Radical Shift in Concentration

"Depth is achieved by a variety of types of courses, such as a survey, an analysis of musical form, a course in opers, a course in chamber music, or some other type. To take a course in Beethoven's string quartets and than another in Haydn's is not deepening one's intellectual experience."

Perhaps the most radical shift in the department away from the technical and specialized is its revision of the requirements for concentration. A student may now take a few as two undergraduate courses in theory, and spend the rest of his time in history. This practice is in general, not favored by very many other institutions. Where theory courses are still regarded as a fundamental irreducible nucleus of material to be mastered, as well as a test of the student's musical aptitude. Despite this provision, however, most students here take more than a minimum share of theory courses.

Finally, the department has traditionally avoided specialized training by refusing to give practical music instruction, beyond its Basic Piano requirement for all concentrators. This has began in keeping with the University's genera policy of the separation of liberal arts an professional training, but the department is more explicit to its position. "We strongly favor the student's following up his particular musical talent outside of his curriculum; but the University is not a conservatory, and does not offer his training," stated that Arthur T. Meritt, Fanny P. Mason Professor of Music. "We feel that we have time only to teach thoroughly what is to us most important: the theory and history of Music." Meritt is also the author of a curriculum whereby the Music major may receive departmental credit for taking three University and one conservatory course per year, and graduate in five years, but this plan has not proved popular.

Because of the present reduction of the department, it is not completely possible to compare it with similar faculties in other institutions, yet the angling of the curriculum and the courses offered do invite such a comparison. If the present offerings are considered as Thompson expresses it, "a basic core curriculum for those wishing to concentrate," this becomes more feasible.

The Harvard Music Department is particularly fortunate in having Thompson and Walter H. Piston, Jr. '24 the former on both undergraduate and grad