Daniel Biro, University of Victoria
Associate Professor
Victoria, British Columbia
birouvic@gmail.com
Office:
(250) 721-7930
Expert In
Bio/Research
Dániel Péter Biró is Associate Professor of Composition and Music Theory at the School of Music at the University of Victoria.
In July 2004 Dániel Péter Biró completed his Ph.D. in Composition at Princeton University. He first started his musical studies at the Bartók Conservatory in Bud...
Click to Expand >>
In July 2004 Dániel Péter Biró completed his Ph.D. in Composition at Princeton University. He first started his musical studies at the Bartók Conservatory in Bud...
Click to Expand >>
Bio/Research
Dániel Péter Biró is Associate Professor of Composition and Music Theory at the School of Music at the University of Victoria.
In July 2004 Dániel Péter Biró completed his Ph.D. in Composition at Princeton University. He first started his musical studies at the Bartók Conservatory in Budapest, Hungary. From 1991-1992 he was a Fulbright scholar in Frankfurt, Germany where he studied at the Hochschule für Musik in Frankfurt. He later studied in Bern and Vienna. In 1995 he did folk music research at the Academy of Science in Budapest. His works have been performed at the Alte Oper Frankfurt, at the Konzerthaus in Vienna, at the Bartók Festival in Szombathely, Hungary and have been broadcast on Canadian, Swiss, Austrian, German, and on Italian public radio. He received an opera commission from the Neue Horizonte Bern/Schlachthaus Theater in Bern, Switzerland in 1998. In 1999 he was awarded the Hungarian Government's Kodály Award for Hungarian Composers. In 2001 his piece The Crossing (Daf), that was based on a text by Franz Kafka, was commissioned by the Stuttgart Opera. In 2002 he was a fellow at the Atlantic Center of the Arts. In 2003 he received a dissertation research grant from the Princeton University Program in Judaic Studies.
His dissertation 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 (Princeton 2004) deals with historical relationships between notation and orality, as investigated through examples of Hungarian laments (siratók), Jewish Torah trope and early St. Gallen plainchant. In the summer of 2003 he took part in the Sommerakademie at the Schloss Solitude in Stuttgart, Germany. There he worked with the Ensemble SurPlus, which performed the first part of his composition Mishpatim (Laws). In 2004 he presented his work at the Internationale Ferienkurse für Neue Musik in Darmstadt, Germany. In 2005 he was a fellow at the Mannes Institute for Advanced Studies in Music Theory.
Click to Shrink <<
In July 2004 Dániel Péter Biró completed his Ph.D. in Composition at Princeton University. He first started his musical studies at the Bartók Conservatory in Budapest, Hungary. From 1991-1992 he was a Fulbright scholar in Frankfurt, Germany where he studied at the Hochschule für Musik in Frankfurt. He later studied in Bern and Vienna. In 1995 he did folk music research at the Academy of Science in Budapest. His works have been performed at the Alte Oper Frankfurt, at the Konzerthaus in Vienna, at the Bartók Festival in Szombathely, Hungary and have been broadcast on Canadian, Swiss, Austrian, German, and on Italian public radio. He received an opera commission from the Neue Horizonte Bern/Schlachthaus Theater in Bern, Switzerland in 1998. In 1999 he was awarded the Hungarian Government's Kodály Award for Hungarian Composers. In 2001 his piece The Crossing (Daf), that was based on a text by Franz Kafka, was commissioned by the Stuttgart Opera. In 2002 he was a fellow at the Atlantic Center of the Arts. In 2003 he received a dissertation research grant from the Princeton University Program in Judaic Studies.
His dissertation 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 (Princeton 2004) deals with historical relationships between notation and orality, as investigated through examples of Hungarian laments (siratók), Jewish Torah trope and early St. Gallen plainchant. In the summer of 2003 he took part in the Sommerakademie at the Schloss Solitude in Stuttgart, Germany. There he worked with the Ensemble SurPlus, which performed the first part of his composition Mishpatim (Laws). In 2004 he presented his work at the Internationale Ferienkurse für Neue Musik in Darmstadt, Germany. In 2005 he was a fellow at the Mannes Institute for Advanced Studies in Music Theory.
Click to Shrink <<