Sixteen 4-credit courses are required, and at least fourteen 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. 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. It is recommended that at least one theory seminar be in cross-cultural music theory. Theory and composition students do not have a set curriculum and should plan their course of study with their advisor.
All 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.
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. In order to receive graduate credit, permission to take any half-courses at the 100 level must be granted by the graduate advisor before taking the course.
Competence and fluency in traditional techniques (such as harmony, counterpoint, and analysis) are prerequisites for taking the general examination. Entering students will be given a placement test to assess skills. Music B will address these musicianship skills but does not count as one of the required 16 courses. Work must be undertaken in the first year of study.
Note: Graduate students who have one or more incompletes will not be considered for department summer grants.
Applicants admitted through the cross-disciplinary category will choose, in consultation with the DGS or graduate advisor, one graduate program in music that most closely resembles their interests in the first month of their first semester. Together they will make modifications to the requirements of that program, by “borrowing" or substituting requirements, as appropriate. It is expected that the level of requirements (courses, language, Music B, generals) will be equivalent to the existing programs.
Advising in the department during the pre-generals period is primarily handled by the appropriate graduate advisors and faculty members in the various programs, with the Director of Graduate Studies available for further advice. After successful completion of the general examination, students consult with individual faculty members on their proposed fields of concentration, and when a dissertation proposal has been completed it is presented to the faculty in that field of study. Once the dissertation proposal has been approved by the faculty in the program, it is brought to the entire department for final approval, and a dissertation committee is set up for each student. The dissertation committee consists of an advisor and two readers. Any questions or concerns about advising in the department can be brought to the attention of the Director of Graduate Studies or the Chair.
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 a least one seminar paper per term.
Written language exams are given at three specified times throughout the year. Reading knowledge must be proved before taking the general examination.
Historical Musicology, Ethnomusicology, and Theory:
Two languages are required before taking the general examination. The languages will be chosen in consultation with the graduate advisor, and should reflect, wherever possible, languages that will be relevant to future research.
Composition—German, Italian, or French unless an alternative language is approved in writing by the graduate advisor.
Requirements for languages not tested regularly within the department may be satisfied through special examination, or through presentation of other documentation at the discretion of the graduate advisor.
If your native language is a research language and your spoken and written English skills are proficient, you may be exempted from taking a language exam in your native language. At most one language exam may be passed by exemption, and at least one foreign language exam must be taken. (In other words, in programs that only require one language exam, a different foreign language may have to be chosen.) Exemptions are determined on a case-by-case basis by the program advisor and need to be approved by the department.
Note: No exceptions will be made regarding the schedule or requirements for notification. Sample practice exams are downloadable, below. If you need to take an exam other than in French, German, or Italian, please request your exam from Assistant to the Chair well in advance.
1) Departmental language examinations are given three times during the academic year, in late October/early November, mid-February, and April; students will be notified at the beginning of each academic year as to the precise dates. Students should sign up for an examination with the Director of Administration at least three weeks before the desired examination date. If requested, one sample of each language exam will be provided to the student when they sign up for an examination.
2) A graduate student may retake an examination but only within the regular cycle and in accordance with the guidelines of his or her particular graduate program.
3) Language examinations in German, French, Italian, Latin, and Spanish will be administered by Music Department faculty members. Special arrangements for tests in other languages must be made no later than six weeks before the examination date.
4) Students should consult with the graduate advisors of their respective programs about language requirements at the beginning of their first semester on campus. At that time, they should agree upon a tentative schedule by which they will satisfy the language requirement.
5) Students anticipating any special language need should raise this issue with the Graduate Advisor at the earliest moment to allow adequate consultation and planning. Under specific conditions, students whose native language is not English may, upon approval of the graduate advisor, satisfy one language examination by taking a special English examination, to be administered by the Department, involving translation of a text from their native language to English.
6) The student and the Director of Graduate Studies will be notified in writing of the outcome of an examination by the faculty member who administers it.
7) Language exams can be taken on a computer but the computer must be "offline." Students are permitted to use a word-processing computer program only for the purposes of typing out their translation. Students may use up to two hard-copy dictionaries to aid translation; for example, an abridged volume for fast access and a complete one for greater detail. Students are not permitted to use any other translation resources, such as online dictionaries, online translation programs or any other electronic programs or translation facilitators, and must sign a pledge attesting to their compliance with these rules.
The Graduate Program of the Department of Music offers advanced training leading to the degree of PhD in Music. There is no admission to an AM program separate from these PhD programs. A non-terminal AM degree may be obtained if necessary after successfully completing the following ( it is assumed the student will continue on with the PhD program):
-Two languages (one, in the case of composition students)
-Written portion of the general examinations
In unusual circumstances, students who cannot successfully complete the General Examination may be given the option of completing these requirements for a terminal AM degree.
The degree application dates are the same as the PhD dates. Please see the Director of Administration for more information.
Once the student passes their general exams (see below), 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. Musicology students will begin their third language (to be completed within one year of the approval of a dissertation proposal). Music 250hf, "Colloquium on Teaching Pedagogy," is required.
The General Examination consists of two parts: written and oral. The orals are taken within a week of passing the written portions. The exam dates differ by program but are usually between May and August of the student’s second year of study. 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:
(New version January 2017)
Analysis examination (summer after your G1 year):
Written analysis of two pieces of music. In mid-August, you will be provided with scores for three pieces, and you choose two to work on: one piece written before 1700, one from the 18th or 19th centuries, and one from the 20th century or later. The goal of this examination is to demonstrate that you have a command of a particular genre through technical music analysis. There are no requirements to bring a specific theoretical system or approach to bear, and successful analysis exams are often eclectic and imaginative. The analysis exam will take place in late August, and it will be followed by a brief oral exam of approximately 30 minutes.
General Exams in Historical Musicology (summer after your G2 year):
General exams in historical musicology are given in August, immediately prior to your G3 year. The exam has two parts: a written component, and a 1.5-hour oral examination, usually scheduled within a week after your completion of the written exam.
By March 1st in your G2 spring semester, after consulting with faculty, you submit in final form seven proposed fields of examination (see “Detailed Information about Fields” below for specific writing guidelines and due dates). The rules for these fields are as follows:
--At least one field among the seven should deal with musical repertory and/or issues of historiography in the periods before 1600, and at least one with the periods after 1600. Beyond this rule, distribution among your fields is left to you, and you should strive for variety.
--You are encouraged to align one field (and not more) with your anticipated dissertation work.
--At least one field (more than one if desired) should focus on a cross-disciplinary and/or critical-theoretical issue; wide latitude is given to your design for the field or fields in this category. Instances could include: Notation as global phenomenon; media theory/media archeology and musicology; popular music studies and race; critical improvisation studies. One aim of this/these field(s) is to bring insights and ways-and-means from outside musicology to bear on musicological work. Another is to offer an opportunity for students in musicology to explore terrain outside the Western (European/American) canon.
--Each field should have both breadth and depth, and invest in a critical response to recent secondary literature. Do not be surprised if you are advised that a field is too focused and needs to be broadened. “Bruno Latour’s Actor-Network Theory vis à vis musicology” is too narrow. “Technological determinism vis à vis musicology” (including Latour) is not. “C.P.E. Bach’s keyboard works” is too narrow. “18th century keyboard works: performance, sensibility, and theatricality” (including C.P.E. Bach) is not too narrow. “Ernst Bloch’s aesthetics of music” is too narrow. “Cultural hermeneutics in twentieth-century music philosophy” (including Ernst Bloch) is not too narrow. “Duke Ellington’s arrangements of classical repertory” is too narrow. “Encounters: jazz and classical-music aesthetics in the 20th-century” (including Ellington) is not too narrow.
--when designing your fields, include both a bibliography and, if relevant, a “repertory” list, a tally of musical works, material artifacts, etc. When writing your exam essays in August, you can use printouts of these lists as an aide-mémoire. We are not interested in your memorizing titles of academic articles, or Köchel numbers for pieces.
Format for the Written Exams
In the spring term before the exams, you organize your fields into three formats.
Format 1: You designate one field that will be written up in the form of a syllabus for a course taught to advanced undergraduate students. This syllabus is due June 1st.
Format 2: Before June 1st, you designate one field for a viva voce presentation, 15 minutes long, during the oral exam in August. You prepare this presentation on an open-book basis, working on it throughout the summer. The goal is to demonstrate that you can organize a large amount of material, and convey it clearly and coherently. In the oral exam, a discussion will follow your presentation (use notes; do not read a written script).
Format 3: The remaining five fields will be the subject of the written examination. In mid-August, two days are set aside for the written exam. On the first day, you will write essays on three of your fields, on the second day, two. Your time budget is to average 2.5 hours for each field. You are given essay prompts, which the faculty design based on the fields you submitted at the end of February, and on their conversations with you. For each field, there will either be two prompts (choose one essay, 2.5 hours), or three prompts (choose two essays, 2.5 hours total). We cannot declare in advance which fields will be one-essay exercises, and which two-essay, but you can expect a mix of the two options over your five fields.
In written essays, you should move beyond providing standard information, and – given the advantage of a time limit – realize that you will not be able to be comprehensive. The goal is coherence, ingenious speculation, and to provide your own insights on the subject. Bring your printouts of repertory lists and annotated bibliographies to the written exams. Otherwise, no notes, Internet resources, or computer files can be consulted.
The Oral Exam
Oral exams are 1.5 hours. Faculty sitting in on the exam include the musicologists, and (depending on individual students’ fields), a faculty member from music theory, from ethnomusicology, or from an outside department. We make every attempt to let you know over the course of the summer who will examine you, but it is not always possible to determine this well in advance.
The oral exam begins with your presentation, and discussion follows (roughly 20 minutes). We then move to talking about the written essays in order, for an hour-plus. At the end, you’re asked to step out of the room while faculty confer. Upon being invited back in, you are congratulated for completing the exercise. What are the possible outcomes? “Passing” is typical. Occasionally, we issue a provisional pass and ask students to re-work one or more of their written essays. These re-worked essays are submitted in October, and read by the faculty, at which point a final determination is made. In extremely rare cases, we adjudge at the conclusion of the orals that a Master’s degree will be granted in November. In this case, both faculty and staff work with the student to moderate a transition out of the graduate program.
Bring your bibliographies, repertory lists, and your own annotated copies of your written exams. The oral exam should be thought of as a conversation, and you are evaluated both on your knowledge, and (more importantly) on your ability to think on your feet, improvise, and respond creatively to challenge. We have no interest in calling you out on trivial facts that can be discovered by a few seconds’ googling. We will, however, often encourage you to talk about aspects of your fields that were not covered in the written essays, as well as the essay prompts you did not choose. Use the time between the written and oral exams to think about your essays and your fields, expand upon them in your mind: this is your chance for intervention and revisions.
Details: Designing Fields in the Spring Semester before Generals
You are responsible for choosing, developing, and preparing your fields, and it is essential to do so in consultation with the faculty.
By February 1st, submit a preliminary proposal for fields to the Advisor in Historical Musicology. Give us a title for each field, then a short paragraph description of what you consider interesting or intriguing about this area, what you are looking forward to discovering. You should preface your proposal with a statement (c. 500 words) describing an overarching rationale for your field choices, which will give the faculty a sense for your intellectual formation and any nascent ideas you may have about dissertation work. For each field, besides a title and descriptive paragraph, give us a one-page bibliography sketch. If your field is oriented towards a body of works, name the repertories/pieces you are wanting to get to know.
During February, you will have frequent conversations with faculty, in order to revise, expand, and re-balance the fields. During this time, you will be asked to prepare a more expansive document. Now, for each field, you will also designate a range of topics that could be your “rafts” (more specific focal points) within the field.
On March 1st you submit a final version for approval (generally pro forma). Now start thinking about choosing the field for the syllabus, which is due June 1st, and for the presentation, which you’ll be preparing well in advance. Use your time in the early summer to work on and complete your presentation.
On June 1st you submit your syllabus. We will evaluate it for content, for pedagogical feasibility, and for its potential to inspire undergraduates in their thinking about and experience of music. Consider how your course would fit into a real-world undergraduate curriculum and what prior knowledge and interests your students are likely to bring to the course.
Template: Catalogue copy, 100-word course description. Course rationale: précis of aims and purposes. Course schedule: list of meetings with brief decription of what is covered, required/optional assignments. House rules: student obligations for the seminar, rules and regulations, how grades/evaluations are done. Instructions for written assignments: assignment suggestions, research tips, online resources, links. Size limit: 10 pages in 12-point type.
General exams in ethnomusicology will generally be given in August preceding the G3 year (prior to the first semester of teaching), provided students have completed the necessary requirements. Written exams will be given first. The ethnomusicology faculty will evaluate the written exams and decide whether the student is equipped to proceed to the oral exams. Brief descriptions of each exam follow. Students may access prior examples of written exams on the department website; keep in mind, however, that exams are tailored to individual students.
Preparation for the exams:
In the spring of G2, students should provide short paragraphs outlining their primary and secondary areas as well as either 2 syllabi from coursework taken outside of the department or reading list(s) that, along with description(s), define interdisciplinary area(s). There are normally 2 interdisciplinary areas in total. The syllabus for an ethnomusicology course in the department may not alone form the basis for an interdisciplinary area for the purposes of the exam.
Primary and secondary areas are determined by primarily by geography and secondarily by genre and areas of theoretical interest; exceptions could arise, for example, where “jazz” or “music and neuroscience” could be the main rubric, and a region or period a secondary one. This is your first opportunity to define yourself as an “X”-ist in a certain field—a definition that has implications for representing yourself on the job market later. As such, you don’t want your area to be too narrow. At the same time you need to identify a cohesive unit of study, the literature for which you can reasonably master in time for the exams. We are not interested in calling you out on obscure facts; you in turn need not closely protect the boundaries of your areas out of fear that we will be searching for your weak spots.
Part I World Music (3 hours)
This section targets the student’s primary and secondary areas There will be a choice of 2 out of 3 essay questions, normally 2 in the primary and 1 in the secondary area. One hour is given for each question. Normally students answer one question in each of their areas but are not required to do so. This is followed by a list of six terms or phrases from which four are to be chosen for short answers in one hour. That means roughly 15 minutes per question. Normally there are more short-answer questions related to the primary area.
Part II General Ethnomusicology (3 hours)
This section focuses on the field of ethnomusicology at large. The format is exactly like part I otherwise. Normally there will be questions related to the history of ethnomusicology, methodology, key ethnographies and theories, genres, and substantive questions regarding musical sound (e.g. timbre, rhythm, harmony). The short-answer questions usually include the names of key figures, genres, musical instruments, musical concepts, and style descriptors in wide circulation. In studying for this part of the exam, be sure to keep abreast of current trends in ethnomusicology as well as historical roots.
Part III Interdisciplinary Approaches (3 hours)
This section will draw from the student’s two interdisciplinary areas: 2 questions from one area and 1 question from the other. The ethnomusicology faculty choose which area will be given two questions at the time of writing the exam. There are no “primary” or “secondary” interdisciplinary areas. Here you have 90 minutes to answer 2 questions of your choice. There are no short-answer questions. The questions adhere closely to assigned work from your syllabi or reading lists. Since the point is to bring work from outside the field of ethnomusicology to bear on ethnomusicological work, the format of the questions is often some variation of, “Consider the concept(s) X from the work(s) of Y for research on music.” We try to make the questions more interesting than this, but for the purpose of studying, this is a good starting point.
Part IV Analysis (2 x 8 hours)
Ordinarily, students will be given a choice of two pieces out of three to analyze from their primary and secondary areas. If a student wishes to participate with the other graduate students in their analysis exams, they may instead choose one tonal or post-tonal question from the common exam given to historical musicologists and theorists and do only a single analysis in their primary area at the time of the ethnomusicology exams. Normally, in this case, the Western analysis would be done in August, following the completion of Music B and prior to coursework in the G2 year.
In the oral exams students are evaluated both on their knowledge and on their ability to “think on their feet.” Students will have a chance to review their answers and revise or comment on what they wrote before being asked specific questions expanding upon existing answers, or addressing questions not written about. Hence, in the two weeks’ interval separating the writtens and the orals, students should think about responding to all parts of the exam.
The orals proceed as follows:
1) You enter, are given water, paper and pencil, a moment to adjust, and are reminded that we are here to have a conversation.
2) You present your primary area and dissertation ideas for about 15 minutes.
3) We discuss the analyses in your primary and secondary areas (unless you have already done a Western example instead, in which case we only consider the primary area). 30 minutes.
4) We proceed through each of the other sections in order, about 15 minutes each.
5) You step out of the room and the faculty confer for about 5-10 minutes.
6) You are congratulated for completing this rite of passage. Occasionally there is extra work to be done and occasionally students will be recognized with “distinction.” These are decided on a case-by-case basis.
The written examination consists of four different parts:
1. A preliminary oral examination on repertoire and analysis (“single sheets”), lasting 60 minutes, with 30 minutes preparation time. This part of the exam is usually taken in the summer after the first year.
2. Four written exams of three hours each: (a) systematic theories, (b) history of music theory, and (c + d) two examinations in special fields relevant to dissertation research.
3. Analytical essays on two musical works from different periods (take-home paper over four days).
4. A two-hour oral examination will allow discussion on the written work and may broaden to engage a variety of related issues in music theory.
For composers, a written analysis is to be completed in three days at the end of the spring term of the second year of graduate study. It consists of a piece or set of pieces that should be analyzed by the student in the allotted time period. The oral examination is based on an in-depth discussion of three major works that are assigned in the late spring of the second year of graduate study. Students are also required to write an original composition of 7–10 minutes length with an imposed instrumentation, during either the first or second year.
During the summer after the second year of study, candidates will take four exams, to be determined in close consultation with the faculty. Part of these exams may involve a significant element of performance, improvisation, and/or composition.
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 12 undergraduate houses, or the graduate center, Dudley House. In addition to financial benefits, teaching fellowships and tutorships provide excellent professional experience.
Beginning in the third year, graduate students in good standing are eligible for teaching fellowships. Most teaching fellows devote two-fifths TIME to teaching. Following successful completion of the general exam, students are required to take M250ht (Teaching Practicum). This course does not count towards the 16 courses required for the PhD.
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 remains 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 (one bound, one digital) required for the Registrar.
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 approved Leave. 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.
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 & 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 four weeks before the Registrar's deadline. During this period the members of the department are free to examine the completed thesis.
5. All departmental doctoral candidates (including composers) who are about to submit or have submitted their dissertation are required to make a final presentation of their work. A dissertation workshop (Doctoral Conference) is required of all dissertation-writing students in historical musicology, ethnomusicology, and theory.
6. Copies: The Graduate School of Arts and Sciences (GSAS) requires both one bound paper copy and one digital copy, submitted electronically through ProQuest. In addition, one copy bound for the Music Library must be submitted to the department office at the same time the Registrar copy is submitted. University microfilms and RILM forms must be completed at this time as well.
Degree applications are available from academic departments, the Registrar's Office (20 Garden Street), and the Dean's Office (University Hall). They must be completed by the student, signed by the Department Chair and filed with the Registrar's Office by the appropriate due date. In unusual circumstances late applications may be accepted for the next two weeks only; there is a penalty fee for late applications.
There are deadlines for filing the application for your degree. Dates change slightly each year. Doctoral candidates should work closely with their advisors to insure that their committee members receive near final drafts of the work at least one month prior to the degree application deadline.
Note: It's always best to check with the Registrar for final dates; the following dates are quidelines only.
For Degrees Awarded in November:
• July: Draft due
• August: Application due
• September: Dissertation certificate due/dissertation submitted electronically (see below)
For Degrees Awarded in March:
• October: Draft due
• November: Application due
• January: Dissertation certificate due/dissertation submitted electronically (see below)
For Degrees Awarded in June:
• February: Draft due
• March: Application due
• May: Dissertation certificate due/dissertation submitted electronically (see below)
If a student does not receive the degree on the date it was applied for, the student must reactivate the degree application for conferral at a later date. Reactivation forms are available at the above offices; they also need the signature of the Department Chair, and must be filed by the appropriate due date for degree applications: Students may reactivate a degree application once without a fee; for any subsequent reactivation there is a fee.Requirements When Submitting the Doctoral Thesis
When PhD applicants obtain a degree application or reactivation form, they should also receive two questionnaires: The Survey of Earned Doctorates, which is conducted by the National Research Council, and a combined Student Exit Interview from the GSAS Dean's Office and Survey of Postgraduate Plans from the Office of Career Services. Student must complete both forms and return them to the Registrar's Office (20 Garden Street) in advance of turning in their thesis.
Requirements for Submitting the Dissertation:
1. By 5:00 pm on the day of the deadline, students must have submitted the ORIGINAL Dissertation Acceptance Certificate, Degree Application (usually due earlier), and three exit surveys (or proof of completion, depending) to the registrar.
2. By 11:59 on that day, the dissertation must have been submitted (via a link available on the registrar's website) to UMI/Proquest. This digital copy must have a scanned copy of the Dissertation Acceptance Certificate as the first page and conform to the guidelines available in the "Form of the Dissertation" document, available (and constantly revised) at the Registrar's Office. When candidates file this document they are required to order a bound copy for the University Archives. But Music Department students should be advised to order (at least) a second hard copy, bound, for Isham. This is NOT pre-set in the submission form. Note: It takes UMI 6-8 (probably more) weeks to process this.
3. Students should be alerted to the TWO phases of online distribution to which they can assent or dissent: the first is ProQuest's online database, the second is Harvard University's DASH.
4. Permissions. With the student's digital dissertation, he or she is required to submit a file of permissions letters when uploading the dissertation. This is also the point at which one can submit video/audio materials. Students are encouraged to go to an online submission workshop to clarify what is necessary and when.
All degree candidates must register continuously until completion of the requirements for the degree. PhD candidates must have paid two years of full tuition and two years of reduced tuition before receipt of the degree, unless they have completed the PhD in less than four years from initial registration. All PhD candidates must pay the facilities fee in their last term of registration (unless a higher tuition has been paid). Resident students automatically will have paid at least the facilities fee for the term. Non-resident students who paid the active file fee for the term will be charged the facilities fee and given credit for the active file fee already charged. This final charge for the Ph.D. is billed when a student applies for the degree; it is cancelled if the degree is not received at that time.
For students receiving degrees in November, the last term of registration is the previous spring term; for degrees in March the last term is the previous fall; and for degrees in June the last term is the spring term. Students who are uncertain whether they will finish in time for degrees in November or March are encouraged to register for the fall or spring terms respectively, either in residence or on leave of absence, to avoid late registration fees if they miss the degree deadlines. If they then do finish in time, their registration for the term will be cancelled. Students should see the GSAS Handbook section on Medical Fees regarding health fees coverage.
Diplomas may be obtained with identification at the Registrar's Office, 20 Garden Street. Students may also indicate a mailing address on the degree application; the mailing fee is payable when the application is filed. Diplomas are sent by certified mail; there is a small fee for mailing in the United States, Canada, and Mexico; and a slightly higher fee for mailing abroad.
Once the thesis, thesis acceptance certificate and departmental recommendation for the degree are on file in the Registrar's Office, a student may request, in person or in writing, certification of the expected degree. Requests should be addressed to the GSAS Degree Office, 20 Garden St. The first three certifications are free; there is a nominal charge for each additional certification.
All students who receive degrees in November, March, and June of a given academic year may participate in the Commencement celebration held in June. In April, the Dean's Office (495-1816) sends information about the Commencement Day schedule, tickets, and academic regalia to all recipients of November and March degrees and all applicants for June degrees.
A student enrolled in a PhD program in the Graduate School of Arts and Sciences at Harvard University may achieve formal recognition for completing a secondary field in musicology or ethnomusicology. The following requirements must be met to complete this secondary field.
• Completion of a minimum of four courses (16 credits).
• One of these courses must be an introductory course: Music 201a: Introduction to Historical Musicology, Music 201b: Introduction to Ethnomusicology, or Music 221: Current Issues in Theory.
• The remaining three courses may be chosen from other graduate courses (200 level: “Primarily for Graduates”) or intermediate courses (150 level or above: “For Undergraduates and Graduates”). (No more than two courses may be chosen from the 150 level), and receive grades of B+ or above.
• Neither Pass/Fail nor audited courses will count towards a secondary PhD field in this department.
Students interested in declaring a secondary field in music should submit the “GSAS Secondary Field Application” to the Director of Graduate Studies as evidence of their successful participation in four appropriate courses in the Music Department. Once they obtain the approval of the DGS they and the registrar will receive certification of successful completion of secondary field requirements.
For further information contact the Director of Graduate Studies, Harvard University Department of Music or GSAS information on Secondary Fields.
The student's program must be approved by the department before Study Cards are submitted. The AM degree will be awarded on completion with passing grade (B- or above) for at least eight and no more than twelve four-credit courses.
Students in the A.M. program will be expected to demonstrate a reading knowledge of French, German, or Italian. An examination must be passed before entering the second year of graduate work (by the beginning of the third semester).
There is a minimum residence requirement of three terms. Two years will ordinarily be required to complete the degree.
A thesis proposal (subject and scope to be decided in consultation with the advisor) should be submitted for department approval by March of the first year of graduate work. A master's committee, comprised on one advisor and two readers is approved by the faculty following acceptence of the proposal. Theses should be approximately 50 pages in length and submitted to the department no later than March 1 for the May degree and September 1 for the November degree.
Started in spring 1998, the Graduate Music Forum (GMF) aims to provide an opportunity for Harvard Music Department graduate students in all programs to discuss issues of common interest of concern to them. To date, these have ranged from matters of departmental administration and facilities to the structure of degree programs and the inception of new student projects, such as conferences.
Discussion takes place principally in monthly meetings, which are held usually on a Wednesday or Thursday afternoon at 5:15. Both notification and minutes are circulated to all graduate students. All are encouraged to attend the meetings: however, those for whom attendance is inconvenient or impossible are urged to participate in the Forum via e-mail or other means.
While the aim has been to keep the GMF fairly informal, the organization does have an official role in selecting and briefing representatives to the Music Department faculty meetings and the Graduate Student Council.
Each year the department nominates scholars and musicians to invite to campus to give a colloquium, and graduate students are actively involved in this process. Six speakers are chosen by vote. Graduate student volunteers act as hosts to each speaker. The Department provides the funds that make the colloquium series, now named the Barwick Student Colloquium Series, possible. This is not the only series of colloquia offered by the Department, but it is the only one which gives graduate students the opportunity to request specific speakers whose work is of particular interest, or in fields which are not necessarily reflected by the day-to-day offerings of the Department.
Friday Lunch Talks are a series of informal colloquia where students are invited to give "works in progress." The Composer's Colloquium is another forum for graduate student colloquia. This is a weekly get-together that meets for two hours every Monday at noon. It brings together composers, theorists and musicologists from both within and outside Harvard for discussion.
Dudley House, located in Lehman Hall on the Yard, houses the GSAS center. There is a host of events, including lectures, concerts, movies, outings, and activities tailored to graduate students. http://dudley.harvard.edu/ outlines services available. The House sponsors opportunities to share lunch or dinner with faculty, and houses a dining room, computer facilities for graduate students, the office of the Graduate Student Council and the offices of Director of Student Services for GSAS and the office of the Assistant Dean for Student Affairs.
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, John Knowles Paine Traveling Fellowships, the Oscar S. Schafer Fellowship, Richard F. French Fellowships, Ferdinand Gordon & Elizabeth Hunter Morrill Fellowships, and Nino Pirrotta Research Grants. In addition, graduate students are awarded six years guaranteed funding (including living expenses) when accepted to a PhD program.
Kennedy, Knox, Sheldon, Lurcy Traveling Fellowships
Merit, Whiting and Graduate Society Fellowships
Department Summer Fellowships: Paine, Pirrotta, French, Morrill
Wesley Weyman Fund
Music Department Travel Fund
John Green Fellowship
Composition Awards: Bohemians, Boott, Knight, Sprague, Maccoll
Information on Graduate Fellowships and Awards from GSAS
Students traveling abroad on trips funded or arranged by Harvard or who will receive Harvard credit during their travel are required to record their itineraries in the Harvard Travel Registry. https://www.globalsupport.harvard.edu/travel-tools/harvard-travel-registry
For more information (e.g. guidelines, applications) on the Kennedy, Knox, Sheldon and Lurcy Travelling Fellowships, please see the Director of Administration (Nancy Shafman) early in the year. Applications with letter of recommendation should be submitted to her as well.
Students interested in the Harvard Tower and Ecole Normale Superieure, French Exchange Program, Institut D'Etudes Politiques should also consult with the Director of Administration.
For additional details on these grants please go to http://www.scholarship.harvard.edu/dissertation.html
There are several fellowships offered by the Graduate School:
1. Summer grant A: for language study and/or research, pre-dissertation prospectus (G1, G2, or G3)
2. Term time dissertation research award
3. Dissertation completion award** and Eliot* (full year) awards.
* selected from the winning pool
**If you have received a Dissertation Completion Fellowship you are ineligible for summer funding and should not apply
Please see the Director of Administration (Nancy Shafman) at any time if you have questions or wish to obtain an application for any of these fellowships. Information will also be posted on the graduate board. If you are applying for more than one of these, you will need to include only one copy of your transcript.
You are strongly urged to check with the faculty from whom you are considering asking for recommendations as to their travel plans during late December and the month of January.
Applications for all Summer Fellowships (listed below: Paine, Pirrotta, French, Morrill) should be in letter form addressed to the Department Chair, and should include a description of and budget for the proposed project. The deadline for applications is usually April. Please see the Director of Administration, Nancy Shafman, if you have any questions.
Note: if you have received a Dissertation Completion Fellowship you are ineligible for summer funding and should not apply
Each spring, the Music Department awards John Knowles Paine Fellowships for travel and study during the following summer and into the academic year. The Fellowships were established in 1912 by Mrs. Paine in memory of her husband. The Music Department grants these Fellowships to graduating senior music concentrators pursuing post-baccalaureate research, and to graduate students writing PhD theses.
The Nino and Lea Pirrotta Graduate Research Fund was established in 1983 in honor of Professor Pirrotta on the occasion of his 75th birthday. Previous grants have ranged from $400 to $2,000. Each award is given for a research project of well-defined limited scope (e.g. a brief research visit to a domestic or foreign library, archive, or research facility)
Established by Richard F. French, long-time supporter of the Music Department and the Eda Kuhn Loeb Music Library. The French Fellowship in Music is intended to support the expenses of one or more graduate students in the Department who possess exceptional and distinguished musical and intellectual ability and have been formally accepted as doctoral candidates. Funds are available to support doctoral research in residence or abroad.
The Morrill Fellowship was established in 1992 as a gift of Gordon and Elizabeth Morrill to establish a graduate fellowship for research in Italy on music from the 15th to the 18th centuries, with a special emphasis on vocal music and opera. This award covers travel and living expenses for appropriate periods of research in Italy. It is hoped that while they are in Italy the recipients will avail themselves of the resources of the Gordon and Elizabeth Morrill Music Library at the Villa I Tatti in Florence.
The Wesley Weyman Fund accepts applications from graduate students in the Department of Music for financial assistance with travel and other expenses related to participation in conferences or other professional meetings or events. Subsidies are generally modest, and cover only a part of actual expenses, and vary based on the state of the fund.
Applications can be made before the scheduled professional event by submitting a brief letter addressed to The Weyman Fund, Harvard University Department of Music. Please put them in Eva Kim's mailbox. The letter should include a line or two about your participation in the conference or other event and a list of anticipated expenses (e.g. air and ground travel, lodgings, conference fees, meals, other incidental costs). Applications made after the event should list actual expenses, but need not include receipts. Please be sure to indicate if you are presenting a paper or having a composition performed.
Since relatively small sums are available, it may be necessary at times to take into consideration whether or how often a given applicant has previously been awarded assistance from the Weyman Fund.
For deadline information or questions about the application procedure write email@example.com
The Department Travel fund is available to graduate students three times (provided funding is available) during their tenure. It can be used to support travel to attend a conference, give a paper or have a composition performed by a professional organization.
The Scholarship Committee has set the following guidelines:
- Students are strongly encouraged to apply to other funding sources (Graduate Student Council, Weyman Fund, various centers) when applicable.;
- One of the three trips must to be used to present a paper or the equivalent, not just to attend a conference;
- Funding will not exceed $700 per trip; receipts or proof of expense required
The award will be based on current availability of funds. Requests should be submitted by email to the Manager of Administration and Finance.
Compositions should be submitted to the Assistant to the Chair for these prizes. The deadline is usually in April; contact the Assistant to the Chair for details.
By the gift of two thousand dollars from "The Bohemians" (New York Musicians Club) there has been established in the Department of Music a prize in original musical composition. The competition is open to undergraduates or the members of any graduate school of the University. The interest of the bequest will be awarded for an original composition for one or two instruments.
From the income of the bequest of Francis Boott, of the Class of 1831, a prize has been established for the writer of the best composition in concerted vocal music. The competition is open to undergraduates or to members of any graduate school of the University. The prize is offered for the best composition for chorus of not less than three nor more than eight parts, either a capella or with accompaniment for piano, organ, or small instrumental ensemble, requiring not more than ten minutes for performance. The choice of text, which may be either sacred or secular, Latin or English, original or selected, is left to the contestant. Every effort will be made to arrange a performance of the winning composition before the end of the academic year, provided the composition falls within the scope of the available performing forces.
In 1909 the University received from William H. Knight, of the Class of 1903, a fund for the establishment of a prize in memory of his brother, George Arthur Knight, late of the Class of 1907. On this foundation the George Arthur Knight Prize is offered for the best composition in instrumental music, "preference to be given to compositions for string quartets or trios, though works with piano accompaniment may compete." The competition is open to undergraduates and degree candidates in any graduate school in the University.
From the income of the Adelbert W. Sprague fund established in 1968 for the Department of Music, a prize is offered to graduate students in a competition in orchestral composition.
Bequest of Hugh F. MacColl, 1907, this prize was established in 1954. The income from the fund is "to be applied from time to time . . . to the awarding of prizes" in a competition for students in Harvard College "for original musical compositions."