Any goo work in the Music Department means a lot of hard work.

Although it is not the toughest field in the University, anyone expecting an easy time will be soon disappointed. Competition is stiff, although mots men are not honors candidates.

In spite of the fame, the Harvard Music Department is probably not the best in the country. It is good, however, and teaches the academic side of music better than any conservatory.

Budding virtuosos should stay away from Harvard: they cannot afford the time. But composers, conductors, teachers and musicologists can't afford to miss what Harvard's Department teaches--and teaches well.

The department is leading musical figures.

A. Tillman Merritt, head of the department runs the field efficiently and has quelled all internal disagreement. Administrative work limits his classroom time, but he will teach 152. Model Counterpoint, next year. His classes are partly redeemed from boredom by an outrageous and delightful use of metaphor.

Walter Piston in the Department's most famous man and one of the outstanding American composers. Soft-spoken and slow moving, he teaches with an authority based on vast knowledge and experience.

Self-Assurance

Richard French's self-assurance bothers some, but most people find him a delightful man and a magnificent teacher. His classes are both amusing and instructive--and difficult.

Popular Randall Thompson is well versed in the field, but his courses are not among the best because he has difficulty putting his points across.

Next year the field will also offer Aaron Copeland, Charles Elliot Norton guest Professor, but Copeland has not yet indicated what he will teach.