User:Zislbog/miguel roig-francoli

Miguel Roig-Francolí (b. 1953, Ibiza, Spain) is a composer and theoretician

Awards

 * First prize, National Composition Compentition of the Spanish Jeunesses Musicales (1981)
 * Second prize, UNESCO International Rostrum of Composers (Paris, 1982)
 * Dean's Dissertation Prize, Indiana University (1991)
 * Dana Research Fellow Award, Ithaca College (1992)
 * Medal of Honor, Superior Conservatory of Music of the Balearic Islands (2004)
 * A. B. "Dolly" Cohen Award for Excellence in Teaching, University of Cincinnati (2001)
 * George Rieveschl, Jr. Award for Creative and/or Scholarly Work, University of Cincinnati (2009)
 * Ramón Llull Prize, Government of the Balearic Islands (Spain, 2010)

Textbooks

 * Harmony in Context (2nd edn., McGraw-Hill, 2011). [1st edn. reviewed by Ken Stephenson, Journal of Music Theory Pedagogy 15 (2001 [published 2004]): 103–12.]
 * Understanding Post-Tonal Music (McGraw-Hill, 2007). To be published in China (in Chinese translation) in 2010.
 * Anthology of Post-Tonal Music (McGraw-Hill, 2007).

Articles and Reviews

 * “Semblanzas de Compositores Españoles: Antonio de Cabezón (1510–1566).” Revista de la Fundación Juan March 393, Madrid (March 2010): 2–7 (a commissioned article).
 * “Reply to Ryan McClelland's article 'Teaching Phrase Rhythm through Minuets from Haydn's String Quartets,' vol. 20, 2006.” Journal of Music Theory Pedagogy 21 (2007): 179–82.
 * “Procesos compositivos y estructura musical: Teoría y práctica en Antonio de Cabezón y Tomás de Santa María.” In Políticas y prácticas musicales en el mundo de Felipe II (Madrid: Instituto Complutense de Ciencias Musicales, 2004): 393–414.
 * “A Theory of Pitch-Class-Set Extension in Atonal Music.” College Music Symposium 41 (Fall 2001): 57–90.
 * “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, 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 (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.

Compositions

 * Espejisimos (10'): Fl., ob., clar. vib., perc., piano, harpsichord, vlin., vla., cello, tape (1977)
 * Suite Apócrifa (12'): Piano (1978)
 * Quasi Variazioni (9'): Fl., ob., clar., horn, bassoon, vlin., vla., cello, bass, piano, 4 female voices (1979)
 * Concierto en Do (10'40”): Double quintet and piano (1979)
 * Rondó, op. 5 (12'): Orchestra and chorus (1980)
 * Cinco Piezas para Orquestra (17”): Orchestra (1980)
 * Conductus (12'30”): Orchestra (1981)
 * Playtime, for Three Young Violinists (3'): Three violins (1982)
 * Cantata on Dante's Vita Nuova (30'): Baritone, chorus, orchestra (1983)
 * Partita for Eight Instruments (14'): Fl., ob., clar., marimba, vlin., vla., cello, bass (1983)
 * Sonata for Violoncello and Piano (12'): Cello and piano (1984)
 * Tres Cantigas d'Amigo (9'): Soprano, percussion quintet (1984)
 * Concerto Grosso (14'): Orchestra (1984)
 * Diferencias y Fugas (12'): String quartet (1987)
 * Easter Toccata (5'40"): Organ (2004)
 * Dona eis requiem (In memory of the innocent victims of war and terror) (11'): Chamber orchestra and chamber chorus
 * Antiphon and Psalms for the Victims of Genocide (17'): Chamber orchestra and optional chamber chorus (2005)
 * Canticles for a Sacred Earth (16'50"): Double quintet and two percussionists (2006)
 * Canticles for a Sacred Earth (18'20"): Orchestra (2006-07)
 * Missa pro pace (23'): Mixed chorus and strings (2007)
 * Improvisations for Jennifer, nos. 1, 2, and 3: Violin solo (2007)
 * Himne a Santa Agnès: Chorus and piano (2008)
 * Five Gothic Miniatures (10'): Chorus a cappella (2009)
 * Songs of the Infinite (18'30"): Violin and piano (2010)
 * Songs of the Infinite (18'30"): Violin and orchestra (2010)
 * Missa pro pace (23'): Mixed chorus and organ (2010)
 * Orion (12'): Orchestra (2011)