Music Theorist, Musicologist, Composer
Professor of Music Theory
College-Conservatory of Music, University of Cincinnati

PUBLICATIONS

Books

Harmony in Context, McGraw-Hill, 2003
Understanding Post-Tonal Music, McGraw-Hill, forthcoming

Articles and Reviews

“A Theory of Pitch-Class-Set Extension in Atonal Music,” College Music Symposium 41 (Fall 2001):57-90.

“Procesos compositivos y estructura musical: Teoría y práctica en Antonio de Cabezón y Tomás de Santa María.” Forthcoming in a book on music in the world of Philip II to be published by the University of Madrid: El mundo musical de Felipe II: Corte, capilla y ciudad.

“Santa María, Tomás de.” New Grove Dictionary of Music and Musicians, 7th ed.

Diccionario de la Música Española e Hispanoamericana (Dictionary of Spanish and Latin-American Music), forthcoming (Madrid). Articles on “Tañer a consonancias” (“Playing in consonances”) and “Tañer fantasía” (“Playing fantasía”).

“Paradigms and Contrast in Sixteenth-Century Modal Structure: Commixture in the tientos of Antonio de Cabezón.” Journal of Musicological Research 19 (2000):1-47.

Review of the Italian book Canone infinito (540 pp.), by Loris Azzaroni. Analisi: Rivista di teoria e pedagogia musicale 30 (1999):24-31.

“Dos tientos de Cabezón basados en tonos del Magnificat.” Revista de Musicología 21 (1998):1-19.

“Teoría, análisis, crítica: Reflexiones en torno a ciertas lagunas en la musicología española.” Revista de Musicología 18 (1995):11-25.

“Harmonic and Formal Processes in Ligeti's Net-Structure Compositions.” Music Theory Spectrum 17/2 (Fall 1995):242-67.

Review of Historical Organ Techniques and Repertoires: An Historical Survey of Organ Performance Practices and Repertoires. Vol. 1: Spain, 1550-1830. MLA Notes (September 1995):297-99.

“Playing in Consonances: A Spanish Renaissance Technique of Chordal Improvisation.” Early Music (August 1995):93-103.

“Modal Paradigms in Mid-Sixteenth-Century Spanish Instrumental Composition: Theory and Practice in Antonio de Cabezón and Tomás de Santa María.” Journal of Music Theory 38/2 (Fall 1994):247-89.

Review of Apparitions and Macabre Collage, by György Ligeti. MLA Notes 51/1 (September 1994):421-23.

“En torno a la figura y la obra de Tomás de Santa María: Aclaraciones, evaluaciones, y relación con la música de Cabezón.” Revista de Musicología (Madrid) 15/1 (Spring 1992):55-85.

“Bass Emancipation in Sixteenth-Century Spanish Instrumental Music: The Arte de tañer fantasía by Tomás de Santa María.” Indiana Theory Review 9 (Fall 1988):77-97.

PARTICIPATION IN PROFESSIONAL MEETINGS AND OTHER PROFESSIONAL ACTIVITIES

Invited to become a permanent member of a team of scholars on Spanish and French music organized and sponsored by the Musicology Department at the Sorbonne University in Paris (2001).

“Submitting Articles to Journals: An Author’s Perspective.” Invited paper, presented at a special session on the process of publishing articles, organized by the SMT Committee on Professional Development. Society for Music Theory Annual Meeting, Chapel Hill, Dec. 5, 1998.

Invited by the Universidad Complutense of Madrid to teach and present his work at a one-week summer course on “The Musical World of Philip II,” commemorating the 400th anniversary of the Spanish monarch’s death. July 6-14, 1998, Monastery of El Escorial. Attended by 50 students from all over Spain, and 16th-century scholars from Australia, England, Hong-Kong, France, Spain, and the U.S.A. Duties included two presentations:
“Theory and Practice in Antonio de Cabezón and Tomás de Santa María”
“Composition and Improvisation in 16th-Century Instrumental Music”

Chair, session on “Post-War Music.” Society for Music Theory National Meeting, Phoenix, Oct. 31, 1997.

Contributions to the Chicago Symphony Orchestra’s Manuel de Falla festival, May, 1997:
Artistic Advisor for festival
Lecture at the Art Institute of Chicago: “Falla, Picasso, Massine: The Making of a 20th-Century Masterpiece”
“Spanish Folkloric Traditions: Exploring the Roots of Falla’s Music,” Pre-Concert Lecture for an all-Falla CSO subscription concert with Daniel Barenboim (conductor) and Jennifer Larmore (mezzo-soprano).

Organizer of a special session on the topic “Long-Range Pitch Coherence in Atonal Music: Methods and Issues,” Society for Music Theory National Conference, Baton Rouge, Nov. 1, 1996. Participants included James Baker, Fred Lerdahl, Joel Lester, Catherine Nolan, Miguel Roig-Francolí, and Peter Westergaard.

“Beyond Prolongation: A Theory of Pitch Extension in Atonal Music.” Society for Music Theory National Conference, Baton Rouge, Nov. 1, 1996.

“Unveiling a Well-Kept Secret: Highlights of Spanish Music.” Lecture presented at a joint seminar of the Women's Association of the Chicago Symphony Orchestra and the Women's Board of The Art Institute of Chicago (Música y Arte: Sounds and Colors of Spain), Orchestra Hall, March 14, 1996.

“Net-Structures, Symmetry, and Harmonic Transformation in the Music of György Ligeti” Society for Music Theory National Conference, Montréal, Nov. 5, 1993

“Net-Structures, Intervallic Constellations, and Symmetrical Designs in Ligeti's Ramifications” Music Theory Midwest Fourth Annual Conference, University of Wisconsin-Madison, May 16, 1993

“Modal Ambiguity and Commixture in the tientos of Antonio de Cabezón”
Society for Music Theory National Conference, Cincinnati, October 31, 1991

“Compositional Paradigms in Sixteenth-Century Instrumental Music: Modal and Formal Structure in the tientos of Antonio de Cabezón”
American Musicological Society Annual Meeting, Oakland, California, November 10, 1990
Cornell University Music Colloquia, March 25, 1991

“Modal Structure in Sixteenth-Century Spanish Instrumental Music: Theory and Practice in Antonio de Cabezón and Tomás de Santa María”
College Music Society--Great Lakes Chapter, Northern Illinois University, DeKalb, March 31, 1990
Sixth Symposium of Research in Music Theory, Indiana University, Bloomington, April 6, 1990
Music Theory Midwest Inaugural Conference, Northwestern University, Evanston, Illinois, May 18, 1990

“Bass Emancipation in Sixteenth-Century Spanish Instrumental Music: The Arte de tañer fantasía by Tomás de Santa María.”
Indiana Musicologists Association, Butler University, Indianapolis, April 24, 1987
Fifth Symposium of Research in Music Theory, Indiana University, Bloomington, April 8, 1988
College Music Society--Great Plains Chapter 1988 Annual Meeting, University of Iowa, Iowa City, April 30, 1988

“Sacred Time in Traditional Musics”
International Society for the Study of Time, Colloquium on “Time and Rhythm in Music,” Indiana University, Bloomington, April 18, 1987

PUBLISHED COMPOSITIONS, RECORDINGS, COMMISSIONS

Published compositions

Diferencias y Fugas, for string quartet. Madrid: Fundación Juan March, 1988
Five Pieces for Orchestra. Madrid: Editorial de Música Española Contemporánea, 1985
Concierto en Do, for chamber ensemble. Madrid: Fundación Juan March, 1982
Espejismos, for chamber ensemble. Madrid: Editorial de Música Española Contemporánea, 1980

Unpublished Compositions

Suite apócrifa, for piano, 1978
Quasi variazioni, for four female voices and instrumental ensemble, 1979
Rondo, op. 5, for chorus and orchestra, 1980
Conductus, for orchestra, 1981
Cantata on Dante's Vita nuova, for baritone, chorus, and orchestra, 1983
Partita, for eight instruments, 1983
Sonata, for cello and piano, 1984
Movimenti concertati, for orchestra, 1984
Tres cantigas d'amigo, for soprano and percussion quintet, 1985

Recordings

Diferencias y Fugas. Cassette tape by Fundación Juan March, Madrid, 1988
Concierto en Do. Cassette tape by Fundación Juan March, Madrid, 1982
Espejismos. Record by Movieplay-ACSE, Madrid, 1980
Various works recorded and regularly broadcast by the Spanish National Radio, Spanish National TV, and SFB Radio, Berlin

Major Commissions

Diferencias y Fugas, for string quartet. Fundación Juan March, Madrid, 1987
Cantata on Dante's Vita Nuova, for baritone, chorus, and orch. Spanish National Orch., 1983
Five Pieces for Orchestra. Spanish National Radio, 1980

PUBLIC PERFORMANCES

Works performed in numerous concerts in Madrid, Barcelona, London, Berlin, Mexico, Cincinnati, Bloomington, Salamanca, Valencia, Canary Islands, Majorca, and Ibiza.

Concert Halls include Teatro Real, Teatro de la Zarzuela, Auditorio Nacional, and Fundación Juan March in Madrid; Palau de la Música Catalana and Fundación Joan Miró in Barcelona; Grosser Sendesaal in Berlin; and Teatro de la Danza in Mexico City.

Orchestral works performed by the following orchestras: Orchestra of Spanish Radio and TV (Madrid), National Orchestra and Chorus of Spain (Madrid), Madrid Symphony Orchestra with the National Ballet of Spain (Madrid), Orchestra of the City of Barcelona, Municipal Orchestra of Valencia, Orchestra of the City of Palma (Majorca), Tenerife Symphony Orchestra (Canary Islands), CCM Philharmonia (Cincinnati).

Live broadcast of Five Pieces for Orchestra premiere (Orchestra of Spanish Radio-TV) by Spanish National Television (Feb. 1982). Also performed by Orchestra of the City of Barcelona (1984), National Orchestra of Spain (2002, conducted by Jesús López Cobos), and CCM Philharmonia (Cincinnati, 2003). Same work broadcast in 24 countries as result of UNESCO prize. In 1987, the National Ballet of Spain included in its repertoire the ballet La Espera ("The Awaiting") by choreographer Ray Barra, based on Five Pieces for Orchestra. Since then, the ballet has been performed in most major Spanish cities.