Curriculum Vitae

 

Dániel Péter Biró:

Curriculum Vitae
Dr. Dániel Péter Biró
Associate Professor for Composition and Music TheorySchool of Music, University of Victoria
P.O. Box 1700 STN CSC, Victoria, BC V8W 2Y2 Canada
Office Telephone: (1) (250) 721-7930
Email: dpbiro@gmail.com

Education
Princeton University, MFA, Ph.D. (Music and Judaic Studies – Defense in July 2004) Kofi Agawu, Scott Burnham and Paul Lansky, dissertation advisors • 1999 – 2004
Musikhochschule Frankfurt, Musikerdiplom in composition; studies with Hans Zender (composition), Bernhard Kontarsky (conducting, chamber music and score reading), Isabel Mundy (music theory) • 1992 – 1998
The University of Music and Performing Arts in Vienna; composition studies with Michael Jarrell • 1995 – 1996
Musikhochschule Würzburg, Musikerdiplom in guitar performance, 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
Professional Experience
Guggenheim Fellow, 2017-2018
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, researcher and supervision of PhD students.
Assistant Professor of Composition and Music Theory, University of Victoria, BC, Canada • 2004 – 2009; supervision of students at bachelor, masters and PhD levels.
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, 2010–2015, Tedarim Academy in Tel Aviv, 2011 and 2012, International Symposium of New Music and Computer Music in Curitiba, Brazil, 2012, International Composition Master-course at Akademie Schloss Solitude, 2013, Narratives of Memory: Migration and Xenophobia in the European Union and Canada (summer field-school in Hungary, Germany, France and Canada) 2017, Salt New Music Festival and Symposium 2011–2017.
Managing Artistic Director of the Salt New Music Festival and Symposium, Victoria, BC • 2011–2017.
Commissions
Commissioned by Schweizerischen Philosophischen Gesellschaft for New Work • 2017
Commissioned by Ensemble Mixtura for Fragmina ex axiomata • 2017
Commissioned by KlangForum Heidelberg for Nulla res singularis • 2016
Commissioned by Ermis Theodorakis for Gvul (Border) • 2016
Commissioned by KlangForum Heidelberg for Sephirot (Emanations) • 2015
Commissioned by Le Laboraoire for Zeker (Memory) • 2015
Commissioned by Roger Admiral for Mitoch He’anan (From the Midst of the Cloud) • 2014
Commissioned by Neue Vocalsolisten for Al Ken Kara (That Is Why It Is Called) • 2013
Commissioned by Meitar Ensemble for Mishpatim (Part IV: Vayiru et) • 2012
Commissioned from the Núcleo Música Nova International Symposium of New Music and Computer Music in Curitiba, Brazil for Salvim (Quails) for violist Ralf Ehlers • 2012
Commissioned by International Society for Contemporary Music Austria for Gam Zera (Also the Seed) • 2011
Commissioned for New Work for Fromm Concert at Harvard University for Hadavar (Version II) • 2010
Commissioned by Ensemble Surplus for Mishaptim (Part IV: Ko Amar) • 2009
Commissioned by Quasar Saxophone Quartet for Undvarim Achadim (And the Same Words) • 2009
Commissioned by German Radio (Hessischer Rundfunk) for Simanim (Signs/Traces) • 2008
Commissioned by Aventa Ensemble for Mishpatim (Part III: Tslalim)• 2008
Commissioned by Vancouver Music for Kolot (Voices) • 2007
Commissioned from the Frankfurt Radio Symphony for Simanim • 2006
Commissioned from Darmstadt Summer Courses for New Music for Mishpatim (Part II) 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 electroacoustic room installation • 2001
Commission from Interart Festival Center to write Palimpsests for cimbalom • 2000
Commission from the Neue Horizonte Bern for Schaumspiel • 1999
Awards and Grants
Fellowship from John Simon Guggenheim Memorial Foundation • 2017
Canada Council Composer Commissioning Grant (Kai Wessel and Ensemble Mixtura) • 2017
Canada Council Composer Commissioning Grant (KlangForum Heidelberg) • 2017
University of Victoria Book and Creative Work Subvention Grant • 2016
Artist in Residence at the University of Victoria Centre for Studies in Religion and Society • 2016 – 2017
European Union Jean Monnet Project Grant “Narratives of Memory, Migration, Xenophobia and European Identity: Intercultural Dialogues” (with Helga Hallgrimsdóttir, Charlotte Schallie and Helga Thorson) • 2016
BC Arts Council Grant (for Salt New Music Festival) • 2016
Canada Council for the Arts Annual Funding Project Grant (for Salt New Music Festival) • 2016
Canada Council for the Arts Composer Commission Grant (Ermis Theodorakis) • 2016
Elected to the College of New Scholars, Artists and Scientists, Royal Society of Canada • 2015
University of Victoria Publication Subvention Grant • 2015
Canada Council for the Arts Travel Grant • 2015
Canada Council for the Arts 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 Music Foundation Grant (Salt New Music Festival and Symposium) • 2014
Barr Ferree Publication Grant of the Princeton University Department of Art and Archaeology • 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 Music Foundation 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 Music Foundation Grant (Meitar Ensemble) • 2011
Ernst von Siemens Music Foundation Grant (Tsilumos Ensemble) • 2011
Gigahertz Production Prize • 2010
Canada Council Travel Grant • 2010
SOCAN Residency Grant • 2009
Canada Council Composer Commission Grant (Aventa Ensemble) • 2009
Ernst von Siemens Music Foundation Grant (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 in Israel • 1996
Scholarship for study from Ministry of Culture-Bavaria • 1994 – 1996
Fulbright scholar in Germany • 1992 –1994
Selected Compositions and Performances
Fragmina ex Axiomata • for countertenor, shawm, accordion and electronics. Premiered by Kai Wessel, Ensemble Mixtura, Dániel Péter Biró and Arsalan Abedian, electronics at the Sprengel Museum in Hannover, Germany on Nov. 19, 2017. Commissioned by the Hannoversche Gesellschaft für Neue Musik with assistance from the Canada Council for the Arts.
Nulla Res Singularis • for five voices and string quintet, premiered by the Schola Heidelberg and Ensemble Aisthesis, Walter Nußbaum, conductor at the Hebelhalle, Heidelberg, Germany on Oct. 29, 2017. Commissioned by the KlangForum Heidelberg. To be broadcast on Deutschlandfunk on January, 5, 2018.
Gvul (Border) • for piano and electronics, premiered by Ermis Theodorakis at the Cité Mémorial du Camp des Milles on July 26, 2017. Commissioned by Ermis Theodorakis with assistance from the European Commission and the Canada Council for the Arts.
Sefirot (Emanations) • for seven voices and twenty instruments, premiered by the Schola Heidelberg and Ensemble Aisthesis, Walter Nußbaum, conductor, University of Heidelberg, October 16, 2015. Commissioned by the KlangForum Heidelberg.
Kivrot HaTa’avah (Graves of Craving) Version II  for bass flute and electronics, premiered by Mark McGregor, flute, Dániel Péter Biró and Kirk McNally, electronics at the Gala of the Royal Society of Canada Annual General Meeting, Empress Hotel, Victoria, BC, November 28, performed by Sylvie Lacroix, flute, Dániel Péter Biró and Kirk McNally, electronics, Institute for Electronic Music und Acoustics, University of Music and Performing Arts, Graz, Austria, January 15, 2016 and at the Átlátszó Hang Festival, Budapest, Hungary, Sylvie Lacroix, flute, Dániel Péter Biró, Szabolcs Kerestes, Samuel Gryllus electronics, January 10, 2016.
Zeker (Memory) • interactive, multi-media installation with perfumer Christophe Laudamiel, David Edwards and Rachel Field, premiered by Noa Frenkel, contralto, Ermis Theodorakis, piano, Olaf Tzschoppe, percussion, Dániel Péter Biró, Alexis Guneratne, and Sam Wolk, electronics, Le Laboratoire, Cambridge, MA, April 16, 2015. Commissioned by Le Laboratoire, Cambridge and supported with a grant from the Canada Council for the Arts.
Mishpatim (Laws) Part VIII
   for ensemble and electronics, premiered at the Radcliffe Institute for Advanced Study, April 8, 2015. premiered by Noa Frenkel, contralto, Ermis Theodorakis, piano, Olaf Tzschoppe, percussion, Séverine Ballon, cello, Maxine McGredy, Flute, Rose Whitcomb, Clarinet, Sam Wolk, Dániel Péter Biró, Alexis Guneratne, and Sam Wolk, electronics at Le Laboratoire, Cambridge, MA, April 16, 2015.
Al Ken Kara (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.  Commissioned by Musik der Jahrhunderte and supported with grants from the Canada Council for the Arts and the Ernst von Siemens Music Foundation.
Kivrot Hata’avah (Graves of Craving) • for amplified bass-flute solo, premiered by Sylvie Lacroix, bass flute, 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. Commissioned by the International Symposium of New Music and Computer Music in Curitiba, Brazil and supported with grants from the Canada Council for the Arts and the Art Mentor Foundation, Lucerne.
Bahar (On the Mountain)  • for contralto, piano, percussion and electronics, performed by Noa Frenkel, contralto, Sven Thomas Kiebler, piano, Olaf Tzschoppe, percussion and members the Experimentalstudio Reinhold Braig, Thomas Hummel and Simon Spillner at the Imatronic Festival of the Center for Art and Media in Karlsruhe, Germany, November 24, 2012. Commissioned by the Center for Art and Media in coordination with the Gigahertz Production Prize for Electronic Music.
Hadavar (The Word) Version II • for countertenor, piano, resonant instruments and electronics, premiered by Kai Wessel, countertenor, Sven Thomas Kiebler, piano, Kirk McNally and Dániel Péter Biró, electronics at Fromm Concerts, Paine Concert Hall, Harvard University Department of Music, April 2, 2011. Commissioned by Harvard University for the Fromm Concerts.
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 Noa Frenkel contralto, Dániel Péter Biró and Wieland Hoban, voices, Ensemble Surplus, members of the Experimentalstudio, Reinhold Braig, Simon Spillner, Thomas Hummel, electronics, Detlef Heusinger, conductor, May 13, 2010.
Mishpatim (Laws) Part III – Tslalim (Shadows) • for contralto, ensemble and electronics, premiered at the Petit Chapelle historique du bon Pasteur in Montreal, Canada on April 9, 2010 by Noa Frenkel, contralto, Olaf Tzschoppe, percussion, the Aventa Ensemble, Dániel Péter Biró, electronics, Bill Linwood Conductor. Commissioned by the Aventa Ensemble with support from Canada Council for the Arts.
Udvarim Achadim (And the Same Words) 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. Commissioned by the Quasar Saxophone Quartet with support from the Canada Council for the Arts.
Udvarim Achadim (And the Same Words) • 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 by Noa Frenkel, contralto, Jee Yeon Ryu, piano, Dániel Péter Biró and Kirk McNally, electronics 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, Giorgio Magnanensi, conductor, Dániel Péter Biró and Kirk McNally, electronics 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, performed by the HR Ensemble für neue Musik (Members of the Frankfurt Radio Symphony), Thomas Posth, conductor, members of the Experimentalstudio, Michael Acker, Joachim Haas, Reinhold Braig, Dániel Péter Biró, Randy Jones, electronics, Sendesaal des Hessischen Rundfunks, May 7, 2007. Commissioned by the Frankfurt Radio Symphony.
Mishpatim (Laws) Part II • for soprano, voices, speaking percussionist, and ensemble, premiered by Petra Hoffmann, soprano, Christian Dierstein, percussion, ensemble recherche, Titus Engel, conductor, Orangerie, Darmstadt International Summer Courses for New Music, Germany, August 6, 2008. Commissioned by the City of Darmstadt.
Mishpatim (Laws) Part I • for voices, speaking percussionist, and ensemble, performed by Dániel Péter Biró, Wieland Hoban, voices, Olaf Tzschoppe, percussion, Ensemble Surplus, James Avery, conductor, Schloss Solitude, Stuttgart, Germany, August 23, 2003, performed by the Princeton Composers Ensemble, Danny Tunick, percussion, Dániel Péter Biró, conductor, Princeton University on December 2, 2003 and by the Aventa Ensemble, Corey Rae, percussion and Bill Linwood, conductor, at the 2017 World Music Days at the Roundhouse, Vancouver, BC on Nov. 8, 2017.
Bemitzraim (In Egypt) • for speaking percussionist, premiered by László Tömösközy, percussion, at the Bartók Festival in Szombathely, Hungary, July 20 2002.
Messages • for orchestra, premiered by the New Jersey Symphony at Princeton University, May 24 2002.
Eine Kreuzung (Daf) • for guitars and electronics, premiered by Robin Hoffmann and Christopher Brandt, guitars, Dániel Péter Biró, electronics, Stuttgart Opera, Germany on November 26, 2001. Commissioned by the Stuttgart Opera.
Lizkor veLishkoach (To Remember and to Forget) • for string quartet, premiered by the Basler Quartet, Villa Bernau, Bern, Switzerland April 22, 2001, performed by Speculum Musicae, Princeton University, May 8, 2001 and the JACK Quartet January 13, 2008 at the Phillip T. Young Recital Hall University of Victoria School of Music. Commissioned by the Villa Bernau.
Schaumspiel • Electroacoustic Opera in one act, premiered at the Schlachthaus Theater in Bern, Switzerland in November 1999. Commissioned by the Schlachthaus Theater.
Poems • for soprano, violin, clarinet, guitar and electronics, performed by Katrin Frauchiger, soprano, Patricia Kopatchinskaja, violin, Carol MacGonnel, clarianet, Dániel Péter Biró, guitar at the Konzerthaus as part of festival Wien Modern in Vienna, Austria, April 10, 1998.
Palimpsests • for cimbalom, premiered by Enikő Ginzery, cimbalom at the Kodály House in Budapest, Hungary, March 5, 2000, at Princeton University, USA, April 21, 2002. Commissioned by the Interart Festival Center, Budapest.
Piutim (Hymns) • for organ and percussion, premiered by Martin Lücker, organ and Dirk Rothbrust, percussion at the Katharine Kirche in Frankfurt, Germany, December 5, 1997, performed by Zsigmond Szathmáry, organ and Olaf Tzschoppe, percussion at the St. Petri Cathedral in Bremen, Germany, February 8, 2007, at the Ev. Luther Kirche in Wellingsbüttel, Up de Worth, Germany, February 11, 2007. Recorded on CD entgrenzt – unbounded (Edition Zeitklang 37035, 2007).
ħalom (Dream) • for large ensemble, mixed media and electronics, premiered by students of the Frankfurt Musikhochschule, Bernhard Kontarsky, conductor, Dániel Péter Biró and Christoph Schulte, electronics, Frankfurt Musikhochschule, October 9, 1996, Broadcast by Hessischer Rundfunk (German Radio).
Selected Lectures, Publications and Discography
Mishpatim (Laws), recording of three-hour composition cycle (2003 – 2016), Ensemble Surplus, Experimentalstudio, Neos Music (forthcoming).
Live-Electronics at Work: The SWR EXPERIMENTALSTUDIO, co-edited by Dániel Péter Biró, Jonathan Goldman, Detlef Heusinger and Constanze Stratz (Intellect Press, forthcoming).
“Music as Escape, Music as Refusal,” lecture given at Basler Forum für Musikästhetik, Nov. 11, 2016, Basel, Switzerland.
“Über die Lehre der Komposition” in Musik und Ästhetik, Heft 84 (October 2017) pp. 81-83.
Dániel Péter Biró and George Tzanetakis, “Computer-Supported Analysis of Religious Chant” in Live-Electronic Music: Composition, Performance, Study, Friedemann Sallis, Valentina Bertolani, Jan Burle, Laura Zattra eds. (London and New York: Routledge, 2017) pp. 231- 252.
“Emanations: Reflections of a Composer” in Schönheit (Konzepte 2), Gunnar Hindrichs, ed. (Frankfurt am Main: Klostermann, 2016) pp. 39-62.
Perspectives for Contemporary Music in the 21st Century, Dániel Péter Biró, Kai Johannes Polzhofer, eds. (Hofheim: Wolke, 2016).
“Existenz und Ablenkung,” Musik und Aesthetik, Heft 73 (January 2015) pp. 95-99.
The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective, co-edited by Dániel Péter Biró and Harald Krebs (Oxford: 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,” in Proceedings of the Fourth International Workshop on Folk Music Analysis, Holzapfel, A., ed. (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) pp. 35-50.
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 (January 2012) pp. 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. (Hoffheim: Wolke Verlag, 2011) pp. 21-38.
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) pp. 163-168.
Elissa Poole. “Dániel Péter Biró Convolves Sound in Concert Music,” Musicworks, no. 109 (February 2011) pp. 39-44.
Ko Amar (Thus Said), concert with the Ensemble Surplus and the Experimentalstudio, May 13, 2010, broadcast on Deutschland-Radio October 1, 2010.
“Tomorrow,” Edition Circuit (May 2010) pp. 55-60.
“In Memoriam James Avery,” Search, Journal for New Music and Culture (Spring 2009) p.1.
Piutim (Hymns) CD entgrenzt unbounded Olaf Tzschoppe, percussion Zsigmond Szathmáry, organ, Edition Zeitklang 37035, 2008.
“Musik und die Einwanderung der Sprache,” Darmstädter Diskurse  (Saarbrücken, Pfau Verlag, 2008) pp. 120-143.
“Palimpsests,” lecture at Darmstadt Summer Courses, Summer 2006.
“Variations on Variations,” in Transdisciplinary Digital Art: Sound, Vision and the New Screen (Berlin: Springer Verlag, 2008) pp. 294-298.
“Remembering and Forgetting Lizkor VeLiskoach for String Quartet, after Schubert,” Edition Circuit (Winter 2007) pp. 39-60.
“Crowns,” Kunstmusik (October 2007) pp. 2-8.
Interview in German State Radio (Hessischer Rundfunk) May 7, 2007.
“Plotting the Instrument” • lecture at 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) pp. 162-165.
Languages
English, Hungarian, German (fluent), Hebrew (high proficiency), French (high proficiency), Arabic (reading knowledge).
Dissertation
Reading the Song: On the Development of Musical Syntax, Notation and Compositional Autonomy: A Comparative Study of Hungarian Siratók, Hebrew Bible Cantillation and Plainchant from St. Gallen; Dissertation Composition:  Mishpatim (Laws) Part I, for Speaking Percussionist, Voices and Ensemble (Princeton University 2004).
Dániel Péter Biró is a Canadian, Hungarian and American citizen. He has been active as a composer, guitarist and conductor in concerts and radio recordings with the CBC, German State Radio (HR, SWR), Austrian State Radio (ORF), Swiss State Radio (DRS), as a soloist with orchestras (Bern Symphony, Frankfurt Radio Symphony) in the U.S., Germany, Hungary, France, Italy, Austria, Switzerland, Israel, and Canada. He is a member of the Tsilumos Ensemble and is Managing Artistic Director of the SALT New Music Festival and Symposium. He is a member of the College of New Scholars, Artists and Scientists of the Royal Society of Canada. His music is published by Edition Gravis.

 

 

Photo by György Klösz