His main area of research and teaching is American music of the twentieth and twenty-first centuries, with special attention to the dynamics of race and politics. From 2009 to 2018, Kajikawa was employed at the University of Oregon’s School of Music and Dance, where he taught a variety of courses in music history, ethnomusicology, and musicology. At Harvard, Morrison teaches core courses in the undergraduate theory sequence, and he has introduced graduate seminars on the analysis of musical media and on how the idea of timbre has been negotiated across different disciplinary frames. He has also conceived several sound installations and published articles on sound diffusion. In addition, he is a member of the East Coast Chamber Orchestra and Ensemble DITTO. He is particularly interested in how listeners make sense of musical form as it unfolds and in recognizing the interrelated roles of composers, performers, and listeners in the creation of musical meaning. yvette_jackson@fas.harvard.edu michaeluy@fas.harvard.edu An active pianist, recording artist, bandleader, composer, improviser, and scholar, he has has released twenty-three albums of his original music on ECM Records, ACT Records, Sunnyside Records, Savoy Music, Pi Recordings, Artist House, and Asian Improv Records. She has also served on several committees of the American Musicological Society including the AMS Council, the AMS-50 Fellowship Committee, and the Program Committee. Since 2002, as the founding first violinist of the Parker Quartet, he has garnered wide recognition for his performances in such venues as Carnegie Hall, the Library of Congress, the Musikverein, and Wigmore Hall. As a cellist, she performed with the Toronto Symphony Orchestra, the Calgary Philharmonic, the Canadian Opera Company, National Ballet of Canada, and participated in studio productions that included films and commercial work in Toronto. Graduate Advisor in Ethnomusicolgy Books: Soliciting Darkness: Pindar, Obscurity, and the Classical Tradition. Shelemay CV, Assistant Professor of Music, She has co-edited Pain and Its Transformations. Friendship Commission. paul.franks@yale.edu Phone: 203 432-1683 : Manon Garcia Asst Prof Philosophy (beginning July 2021) manongarcia@uchicago.edu Website: Tamar Gendler Dean of the Faculty of Arts and Sciences; Vincent J Scully Professor of Philosophy, Prof Psychology 1 Hillhouse Ave., New Haven, CT 06511 tamar.gendler@yale.edu Phone: 203 432-6087 : Daniel Greco Mark Olson, Director of the Harvard Bands In both Afatsim (1996) and String Quartet (1995), a game is made of changing the identity of the instruments by creating “meta instruments”—combining a few instruments into one identity and then separating them. Thanks to a generous grant from the Andrew W. Mellon Foundation, he was the convener of the 2013/14 John E. Sawyer Seminar in the Comparative Study of Culture, "Hearing Modernity.” In the same year, Rehding launched the Sound Lab in the music department, which is now in its second phase. Among her recent distinctions are a Senior Fellowship at the Stanford Humanities Center (2017-18) and a Medal of Honor from the city of Tours, France (2016). She pursued her PhD at the University of California San Diego, studying with Roger Reynolds (dissertation advisor) and Brian Ferneyhough. This research puts critical pressure on habits of using sound and acoustic instruments as an epistemic tool, asking what happens when instruments, sound-based apparatuses, and machines (whether by inventor design, by misfires in their channels of operation, or subsequent discourses clustered around them) are mischievous, and engender fables. Lecturer on Music / Resident Dean, Dunster House Dissertations are from approximately 1950 to the present. Bowring and Monahan appointed to YSM's academic faculty July 24, 2019 Drs. Landon Morrison is a music theorist who studies the role of technological mediation in 20th- and 21st-century sonic practices, focusing on electroacoustic sound, timbre, microtonality, and experimental subgenres of popular music. Noel Bisson, Harvard University A monograph on Beethoven’s Ninth Symphony appeared in 2017. Professor Hasty recently co-chaired an international conference for the cross-cultural study of musical rhythm with Professors Richard Wolf (Harvard) and Stephen Blum (NYU) and is currently co-editing a volume of essays related to the conference, Thought and Play in Musical Rhythm. Marks and William H. Marks Assistant Professor at Radcliffe Institute She developed this style of composing as a way to pivot between creative practice and research while investigating how darkness, spatial audio, and interactivity affect the audience’s engagement with narrative in electroacoustic music listening experiences. Welcome to Musicology at the University of Colorado! from New England Conservatory of Music, and her B.A. Vijay Iyer's wide-ranging creative work and research has spanned the arts, the humanities, and the sciences. This has taken his work in a number of different directions from Ancient Greek music to the Eurovision Song Contest—and even into outer space. SCHOOL OF MUSIC FACULTY University Park 2007-2008 *SUE HAUG (D.M.A., University of Iowa). He performs on the viola in addition to the violin, and is an avid proponent of contemporary music. From 2014–2016 she served as Artist in Residence at the Institute for New Music at Northwestern University’s Bienen School of Music, and she has been appointed Co-Artistic Director of the Summer Classical Music Programs at the Banff Centre in Canada, starting with the 2017 summer season. Ample archives of accolades and commentary relating to esperanza’s previous works may be found through an internet search. A jury consisting of members of the Yale faculty, possibly augmented with professional musicians from outside the University, judges the performance and participates in the oral examination. Graduate Advisor in CPCI, spring 2021 Kajikawa’s writings have appeared in American Music, Black Music Research Journal, ECHO: a music-centered journal, Journal of the Society for American Music, and Popular Music and Society, among others. Mr. Chong has received several awards and prizes such as the 2009-2011 Cleveland Quartet Award and top prizes at the Concert Artists Guild Competition, Young Concert Artists International Auditions, and the Bordeaux International String Quartet Competition. Bick is currently preparing an intellectual and cultural history on the musical legacy of the New School for Social Research and its contributions to New York’s musical modernist and political culture during the 1930s. Visiting scholars and fellows, student musicians, and artists-in-residence round out the department's academic and performing community. all this with the aim of reaching a music of the subconscious which goes beyond style conventions or rationality. Shelemay received a B.M. For a full description of all of Chase's projects, go to clairechase.net. Calendar of Events and University of Toronto (MusBac). ICE established musical innovation as central to the recipe not only for cultural survival, but also for popular success, with its flexible entrepreneurial structure and inclusive educational mission. Herrera’s article in Ethnomusicology, “Masculinity, Violence, and Deindividuation” was awarded the honorable mention of the Marcia Herndon Prize for studies on gender and sexuality at the Society for Ethnomusicology. Lawrence Bernstein, Lex Rozin (2013); and “Experimenting with Rhythm” in Rhythmus, Balance, Metrum, eds. Monson is a former chair of the Department of Music and served as an Interim Dean of Arts and Humanities.  Monson also served as an expert witness for the Marvin Gaye family in the high profile Blurred Lines copyright infringement case in 2015. Monson's secondary interest is in the music of Mali, which has led to her forthcoming third book The Voice of Kendougou, about virtuosic Malian balafonist Neba Solo. She has served as the Leonard Bernstein Scholar-in-Residence with the New York Philharmonic and is an occasional contributor to TLS (Times Literary Supplement). GSAS Alumni Andrew Hamilton, Max Paddison (2014). Born into a musical family in Camaguey, Cuba, Yosvany Terry went on to classical music training in Havana at the prestigious National School of Arts (ENA) and Amadeo Roldan Conservatory. 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