The forty-eighth meeting of the Society will take place at The College of Saint Rose in Albany, NY, on April 6 and 7, 2019. Robert Hasegawa (McGill University) will deliver the keynote address (abstract below), and Megan Kaes Long (Oberlin College and Conservatory) will lead the graduate student workshop.The conference program and abstracts can be found here.
David Mosher (Visiting Assistant Professor, College of Saint Rose) will handle local arrangements. The college is reached easily by car, as the capital city is located at the junction of I-87 and I-90; via Albany International Airport, which includes flights on major airlines including Southwest; or on multiple Amtrak trains per day from New York City and beyond. Attendees may freely park in campus lots during the conference from April 5–7. Parking lots that will be the most convenient for everyone are lots P5, P6, and P7 (open from 7am–11pm) adjacent to the Massry Center for the Arts. These lots are found by taking the entrance at 1000 Madison Ave. (between Main St. and Partridge St.). This entrance proceeds to a T-intersection. Turning either direction at this intersection will bring you to one of these lots.
A block of rooms at TRU by Hilton/Homewood Suites by Hilton is available for attendees. The two hotels are adjoined and located at the same address (1651 Western Avenue, Albany, New York, 12203). You may use the following links below to get the conference rates.
Directions to The College of Saint Rose: https://www.strose.edu/about/campus-map-directions/
Campus map: http://map.strose.edu
Demystifying Contemporary Music: Perspectives on Research and Pedagogy
Robert Hasegawa (Associate Professor, Schulich School of Music of McGill University)
Music theory and analysis have fallen considerably behind creative musical practice, particularly in documenting the many compositional innovations of the past forty years. This period is marked by an increasing use of technology in both composition and performance, as well as a shift from the well understood parameters of pitch and rhythm towards the more complex and elusive world of timbre (often in conjunction with extended playing techniques and live electronic processing). Drawing on my own experience as a researcher and teacher, this talk will explore the challenges and rewards of engaging analytically with this repertoire. Topics to be covered include working with living composers, sketch materials and compositional process, development of new tools (spectrograms, aural sonology), and reassessing the traditional assumptions of theory and analysis. I will also consider pedagogical issues linked to the analysis of contemporary music, with examples drawn from works by George Benjamin, Pascale Criton, and Rebecca Saunders.