Dr. Dániel Péter Biró
Associate Professor (Composition, Music Theory)
School of Music, University of Victoria
P.O. Box 1700 STN CSC
Victoria, BC V8W 2Y2 Canada
(1) (250) 721-7930 - Office Tel.
(1) (250) 721-6597 - Fax
Princeton University, MFA, Ph.D. (Music and Judaic Studies - Defense in July 2004), Paul Lansky, Scott Burnham and Kofi Agawu: dissertation advisors • 1999 – 2004
Musikhochschule Frankfurt, “Musikerdiplom” in composition; studies with Hans Zender (composition) and Bernhard Kontarsky (conducting, chamber music and score reading) • 1997 – 1998
The University of Music and Performing Arts in Vienna; composition studies with Michael Jarrell • 1995 – 1996
Musikhochschule Würzburg, “Musikerdiplom” in guitar performance and music education (MFA), Studies with Jürgen Ruck (guitar) • 1992 – 1995
Konservatorium Bern, Studies in Guitar Performance (Berufschule, Solistenklasse, studies with Stephan Schmidt) • 1990 – 1992, 1995 –1998
Béla Bartók Conservatory in Budapest (music high school), studies in composition, guitar and music theory with Miklos Kocsár, Iván Madarász and Ede Roth • 1986 – 1988
Research Fellow, Radcliffe Institute for Advanced Study, Harvard University, USA
• 2014 –2015
Associate Professor of Composition and Music Theory, University of Victoria, BC, Canada • 2009 – Present
Visiting Professor, Utrecht University • Fall 2011
Assistant Professor of Composition and Music Theory, University of Victoria, BC, Canada • 2004 – 2009
Princeton University, lecturer in Music Theory and joint-lecturer in Counterpoint • 2000 – 2004
Researcher of Hungarian folk music at Academy of Science in Budapest, Hungary • 1995 – 1996
Teacher of Composition in German high schools • 1993 – 1994
Lecturer and teacher of composition in International
Courses (Matrix Academy in Freiburg and Amsterdam, 2010–2013, Tedarim Academy in Tel Aviv, 2011 and 2012,International Symposium of New Music and Computer Music in Curitiba, Brazil, 2012, International Composition Mastercourse at Akademie Schloss Solitude, 2013).
Co-organizer of the Salt New Music Festival and Symposium, Victoria, BC • 2010–2013.
Commissioned by KlangForum Heidelberg • 2015
Commissioned by Le Laboraoire • 2015
Commissioned by Roger Admiral • 2014
Commissioned by Neue Vocalsolisten • 2013
Commissioned by Meitar Ensemble
Commissioned from the
Núcleo Música Nova / International Symposium of New Music and Computer Music in Curitiba, Brazil for new work for violist Ralf Ehlers (Arditti Quartet) • 2012
Commissioned by International Society for Contemporary Music - Austria for New Work • 2011
Commissioned for New Work for Fromm Concert at Harvard University • 2010
Commissioned by Kristopher Kolvin and Anubius Quartet • 2010
Commissioned by Ensemble Surplus • 2009
Commissioned by Quasar Saxophone Quartet • 2009
Commissioned by German Radio (Hessischer Rundfunk) for New Work • 2008
Commissioned by Aventa Ensemble for New Work • 2008
Commissioned by Vancouver Music for New Work • 2007
Commissioned by clarinetist Patricia Kostek for Sridim • 2007
Commissioned from the Frankfurt Radio Symphony for Simanim • 2006
Commissioned from Darmstadt Ferienkurse for Mishpatim (Version 2) performed by the ensemble recherche • 2005
Commission from Stuttgart Opera to write Eine Kreuzung (Daf) based on a story by Franz Kafka • 2001
Commission from Villa Bernau, Switzerland to write Lizkor veLishkoah for String Quartet and Variations an electronic room installation with sculptor Wolfram Renger • 2001
Commission from Interart Festival Center to write Palimpsests for Cimbalom Solo • 2000
Commission from the Neue Horizonte Bern • 1999
Awards and Grants
Elected to the College of New Scholars, Artists and Scientists, Royal Society of Canada • 2015
Canada Council Composer Commission Grant (Le Laboratoire) • 2015
SOCAN Foundation Grants for 2015 SALT New Music Festival and Symposium • 2015
Research Fellowship from Radcliffe Institute at Harvard University • 2014
University of Victoria Internal Research Grant • 2014
Canada Council Travel Grant • 2014
Canada Council Composer Commission Grant (Neue Vocalsolisten) • 2014
Ernst von Siemens Foundation for Music Grant (Salt New Music Festival and Symposium) • 2014
Barr Ferree Publication Grant of the Princeton University Department of Art and Archeology • 2013
University of Victoria Internal Research Grant • 2013
Canada Council Travel Grant • 2013
Canada Council Project Grant (Salt New Music Festival and Symposium) • 2013
Ernst von Siemens Foundation for Music Grant (Mediterranean Voices Project) • 2013
Canada Council New Music Project Grant (for the 2014 SALT Festival and Symposium) • 2013
Art Mentor Foundation Lucerne Grant (for the 2013 SALT Festival and Symposium) • 2013
Canada Council Composer Commission Grant (Ralf Ehlers) • 2012
Canada Council Project Grant (for the 2013 SALT Festival and Symposium) • 2012
Work selected by International Society of Contemporary Music 2013 World New Music Days in Kosice, Bratislava, and Vienna • 2012
Barr Ferree Publication Grant of the Princeton University Department of Art and Archeology • 2012
Canada Council New Music Project Grant (for the 2013 SALT Festival and Symposium) • 2012
International Society for Contemporary Music and Jeunesse Chamber Choir Vienna New Works Competition Prize • 2011
Ernst von Siemens Foundation for Music Grant (New Work for Meitar Ensemble) • 2011
Ernst von Siemens Foundation for Music Grants (Tsilumos Ensemble) • 2011
Gigahertz Production Prize
Canada Council Travel Grant • 2010
SOCAN Residency Grant • 2009
Canada Council Composer Commission Grant (Aventa Ensemble) • 2009
Ernst von Siemens Foundation for Music Grant (New Work for Ensemble Surplus) • 2009
Work-Stay at Experimentalstudio in Freiburg, Germany • 2009
University of Victoria Internal Research Grant • 2009
Canada Council Composer Commission Grant (Ensemble Surplus) • 2008
Canada Council Composer Commission Grant (Quasar Saxophone Quartet) • 2008
Work-Stay at Experimentalstudio in Freiburg, Germany • 2008
Canada Council Travel Grant • 2008
Canada Council Composer Commission Grant (Vancouver New Music) • 2007
SSHRC Grant for Computational Ethnomusicology (with George Tzanetakis and Andrew Schloss) • 2007
Internal Research Grant; University of Victoria • 2007
British Columbia Arts Council Composer Commission Grant (Vancouver New Music) • 2007
Faculty Fellowship from the University of Victoria Centre for Studies in Religion and Society • 2006
Participant in Mannes Institute for the Study of Music Theory • 2005
Naumberg Fellowship, Princeton University • 1999 – 2004
Dissertation Research Grant from Princeton University Program in Judaic Studies • 2003 - 2004
Summer Research Grant from Princeton University Council on Regional Studies • 2003
Residency at Akademie Schloss Solitude; studies with Richard Barrett, Chaya Czernowin and Steven Kazuo Takasugi • 2003
Residency at Atlantic Center of the Arts • 2002
Received Grants from Center for Near Eastern Studies, Council on Regional Studies, and the Association of Princeton Graduate Alumni for of Hebrew study and dissertation research at Haifa University, Israel • 2000
Kodály Scholarship for Hungarian composers from Hungarian Ministry of Culture • 1999
Scholarship for study in the "Solistenklasse" at the Konservatorium für Musik in Bern, Switzerland • 1995 - 1998
Scholarship from Goethe Fund, Germany • 1997
Musikhochschule scholarship for musicological research at the Fehér Jewish Music Center in Tel Aviv, Israel • 1996
Scholarship for study from Ministry of Culture-Bavaria • 1994 - 1996
Fulbright scholar in Germany • 1992 –1994
Selected Compositions and Performances
• interactive, multi-media intallation with Christophe Laudamiel, David Edwards and Rachel Field - premiered at Le Laboratoire, April 16, 2015.
Mishpatim (Laws) Part VIII • for ensemble and electronics - premiered at the Radcliffe Institute for Advanced Study, April 8, 2015.
(That Is Why It Was Called) • for seven singers - premiered by the Neue Vocalsolisten at the Eclat Festival in Stuttgart, Germany (Mediterranean Voices Project), February 9, 2014 .
Kivrot Hata'avah (Graves of Craving) • for amplified bass-flute solo - premiered by Sylvie Lacroix at the World Music Days on at the Konzerthaus in Vienna, Austria, November 11, 2013.
Salvim (Quails) • for viola solo - premiered by Ralf Ehlers (Arditti Quartet) at the International Symposium of New Music and Computer Music in Curitiba, Brazil, December 5, 2012.
Bahar (On the Mountain) • for Contralto, Piano, Percussion and Electronics - performed by Noa Frenkel, Sven Thomas Kiebler, Olaf Tzschoppe and the. Experimental Studio at the Imatronic Festival of the Center for Art and Media in Karlsruhe, Germany, November 24, 2012.
Hadavar (The Word) Version II • for Countertenor, Piano, Resonant Instruments and Electronics -premiered by Kai Wessel, Sven Thomas Kiebler, Kirk McNally and Dániel Péter Biró at Fromm Concerts, Paine Concert Hall, Harvard University Department of Music, April 2, 2011.
Mishpatim (Laws) Part IV - Ko Amar (Thus Said) • for Contralto, Piano, Voices, Ensemble and Electronics - premiered at the Mehrklang Festival in Freiburg, Germany; performed by the Ensemble Surplus and the Experimental Studio, Noa Frenkel Contralto, Dániel Péter Biró and Wieland Hoban, Voices, Detlef Heusinger, Conductor, May 13, 2010. Commissioned by the SWR.
Mishpatim (Laws) Part III – Tslalim Reulim (Masked Shadows) • for Contralto, Ensemble and Electronics - premiered at the Petit Chapelle historique du bon Pasteur in Montreal, Canada on April 9, 2010 by the Aventa Ensemble with Bill Linwood Conductor
Udvarim Achadim (et les même Mots) - Version II • for Saxophone Quartet and Electronics. Premiered by the Quasar Saxophone Quartet at the Espace Dell'Arte in Montréal, Canada on March 31, 2010.
Udvarim Achadim (et les même Mots) • for Saxophone Quartet. Premiered by the Quasar Saxophone Quartet at King 's University College in Edmonton, Canada on February 6, 2010.
Hadavar (The Word) • for contralto, piano, resonant instruments and electronics, premiered at Open Space, Victoria, Canada, February 27, 2009.
Kilkul (Breakdown) • for solo alto saxophone, performed by Kris Colvin at the World Saxophone Conference in Bangkok, Thailand, Summer 2009.
Kolot (Sounds/Voices) • for Contralto, Piano, Voices, Ensemble and Electronics - premiered by Vancouver New Music at the Scotia Bank Dance Centre in Vancouver, Canada Oct. 3, 2009; Commissioned by Vancouver New Music with support from the BC Arts Council and the Canada Council for the Arts.
Simanim (Signs/Traces) • for Ensemble and Electronics - HR Ensemble für neue Musik (Members of the Frankfurt Radio Symphony), performed at the German Radio, May 7, 2007.
Sridim (Remnants) • for Clarinet and Electronics - premiered at the meeting of the International Clarinet Association in Vancouver, Canada on July 5, 2007, performed by Patricia Kostek, performed also at the University of Victoria on October 28, 2007 and January 16, 2008.
Mishpatim (Laws) Part II • for Two Speakers, Speaking Percussionist, and Ensemble - performed at the Darmstadt Ferienkurse, Germany.
Mishpatim (Laws) Part I • for Two Speakers, Speaking Percussionist, and Ensemble - performed at the Akademie Schloss Solitude in Stuttgart, Germany in August 2003 and at Princeton University, USA in December 2003.
Bemitzraim (In Egypt) • for Speaking Percussionist • performed at the Bartók Festival in Szombathely, Hungary in July 2002.
Messages for Orchestra • performed by the New Jersey Symphony at Princeton University in May 2002.
Eine Kreuzung (Daf), for 2 Guitars, Tape and Live Electronics • performed at the Stuttgart Opera, Germany in November 2001.
Lizkhor veLishkoach (To Remember and to Forget) • for String Quartet, performed at the Villa Bernau, Bern, Switzerland in April 2001; performed at Princeton University, USA in May 2001.
Schaumspiel • Electroacoustic Opera in one act, performed at the Schlachthaus Theater in Bern, Switzerland in November 1999
Poems • for Soprano, Violin, Clarinet, Guitar and Tape, performed at the Konzerthaus in Vienna, Austria, in April 1998; broadcast by ORF (Austrian Radio).
Palimpsests, for Cimbalom Solo • performed at the Kodály House in Budapest, Hungary, March 2000; also performed at Princeton University, USA in April 2002.
Piutim (Hymns) • for Organ and Percussion • performed at the Katharine Kirche in Frankfurt, Germany, in December 1997.
Halom (Dream) • for 20 Instruments and Tape, performed at the Musikhochschule, Frankfurt, Germany in October 1996; Broadcast by Hessischer Rundfunk (German Radio).
Sirató (Lament) • for Piano, Sampler and Two Voices; performed at the Musikhochschule, Frankfurt, Germany in February 1995; Broadcast by Hessischer Rundfunk (German Radio).
Selected Lectures, Publications and Discography
Mishpatim (Laws) Composition Cycle 2003 - 2015 • Ensemble Surplus, Experimentalstudio, Neos Music (forthcoming).
Live-Electronics at Work: The EXPERIMENTALSTUDIO des SWR, Edited by Dániel Péter Biró, Jonathan Goldman and Detlef Heusinger • Intellect Press (forthcoming).
(With George Tzanetakis) "Computer-Supported Analysis of Religious Chant" in Live-Electronic Music: Composition, Performance, Study • Routledge 2016 (forthcoming)
"Existenz und Ablenkung" • Musik und Aesthetik, Heft 73, January 2015.
The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective, co-edited by Dániel Péter Bró and Harald Krebs • Oxford University Press, 2014.
D.P. Biro, P. Van Kranenburg. "A Computational Re–Examination Of Bela Bartok’s Transcription Methods as Exemplified by his Sirato Transcriptions of 1937/1938 and their Relevance for Contemporary Methods of Computational Transcription of Qur’an Recitation." • Holzapfel, A. (ed.). Proceedings of the Fourth International Workshop on Folk Music Analysis (FMA2014). Istanbul : Bogazaci University, 2014, pp. 70-77.
"The Sound of the Voice is the Name of the Place: On Compositional Allegory in Al Ken Kara (That Is Why It Was Called)" • Music and Aesthetics for the 21st Century vo. 9, Claus-Steffen Mahnkopf, Frank Cox, and Wolfram Schurig (eds.) (Hoffheim: Wolke Verlag, 2014).
Panel Session on Methods of Folk Music Transcription with John Ashley Burgoyne, moderator (University of Amsterdam), Kofi Agawu (Princeton University), Olmo Cornelis (University College Ghent, Belgium), Emilia Gómez (Universitat Pompeu Fabra, Barcelona), and Barbara Titus (Utrecht University) • 3rd International Workshop on Folk Music Analysis, Amsterdam, Netherlands, June 7, 2013.
"Das neue Jahrzehnt," • Musik und Aesthetik, Heft 61, 2012, 5-36.
"Reading the Song and Remembering the Word: Musical Material and ‘Historicized Composition’ in Ko Amar (Thus Said)” • Music and Aesthetics for the 21st Century, Claus-Steffen Mahnkopf, Frank Cox, and Wolfram Schurig (eds.) 2011.
D.P. Biró, P. van Kranenburg, S.R. Ness, G. Tzanetakis, and A. Volk. “Stability and Variation in Cadence Formulas in Oral and Semi-Oral Chant Traditions – a Computational Approach.” Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music. Thessaloniki. 2012. pp. 98-105.
P. van Kranenburg, D.P. Biró, S.R. Ness, and G. Tzanetakis. “A Computational Investigation of Melodic Contour Stability in Jewish Torah Trope Performance Traditions” • Proceedings of the 12th International Society for Music Information Retrieval Conference, Miami, 2011. p. 163-168.
"Dániel Péter Biró Convolves sound in concert music," article by Elissa Poole in Musicworks no. 109 • February 2011.
Ko Amar (Thus Said) • broadcast on Deutschland-Radio October 1, 2010.
"Composing with Ghost Instruments" • Lecture given at Experimental Studio in Freiburg, Germany June 21, 2010.
"Composing Resonant Spaces," • Lecture given at Hateiva Studio Israel, May 8, 2010.
"Aspects of Musical Semantics" • Lecture Given at Tel Aviv University, May 4, 2010.
Answer to Questions "Tomorrow" • Edition Circuit, May 2010.
Interview with the CBC 2009.
"In Memoriam James Avery" • Search, Journal for New Music and Culture, Spring 2009.
"Bartók, Ethnomusicology and the Anxiety of Influence" - Lecture given at the conference Bartók's String Quartets: Tradition and Legacy, University of Victoria, September. 14, 2008.
Piutim • CD - Edition Zeitklang, Summer 2008.
"Musik und die Einwanderung der Sprache" • Darmstädter Diskurse, Summer 2008.
"Palimpsests" • Lecture at Darmstadt Summer Courses, Summer 2006.
"Variations on Variations" • Transdisciplinary Digital Art: Sound, Vision and the New Screen; Springer Verlag, 2008.
"Remembering and Forgetting Lizkor VeLiskoach for String Quartet, after Schubert" • Edition Circuit, Winter 2007.
"Crowns" • Kunstmusik, October 2007.
Interview • German State Radio (HR), May 7, 2007.
"Palimpsests" • Autograf, April 2007.
"Plotting the Instrument" • Annual Meeting of the American Musicology Society in Quebec City, November 4, 2007
"Dialogues in Transformation: Timbre, Thematic Discourse and Form in Mahler’s Ninth Symphony and Webern’s Symphonie op. 21" • Sixth European Music Analysis Conference, October 13, 2007.
"African Music" • (review with W. Andrew Schloss) in Ethnomusicology, Spring 2007.
"Music and Activism" • Lecture given at Victoria International Arts Symposium, October 26, 2006.
"Music and Time" • Princeton University Time Project, 2003.
"Morton Feldman’s Rothko Chapel" • Third International Conference on Jewish Music, London, 2001.
English, German, Hungarian, Hebrew (high proficiency in all), French (high reading proficiency, moderate speaking proficiency), Arabic (reading knowledge).
Reading the Song: On the Development of Musical Syntax, Notation and Compositional Autonomy: A Comparative Study of Hungarian Siratók, Hebrew Bible Cantillation and Ninth Century Plainchant from St. Gallen; Dissertation Composition: Mishpatim (Laws) Part I, for Speaking Percussionist, Voices and Ensemble (Princeton University 2004).
Dániel Péter Biró has dual citizenship (Hungarian and American) and is a permanent resident of Canada. He has been active as a composer, guitarist and conductor in concerts and radio recordings (German State Radio [HR, SWR], Austrian State Radio [ORF], Swiss State Radio [DRS]), as a soloist and with orchestra (Bern Symphony, Switzerland, New Jersey Symphony) in the U.S., Germany, Hungary, France, Italy, Austria, Switzerland and Canada. He is a member of the Tsilumos Ensemble and is Managing Director of the SALT New Music Festival and Symposium. He is a member of the College of New Scholars, Artists and Scientists, Royal Society of Canada. His music is published by Edition Gravis.