Music and Nation. Essays on the Time of German and Italian Unifications. Sergio Durante (2019)

Sergio Durante (PhD Harvard University 1993) is Professor of Musicology at the Università degli Studi di Padova. In the fall of 2011 he served as Lauro De Bosis Visiting Professor at Harvard, and as part of his contribution to the intellectual life of the University he presented a series of Lauro De Bosis Lectures in the History of Italian Civilization. Professor Durante here presents a revised and expanded version of these lectures, the result of careful consideration over a long period. The Department of Music is proud to make these essays available to a wider public.

Out of Bounds. Ethnography, History, Music, ed. Ingrid T. Monson, Carol J. Oja, Richard K. Wolf (2017)

Kay Kaufman Shelemay’s impact as a mentor and colleague to a generation of scholars shines brightly in this wide-ranging edited collection. Shelemay took the field of ethnomusicology by storm with her bold and historically rich ethnography of Ethiopian Jewish music, pioneering the field of musical diaspora studies. Her investigation of musical communities―emphasizing memory, mobility, and the shifting of boundaries―has inspired many of the authors of this volume.

Music in Time. Phenomenology, Perception, Performance, ed. Suzannah Clark, Alexander Rehding (2016)

Music exists in time. All musicians know this fundamental truth—but what does it actually mean? Thirteen scholars probe the temporality of music from a great variety of perspectives, in response to challenges that Christopher F. Hasty, Walter Naumburg Professor of Music at Harvard University, laid out in his groundbreaking Meter as Rhythm.

The Harvard University Department of Music 1991 to 2011, ed. Lesley Bannatyne (2015)

A history of the department from 1991 to 2011 compiled and edited by Lesley Bannatyne.

City, Chant, and the Topography of Early Music, ed. Michael Scott Cuthbert, Sean Gallagher, Christoph Wolff (2013)

Cultural landscape and geography have affected the history of Western music from its earliest manifestations to the present day. City, Chant, and the Topography of Early Music brings together essays by thirteen leading scholars that explore ways that space, urban life, landscape, and time transformed plainchant and other musical forms.

The Organ in the Academy. Essays in Celebration of the Installation of the Charles B. Fisk and Peter J. Gomes Memorial Organ, ed. Thomas Forrest Kelly (2013)

On the occasion of the installation of the new Charles B. Fisk and Peter J. Gomes Memorial Organ in the Memorial Church at Harvard University, the Department of Music at Harvard sponsored a symposium dealing with the organ at Harvard, the organs of Harvard, and the role of Harvard organs and organists in American music and musical education. The symposium took place on Sunday, April 22, 2012. This volume presents the papers delivered at the symposium, along with information on the organs in the Memorial Church at Harvard. 2013, Harvard University Department of Music.

Harvard's Paine Hall. Musical Canon and the New England Barn, Reinhold Brinkmann (2010)

Part aristocratic Italian Renaissance elegance, part New England barn, Paine Hall rose up early in the twentieth century to house a burgeoning Music Department at Harvard. Despite the fact that music students had long outgrown their quarters in the basement of Holden Chapel, the building was opposed by many of the faculty, including science professors who begged the President to leave the site—a wedge of Ward 9 in Cambridge—vacant so as not to “steal our light.”

The Century of Bach and Mozart. Perspectives on Historiography, Composition, Theory and Performance, ed. Sean Gallagher, Thomas Forrest Kelly (2008)

For many today Johann Sebastian Bach and Wolfgang Amadeus Mozart stand as towering representatives of European music of the eighteenth century, composers whose works reflect intellectual, religious, and aesthetic trends of the period. Research on their compositions continues in many ways to shape our broader understanding of eighteenth-century musical thought and its contexts.

Remembering the Future, Luciano Berio. The Charles Eliot Norton Lectures 1993–94 (2006)

Luciano Berio shares with us some musical experiences that "invite us to revise or suspend our relation with the past and to rediscover it as part of a future trajectory." His scintillating meditation on music and the ways of experiencing it reflects the composer's profound understanding of the history and contemporary practice of his art.

Catalogue: The Century of Bach and Mozart. Perspectives on Historiography, Composition, Theory and Performance (2005)

Catalogue of the Harvard College Library Exhibition on the Occasion of a Conference dedicated to Professor Christoph Wolff. Department of Music, Harvard University (September 23, 2005–December 23, 2005).

Music and the Aesthetics of Modernity. Essays, ed. Karol Berger, Anthony Newcomb (2005)

For most music historians, the modernism of the twentieth century was until recently the only appearance of the “modern” in music. The widely perceived recent decline of musical modernism makes it now possible to see the modernism of the twentieth century as a chapter in a much longer story, the story of musical modernity. The principal purpose of the present book is to encourage a debate over musical modernity; a debate that would consider the question whether, and to what extent, an examination of the history of European art music may enrich our picture of modernity and whether our understanding of music’s development may be transformed by insights into the nature of modernity provided by other historical disciplines.

Music of My Future. The Schoenberg Quartets and Trio, ed. Reinhold Brinkmann, Christoph Wolff (2000)

Schoenberg's quartets and trio, composed over a nearly forty-year period, occupy a central position among twentieth-century chamber music. This volume, based on papers presented at a conference in honor of David Lewin, collects a wide range of approaches to Schoenberg's pieces.

Essays in Medieval Music in Honor of David G. Hughes, ed. Graeme Boone (1995)

This collection of nineteen essays presents a broad spectrum of current research that will interest students of medieval music, history, or culture. Topics include a comparison of early chant transmission in Rome and Jerusalem; the relationship between the earliest chant notation and prosodic accents; conceptualizing rhythm in medieval music and poetry; the persistence of Guidonian organum in the later Middle Ages; a connection between Dante and St. Cecilia; and the development of the trecento madrigal.

Anguish of Hell and Peace of Soul. A 1623 Collection of Sixteen Motets on Psalm 116 by Michael Praetorius, Heinrich Schütz and Others, ed. Christoph Wolff with Daniel R. Melamed (1994)

In 1652 Burckhard Grossmann, a court official at Jena in Thuringia and a wealthy man of letters and musical interest, published a collection of German psalm motets. Virtually without parallel in the history of sacred music, this collection comprises sixteen works by different composers, all based on one and the same text: Psalm 116 of the Lutheran Bible.

Themes and Variations. Writings on Music in Honor of Rulan Chao Pian, ed. Joseph S. C. Lam, Bell Yung (1994)

The thirteen essays in this volume underscore the unity and diversity of music research today. Ranging in topic from Gregorian chant to Russian lament, Chinese opera to American spirituals, the essays span the early ninth to the late twentieth centuries and move geographically from East Asia to Europe, North America, and the Pacific. The essays focus on some of the central issues in current musicological and ethnomusicological research: the change and continuity in musical traditions, tune identity and metamorphosis, and the nature and function of musical notation.

A History of Music at Harvard to 1972, Elliot Forbes (1988)
A Report of Music at Harvard from 1972 to 1990, Elliot Forbes (1993)

1988 volume, clothbound, 246 pages, $25.00
1993 volume, paperback, 194 pages, $15.00 (out of print)

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)

Edited by John Andrew Johnson.

A Life for New Music: Selected Papers of Paul Fromm. ed. David Bagle and Christoph Wolff (1988)

With Memorial Tributes by Milton Babbitt, Luciano Berio, Pierre Boulez, Elliott Carter, and Ralph Shapey.

Music and Context. Essays for John M. Ward, ed. Ann Dhu Shapiro (1985)

Foreword by Isabel Pope Conant, Lorna Jean Marshall.

The Operas of Alessandro Scarlatti, Volumes V to IX (1979-85)

This widely praised series of the works of a key figure in the history of opera provides the most reliable version of the score for each opera, appending a translation of the libretto. The general editor is Donald Jay Grout.

Beethoven Essays: Studies in Honor of Elliot Forbes, ed. Lewis Lockwood, Phyllis Benjamin (1984)

Significant new insights into Beethoven’s life and style are offered in this volume in honor of Elliot Forbes, whose revision of Thayer’s Life of Beethoven is the standard modern edition of that classic.

The Instrumental Music of Giovanni Legrenzi, ed. Stephen Bonta (1984)

Harvard Publications in Music, 14. Sonate A Due E Tre Opus 2 1655.
Harvard Publications in Music, 17. La Cetra, Sonate A Due, Tre E Quattro Stromenti, Libro Quattro, Opus 10 1673.

Music in Harvard Libraries. Early Printed Music and Books, A Catalogue of Early Printed Music and Books on Music in the Houghton Library and the Eda Kuhn Loeb Music Library, David A. Wood (1980)

Words and Music. The Scholar's View
Words and Music. The Composer's View (2-volume set first published 1972)

In honor of A. Tillman Merritt; G. Wallace Woodworth. Edited by Laurence Berman.