website now functions as an archive of the series. Using the resources of sound lab, Rehding launched a number of innovative courses, including The Art of Listening (as part of Harvard’s short-lived “Frameworks in the Humanities” series). With the help of the Sound Lab, Rehding pursues the integration of multi-media projects into scholarship in the context of ongoing efforts to further open up the humanities to the digital domain. In 2015-17 Rehding co-chaired a committee (with then department chair Carol Oja) that designed a new curriculum for Harvard’s music concentration. The curricular reform was notable in that it was unanimously approved by the department but stirred much controversy in the wider field. Scholarship History of Music Theory Rehding has worked extensively on the influential nineteenth-century German music theorist Hugo Riemann, contributing to the historical figure as well as Neo-Riemannian theory. Rehding reconstructs the cultural and philosophical contexts in nineteenth-century Germany that allowed Riemann’s problematic ideas to appear compelling and cogent, and explores particularly Riemann’s encounters with non-Western music and the early period of sound reproduction. The question of encounters of Western music theory with other musical traditions and repertories has guided much of Rehding’s work in the history of music theory—covering a range of topics including ancient Greek music and the Enlightenment interest in Chinese music. His work on ancient Egyptian music takes as a starting point the paradox that no usable traces of this musical tradition survive, but it formed an essential early chapter in the general sweep of music history. The multiple attempts to reconstruct this repertory (without any facts) reveal much about changing historiographic assumptions. Rehding’s book Music from Earth (with Daniel Chua) takes this interest in the musical “other” to the largest level: in 1977 NASA sent a collection of world music into outer space, the Voyager Golden Record, in hopes that someone out there might find it some time in the distant future. Their project explores in an extended thought experiment NASA’s assumption that music can be used to communicate with extraterrestrials and imagines what a posthuman music theory might look like. Media Aesthetics A second major line of Rehding’s research, extending from Hugo Riemann’s diatribes against the modern technology of phonography in the late nineteenth century, explores the impact of technological media on musical thought. The wider ramifications of questions of transmission and reconstruction led Rehding to an engagement with musical media, including notation