Jared Hartt

  • Barker Professor of Music Theory
  • Director, Division of Music Theory

Areas of Study

Education

  • PhD in music theory, Washington University, 2007
  • MM in piano performance and pedagogy, Arizona State University, 2000
  • A.R.C.T. Pianist Diploma, Royal Conservatory of Music, Toronto, 2000
  • BA in music, Acadia University, 1998

Biography

Jared Hartt has taught at Oberlin since 2007. He teaches all levels of the music theory and aural skills sequences, as well as two upper-division courses, Counterpoint and Medieval Motets. He received Oberlin’s Excellence in Teaching Award for 2015-16, as well as Professor Props awards in 2007-08 and 2012-13. He has been a Faculty Teaching Fellow in the Gertrude B. Lemle Teaching Center since 2018. Hartt’s research focuses on the motet in 13th- and 14th-century England, and the music of Guillaume de Machaut and his contemporaries. He has presented his work nationally and internationally, including at the annual meetings of the American Musicological Society, the Society for Music Theory, and at the Medieval and Renaissance Music conference.

Fall 2025

Introduction to Music Theory — MUTH 120

Cycles — MUTH 251

Spring 2026

Cycles — MUTH 251

Since earning his PhD in Music Theory from Washington University in St. Louis, Hartt has become active in the International Machaut Society, serving as its treasurer, secretary, and archivist. He is the series editor for Studies in Medieval and Renaissance Music (Boydell & Brewer), serves on several review and advisory panels, and is a senior piano examiner for the Royal Conservatory of Music.

“Introducing a Central European Fragment of Medieval Polyphonic Song” (coauthored with Lisa Colton and Karen Desmond). Plainsong and Medieval Music 34 (2025), 157-86.

Manuscripts, Music, Machaut: Essays in Honor of Lawrence Earp (editor of volume and author of Chapter 26, “A Missing Middle-Voice Melody: Reconstructing the Tenor of A solis ortus/Salvator mundi Domine”), Brepols, 2022.

The Dorset Rotulus: Contextualizing and Reconstructing the Early English Motet (coauthored monograph with Margaret Bent and Peter M. Lefferts), Boydell, 2021.

Poetry, Art, and Music in Guillaume de Machaut’s Earliest Manuscript (BnF fr. 1586), (coeditor of volume with Lawrence Earp and author of Chapter 11, “Approaching the Motets in MS C: Structure, Sonority, Sense”), Brepols, 2021.

A Critical Companion to Medieval Motets (editor of volume and author of Chapter 13, “The Duet Motet in England: Genre, Tonal Coherence, Reconstruction”), Boydell and Brewer, 2018.

“The Problem of the Vitry Motet Corpus: Sonority, Kinship, Attribution.” Music Theory and Analysis 4 (2017), 192-228.

"Les doubles hoqués et les motés: Guillaume de Machaut’s Hoquetus David." Plainsong and Medieval Music 21 (2012), 137-73.

"Rehearing Machaut’s Motets: Taking the Next Step in Understanding Sonority." Journal of Music Theory 54 (2010), 179-234.

"Tonal and Structural Implications of Isorhythmic Design in Guillaume de Machaut’s Tenors." Theory and Practice 35 (2010), 57-94.

"The Three Tenors: Machaut’s Secular Trio." Studi Musicali 38 (2009), 237-71.

Notes

Jared Hartt publishes monograph on the English motet

Barker Professor of Music Theory Jared Hartt has published a monograph, The Dorset Rotulus: Contextualizing and Reconstructing the Early English Motet. Co-authored with Margaret Bent and Peter Lefferts, the study is the first in over 35 years devoted to the motet in England. Spurred by the recent discovery of an exciting new source of medieval polyphony, the book provides reconstructions and performable transcriptions of several early fourteenth-century motets—some previously unknown—and offers a new evaluation of the richness of the English repertory on its own terms.

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