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Miguel A. Roig-Francolí Professor of Music Theory Born in Ibiza (Spain) in 1953 EDUCATION Ph.D. in Music Theory with high distinction, Indiana University, 1990 Título de Profesor Superior de Armonía, Contrapunto, Composición e Instrumentación, Royal Superior Conservatory of Music, Madrid, 1988 (highest conservatory diploma issued in Spain) M.M. in composition with high distinction, Indiana University, 1985 (Teacher: Juan Orrego-Salas) Título Profesional de Piano, Conservatorio Profesional de Música de Baleares (Majorca), 1982 (equivalent to American B.M.) Private study of composition in Madrid with Spanish composer Miguel A. Coria, 1976-81 Languages spoken fluently: English, Spanish, French, Catalan AWARDS, GRANTS, FELLOWSHIPS First Prize, National Composition Competition of the Spanish Jeunesses Musicales, 1981, for Five Pieces for Orchestra Second Prize, UNESCO International Rostrum of Composers, Paris, 1982, for Five Pieces for Orchestra (prize carried broadcast of work in 24 countries) Grant, U.S.-Spain Joint Committee for Cultural and Educational Affairs, for graduate studies in composition at Indiana University, 1983-84 Nomination for Grawemeyer Music Award, 1985, by Sergiu Comissiona, Music Director of the Houston Symphony Orchestra Two grants, Spanish Ministry of Culture, for doctoral studies at Indiana University, 1985-86 and 86-87 Winner of 1987 Student Paper Competition, Indiana Musicologists Association Dissertation Year Fellowship, Indiana University, 1988-89 Grant-in Aid for research in Spain, Indiana University, summer 1988 Dean's Dissertation Prize, Indiana University School of Music, 1991 Ithaca College Summer Research Grant, 1991 Dana Research Fellow Award, Ithaca College, 1992 Summer Grant for the Improvement of Undergraduate Education, NIU, 1993 Graduate School Summer Research Grant, NIU, 1993 Graduate School Summer Research Grant, NIU, 1995 Medal of Honor, Conservatorio Superior de Música de las Islas Baleares, 2004 A.B. "Dolly" Cohen Award for Excellence in Teaching, University of Cincinnati, 2007 TEACHING EXPERIENCE 2000- : Professor, College-Conservatory of Music, University of Cincinnati PUBLICATIONS Textbooks Harmony in Context, McGraw-Hill, 2003 Articles and Reviews “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), pp. 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). 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. “Principles and Pedagogies: Organizing the Large Theory Lecture.” Invited presentation for session on Teaching Large Theory Lectures at the CMS Annual Conference, San Francisco (2004). 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: 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: 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 “Modal Ambiguity and Commixture in the tientos of Antonio de Cabezón” “Compositional Paradigms in Sixteenth-Century Instrumental Music: Modal and Formal Structure in the tientos of Antonio de Cabezón” “Modal Structure in Sixteenth-Century Spanish Instrumental Music: Theory and Practice in Antonio de Cabezón and Tomás de Santa María” “Bass Emancipation in Sixteenth-Century Spanish Instrumental Music: The Arte de tañer fantasía by Tomás de Santa María.” “Sacred Time in Traditional Musics” PUBLISHED COMPOSITIONS, RECORDINGS, COMMISSIONS Published compositions Partita, for eight instruments. Madrid: Editorial de Música Española Contemporánea, 2005 Unpublished Compositions Suite apócrifa, for piano, 1978 Recordings Diferencias y Fugas. Cassette tape by Fundación Juan March, Madrid, 1988 Major Commissions Diferencias y Fugas, for string quartet. Fundación Juan March, Madrid, 1987 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), Symphony Orchestra of the Balearic Islands, Symphony Orchestra and Chorus of the City of Ibiza, 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. PROFESSIONAL SERVICE Member of the editorial board, Journal of Music Theory Pedagogy |
