Harvard University Department of Music Publications
The Department publishes a small catalogue of scholarly volumes under the series title, "Harvard Publication in Music" and "Isham Library Papers." The Harvard University Press also publishes and distributes a number of volumes authored by Harvard faculty.
The Series "Harvard Publications in Music" has received support from the Department's Eunice Crocker Gilmore Publications Fund and the L.J. Skaggs and M.C. Skaggs Foundations.
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Music and Nation. Essays on the Time of German and Italian Unifications (2019)
Out of Bounds. Ethnography, History, Music (2017)
Music in Time. Phenomenology, Practice, Performance (2016)
City, Chant, and the Topography of Early Music (2013)
The Century of Bach and Mozart. Perspectives on Historiography, Composition, Theory and Performance (2008)
Remembering the Future, Luciano Berio (The Charles Eliot Norton Lectures 1993-94, 2006)
The Century of Bach and Mozart. Harvard College Library catalogue (2005)
Music and the Aesthetics of Modernity. Essays (2005)
Music of My Future. The Schoenberg Quartets and Trio (2000)
Essays on Medieval Music in Honor of David G. Hughes (1995)
Anguish of Hell and Peace of Soul. A 1623 Collection of Sixteen Motets on Psalm 116 (1994)
Themes and Variations. Writings on Music in Honor of Rulan Chao Pian (1994)
John Pierce (1773-1849). A Collection of the Most Approved Pieces of Music From Various Authors Transcribed While a Member of Harvard University, from July, 1789 to July 1793 (1988)
A Life for New Music. Selected Papers of Paul Fromm (1988)
Music and Context. Essays for John M. Ward (1985)
The Operas of Alessandro Scarlatti, Volumes V-IX: (1979-85)
Beethoven Essays. Studies in Honor of Elliot Forbes (1984)
The Instrumental Music of Giovanni Legrenzi (1984)
Music in Harvard Libraries. Early Printed Music and Books, A Catalogue (1980)
Words and Music. The Scholar's View (1972)
Words and Music. The Composer's View (1972)
History of the Music Department
The Harvard University Department of Music 1991 to 2011 (2015) [PDF]
The Organ in the Academy (2013) [PDF]
Harvard's Paine Hall (2010) [PDF]
A History of Music at Harvard to 1972 (1988)
*A Report of Music at Harvard from 1972 to 1990* (1993) OUT OF PRINT
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Sergio Durante (Padua, 1954), is Professor of Musicology at the University of Padua “Il Bo.’” Trained as flutist and musicologist at the Conservatory and Bologna University, he then pursued graduate studies at Harvard University under the advisorship of Christoph Wolff. Most relevant and lasting influences have been the new French historiography (through the lesson of F.A. Gallo) and musicology according to the German and North American traditions. After years of research devoted to the collective history of singers, his Harvard experience generated an interest in Mozart studies that lead to numerous publications on La clemenza di Tito (including the first facsimile edition of the autograph), Don Giovanni, and Betulia liberata, as well as studies of thoretical-analytical nature. He is member of the Mozart Academy in Salzburg since 2000 and of the Accademia galileiana in Padua since 2017. In recent years Durante has promoted research on Giuseppe Tartini and the complete edition of his works is now under way. His scholarship looks to connect broader cultural processes to the factual investigation of selected works considered as prisms that reflect in form and content the artist and societies that generated and transmitted them.
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The essays treat such diverse topics as cantorial life in America, gender and fertility among Ethiopians in Israel, transnational performance itineraries of griots and Korean drummers, and video games. This volume embraces Western art music, American music, African music, music and ritual, the performing body, and the internet. The seamless flow between ethnomusicology and historical musicology in this volume will interest a wide range of music scholars for generations to come.
The essays included here bridge the conventional divides between theory, history, ethnomusicology, aesthetics, performance practice, cognitive psychology, and dance studies. In these investigations, music emerges as an art form that has an important lesson to teach. Not only can music be understood as sounds shaped in time but—more radically—as time shaped in sounds.
In addressing a broad array of topics and regions—ranging from Beneventan chant in Italy and Dalmatia, to music theory in medieval France, to later transformations of chant in Iceland and Spain—these essays honor and build upon Thomas Forrest Kelly’s work in keeping cultural, geographic, and political factors close to the heart of the musicology of chant, early music, and beyond. Two essays complement Kelly’s scholarly and pedagogical interests by investigating the role of the city in premieres of works composed long after the end of the Middle Ages.
It was Harvard’s first music professor, John Knowles Paine, who envisioned a building set aside exclusively for the study and making of music. It took three Harvard presidents, a long courtship of the Corporation and faculty, and the tireless campaigning of department chair Walter R. Spalding to make Paine’s dream a reality. This volume chronicles the building of Paine Hall, its famous frieze of composers, and puts all in context of music history in Boston at the turn of the 20th century, with its avid music journalists and transcendentalists. Most of all, Harvard's Paine Hall tells a story of men of music and passion carving a permanent place for art at Harvard and in education. 2010, Harvard University Department of Music.
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This collection of essays by leading authorities in the field offers a variety of new perspectives on the two composers, as well as some of their important contemporaries, Haydn in particular. Addressing topics as diverse as the historiography of eighteenth-century music, concepts of time and musical form, the idea of the musical work and its relation to publishing practices, compositional process, and performance practice, these essays together constitute a major contribution to eighteenth-century studies. This book had its origin in a conference that took place at the Music Department of Harvard University on September 23-25, 2005 to honor Professor Christoph Wolff, Adams University Professor at Harvard University.
Compiled by Matthias Roeder, Houghton Library and Sarah Adams, Eda Kuhn Loeb Music Library. 40 pgs. $13.95.
This book had its origin in a conference that took place at the Music Department of Harvard University on November 9–11, 2001 to honor Professor Reinhold Brinkmann.
The first part of the book provides a historical context to these works, examining Viennese quartet culture and traditions, Webern's reception of Schoenberg's Second Quartet, Schoenberg's view of the Beethoven quartets, and the early reception of Schoenberg's First Quartet. The second part examines musical issues of motive, text setting, meter, imitative counterpoint, and closure within Schoenberg's quartets and trio.
The essays, written by distinguished scholars, stem from a conference in honor of David G. Hughes, professor of medieval music at Harvard University and noted specialist of chant.
Paperback, 269 pages, $52.50
Clothbound, 86 pages, $26.50
Clothbound, 487 pages, $36.95
Essays by James Webster, Martin Staehelin, Alan Tyson, Maynard Solomon, and Michael Ochs look carefully at aspects of Beethoven’s career and also deal with Thayer and his work as biographer. Studies of individual works include Edward T. Cone’s completion of an unfinished cadenza for the First Piano Concerto and Geoffrey Block’s look at sources for the Second Piano Concerto. Sieghard Brandenburg provides an essay on the scherzo of the Fifth Symphony based on an exhaustive scrutiny of its sources. Christopher Reynolds writes on the Violin Sonata Op. 30, no. 1. J. Merrill Knapp contributes an article on the Mass in C major, Op. 86, and Robert Winter discusses the origins of the Missa solemnis, Op. 123.
Cloth bound, 306 pages, $52.50
Words and Music: The Composer's View
William W. Austin: Words and Music: Theory and Practice of 20th-Century Composers, Thomas Beveridge: And Death Shall Have No Dominion, Gordon Binkerd: Nocturne, Elliott Carter: Tarantella, Henry Leland Clarke: The Rewaking, Leon Kirchner: Words from Wordsworth, Karl Kohn: Madrigal, Robert Middleton: Ad Leonoram Romae Canentem, Robert Moevs: Ave Maria, John MacIvor Perkins: Alleluia, Randall Thompson: The Eternal Dove, Russell Woollen: Resurrection, James Yannatos: Three from E.E. Cummings.
Words and Music: The Scholar's View
Howard Mayer Brown: Psyche's Lament: Some Music for the Medici Wedding in 1565, Frank A. D'Accone: Transitional Text Forms and Settings in an Early 16th-Century Florentine Manuscript, Elliot Forbes: Nur wer die Sehnsucht kennt: An Example of a Goethe Lyri Set to Music, Richard F. French: Hindemith's Mass 1963: An Introduction, James Haar: Altro non é il mio amor, Daniel Heartz: Voix de ville: Between Humanist Ideals and Musical Realities, David G. Hughes: Music for St. Stephen at Iaon, Henry W. Kaufmann: Music for a Noble Florentine Wedding (1539), Claude V. Palisca: Marco Scacchi's Defense of Modern Music (1649), Rulan Chao Pian: Text Setting with the Shipyi Animated Aria, Nino Pirrotta: New Glimpses of an Unwritten Tradition, H. Colin Slim: An Anonymous Twice-Texted Motel (Á A. T. M.), Milos Velimirovic: The Prooemiac Psalm of Byzantine Vespers, John Ward: Curious Tunes for Strange Histories. Both volumes $20.