The Society's National Conference is held each fall in various locations within the United States and Canada.
National Conferences of The College Music Society provide a forum for the exchange of ideas on a wide variety of issues. Conference programs feature plenary sessions, presentations, panels, and performances in the areas of composition, ethnomusicology/world music, music education, music in general studies, musicology, performance, and theory, as well as new areas which emerge as the profession responds to change. The Society's program differs from those of discipline-specific organizations by virtue of its greater attention to the art of teaching and its disciplinary inclusiveness.
CMS National Conferences present higher education's broadest array of topics dealing with music. Engagement, composition, cultural diversity, ethnomusicology, gender issues, music education, musicology, classes for non-majors, pedagogy, performance, music theory, teacher training, the latest technologies, and world music are explored in a variety of formats, including open discussions. Another distinctive feature is the focus on the historic and current music of the region in which each meeting is held, as a celebration of the richness of American music. The conferences include the annual Robert M. Trotter Lecture and the CMS/ATMI Technology Lecture.
The CMS National Conference routinely attracts over 500 faculty, administrators, publishers, and music business personnel who share a common interest and dedication to the improvement of music and its relationship to the other academic disciplines of higher education.
Through papers, performances, lecture-recitals, panels, demonstrations, and workshop sessions, these conferences provide the opportunity to consider the philosophy and practice of music as an integral part of higher education. Through formal sessions, open forums, and dialogue with colleagues from around the country, the meetings provide the opportunity to share insights and perspectives on teaching, to hear new and unusual musics, to experience regional musics, to discuss American musical life and culture, and to consider future directions for the art of music.
1958 Boston/Cambridge, MA
1959 Chicago, IL
1960 Berkeley/Stanford, CA
1961 Winston-Salem, NC
1962 Columbus, OH
1963 Seattle, WA
1964 Washington, DC
1965 Ann Arbor, MI
1966 New Orleans, LA
1967 Santa Barbara, CA
1968 New Haven, CT
1969 Berea/Cleveland, OH
1970 Toronto, ON
1971 San Francisco, CA
1972 Minneapolis, MN
1973 Atlanta, GA
1974 Iowa City, IA
1975 Rochester, NY
1976 Washington, DC
1977 Evanston, IL
1978 St. Louis, MO
1979 San Antonio, TX
1980 Denver, CO
1981 Cincinnati, OH
1982 Boston, MA
1983 Dearborn, MI
1984 Nashville, TN
1985 Vancouver, BC
1986 Miami, FL
1987 New Orleans, LA
1988 Santa Fe, NM
1989 St. Louis, MO
1990 Washington, DC
1991 Chicago, IL
1992 San Diego, CA
1993 Minneapolis, MN
1994 Savannah, GA
1995 Portland, OR
1996 Atlanta, GA
1997 Cleveland, OH
1998 San Juan, PR
1999 Denver, CO
2000 Toronto, ON
2001 Santa Fe, NM
2002 Kansas City, MO
2003 Miami, FL
2004 San Francisco, CA
2005 Quebec City, Canada
2006 San Antonio, TX
2007 Salt Lake City, UT
2008 Atlanta, GA
2009 Portland, OR
2010 Minneapolis, MN
2011 Richmond, VA
2012 San Diego, CA
2013 Cambridge, MA
2014 St. Louis, MO
2015 Indianapolis, IN
2016 Santa Fe, NM
2017 San Antonio, TX
2018 Vancouver, BC
2019 Louisville, KY
Elliott S. Schwartz
Pennsylvania State University
University of Texas at Austin
Dale A. Olsen
The Florida State University
Samuel A. Floyd, Jr.
Center for Black Music Research
David G. Woods
Patricia Shehan Campbell
University of Washington
University of Minnesota
Bernard J. Dobroski
California State University, Dominguez Hills
Louisiana State University
Jacqueline Cogdell Djedje
University of California at Los Angeles
University of Central Florida
C. Tayloe Harding
North Dakota State University
Quentin W. Quereau
Case Western Reserve University
Puerto Rico Conservatory of Music
Victoria Lindsay Levine
The Colorado College
The Florida State University
University of Arizona
Arizona State University
Florida State University
San Jose State University
Betty Anne Younker
Adams State College
University of Missouri-Kansas City
Faun Tanenbaum Tiedge
Florida International University
Terry Lynn Hudson
Central Michigan University
Mount Union University
University of Colorado
University of North Texas
Ricardo D. Trimillos (University of Hawai'i at Manoa):
"Western Music and the Ethnomusicologist's Gaze: Theory, Praxis, and Performance Viewed by a Filipino- American with Lutheran Leanings"
Eileen Cline (University Fellow for the Arts, Johns Hopkins University):
"My Father Never Told Me . . . "
Leon Botstein (President, Bard College):
"Is There a Future for the Traditions of Music and Music Teaching in Our Colleges and Universities?"
Robert Glidden (President, Ohio University):
"Preparing for Pride and Performance in the Professoriate"
Donald Thompson (Professor Emeritus, University of Puerto Rico):
"Musical Puerto Rico: Microcosm in the Mainstream"
Bruno Nettl (University of Illinois):
"Preserving Musical Cultures: Contemplations and Confessions"
Alexander Ringer (University of Illinois at Champaign-Urbana):
"Education Through Music: The Dream and the Reality"
Anthony Seeger (University of California at Los Angeles):
"Changing Lives with Recorded Sound: Recordings and Profound Musical Experiences"
Dorothy Payne (University of South Carolina):
"In Praise of Mentors"
Gunther Schuller (Newton Centre, Massachusetts):
"Are We Doing Enough for Good Music?"
Tim Page (Washington, D.C.):
"Deadline? The Fall and Rise of Classical Music Criticism"
Christopher Waterman (University of California-Los Angeles):
"The Shock of the Familiar: Hearing Ourselves in Others' Voices"
Judith Lang Zaimont (University of Minnesota-Minneapolis):
"Imaging the Composer Today"
Robert J. Werner (University of Cincinnati):
"The College Music Society—A Distinguished History: A Challenging Future"
Samuel A. Floyd, Jr. (Center for Black Music Research, Columbia College):
"Ruminations on the Center for Black Music Research and the Profession at-Large"
Lawrence Kramer (Fordham University):
"Classical Music and the Posthuman Condition"
David E. Myers (University of Minnesota–Twin Cities):
"Music and the Public Good: Can Higher Education Fulfill the Challenges and Opportunities of the 21st Century?"
Ben Cameron (Doris Duke Charitable Foundation):
“Cultural Responses to Economic Challenges: New Answers to Old Questions”
Joe Lamond (National Association of Music Merchants):
“Creative Convergence – Music and Commerce: Celebrating a Shared Mission, Exploring Collaboration”
Joan Tower (Independent Composer):
“Developing a Composition Voice”
Nick Spitzer (Tulane University):
“Rolling on a River of Sound: Making American Routes along the Mississippi”
Daniel Sheehy (Smithsonian Center for Folklife and Cultural Heritage):
“Great Music, Great Stories: Tales of Excellence and Equity from Off the Beaten Path”
David H. Stull (San Francisco Conservatory of Music):
“Manufacturing the Future of Music: Can We End Our Love Affair with Crisis?”
José Antonio Bowen (Goucher College):
“Technology, The Liberal Arts and the New Learning Economy: Creating a Climate that Supports Student Development”
“The Otherness of the Other: Diversity, Tribalism, and Empathy”
Fred Hofstetter (University of Delaware):
"Using Multimedia to Bring Reality of the Virtual Classroom"
Jonathan Berger (Yale University Center for Studies in Music Technology):
"Connected to What?"
Morton Subotnik (California Institute of the Arts):
"The Challenge of Interactive Media"
Joel Chadabe (State University of New York, Albany):
"Resources and Results"
Alexandra Walsh (Recording Industry Association of America):
"Technological Innovations and the On-Line Musical Marketplace"
Tod Machover (Massachusetts Institute of Technology):
"Technology and Future Music Education"
Tony Isaacs (Indian House Records):
"Technology and Music—Who's in the Driver's Seat?"
"The New Face of Composition"
Robert Winter (University of California, Los Angeles):
"Which Came First—The Chicken or the Egg?: Content and Technology in the Digital Age"
Tod Machover (Massachusetts Institute of Technology):
Ann Blombach (The Ohio State University), Michael Arenson (University of Delaware), and David B. Williams (Illinois State University):
"Vignettes from ATMI's Thirty Years: The Little Organization That Could!"
Henry Panion III (University of Alabama at Birmingham):
"A Tale Of Two Cities: The Use of Music Technology in the Classroom and the Music Profession"
Gil Weinberg (Georgia Institute of Technology):
“Extending the Musical Experience–From the Physical to the Digital and Back”
Pauline Oliveros (Deep Listening Institute):
"Telematics: An Expanded Venue for Performance and Education"
Roger B. Dannenberg (Carnegie Mellon University):
"The Music Technology Revolution"
Elaine Chew (University of Southern California):
De-mystifying Music and Its Performance through Science and Technology
Douglas Irving Repetto (Columbia University):
"Doing it Wrong: The Value of Creative Research"
David Cope (University of California-Santa Cruz):
"On Teaching Musical Style"
Mitchel Resnick (MIT Lifelong Kindergarten Group):
"Lifelong Kindergarten: Imagine, Create, Play, Share"
R. Keith Sawyer (University of North Carolina, Chapel Hill):
"Group Creativity: Musical Performance and Collaboration"
Paul D. Miller (aka DJ Spooky):
"The Imaginary App"
Jay LeBoeuf (Real Industry):
"Careers in Music Technology"
Alexander Chen (Google Creative Lab):
Young People, Technology, and Music Making Today