Richard Beaudoin Preceptor in Music beaudoin@fas.harvard.edu G-2 617-495-2791 Beaudoin's recent music involves micro-measurements of recorded performances. His works have been commissioned, performed and recorded in Europe and America. His research fields include cadence, resemblance, performance science and the aesthetics of musical borrowing. website: www.richardbeaudoin.com
	Andrew Clark Senior Lecturer on Music, Director of Choral Music at Harvard agclark@fas.harvard.edu Paine Hall 8 617-495-8827 Clark serves as Director of Choral Activities and Senior Lecturer on Music. He is the Music Director of the Harvard Glee Club, the Radcliffe Choral Society, and the Harvard-Radcliffe Collegium Musicum and teaches courses in conducting and music theory. He leads the Holden Choruses in performances throughout Europe and the United States, in studio recordings, and collaborations with distinguished conductors, composers, and ensembles. His choirs have been hailed as “first rate” (Boston Globe), “cohesive and exciting” (Opera News), and “beautifully blended” (Providence Journal), achieving performances of “passion, conviction, adrenalin, [and] coherence” (Worcester Telegram). Prior to his appointment at Harvard, Clark was Artistic Director of the Providence Singers and Director of Choral Activities at Tufts University for seven years. Clark has performed prominent venues including Carnegie Hall, Lincoln Center, the Kennedy Center and Boston’s Symphony Hall. He has collaborated with the Pittsburgh and New Haven Symphonies, the Rhode Island and Boston Philharmonic Orchestras, the Boston Pops, Stephen Sondheim, Sweet Honey in the Rock, the Trinity Wall Street Choir, the Kronos Quartet, and the Dave Brubeck Quartet. Clark faculty page
	Suzannah Clark Gardner Cowles Associate Professor of Music Theory sclark@fas.harvard.edu Music Building 307N 617-495-2791 Clark works on the history of music theory, and has focussed in particular on Rameau, Fétis, Oettingen, Schenker, as well as on neo-Riemannian approaches. Clark faculty page
	Federico Cortese Senior Lecturer on Music, Conductor of the Harvard-Radcliffe Orchestra fcortese@fas.harvard.edu G-4, Music Building 617-495-1533 Federico Cortese has served as Music Director of the Boston Youth Symphony Orchestras since 1999 and in the same capacity for the New England String Ensemble since 2005. He has conducted operatic and symphonic engagements throughout the United States, Australia, Asia and Europe.   Cortese faculty page
	Chaya Czernowin Walter Bigelow Rosen Professor of Music; Graduate Advisor in Composition Composition chayaczernowin@gmail.com Music Building 308N 617-495-2791 Czernowin’s chamber and orchestral music has been played at more than forty festivals all over the world and include commissions by major ensembles, orchestras, and festivals. Characteristic of her work are attempts to find alternative temporalities, changing perspectives and scale, fragmentation, examination, and stretching of identity; all coupled with a strong physical imprint and high emotional intensity. Czernowin faculty page
	Christopher Hasty Walter W. Naumburg Professor of Music; Graduate Advisor in Theory (spring) (on leave fall term) Theory hasty@fas.harvard.edu Paine Hall 3 617-495-2791 Professor Hasty’s scholarly work engages problems in the theory and analysis of music from the 16th to the 20th centuries from the standpoint of process and experience. His book, Meter as Rhythm (1997) won the Wallace Berry Award from the Society for Music Theory  His current research interests include process philosophy, poetic prosody, and ecological and post-cognitivist psychology.  . Hasty faculty page
	Jill Johnson Dance Director, Office for the Arts at Harvard, Dance Program Senior Lecturer, Department of Music Harvard Dance Center 60 Garden Street, Cambridge 617-495-8683 Formerly on the faculties of Princeton, Barnard College at Columbia University, The New School University and New York University’s Tisch School of the Arts; and has taught regularly at The Juilliard School, Alvin Ailey, The Joffrey Ballet School New York, and Yale University, Jill Johnson is an honors graduate of Canada’s National Ballet School. She was a soloist dancer with the National Ballet of Canada and a principal dancer in choreographer William Forsythe’s company, Frankfurt Ballet, for ten years. For the past twelve years she has staged Forsythe’s work worldwide, including productions at Paris Opera Ballet, Norwegian National Ballet, Batsheva Dance Company in Israel, La Scala, the National Ballet of Canada, American Ballet Theater and Boston Ballet. Currently she is working with Mikhail Baryshnikov on a solo that William Forsythe is creating for Baryshnikov. [Photo by Alicia Anstead/Harvard Office for the Arts] Johnson faculty page
	Thomas Forrest Kelly Morton B. Knafel Professor of Music; Head Tutor Historical Musicology tkelly@fas.harvard.edu Music Building 203S 617-495-2791 Professor Kelly's main fields of interest are chant and performance practice. Kelly faculty page
	Robert Levin Dwight P. Robinson, Jr. Professor of Music (on leave fall term) Performance & Analysis rlevin@fas.harvard.edu Music Building G-7 617-495-2791 A concert pianist with worldwide touring appearances, Robert Levin is also a noted theorist and Mozart scholar, and is the author of a number of articles and essays on Mozart. Levin faculty page
	Ingrid Monson Quincy Jones Professor of African American Music, supported by the Time Warner Endowment; Graduate Advisor in Ethnomusicology Ethnomusicology, Musicology imonson@fas.harvard.edu Music Building 202S 617-495-2791 Professor Monson won the Sonneck Society's 1998 Irving Lowens Prize for the best book in American music for her 1996 Saying Something, Jazz Improvisation and Interaction. She has recently written on the impact of the Civil Rights Movement and African Independence on the history of jazz, and is working on a book on the musics of the African Diaspora. Monson was a founding member of the Klezmer Conservatory Band. Monson faculty page
	Carol Oja William Powell Mason Professor of Music; Director of Graduate Studies,Graduate Advisor in Historical Musciology Historical Musicology coja@fas.harvard.edu Music Building 304S 617-495-2791 Oja's research focuses on 20th- and 21st-century American musical traditions. She has written extensively on modernist composers (Aaron Copland, Henry Cowell, Ruth Crawford, William Grant Still, and Edgard Varèse) and cross-cultural composition (Colin McPhee). Her current research is on musical theater of the 1940s, including the work of Leonard Bernstein. Oja faculty page
	Olaf Post Preceptor in Music post [at] fas.harvard.edu G-6 617-495-2791 Post's research focuses on music cognition and performance analysis. Post faculty page
	Alexander Rehding Fanny Peabody Professor of Music; Chair (fall term), Graduate Advisor in Theory (fall term) Theory arehding[at]fas.harvard.edu Music Building 305N (Professorial) Music Building 104 S (Chair's office: 617-495-9854 ) Department Reception: 617-495-2791 Research interests are located at the intersection between theory and history, and cover a wide spectrum from Ancient Greek music to the Eurovision Song Contest. Rehding is interested in the history of music theory, paleo- and neo-Riemannian theory, music-aesthetic questions, and issues of sound and media. Rehding faculty page
	Sindhumathi Revuluri Assistant Professor of Music; Assistant Head Tutor Historical Musicology revuluri@fas.harvard.edu Music Building 302S 617-495-2791 Revuluri's research interests include 19th and 20th century France (especially modernism and exoticism), global pop music, film and media studies, and critical and postcolonial theory. Revuluri faculty page
	Kay Kaufman Shelemay G. Gordon Watts Professor of Music (on leave 2011-12) Professor of African and African American Studies Ethnomusicology shelemay@fas.harvard.edu Paine Hall 7 617-495-2791 In addition to longtime interests in musical ethnography and music and memory, Shelemay's current research is on Ethiopian music and musicians in their North American diaspora. Shelemay faculty page
	Anne C. Shreffler James Edward Ditson Professor of Music; (on leave fall term) (Acting Chair spring term) Historical Musicology acshreff@fas.harvard.edu Music Building 302S 617-495-2791 Anne C. Shreffler’s research interests include the musical avant-garde after 1945 in Europe and America, with special emphasis on the political and ideological associations of new music.Other research interests include historiography, composers in emigration, performance theory, and contemporary opera. Shreffler faculty page
	Daniel Stepner Preceptor in Music Performance: Chamber Music stepner@brandeis.edu Music Building G-7 617-495-2791 Stepner is first violinist for the Lydian String Quartet (in residence at Brandeis University), Artistic Director of the Aston Magna Festival, and a founding member of the Boston Museum Trio (resident at the Museum of Fine Arts).  Stepner faculty page
	Hans Tutschku Fanny P. Mason Professor of Music, Director of the Harvard University Studio for Electroacoustic Composition (HUSEAC) Composition tutschku@fas.harvard.edu Music Building G-3 617-495-2791 http://www.tutschku.com Tutschku has composed music for film, theatre, and ballet as well as instrumental and electroacoustic music. He has also conceived several sound installations and published articles on sound diffusion. A main focus of Tutschku's work is improvisation with live-electronics, and he tours regularly with his Ensemble für Intuitive Musik Weimar. Tutschku faculty page
	Richard Wolf Professor of Music Ethnomusicology rwolf@fas.harvard.edu 031 Memorial Hall (office location only) Postal address: Music Building / Harvard University / Cambridge, MA 02138 617-495-2791 Wolf's thematic interests include emotional complexity in ceremonial contexts, the constitutive properties of musical action in rituals, the poetics of non-verbal activities, the musical qualities of languages and the analytic potentials of particular languages for the study of music. He writes on issues of music and Islam in south Asia, and on south Indian folk and tribal music. Wolf faculty page
	Christoph Wolff Adams University Professor (on leave 2011-2012) and Curator of the Isham Memorial Library Historical Musicology cwolff@fas.harvard.edu Paine Hall 1 617-495-2791 Wolff's primary research interests extend to the music from the 17th to the early 19th century, especially to Bach and Mozart studies. Wolff faculty page
Visiting Faculty/Instructors 2011-12
Jane Alden, Visiting Associate Professor of Music (Wesleyan University) (spring term) Jane Alden, Associate Professor of Music at Wesleyan University, will be Visiting Associate Professor at Harvard University in spring 2012. Her research addresses musical notation and visual culture in the medieval and modern era, manuscript production and patronage, the historiography of chansonniers, music and poetry in the later Middle Ages, reception history, the influence of early music on 20th-century British composers, and the “New York School” of American experimental composers. She has published a monograph with Oxford University Press entitled _Songs, Scribes, and Society: The History and Reception of the Loire Valley Chansonniers_; an edition of the known works of the 15th-century composer Johannes Delahaye; articles on medieval and historiographical topics in the _Journal of Musicology_, the _Revue belge de musicologie_, the _Danish Yearbook of Musicology_, _Acta musicologica_, and the interdisciplinary journal _Babel_, and an article on Earle Brown in _Contemporary Music Review_. Alden has degrees from Manchester University, King's College, London, and the University of North Carolina at Chapel Hill. She was Acting Assistant Professor at Stanford University 2000-2001, Visiting Research Associate at Harvard University in 2005, and Fellow at the Institute for Musical Research, University of London, 2009–2010. She is active as a singer and conductor, with particular interest, in line with her scholarly expertise, in medieval and modern composers. She sees performance as the most effective way to reach out beyond academia to communicate with the wider public. Her practice-based research includes using digital technologies to synchronize workshops across the Atlantic.
Sergio Durante, Lauro De Bosis Lecturer (University of Padua) (fall term) Sergio Durante conducted his musical studies at the Conservatory and University of Bologna. He received a degree in Musicology with F. A. Gallo and a PhD from Harvard University (1993) as an advisee of Christoph Wolff. Durante has published numerous essays on musical theatre and instrumental music of the 17th and 18th centuries, and on the socio-cultural history of singers in particular. As a Mozart scholar, he has published various essays on musical theatre and vocal forms, both of historical and analytical interest. He has been a member of the Mozart-Akademie in Salzburg since 2000, and a member of the program committee for the Leuven IMS XVII Congress. Since 1986 Durante has directed the research project Lessico italiano del canto, an electronic dictionary of Italian sources on singing (1590–1840). Formerly professor of musicology at the Scuola di paleografia e filologia musicale in Cremona, he is presently full professor at the University of Padua, where he chairs the Dipartimento di storia delle arti visive e della musica.
Ellen Exner, Lecturer on Music Ellen Exner received her Ph.D. in Historical Musicology from Harvard University in 2010 with a dissertation on music in Berlin under King Frederick II ("The Great", 1740 to 1786). Before arriving at Harvard, Exner attended the University of Massachusetts at Amherst where she earned bachelor’s degrees (cum laude) in Russian and in Music History. Work from her M.A. thesis on a rare manuscript of eighteenth-century chorale preludes by was published as a critical edition in 2008 (Carus, Stuttgart). Exner is currently editing a volume for the C. P. E. Bach: Complete Works edition (Packard Humanities Institute). Her research has been generously supported by a Krupp Foundation grant through the Minda de Gunzberg Center for European Studies at Harvard University and, more recently, a Graduate Fellowship from the Radcliffe Institute for Advanced Study. Prior to her appointment at Harvard, where she has earned two Bok Center awards for excellence in undergraduate teaching, Exner was a Lecturer at Boston University and a Visiting Assistant Professor at MIT.
Daniel Henderson, Lecturer on Music Daniel Henderson is a jazz trumpeter, composer, and band leader whose research interests include big band composition and arranging, jazz improvisation, and Capitol Records' line of children's albums from the 1940s and 50s. He holds D.M.A. and M.M. degrees from New England Conservatory in Jazz Composition with Academic Honors, where he was awarded the Gunther Schuller Medal for "having made extraordinary contributions to the life of NEC." He has written on the music of Duke Ellington and Thelonious Monk, and is writing a book on the music of Billy May. As trumpeter with The New Hot 5, Henderson will perform and teach early jazz trumpet styles at Jazz en Vercors in France in 2011.
David Kaminsky, Lecturer on Music (fall term) David Kaminsky received his Ph.D. in ethnomusicology from Harvard in 2005. He is a scholar of Swedish folk music and dance, with secondary specializations in African and Jewish musics. In 2007 he became the first American to be titled Riksspelman, or National Folk Musician of Sweden. His research interests include music and social power; dance, gender, and sexuality; history and philosophy of genre; and questions of ownership in “world music” performance.
Liz Lerman, Lecturer on Dance (fall term) Liz Lerman is a choreographer, performer, writer, educator and speaker. Described by the Washington Post as “the source of an epochal revolution in the scope and purposes of dance art,” her dance/theater works have been seen throughout the United States and abroad. Her aesthetic approach spans the range from abstract to personal to political. She founded Liz Lerman Dance Exchange in 1976 and cultivated the company’s unique multi-generational ensemble into a leading force in contemporary dance.  Recently, she handed the artistic leadership of the company over to the next generation of Dance Exchange artists, and will be pursuing many new projects with fresh partnerships. The first of these new projects will take place this fall, when she will be artist-in-residence at Harvard University. Liz has been the recipient of numerous honors, including a 2002 MacArthur “Genius Grant” Fellowship. Liz’s work has been commissioned by Lincoln Center, American Dance Festival, and the Kennedy Center among many others. Her newest critically acclaimed work, The Matter of Origins, examines the question of beginnings through dance, media and innovative formats for conversation. Hiking the Horizontal: Field Notes from a Choreographer, her new collection of essays, was recently published by Wesleyan University Press. Born in Los Angeles and raised in Milwaukee, Liz attended Bennington College and Brandeis University, received her BA in dance from the University of Maryland, and an MA in dance from George Washington University. She is married to storyteller Jon Spelman. Their daughter Anna recently graduated from college.
Evan MacCarthy, College Fellow in the Music Department Evan MacCarthy completed his PhD in historical musicology at Harvard in 2010 with a dissertation on music and intellectual life in fifteenth-century Ferrara. He received his BA in classics and music from the College of the Holy Cross and in the spring of 2007 he was a Reader in Renaissance Studies at Villa I Tatti in Florence, Italy. His research interests also include Old Roman and Ambrosian chant, the motets of Orlando di Lasso, and seventeenth-century north German organ music. He co-edited with Edward Roesner the seventh and final volume of the Magnus Liber Organi edition and has two forthcoming publications on the music theorist Ugolino of Orvieto. He has also served on the music faculties of the Massachusetts Institute of Technology and Boston University.
Martin Scherzinger, Visiting Professor of Music (NYU Steinhardt School) (spring term) Martin Scherzinger's research specializes in sound studies, music, media and politics of the 20th and 21st centuries, with a particular interest in the music of European modernism and after, as well as African music and transnational musical fusions. His research includes the examination of links between political economy and digital sound technologies, the poetics of copyright law in an international frame, the relations between aesthetics and censorship, the sensory limits of mass-mediated music, the mathematical geometries of musical time, and the history of sound in philosophy.
Emeriti	Remembering Leon Kirchner Remembering Reinhold Brinkmann Remembering James Yannatos John Ward
	Mario Davidovsky Professor Emeritus Composition Directed the Columbia/Princeton Electronic Music Center for many years while he was MacDowell Professor of Music at Columbia University. He also served as Director of the Composers' Conference at Wellesley for 29 years. Professor Davidovsky received the Walter Channing Cabot Fellowship. In 2000-2001, two CDs of his works were recently released by Bridge Records: Flashback and Canticum Cantorum; and his Cantione Sine Textu, for soprano and chamber ensemble, was published by C.F. Peters. Davidovsky served as vice-president of the Koussevitzky Foundation at the Library of Congress; vice-president of the Robert Miller Fund for Music, and consulted for the Guggenheim Foundation both in the U.S. and Latin America. He is Director of the Harvard University Studio for Electroacoustic Composition.
	David G. Hughes Professor Emeritus Historical Musicology Prof. Hughes was educated at Harvard (A.B., M.A. and Ph.D.), with a dissertation on line and counterpoint in Gothic music. He studied theory and composition with Irving Fine, Randall Thompson and Walter Piston, and musicology with A. Tillman Merritt, Stephen Tuttle and Otto Gombosi. Hughes taught at Harvard as Fanny P. Mason Professor of Music from 1964 until his retirement in 1994. He worked primarily in the areas of Gregorian and post-Gregorian chant, liturgical music and medieval polyphony, notation and modal theory. He co-compiled the Index of Gregorian Chant, and was editor-in-chief of the Journal of the American Musicological Society (1959-63). Hughes published many articles and was honored with a Festschrift on his 70th birthday, Essays on Medieval Music in Honor of David Hughes (1995).
	Lewis Lockwood Fanny Peabody Research Professor of Music Historical Musicology llockw@fas.harvard.edu 710 Widener Library 617-495-7574 Lewis Lockwood's recent book, Beethoven: The Music and the Life (New York: W.W. Norton, 2003) was a finalist for the 2003 Pulitzer Prize in biography. Lockwood took the B.A. at Queens College, New York, studying with Edward Lowinsky, and did his graduate work at Princeton with OIiver Strunk and Arthur Mendel. He taught at Princeton from 1958 to 1980, when he came to Harvard, where he was named Fanny Peabody Professor of Music in 1985. He was President of the American Musicological Society in 1987-88 and was named an Honorary Member of the AMS in 1993. His scholarly work has focused on music in the Italian Renaissance and on Beethoven and his era. In 1997 he was presented with a volume entitled Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, edited by Jessie Ann Owens and Anthony Cummings (Detroit, 1997). He won the Einstein and Kinkeldey awards of the AMS, and an ASCAP-Deems Taylor Award for his book, Beethoven: Studies in the Creative Process (Cambridge, MA: Harvard University Press, 1992). In 2005 the American Musicological Society established an annual award in his name for the best book by a younger scholar.
	Jameson Marvin Choral Director Website: www.jamesonmarvin.com Dr. Marvin received a Doctor of Musical Arts degree in Choral Music from the University of Illinois, a Master of Arts in Choral Conducting from Stanford University, and a Bachelor of Arts in Music Composition from the UCSB. He was Director of Choral Ensembles at Vassar College before coming here in 1978. Dr. Marvin conducts the Harvard Glee Club, Radcliffe Choral Society, and the Harvard-Radcliffe Collegium Musicum, and offers courses in Choral Conducting and Choral Analysis/Interpretation. He has conducted 80 choral-orchestral works and is a conductor, teacher, author, scholar, editor and arranger. Dr. Marvin has written on subjects ranging from choral intonation to Renaissance music for men's voices including The Conductor's Process, Five Centuries of Choral Music: Essays in Honor of Howard Swan, Pengragon Press, Mastery of Choral Ensemble, E. C. Schirmer, Choral Excellence: Elements of Successful Leadership, and Perfection and Naturalness: A Practical Guide to Renaissance Choral Performance, Oxford University Press. Dr. Marvin has sustained and expanded a choral environment rich enought to attract thousands of students to his program, from the beginning singer to the advanced musician. The choral program at Harvard was named the top collegiate choral program in the country by Classical Singer magazine.
	Rulan Pian Professor Emerita East Asian Studies, Ethnomusicology Prof. Pian was educated at Radcliffe and studied Western music history and theory with Tillman Merritt (B.A. and M.A.). She received her Ph.D. from Harvard with a dissertation on the Song dynasty. She join the Harvard music department, teaching Chinese music, in 1961, and was made a professor of east Asian languages and civilizations and professor of music in 1974. Pian was appointed fellow of the Academica Sinaica in Taiwan in 1994. She has published widely on Song dynasty, musical sources, Peking opera, Peking drum songs and other historical and contemporary genres. Since the late 1970s, she has travelled to China regularly, bringing the latest Western ideas there, and returning to America with a wealth of fieldwork data and audio-visual recordings, materials that preserve and illustrate Chinese music to American audiences.
	John Stewart Musicianship Stewart holds a Ed.D. from Harvard and a B.M. from the New England Conservatory of Music. He founded and directed the Young Musician's Program of the Ernest Bloch Music Festival in Newport, Oregon, where he also premiered his work, Threnody (Chorale Partita), Luise Vosgerchian In Memoriam. His Ives Fantasy Suite received its Boston premiere at The New England Conservatory.
	Bernard Rands Research Professor Composition amc65aum@aol.com Rands taught at several universities in the U.K., and at U.C. San Diego and Boston University in the U.S. before coming to Harvard in 1989. He's won a Pulitzer, and has had works commissioned by the New York Philharmonic for their 150th Anniversary and Carnegie Hall for their 100th Anniversary. Bernard Rands website
Staff
Nancy Shafman, Director of Administration Lesley Bannatyne, Managing Communications Coordinator Kaye Denny, Front Office Mary Gerbi, Assistant to the Chair/Undergraduate Coordinator Eva Kim, Staff Assistant/ Assistant to the Chair Jean Moncrieff, Director of Events Karen Rynne, Manager of Administration and Finance Charles Stillman, Front Office Fernando Viesca, Building Manager Ean White, HUSEAC Technical Director Affiliated Staff Piano Technical Services Lesley Bannatyne, Managing Communications Coordinator bannatyn@fas.harvard.edu Music Building, 102S 617-495-2791 Lesley oversees website maintenance, publicity, department directories, publications, the newsletter, and other special projects. She also meets with and dispenses information to prospective students. Kaye Denny, Front Office denny2@fas.harvard.edu Music Building, Reception 617-495-2791 Kaye is reponsible for room reservations, mail operations, practice rooms and all reception duties. Mary Gerbi, Assistant to the Chair, Undergraduate Coordinator gerbi@fas.harvard.edu Music Building, 104S 617-495-9854 Mary is primary point of contact for the undergraduates in the department, including Harvard/NEC students. She also manages the Chair's office, assisting with faculty searches, correspondence, and reports. Eva Kim, Staff Assistant, Assistant to the Chair evakim@fas.harvard.edu Music Building, 101S 617-495-2791 Eva assists faculty, the Director, and Financial Manager, organizes the University Hall Recitals, schedules meetings for the Chair, coordinates committees and maintains department data. Jean Moncrieff, Director of Events moncrief@fas.harvard.edu Paine Hall 4 617-495-9859 Jean books Paine Concert Hall and produces the department's concerts, lectures and conferences. She also administers the Fromm Foundation at Harvard. Vicky Peterson, Production Coordinator vpeters@fas.harvard.edu Paine Hall 617-4995-2791 Vicky helps with all aspects of Paine Hall production, including concert management, contracting, and assisting the Director of Events. Karen Rynne, Manager of Administration and Finance rynne@fas.harvard.edu Music Building, 101S 617-496-3253 Karen handles all department billing and payments, and manages financial accounts and services the copiers. Nancy Shafman, Director of Administration nshafman@fas.harvard.edu Music Building, 103S 617-495-9855 Nancy coordinates the academic programs for the department and works closely with the chair and faculty. She supervises the department and is knowledgable about teaching requirements, exams, fellowships, financial aid, and the philosophy and organization of the department. Charles Stillman, Front Office stillman@fas.harvard.edu Music Building, Reception 617-495-2791 Charles is reponsible for room reservations, mail operations, practice rooms and all reception duties. Fernando Viesca, Building Manager fviesca@fas.harvard.edu G-4 617-495-9851 Fernando manages all things having to do with the physical plant: electrical and internet connections, telephones, computers, heat, and air conditioning, plumbing and all special construction projects. Ean White, Technical Director of the Harvard University Studio for Electroacoustic Composition eanwhite@fas.harvard.edu Paine Hall 21 617-496-6683 Ean is the Harvard University Studio for Electroacoustic Composition Technical Director.