn from dozens of interviews conducted around the world, *Trans
Scripts* uses
the real words of women to shed light on the rich and diverse experiences
within the transgender community. Jo Bonney (*Father Comes Home From the
Wars (Parts 1, 2 & 3)*) directs a cast of seven in the US premiere of this
moving, humorous, and timely work that received a Fringe First Award for
new writing at the 2015 Edinburgh Festival Fringe.
*3. Cabaret tickets; Thursday, Feb 9, 7:30 pm - $40 (open to Dudley House
members + 1 guest)*
Come see CABARET, Broadway's Tony-winning masterpiece! Get tickets to see
this treasured musical genius at the Boston Opera House, Thursday, February
9 at 7:30 PM. Cost is $40 per ticket, and sales are open to both Dudley
House members and one guest.
*4. Art Workshops - Painting and Charcoal; Thurs and Fri Feb 16 and 17,
7-9pm - $10/class (open to Dudley House members +1 guest)*
Paint and draw your stress away during these two days of art workshops!
Come to just one, or come to both.
Stop by the third floor of Dudley House to add your name to the list (for
Trans Scripts and for the Art Workshops) and get your tickets (for Cabaret).
Have a lovely day,
Tal
Hi Arts folks,
A few opportunities to keep mind of:
*1. Robert Burns Night - Thurs. Jan. 26; FREE*
Date: Thursday, January 26, 2017, 8:00pm
Location: Dudley House Common Room
Join us for this traditional evening celebrating the life of Scotland's
national poet Robert Burns! There will be poetry, Scottish snacks, a
whiskey tasting, and live fiddle music by JENNA MOYNIHAN
(www.jennamoynihan.com) <http://www.jennamoynihan.com/>
<http://www.jennamoynihan.com/>
**** Please note: *capacity for this event is limited. We will close the
door when capacity is reached. Come early to secure your spot! ***
*2. Cabaret - Thurs. Feb. 9; $40*
Come see CABARET, Broadway's Tony-winning masterpiece! Get tickets to see
this treasured musical genius at the Boston Opera House, Thursday, February
9 at 7:30 PM. Cost is $40 per ticket, and sales are open to both Dudley
House members and one guest.
Stop by the third floor of Dudley House to add your name to the list and
get your tickets.
*3. Become a Dudley Fellow!*
There will be lots of openings next year in several of our program areas,
so we look forward to reading your applications and setting up interviews
in February.
http://dudley.harvard.edu/event/dudley-house-fellow-applications-due
*We will host an informal reception in the Dudley Fireside Room (1st Floor)
next Monday, January 23, from 5 to 6:30 p.m.* Come and meet some of the
staff, let us know what questions you might have and what your interests
are. We will have some coffee and cheese and fruit..and brownies! For
refreshments. We look forward to talking with you on Monday!
*4. Music class*
See below!
Have a great day,
Tal
---
Hello!
I’m writing with info about the music department course offerings this
semester. I’m especially excited about some of the new courses: a history
of opera with University Professor Carolyn Abbate and a performance course
with the Silk Road Ensemble and Professor Kay Shelemay.
I’m happy to answer any questions you might have about music department
courses – I am the TF for the opera course this semester and was on the
teaching team for Music 1: 1,000 Years of Listening last year. Please don’t
hesitate to e-mail me at hayleyalexandrafenn(a)fas.harvard.edu.
Best wishes,
Hayley
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
*Thinking About Taking MORE Music Classes?*
We hope that you enjoyed the music class you took this semester! Now that
the semester is *almost* over, maybe you're thinking about taking more
music classes next semester? The Department of Music offers a wide range of
specialized electives in music theory, composition, musicology,
ethnomusicology, and performance-related areas. Our course offerings in
2017 reflect the specialties of our academic faculty: eighteenth-century
material culture, diaspora studies and migration, opera, jazz, dance, music
and politics, music and science, early music, music and media, country
music, improvisation, musics from around the world, American and European
modernism, music and cognition, music and ecology, new music of the 21st
century, cross-cultural composition, and more! We are sure that there is
something for everybody. Take a look at our course offerings below for more
information.
Questions? Email your friendly Undergraduate Coordinator, Mary MacKinnon,
at mackinnon(a)fas.harvard.edu
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*SPRING SEMESTER 2017*
*FRSEMR 60F - Tell a Personal Story Through Sound*
Professor Hans Tutschku
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
M 2:00-4:00pm
Through the creation of a personal sound story, students are invited to
discover new forms of communication and relating ideas. Perception of
sound, as well as creative use of sound will be at the core of our
discussions. We will learn to shape sound in order to express a specific
idea. Each student will write a personal short story as a script. Those
stories don’t focus on the visual aspects of things, but should describe
their sounding scene with adjectives particularly spelling out the sounding
environment and qualities. There are no prerequisites in music. An
open-minded, creative and curious attitude is expected. We will listen to
the weekly assignments in class and develop a specific form of group
critique. The final sound story compositions will be presented in a public
listening session. Each student is required to bring his/her laptop and
headphones to class. We will use the software, Reaper, for editing and a
cheap but powerful sound editor, Twisted Wave for Macintosh.
*TDM 141 - Movement Lab*
Professor Jill Johnson
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W 2:00-5:00pm
This course explores the practice of choreography in a dynamic research
environment. Students will learn interdisciplinary tools for devising,
modifying, and editing motion for the stage, screen or site-specific work.
Compositional discernment and keen visual evaluation skills will be
developed through: extensive studio practice creating and interpreting
movement phrases and gestures; discussion and feedback of individual
movement composition assignments; viewing and analyzing the structure,
dramaturgy, music, set and lighting design in seminal dance and theater
pieces from around the world (e.g. Fabre, Naharin, Jones, Graham, Bausch,
Goebbels, Petipa, Pite, Kahn); and examining how new media can be utilized
for appraising, capturing and documenting motion in the 21st century.
Classes will be held in the seminar room and studio. No prior dance
experience required. Enrollment determined by short interview during the
first week of class (shopping week).
*Music 2 - Foundations of Tonal Music I*
Professor Osnat Netzer
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M/W/F 11:00am-12:00pm
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.
This course, when taken for a letter grade, meets the General Education
requirement for Aesthetic and Interpretive Understanding.
*Music 51b - Theory Ib*
Professor Chelsea Burns
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W 1:00-3:00pm
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.
This course, when taken for a letter grade, meets the General Education
requirement for Aesthetic and Interpretive Understanding.
*Music 142r - Foundations of Modern Jazz: Art Blakey's Jazz Messengers*
Professor Yosvany Terry
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
T 1:00-3:00pm
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 created by artists searching
for new musical expressions, as a necessary evolutionary step after Be-Bop
in modern Jazz. Students will be become 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. Each week the students will make presentations on the
selected class readings which are intended to deepen their understanding
of the music by providing the social context in which this music was
developed. Finally, students will select, rehearse, and perform some of the
Jazz Messenger compositions in an end-of-semester concert.
*Music 161r - Advanced Composition*
Professor Chaya Czernowin
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
T 1:00-3:00pm
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.
Recommended Prep: One course in theory/composition or permission of the
instructor.
*Music 175r - Death and Darkness in Mozart's Last Years*
Professor Federico Cortese
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
M 2:00-4:00pm and F 1:00-2:00pm
>From Mozart's Don Giovanni to the Requiem.
Course Notes: This class is open to performers (instrumentalists and
vocalists) and non-performers.
*Music 189r - Chamber Music Performance*
Parker Quartet
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
TBA
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 pianist Katherine Chi. 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. There
will be final jury evaluations prior to the final class performances, to be
held sometime during Reading Period. Students who do not meet the
requirements below may take the course for PASS/FAIL credit. Pre-formed
ensembles are encouraged and will be accommodated as much as possible.
Audition Requirements: A video recording needs to be made and submitted
between Monday, January 2 and Thursday, January 26. In order for the
recording to be valid, you must verbally state the date and time in your
video recording before you perform. The recording is to be submitted as a
live recording with no editing allowed, and should be approximately 7
minutes of music that includes two works of contrasting styles. Please
download the questionnaire which must be submitted along with your
video.Please submit the live video and questionnaire via Google Docs to
thefourparkers(a)gmail.com. Students enrolled in 189R for the fall 2016
semester need not re-audition. Any students who have enrolled in the course
in past school years need to re-audition.
*Music 194r - Performing Musical Difference: Case Studies from the Silk
Road Project*
Professor Kay Kaufman Shelemay
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
W 1:00-3:00pm
This course, a collaborative venture in the classroom with musicians of the
Harvard-affiliated Silk Road Ensemble, will explore the social processes
and ethical challenges of intercultural musical exchange, composition, and
performance. For fifteen-years, the Silk Road Project and its signature
ensemble have sought to enhance intercultural communication through their
music making, bringing together performers and composers from across the
world to perform together. With an articulated humanistic goal of creating
“unexpected connections, collaborations, and communities in pursuit of
meaningful change,” the Silk Road Project provides a rich laboratory for
appraising how dimensions of difference have been conveyed through artistic
performance as well as the many issues that such initiatives raise.
Critical and reflexive theoretical approaches from ethnomusicology,
anthropology, and performance studies, among other disciplines, will be
used to frame selected case studies from the Silk Road Ensemble experience.
Class sessions will include dialogue with musicians from the Silk Road
Ensemble who will serve as interlocutors and provide insider perspectives
of the ensemble’s work in various domains. Each student will pursue a term
project (with the possibility of collaboration with classmates) and present
a discussion of it in class, focusing on ethnographic and /or archival
materials that shed light on musical difference as daily practice;
undertake a focused project in an aspect of social engagement and/or
community service; or collaborate with an intercultural group of colleagues
in a performance.
Course Notes: Students from other departments are welcome.
*FRSEMR 60J - Musical Jokes from the Middle Ages to the Present Day*
Professor Suzannah Clark
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
W 3:00-5:00pm
How good is music at telling jokes? What kinds of jokes and related forms
of humor does music have at its disposal? How can we tell when music is
joking? What do listeners need to know in order to get the jokes? In the
first few weeks of the course, we will lay some foundations through the
study of definitions of verbal jokes and prevailing philosophical,
psychological, and anthropological theories of why humans tell and
appreciate jokes. We will test out these definitions and theories on viola
jokes before turning our attention to music. Our musical examples will span
the history of Western music from roughly the late 12th century to the
present day in order to investigate which kinds of musical jokes are
timeless and which ones are bound to their stylistic, historical, social,
political, and cultural contexts. Along the way, we will encounter music’s
full range of humor, including some splendid pranks played on performers
and audiences; clever send-ups; examples of stinging satire of the church
and religion; musical barbs aimed at incompetent composers; critiques of
social class, and not least jokes about classical music itself. One might
imagine that a prerequisite for this class is a keen sense of humor.
However, perhaps more relevant is a desire to discover what insights may be
gained from studying music through the lens of its humorous utterances.
*Music 1 - 1000 Years of Listening*
Professor Emily Dolan
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
M/W 1:00-2:00pm
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
This course, when taken for a letter grade, meets the General Education
requirement for Aesthetic and Interpretive Understanding.
*Music 20 - Opera*
Professor Carolyn Abbate
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
T/Th 11:00am-12:00pm
This new lecture course will explore opera, a theatrical genre with a
400-year history, which is still a living and vibrant art. Opera has
always been multimedia: Its marvelous singing, and its music, is shaped by
drama, by characters, visual spectacles in staging, and theater
architecture and machinery. Operatic performance, by engaging and even
overwhelming multiple senses, challenges us to question intellectual
truisms like critical detachment, sober analysis. Opera has always
inspired intense passion in audiences. For some, it is the most beautiful
and moving musical genre that has ever existed. For others, it can involve
tedium and acoustic strangeness. Opera’s special acoustic is defined by
its singers, who are often called “gods” (“divas” and “divos”), with voices
that are the most powerful unamplified human sonic force in existence. We
will look at opera as it evolved over time from its origins in Italy into a
global phenomenon, considering works by famous composers (including Mozart,
Wagner, and Verdi) as well as obscure corners and byways. Students will be
experiencing live opera performances (in class and on field trips), and
opera as technological art in recordings, film, and other media. No
previous music courses, no expertise in music theory or ability to read
music, are required.
*Music 97b - Music History & Repertory: Classical to Contemporary*
Professor Anne Shreffler
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
M/W/F 10:00-11:00am
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 and will include several guest speakers and concert
visits. Some themes that will recur throughout the semester are the
development of the musical canon, migration (how musicians have moved
around the globe, crossing national boundaries and sharing their
creativity), technologies (such as recording and electronic sound
production), and the public sphere (the growth of the audience). Two
semesters of Music 97 are required of all concentrators, preferably taken
in the sophomore year, or earlier by permission.
*Music 157gew - South Indian Music Theory & Practice*
Professor Richard Wolf
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
Th 1:00-3:00pm
Analysis of contemporary south Indian classical composition and
improvisational forms. Students will learn to sing or play an instrument
and may participate in a concert at the end of the semester.
This course, when taken for a letter grade, meets the General Education
requirement for Aesthetic and Interpretive Understanding.
*Music 174r - Creative Music Workshop*
Professor George Lewis
<https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dman…>
M 2:00-4:00pm
This course is an intensive, research-oriented workshop environment for
advanced composers, improvisors, performers, and sound artists. Through
critical listening, readings, and collaborative musical projects, students
will engage with contemporary perspectives and practices in experimental
music and sound art. Between December 19 and January 16, each student
should provide links (Youtube, Soundcloud, Dropbox, or similar) to up to
fifteen minutes of recent recorded work (last three years) in video and/or
audio formats. Please provide information on instrumentation or other
forces and techniques, as well as a statement of up to 250 words about your
artistic practice. Do not email audio or video files directly. Send files
to gl21400(a)gmail.com. No applications will be accepted earlier than
December 19 or after January 16.
Course Notes: Follow-up to Music 173r or placement by consent of faculty
member. Open to both undergraduate and graduate students.
*Music 176r - Music and Disability*
Professor Andrew Clark
W 12:00-2:00pm
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.
Course Notes: Students from other departments are welcome. This course can
be used to fulfill secondary field credit in Ethnicity, Migration, Rights.
*Music 192r - Understanding Beethoven*
Professor Alex Rehding
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and Peter Gordon
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T 2:00-4:00pm
This undergraduate seminar, co-taught by two professors, combines
historical, cultural, and musicological approaches so as to develop a
deepened understanding and appreciation of Beethoven’s music, assessing its
intrinsic character while also placing it in German cultural, intellectual,
and political history. The course does not require extensive musicological
knowledge, but an understanding of basic music theory and music history
will be presumed. Students will be required to attend performances by the
Parker String Quartet, and there will be at least one class-trip to a
performance at the Boston Symphony Orchestra. The course counts for credit
in either history or music.
Course Notes: Music 192R is the same as History 13K and German 134.
Students may take only one of the three classes for credit.
*Music 194rs - Country Music Studies*
Professor Chelsea Burns
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M 2:00-4:00pm
In current popular media, country music is often associated with
working-class identity, rural idealization, hetero-normative gender roles,
and various other ideologically loaded biases. However, a closer look at
the genre—and scholarship surrounding it—often reveal a more complex
picture. In this course, we will read and critique recent scholarship,
particularly attending to how country music has served as a compelling site
for addressing questions about authenticity, class, commercialization, and
narrative tropes. In addition to reading widely in country music studies
and evaluating ways in which the field has changed over time, we will also
see how scholarship can affirm or resist common assumptions about country
music and its community of musicians, audiences, and commercial media.
While this class will not provide a survey of country music, students will
be exposed to a variety of periods and styles within the genre from the
context of scholarship connected to it.
Course Notes: Students from other departments are welcome. While this class
will engage with some music-analytical materials, music-reading skills are
not required for the course.
*GRADUATE COURSES*
Undergraduates may enroll in graduate music courses with permission from
the instructor. Those graduate courses may count for concentration credit
with advance department approval. Graduate course descriptions can be found
online at *my.harvard.edu
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Harvard University Department of Music · Music Building · Cambridge, Ma
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Hello folks,
A special announcement regarding tickets to see CABARET.
Come see CABARET, Broadway's Tony-winning masterpiece! Get tickets to see
this treasured musical genius at the Boston Opera House, Thursday, February
9 at 7:30 PM. Cost is $40 per ticket, and sales are open to both Dudley
House members and guests (no limit).
Stop by the third floor of Dudley House to add your name to the list and
get your tickets.
Have a lovely day,
Tal
Hello Arts folk,
We hope you have had a fabulous break so far. Looking on to the semester
ahead, here are a few January events you might like to attend.
1. Film Screening: Spectre
Date: Friday, January 20, 2017, 6:30pm
Location: Dudley House Common Room
Enjoy the most recent film in the JAMES BOND series!
Daniel Craig, Cristoph Waltz, Léa Seydoux | 2015, 148 min.
2. Robert Burns Night Date: Thursday, January 26, 2017, 8:00pm
Location: Dudley House Common Room
Join us for this traditional evening celebrating the life of Scotland's
national poet Robert Burns! There will be poetry, Scottish snacks, a
whiskey tasting, and live fiddle music by JENNA MOYNIHAN
(www.jennamoynihan.com) <http://www.jennamoynihan.com>
<http://www.jennamoynihan.com>
**** Please note: *capacity for this event is limited. We will close the
door when capacity is reached. Come early to secure your spot! ***
Have a lovely day,
The Dudley Arts Fellows
