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Daniel Harrison






music theory.


B.A. Stanford University, with distinction and honors; 1981 
Ph.D. Yale University; 1986

My chief research interest is in tonal theory, especially at historical margins of the common-practice era. A dissertation on the music of Max Reger was the springboard for Harmonic Function in Chromatic Music (Chicago, 1994), which offered a theory and some analytic tools based on late nineteenth-century ideas on harmony, chiefly those of Hugo Riemann. (I find the history of music theory to be an especially rewarding field of study.) Further developments of this project were undertaken in “Supplement to the Theory of Augmented Sixth Chords” and “Nonconformist Notions of Nineteenth–Century Enharmonicism.” Lately, I've (re)turned to the study of 17th- and 18th-century tonality in “Rosalia, Arcangelo, and Aloysius: A Genealogy of the Sequence.” (See curriculum vitae for details of publication.)

My current work in this area of interest is on contemporary tonal music, especially that of the 20th century. I am investigating ways in which a variety of composersamong whom are notables such as Hindemith, Shosatkovich, Prokofiev, Martinu, Vaughan Williams, Britten, Barber, and Coplandmaintained, adapted, and developed traditional compositional materials. A conference paper, “Dissonant Tonics and Post-Tonal  Tonality,” currently being prepared for publication, is one result. Other focused projects from this study include an examination of Paul Hindemith's music theories, an investigation into implied claims of Jazz theory about tonality, and various matters relating post common-practice tonality to psychoacoustics and music cognition. All of these topics will culminate in a book, Pieces of Tradition: An Analysis of Contemporary Tonality.

I also have a stake in the analysis of pop music, chiefly from the 1960s and 70s, and specifically the music of The Beach Boys. I've given a few conference papers in this area, published an essay, “After Sundown: The Beach Boys' Experimental Music” in the collection Understanding Rock, and appeared in a Don Was documentary on Brian Wilson, I Just Wasn't Made for These Times (1995).

A long-standing interest that I look forward to working on in the future is musical rhetoric, especially on techniques of proposition and argument and their realization in performance.

At both Yale and at the University of Rochester's Eastman School of Music, I've taught graduate courses in chromatic music and analysis; tonality after the common practice; analysis of rock music; the pedagogy of music theory; and the writing of music theory and analysis. I've advised dissertations on common-practice tonal and contemporary tonal musics, and I would be happy to continue supervising research in these areas as well as in the history of music theory, popular musics, rhetorical-narrative analysis, and analysis of sacred music.

My primary instrument is the organ, which I studied with Herbert Nanney at Stanford and Robert Baker at Yale. In Rochester, I was assistant to David Craighead at St. Paul's Episcopal church for twelve years. Among my other musical experiences is a stint as an arranger and bass-pan player in the steel-drum band Calliope's Children.

More information, including a complete curriculum vitae and some research papers in draft form, is available on my homepage.


James Hepokoski




History and analysis of European art music from ca. 1750 to 1950; historical contexts, musical structure, and hermeneutics (interpretations of textual meaning); symphonic and chamber works from Haydn, Mozart, and Beethoven through Debussy, Ravel, Mahler, Sibelius, Elgar, and Richard Strauss; problems of extramusical connotation and metaphor in illustrative and program music; differing conceptions of musical modernism, ca. 1880‑1920; Italian opera (Verdi, Puccini); music, ideology, and nationalism; twentieth-century music traditions in the United States (including blues and commercial song, 1900-1950); Cole Porter.


Currently the Chair of the Department, Hepokoski received his M.A. and Ph.D. in musicology from Harvard University (1972-79). He has taught at Oberlin College Conservatory (1978-1988), at the University of Minnesota, Twin Cities (1988-1999), and at the Yale Department of Music since 1999. He was the co-editor of the musicological journal 19th-Century Music from 1992 to 2005.  In 2010 Yale awarded him the Sidonie Miskimin Clauss Prize for Teaching Excellence in the Humanities.

Central to his work is a broad, overarching view of the past and current state of the ever changing discipline, its challenges and opportunities. Both in his writings and in his courses, Hepokoski explores ways of synthesizing music history, analysis, and criticism (music as cultural discourse). "Our goals are to think more deeply about how we talk and write about music; to ask informed, hard questions of ourselves and our disciplinary traditions; to contribute original and challenging ideas to the ongoing discussion about music and its many different roles in culture."  

At the undergraduate level he teaches two music history survey courses required of music majors (1600-1800 and 1800-1960), along with specialized courses in Mozart, Beethoven, Mahler, American music, symphonic nationalism and cultural identity, and other topics. His graduate-level seminars have dealt with a wide range of subjects.  Among them: Late Beethoven; Sonata Theory; American Music Genres in the Twentieth Century (Ives, 1920s-30s blues, popular song and Cole Porter, all of these drawing on primary-source holdings in the Yale Libraries); Methodological Issues in Music History and Analysis; Program Music and Structure; and Richard Strauss’s Tone Poems.  

Selected Publications:


Music, Structure, Thought: Selected Essays.  Aldershot, UK: Ashgate, 2009.

Musical Form, Form & Formenlehre: Three Methodological Reflections.  Co‑authored with William E. Caplin and James Webster.  Ed. Pieter Bergé.  Leuven, Belgium: University Press Leuven, 2009.

Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press, 2006. Co-authored with Warren Darcy. Awarded the Wallace Berry Prize (best book) from the Society for Music Theory, 2008.

Sibelius: Symphony No. 5. Cambridge: Cambridge University Press, 1993. 

Otello di Giuseppe Verdi [in the series Musica e spettacolo: Collana di Disposizioni sceniche diretta da Francesco Degrada e Mercedes Viale Ferrero ]. Co-authored with Mercedes Viale Ferrero.  Translated into Italian by Francesco Degrada. Milan: G. Ricordi & C., 1990. [This book on Verdian staging was the first volume of a series of “production-book” source-reprints—original staging manuals—undertaken by G. Ricordi & C.] 

Giuseppe Verdi: Otello. Cambridge: Cambridge University Press, 1987. 

Giuseppe Verdi: Falstaff . Cambridge: Cambridge University Press, 1983.

Selected Articles 

 “Program Music.”  In Issues in Musical Aesthetics: Musicological Perspectives.  Ed. Stephen Downes. New York: Routledge, forthcoming in 2014.

“Dahlhaus’s Beethoven-Rossini Stildualismus: Lingering Legacies of the Text‑Event Dichotomy.”  In The Invention of Beethoven and Rossini: Historiography, Analysis, Criticism.  Ed. Nicholas Mathew and Benjamin Walton.  Cambridge: Cambridge University Press, 2013.  Pp. 15‑48.

“Ineffable Immersion: Contextualizing the Call for Silence” (in “Colloquy: Vladimir Jankélévitch’s Philosophy of Music”).  Journal of the American Musicological Society 65 (2012), 223‑30.

“Monumentality and Formal Processes in the First Movement of Brahms’s Piano Concerto No. 1 in D Minor, op. 15.”  In Expressive Intersections in Brahms: Essays in Analysis and Meaning.  Ed Heather Platt and Peter H. Smith.  Bloomington: Indiana University Press, 2012.  Pp. 217-51.

“Modalities of National Identity: Sibelius Builds a First Symphony.”  In The Oxford Handbook of the New Cultural History of Music.  Ed. Jane F. Fulcher. New York: Oxford University Press, 2011.  Pp. 452‑83.

“The Second Cycle of Tone Poems.”  In The Cambridge Companion to Richard Strauss.  Ed. Charles Youmans.  Cambridge: Cambridge University Press, 2010.  Pp. 78-104.

“Un bel dì? Vedremo! Anatomy of a Delusion.” In Madama Butterfly: L’orientalismo di fine secolo, l’approccio pucciniano, la ricezione: atti del convegno internazionale di studi, Lucca-Torre del Lago, 28‑30 maggio 2004.  Ed. Arthur Groos and Virgilio Bernardoni.  Florence: Leo S. Oschki, 2008.  Pp.  219‑46.

"The Framing of Till Eulenspiegel," 19th-Century Music 30 (2006), 4-43.

"Beyond the Sonata Principle." Journal of the American Musicological Society 55 (2002), 91‑154. 

"Back and Forth from Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation." 19th-Century Music 25 (2002), 127-54. 

"Beethoven Reception: The Symphonic Tradition." Chapter 15 [on the symphony and symphonic poem, ca. 1840-1900] of Jim Samsoned., The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge Univ. Press, 2002. Pp. 424-59. 

"Jean Sibelius," entry in The New Grove Dictionary of Music and Musicians. 2nd ed. London: Macmillan, 2001. Vol. 23: 319-47. 

"Ottocento Opera as Cultural Drama: Generic Mixtures in Il Trovatore." In Martin Chusided.,Verdi’s Middle Period (1849-59): Source Studies, Analysis, and Performance Practice. Chicago: University of Chicago Press, 1997. Pp. 147-96. 

"The Dahlhaus Project and Its Extra-Musicological Sources." 19th-Century Music 14 (1991), 221-46.



Grant Herreid




Yale Baroque Opera Project



early music, lute, theorbo, Renaissance winds, basso continuo, early opera.


Grant Herreid performs frequently on early reeds, brass, strings and voice with many US early music ensembles. A specialist in early opera, he has played theorbo, lute and baroque guitar with the Chicago Opera Theater, Aspen Music Festival, Portland Opera, and New York City Opera. A noted teacher and educator, he is the recipient of Early Music America’s Laurette Goldberg award for excellence in early music outreach and education. He directs the Yale Collegium Musicum, and the Yale Baroque Opera Project (YBOP). Grant also directs the New York Continuo Collective, and recently played hurdy gurdy, lute, theorbo, cittern, and percussion in the Broadway productions of Shakespeare's Twelfth Night and Richard III, starring Mark Rylance and Stephen Fry. He has created and directed several theatrical early music shows, and he devotes much of his time to exploring the esoteric unwritten traditions of early music with the ensemble Ex Umbris.


Selected Artices:
"The Humours in the English Lute Song”.  In Lute Society of America Quarterly. Volume XLVIII, No. 1 & 2, Spring & Summer 2013.

Yale University's Programs of Study in Music

For more information, email: 

leah.jehan@yale.edu, Senior Administrative Assistant


The Department of Music at Yale University offers the Bachelor of Arts degree in Music with undergraduate courses in composition and music technology, ethnomusicology, music history, music theater, music theory and performance.  For more information, see the undergraduate music program.

The Ph.D degree in Music is offered in ethnomusicology, music history, and music theory.  For more information, see the graduate music program.

It is the 
Yale School of Music that offers graduate degrees in composition, conducting and performance.  Sacred music study is undertaken at the Yale Institute of Sacred Music.