robert hasegawa
assistant professor of music theory
schulich school of music of mcgill university
555, rue sherbrooke ouest
montréal (québec) h3a 1e3

publications and research

funded research: “Analyzing twenty-first century musique mixte.”
Social Sciences and Humanities Research Council (SSHRC), Insight Development Grant, August 2015-July 2017.

“Timbre as Harmony—Harmony as Timbre.”
Keynote address, Fostering New Music and Its Audiences: The Grawemeyer Award for Music Composition 30th Anniversary Conference, March 6, 2015, (University of Louisville).
Presentation at the Radcliffe Institute exploratory workshop, “Making Sense of Timbre,” May 14-15, 2015 (Harvard University).

“Temperament in Contemporary Microtonal Music.”
Beyond: Microtonal Music Festival, February 27, 2015 (University of Pittsburgh).

“Temperament and the corps sonore: Rameau’s theories and recent compositional practice.”
Le Savant et le praticien: Théoriser la composition de Rameau à nos jours, conference organized by IRCAM
and the Centre de Musique Baroque de Versailles, November 14, 2014 (IRCAM, Paris).

“‘Production of Presence’ in Liza Lim’s Invisibility.
Annual meeting of the American Musicological Society, November 9, 2014 (Milwaukee, WI).

“Rhythm and Repetition in Grisey’s Vortex Temporum.
Presentation at Gérard Grisey, the Spectral Moment, and Its Legacy, October 21, 2014 (McGill University and Université de Montréal)
and the annual meeting of the Society for Music Theory, October 30, 2015 (St. Louis)

“Register, Root, and Voicing in Post-Tonal Harmony.”
Invited lecture at the University of Chicago (November 22, 2013) and the Eastman School of Music (December 6, 2013).
Presentation at the annual meeting of the Music Theory Society of New York State April 6, 2014 (New York University).

Georg Friedrich Haas” and “Harry Partch
Subject entries in BRAHMS: Base de documentation sur la musique contemporaine,
Institut de Recherche et Coordination Acoustique/Musique (IRCAM), 2014-15.

“Atonality, 4: Theoretical issues.”
Co-authored with Dave Headlam. Grove Music Online, 2013.

“Constraint Systems in Brian Ferneyhough’s Third String Quartet.”
Tracking the Creative Process in Music, October 10, 2013 (Université de Montréal).
Forthcoming in Text and Beyond: The Process of Music Composition from the 19th to the 20th Century, ed. Jonathan Goldman, 271-88.
Bologna: Ad Parnassum Studies (series editor Luca Lévi Sala), 2016.

review: György Ligeti: Of foreign lands and strange sounds, ed. Louise Duchesneau and Wolfgang Marx.
Circuit: Musique Contemporaines 23/2 (2013), 79-83.

“Clashing Harmonic Systems in Haas’s Blumenstück and in vain.”
Music Theory Society of New York State Annual Meeting, April 6-7, 2013 (Stony Brook University, Stony Brook, NY).
Composition in the Twenty-First Century, March 6, 2014 (Trinity College, Dublin).
Published in Music Theory Spectrum 37/2 (Fall 2015), 204-223.

funded research: “La musique spectrale en France et au Canada.”
Fonds de recherche du Québec—Société et culture (FRQSC), Établissement de nouveaux professeurs-chercheurs, April 2013-March 2016.

“James Tenney” and “Just Intonation”
Forthcoming subject entries in the Routledge Encyclopedia of Modernism, 2016.

“Strange Attractors: Chaotic Form in Tristan Murail’s Attracteurs étranges.”
Music Theory Society of New York State Annual Meeting, March 31, 2012 (Hunter College, New York, NY).

“‘Le vertige de la durée pure’: Time and Harmony in Gérard Grisey’s Vortex Temporum.”
Inharmonic/(X)enharmonic: A Conference and Concert Celebrating Microtonal Music, December 17, 2011 (Columbia University, New York, NY).
New England Conference of Music Theorists Annual Meeting, April 20, 2012 (Connecticut College, New London, CT).

“New Approaches to Tonal Theory.”
Review-article on Steven Rings, Tonality and Transformation (Oxford: Oxford University Press, 2011) and Dmitri
Tymoczko, A Geometry of Music (Oxford: Oxford University Press, 2011). Music & Letters 93/4 (2013), 574-93

“An Acoustic Model for Chord Voicings in Post-Tonal Music.”
Society for Music Perception and Cognition Biennial Meeting, August 2011 (Eastman School of Music, Rochester, NY).

Gegenstrebige Harmonik in the Music of Hans Zender.”
New England Conference of Music Theorists Annual Meeting, April 15, 2011 (Brandeis University, Waltham, MA).
Music Theory Society of New York State Annual Meeting, April 9, 2011 (University at Buffalo, Buffalo, NY).
Published in Perspectives of New Music 49/1 (2011), 207-34.

“L'intonation juste, un renouveau esthétique et théorique.”
Chapter in Théories de la composition musicale au XXe siècle,
ed. Nicolas Donin and Laurent Feneyrou (Lyon: Symetrie, 2013), 1499-1531. Translated by Gilles Rico.

“Coherence and Incoherence in Xenakis’s Embellie.
Xenakis: Arts/Sciences conference, October 10, 2010 (McGill University, Montreal, QC).
Published in Xenakis Matters, ed. Sharon Kanach (Hillsdale, NY: Pendragon Press, 2012), 231-43.

“Combination-Tone Harmony.”
Society for Music Theory Annual Meeting, November 2010 (Indianapolis, IN).

“Math and Music Theory.”
Rochester Institute of Technology, Summer Mathematics Institute, July 2010 (Rochester, NY).

The Music of James Tenney.
Issue editor, special issue of Contemporary Music Review, 27/1 (February 2008).

“Introduction: ‘Sound for the Sake of Perceptual Insight’.”
Contemporary Music Review 27/1 (February 2008), 1-5.

“Just Intervals and Tone Representation in Contemporary Music.”
Ph. D. dissertation, Harvard University, 2008.

liner notes: Joshua Fineberg, Imprints, Shards, Veils.
Mode Records, MO 208, 2007.

“Gérard Grisey and the ‘Nature’ of Harmony.”
Society for Music Theory Annual Meeting, November 2007 (Baltimore, MD).
Published in Music Analysis 28/2-3 (2009), 349-71.

“Interval as Ratio in Contemporary Music: James Tenney’s ‘Harmonic Space’.”
New England Conference of Music Theorists Annual Meeting, March 2007 (Tufts University, Medford, MA).

“Aux états-Unis, des Voies Parallèles au Spectralisme.”
L'Etincelle: Le Journal de la création à l'IRCAM 1/1 (November 2006), 4-7. Translated by Jean-François Cornu.

“Tone Representation and Just Intervals in Contemporary Music.”
Contemporary Music Review 25/3 (June 2006), 263-81.

translation: “Scelsi, de-composer.”
Contemporary Music Review 24/2-3 (April/June 2005), 173-80. Translation of an essay by Tristan Murail.

translation: “Scelsi and L'Itinéraire: The Exploration of Sound.”
Contemporary Music Review 24/2-3 (April/June 2005), 181-85. Translation of an essay by Tristan Murail.


Spiral (2008) for solo violin and ensemble (score)
performed by Gabriela Diaz and White Rabbit, cond. Eric Hewitt

Chaconne for James Tenney (2007) for octet (score)
performed by White Rabbit, cond. Eric Hewitt

Ajax is all about attack (2003) for soprano saxophone and percussion (score)
performed by the Yesaroun' Duo (live recording)
new Yesaroun' studio recording just released on their two-disc set Heavy Up/Heavy Down

it is our tribe's custom to beguile (2003) for flute, bass clarinet, violin, and cello (score)
performed by Susan Gall, William Kirkley, Ben Schwartz, and Sue-Ying Koang, cond. Stephen Drury

Due Corde (2002) for two retuned pianos in 19-tone equal temperament (score)
performed by Stephen Drury and Yukiko Takagi

the clear architecture of the nerves (2000) for horn with piano resonator (score)
performed by Jill Jaques

Prelude and Fantasy (2000) for string quartet (score)
performed by Ben Russell, Adda Kridler, Wendy Richman, and Ben Schwartz

all content copyright Robert Hasegawa
updated 11/6/15