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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D0a49d0142d-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=kdDr1rj4uzbLHP1mxfG6L_GmRrWDLrfJ3SxLXFyyd2w&e=> *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 <https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dmanage1.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D09f916acc6-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=z2gq3FGlGnCN_zD1DyAgtKK_RUsX654ktLSdlCsvaTU&e=> *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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D5ba0edda7f-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=5y8QdqpQYYoifM2Rwz32dqMeYDkv3qiE4YEmfFtBlhQ&e=> 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 <https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D2f569387f2-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=LdnooS1h3FhNG9xrbo4Cka-NUhdhN8Gb9D4KrflVQZE&e=> 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 <https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3Dd985f30993-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=8QOAqpPvmql5yxU74Oz7oGJE_ymJ-SbE_RICShKoIuk&e=> 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 <https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D18e801aa87-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=EcKxo9LLFmlZQyQ7jAPwS53cePKcR_45csEfJ69RQ68&e=> 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-2Dmanage1.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D35c6f23051-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=5o_J2rmV3UzeVzRMAWhjn9oK0ysCkSVD23Ndln0FC08&e=> 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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D37e5d66f88-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=UPdstGF17-78-V6HiuHdAE-Z0EwH0zJBl4W4x4UP4pE&e=> 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-2Dmanage1.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D9443ac9561-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=pcWO3rB5UvSIS8DjDPP-oN8pMb-xunU2rjcfGQmnlVI&e=> M 2:00-4:00pm and F 1:00-2:00pm 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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D7e449c28b3-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=DzuNdh4iR_jUnCMYFL1JZXel5YW5WPcq0Ry_fLjHwLs&e=> 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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D704ce692ad-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=JyDvU9FvZ7-0LJu0jE0KvB_r3ReiKZyijAYQNS--yt8&e=> 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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D0e016e129a-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=qo95Rwx_KOhGs5hm0udZHK4KVTMqeEV0heBZSHThFKo&e=> 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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D7879f26bef-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=wU71Q9MIlDgPFKZ-QiLBMu575olwuDRMUnae0MkhEWk&e=> 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-2Dmanage1.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D141efb097b-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=ugnYFgsaZziId-xMLp3Lgf9zfVD6QbjkATcjxwnCJ0Y&e=> 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-2Dmanage2.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D6ba0a39808-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=P5vgy9_m8dHwCezakrKS5Ey1EaEEOtraWa0fQzF8Dm4&e=> 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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D8483b10859-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=lTyQBLSBeEBKpt8ERDz6RMbOOITc8jiPFSWhliyL39U&e=> 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-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D19efd2b0a3-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=s5nMrzW0z58dejmskpOqC6WIDbZ8F0EG8GzSAP1gDsE&e=> 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 <https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3D865ae32ccb-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=BRmkd3S9WqbpCYwrjg-WaYWfoBUWwW4iuMDNt5Gkp2Q&e=> and Peter Gordon <https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3Dd3bd6f7f6f-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=ICiGIYMWrx9ZJF2KgHmX55AtXJH6StWEnWeuqpqQ3gs&e=> 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 <https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3Df30b68a159-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=_IdZ2u1yQGF5ntni-pWdylcs9aTA3Xq4BF-50CdCqcQ&e=> 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 <https://urldefense.proofpoint.com/v2/url?u=http-3A__harvard.us11.list-2Dmanage.com_track_click-3Fu-3D2929a92a3feab17fa5ff8f523-26id-3Def0a96155d-26e-3D6608ccea91&d=CwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=eQjZP64q958M0PbKr4T2RtHk34UNowV2-rA_5t_jrkDw1l73hHG6_hykjKJb-pw2&m=MuAPKwvOIsVLrxUhyVyKPagieWoy3Eqr56V84o0smIg&s=iuT0P3Hur_wmpy6VGOXisJDT7JD2Ku9PXCRxyOQfyMI&e=>* . 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