The Graduate Program of the Department of Music offers advanced training in historical musicology, ethnomusicology, theory, and composition, leading to the degree of PhD in Music. There is no admission to an AM program separate from these PhD programs. In unusual cases, students who cannot successfully complete the General Examination may be given the option of completing the requirements for a terminal AM degree.

The Graduate Program of the Depart-ment of Music also offers an AM Degree
in Music with a specialty in Per-formance Practice. This two-year program is designed for a small number of specialized students who are preparing or engaged in careers as performers and teachers. The program description and requirements follow
the description of the PhD program.

The faculty of the department includes about 24 members. There are 60 to 65 graduate students in residence; six to ten new graduate students enter each year. The Music Building contains a concert hall (the John Knowles Paine Hall), classrooms, faculty and graduate offices, a superb research library (the Eda Kuhn Loeb Music Library), a microfilm library of primary source materials (the Isham Memorial Library), an archive of world music recordings, listening facilities, an electronic music studio, an ethnomusicology lab, an early instrument room, chamber music rehearsal rooms, several electronic music studios, and individual practice rooms. Other facilities throughout Harvard University include the vast resources of Widener Library, the Houghton Library (which contains rare music prints and manuscripts, and autographs of major composers), the Morse Music Library at the Hilles Library, and the libraries and practice rooms of the undergraduate houses. In addition, a wealth of musical opportunities is readily available to students at Harvard and at the many neighboring universities (e.g., Boston University, Brandeis University, MIT) and civic and professional institutions (e.g., Boston Public Library, Museum of Fine Arts with the Mason Collection of Musical Instruments, and the New England Conservatory).

Since teaching is an integral part of graduate training, most graduate students are teaching fellows during part of the time they are at Harvard. Teaching fellows are also eligible to apply for a resident or nonresident tutorship in one of the 13 undergraduate houses. In addition to financial benefits, teaching fellowships and tutorships provide excellent professional experience.

In recent years virtually every graduate student has received one or more of the
fellowships and grants awarded by the University and the music department. Awards given by the department each year include several prizes in composition, the John Knowles Paine Traveling Fellowships, the Oscar S. Schafer Fellowship, the Richard F. French Fellowship, the Ferdinand Gordon & Elizabeth Hunter Morrill Fellowship, and the Nino and Lea Pirrotta Research Grant.

All applicants are required to take the GRE General Examination and must submit, along with their applications, samples of their previous work in music history, theory, and composition. Samples of work should be sent with a self-addressed, stamped envelope if they are to be returned to the student. Whenever possible, prospective candidates
for admission in musicology should seek to arrange interviews with the department’s
director of graduate studies and other faculty members. Applications for admission and
for financial aid must be received at the Admissions Office of the Graduate School
by January 2 for candidates who seek entrance in the following fall term. For applications for admissions and financial aid write: Admissions Office, Harvard Graduate School of Arts and Sciences, Byerly Hall, 2nd floor, 8 Garden Street, Cambridge, MA 02138. The application may be submitted online at https://apply.embark.com/grad/Harvard/GSAS

The Program in Musicology

At Harvard, musicology is broadly defined as the disciplined study of music and includes the historical, comparative, and systematic aspects of the field. The program incorporates two tracks: historical musicology, with an emphasis on the history, theory, and literature of Western music in its contexts, from antiquity to the present; and ethnomusicology, which concentrates on the ethnographic study of any musical tradition in relationship to its cultural setting. Most graduate courses in historical musicology and ethnomusicology are research seminars; many treat specific topics, periods, and regions, while others deal with current problems and methods. On the completion of preparatory training and the passing of the General Examinations, PhD dissertations may be written in either field.

The Program in Theory

The theory program is designed for students who have a strong background in either composition or musicology and demonstrate a high potential for theoretical work. Besides submitting work to demonstrate their admissibility in theory, applicants must explicitly indicate either composition or musicology as a secondary area, explicitly writing “theory (comp)” or “theory (mus)” on the application form. They must also submit additional work as necessary to demonstrate their admissibility in the secondary area, where substantial course work will be taken during the first two years of study. Theory students are expected to develop understanding of important areas of current theoretical research as well as critical sophistication concerning the problems of formulating organized discourse about musical structures. On the completion of preparatory training and the passing of the General Examinations, PhD dissertations may be written addressing original theoretical problems that illuminate significant areas of musical study.

The Program in Composition

Harvard’s program in composition is designed to give students the time and opportunity to develop as composers by offering general musical guidance as well as specific individual criticism of their works. The program is centered around students’ achieving clarity of expression through developing their command of compositional technique. In addition, acquaintance with the literature of the past and present through analysis and performance is considered indispensable. Most courses are seminars and deal with specific topics or student works. On the completion of preparatory training and the passing of the General Examinations, PhD dissertations comprising a substantial portfolio between five to seven pieces of varied scoring and length may be submitted.

Normally, students do not transfer from one program to another. Under exceptional circumstances, a change from one department graduate program to another may be possible. Students applying for a change must be in good standing in their original program. They have to submit a formal request to the director of graduate studies no later than the first week of May of the first year of study, including a list of courses indicating how they propose to fulfill the requirements of the new program. The admissions committee of the new program will make the decision in consultation with the graduate advisors; the decision will be presented to the department faculty. The students have to fulfill all the requirements of the new program (number and area of courses, languages, general exams).

PhD Program and Degree Requirements

Courses — A total of 16 half-courses is required to receive the PhD. Fourteen courses are usually taken during the first two years.Historical musicology students must take two half-courses in ethnomusicology and two half-courses in either theory or composition. One seminar in medieval theory will count toward the theory requirement; Music 157x and y do not count. During the first three years, ethnomusicology students are required to take at least two half-courses each in historical musicology and in offerings outside the department. Ethnomusicology students must also take at least two half-courses in music theory or composition. It is recommended that at least one theory seminar be in cross-cultural music theory. The choice of courses will be determined in consultation with the ethnomusicology advisor.

Students may be allowed academic credit (normally no more than two half-courses) for work done in other graduate schools in the United States or abroad, subject to the evaluation by the department and acceptance by the Graduate School. Petitions may be submitted after the completion of one full year of graduate work in the department.

Analysis/Tonal Writing — Competence and fluency in traditional harmony, counterpoint, strict composition, and analysis (including analysis of 20th-century music) are prerequisites for taking the General Examination. Entering students will be given a placement test; students found to have deficiencies in these skills will be required to take Music B, or other pertinent courses. Work must be undertaken in the first year of study.

Languages — Written language examinations are given at specified times throughout the year. Reading knowledge of the following -languages must be proved before taking the General Examination:

• Historical musicology students must pass German and French or Italian
• Ethnomusicology students must pass a European research language and a second  language to be determined in consultation with the ethnomusicology advisor.   
• Theory students must pass German plus one other language (French, Italian, Latin).   
• Composition students must pass German, Italian or French unless an alternative    language is approved in writing by the graduate advisor.   
• Historical musicology students and ethnomusicology students must pass a third    language appropriate to the field of specialization after completing the General Examinations and within one year of the approval of a dissertation proposal.

Requirements for languages not tested regularly within the department may be satis-fied through special examination, or through presentation of other documentation at the discretion of the graduate advisor.

Residency — Two full years are required at full tuition and two at reduced tuition. See The Graduate School of Arts and Sciences Handbook for specific information about residency requirements.

Review — The progress of all graduate students is reviewed at the end of each year. In addition to adequate course work, there are special requirements for first- and second-year students. Every student must submit at least one paper written for a graduate course as part of the first-year review. In musicology, every first- and second-year student must write at least one seminar paper per term.

General Examinations — The General Examination consists of two parts: written and oral. The orals are taken within one or two weeks of passing the writtens. The exams are to be taken at the end of the second year of study, usually in September. Both the
written and the oral parts can be repeated, but no more than once. The format, which is significantly different for each program, is as follows:

Historical Musicology

For historical musicologists, the general test will have three main parts – written, analysis and oral. The written exam consists of essays and short answer questions related to six of eight topics chosen by the student. The two prepared topics not selected for the written exam will be presented in the oral exam. The open-book analysis exam consists of two pieces of music (one before 1600 and one after 1600) and is conducted over a two day period (9 a.m. – 5 p.m.). During the time between the written/analysis and oral examinations, the student will choose two prepared topics not selected for the written exam for a short presentation in the oral exam. There will also be discussion about any of the eight topics and their broader implications.

Ethnomusicology

The written test for ethnomusicologists is divided into three sections: one on ethnomusicology theory and method, a second from two areas of world music, a third on interdisciplinary problems. The analysis test includes two examples, one from the student’s major area (i.e. North Indian music, Swedish music, etc.) and a second from the Western art music tradition. The oral examination in ethnomusicology focuses on the special field or area chosen by the student, but may include questions about general ethnomusicology not necessarily related to topics covered in seminars. The remainder of the examination focuses on questions posed in the written examination.

Theory

For theorists, the written examination consists of five parts: two essays on current systematic theories (3 hours), three short essays on the history of theoretical concepts (3 hours), two examinations in special fields relevant for dissertation research (3 hours each), and analyses of two musical compositions (4 days). A two-hour oral examination will allow discussion of the written work and may broaden to engage a variety of related issues in music theory.

Composition

For composers, four days are provided for completion of the written exam. The first part of the exam will be a piece or set of pieces that should be analyzed by the student in the allotted time period. Students are also required to write a short original composition to be submitted in late August. The oral examination is based on an in-depth discussion of three major works that are assigned in late spring of the second year of graduate study, plus an analytical presentation of one of the student’s own compositions to be selected in consultation with the graduate advisor.

Additional third-year requirements — The third year is primarily devoted to developing
a dissertation proposal and the beginning of work on the dissertation. All students will complete their required courses; in most cases, that will mean two half-courses, the topics
of which may be assigned by the faculty as a result of the General Examination. Musicology students will begin their third language (to be completed within one year of the approval of a dissertation proposal).

Dissertation — Within the academic year in which the General Examination is passed, the PhD candidate is expected to develop a proposal for a dissertation, which should be a major original contribution to the field. The proposal must be submitted for approval to the department, which is responsible for assigning the student a committee consisting of a dissertation advisor and two other faculty members. Normally, the complete dissertation must be submitted within five years after passing the General Examination, and satisfactory progress must be demonstrated every year in order that the student remain in good standing. If the dissertation is submitted thereafter the department is not obligated to accept it. The formal requirements for the dissertation are set forth in The Form of the PhD Dissertation, provided by the Graduate School of Arts and Sciences. The department requires one bound copy for the Music Library, in addition to the two copies required for the Registrar.

Colloquium — Musicology and theory students, after the approval of their dissertation proposal, will -participate in the doctoral colloquium until the dissertation is accepted.

Course Information

In general, for all students, 100-level courses should be taken as supplemental to the graduate program, and should not be the major portion of the student’s coursework. The students should discuss their intentions with the graduate advisor. Students are encouraged to pursue course offerings in performance.

Graduate credit will automatically be given to composition students for any of the following 100-level courses: Music 157x and y, 160. In order to receive graduate credit, permission to take any additional half-courses at the 100-level must be granted by the graduate advisor before taking the course.

For theory students, the following courses will count as “in their secondary area”; in composition, 166r, 167r, up to a total of two terms in all, 261r, 262r, 264, 270, and 272; in musicology, courses numbered 201 through 219 or any 100-level course which has been specifically designated as satisfying this requirement in a given term by both the graduate advisors in musicology and the graduate advisor in theory. Theory students intending to count graduate credit (toward the 16 half-course credits) for any 100-level course should obtain written authorization to do so from the graduate theory advisor prior to taking the course.

Final Steps in the Dissertation Process

The procedure for completing the dissertation is as follows:

1. The full text must be submitted to the members of the dissertation committee for suggestions, corrections, changes, etc. Candidates are encouraged to discuss drafts of individual chapters with all members of the dissertation committee.
2. The candidate should check with the Director of Administration to be sure that all degree requirements have been met.
3. The application for the degree must be submitted to the Registrar by the date published in The Graduate School of Arts and Sciences Handbook for the November, March, or June degrees.
4. After the committee has approved the dissertation in its final form, an unbound copy must be submitted to the department at least 45 days before the Registrar’s deadline. During this 45 day period the members of the department are free to examine the completed dissertation.
5. For musicology students, a public colloquium on the dissertation is required shortly before or after it has been approved.
6. Copies: one copy bound and one copy boxed and unbound for the registrar; one copy bound for the Music Library. The library copy must be submitted to the department office before the dissertation acceptance certificate can be signed. The department administrator will obtain signatures from the committee. At this time, the university microfilms and RILM forms must be completed. The Registrar’s Office requires the dissertation certificate (one original, one copy), the university microfilms form, and its copies of the dissertation.

Satisfactory Progress 

A student in the Graduate School of Arts and Sciences must be making satisfactory progress in order to be eligible for any type of financial aid. The following nine items provide a general definition of satisfactory progress that has been adopted for this purpose by the Music Department. It is hoped that this requirement will have a healthy effect on students’ academic progress, and that it will enable us to preserve resources for those most deserving of financial assistance.

1. During the first two years of graduate study any student who is permitted to register is considered to be making satisfactory progress.
2. A prospective third-year student must have achieved the minimum grade-point average required by this faculty (B).
3. A prospective third-year student must have passed general examinations.
4. A prospective fourth-year student must have obtained approval of a dissertation prospectus.
5. A prospective sixth-year, or more advanced, student must have produced at least one acceptable chapter of the dissertation or its equivalent for each year beginning with the fifth.
6. Requirements 2-5 shall be cumulative.
7. A student who fails to meet a requirement may, upon the department’s recommendation, be considered to be an “exception” —and remain eligible for financial assistance —for a grace period of up to one year. At the close of the grace period, in order to be considered to be making satisfactory progress, the student must have met both the requirement missed earlier and the requirement that would normally be imposed at that time.
8. No student may have more than one such year of grace during his or her study.
9. In addition, the requirements of this calendar may be deferred by a department -during one year of departmental approvedleave. A department may, if it wishes, defer requirements for a more extended period of approved leave in order to facilitate a student’s obtaining a professional degree.

Master of Arts (AM) Degree in Music

The AM in Performance Practice is a two-year program in which students take departmental courses focused on this specialty and write an AM thesis. Students wishing to continue at Harvard for the PhD will apply in the normal manner, and their applications will be considered in the customary way. Students admitted to the PhD program will be granted credit for work done at Harvard or elsewhere according to departmental guidelines, which normally grant credit for two graduate courses taken before entering the PhD program.

AM Program and Degree Requirement

Courses— The student’s program must be approved by the department at the time of registration. The AM degree will be awarded on completion with passing grade (B- or above) of at least eight and no more than twelve half-courses. Courses, selected with approval of the department, typically include Music 201, Music 182, Music 183, three graduate seminars, Music 300, and Music 299.

Languages — Students will be expected to demonstrate a reading knowledge of French, German, or Italian by the beginning of the third term.

Residence — There is a minimum residence requirement of three terms. Two years will ordinarily be required to complete the degree.

Thesis — Students will submit an AM thesis, the subject and scope of which will be determined in consultation with the advisor.

NOTE Some aspects of the graduate programs in music may be under review and in process of revision. Therefore, this text may not in every respect represent accurately the structure of the programs. Applicants are advised to write to the department for information and encouraged to discuss the details of the programs with the director of graduate studies, Department of Music, Music Building, Harvard University, Cambridge, MA 02138.

Faculty of the Department of Music

Carolyn Abbate, Fanny Peabody Professor of Music (Graduate Advisor in Historical Musicology)

Mauro Calcagno, Associate Professor of Music

Sean Gallagher, Associate Professor of Music

Elliott Gyger, Assistant Professor of Music

Christopher Hasty, William W. Naumburg Professor of Music

Thomas F. Kelly, Morton B. Knafel Professor of Music (Head Tutor)

Robert D. Levin, Dwight P. Robinson Jr. Professor of Music

Jameson N. Marvin, Senior Lecturer on Music

Ingrid Monson, Quincy Jones Professor of African-American Music, supported by the Time Warner Endowment (Chair)

Carol J. Oja, William Powell Mason Professor of Music

Alexander Rehding, Professor of Music (Director of Graduate Studies and Graduate Advisor in Theory)

Sindhumanthi Revuluri, Assistant Professor of Music

Kay Kaufman Shelemay, G. Gordon Watts Professor of Music & Professor of African and African American Studies.

Anne C. Shreffler, James Edward Ditson Professor of Music

John Stewart, Senior Preceptor in Music

Hans Tutschku, Gardner Coles Associate Professor of Music (Graduate Advisor in Composition)

Richard K. Wolf, Harris K. Weston Associate Professor of the Humanities (Graduate Advisor in Ethnomusicology)

Christoph Wolff, Adams University Professor

James D. Yannatos, Senior Lecturer on Music