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Dániel Péter Biró

Associate Professor
  • E-maildpbiro@uib.no
  • Phone+47 55 58 39 71
  • Visitor Address
    Lars Hillesgt. 3
  • Postal Address
    Postboks 7800
    5020 Bergen
Books
  • Biró, Dániel Péter; Goldman, Jonathan; Stratz, Constanze; Heusinger, Detlef. 2018. Live-Electronics in the SWR EXPERIMENTALSTUDIO. 390 pages. ISBN: 978-3-95593-085-1.
  • Biró, Dániel Péter; Polzhofer, Kai. 2016. Perspectives for Contemporary Music in the 21st Century. 218 pages. ISBN: 9783955930721.
  • Biró, Dániel Péter; Krebs, Harald; Krebs, Harald. 2014. The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective. Oxford University Press. 352 pages. ISBN: 978-0-19-993619-9.
Journal articles
  • Biró, Dániel Péter. 2016. Emanations: Reflections of a Composer. Konzepte. 2: 39-62.
  • Biró, Dániel Péter. 2015. Existenz und Ablenkung. Musik & Ästhetik. 73: 95-99.
  • Biró, Dániel Péter; Goldman, Jonathan. 2010. Enquête sur l'avenir de la musique contemporaine. Circuit _ Musiques Contemporaines. 20: 101-104.
  • Biró, Dániel Péter; Ness, Steven; Tzanetakis, George. 2010. Computer-assisted cantillation and chant research using content-aware web visualization tools. Multimedia tools and applications. 48: 207-224.
  • Biró, Dániel Péter. 2009. Crowns. Kunstmusik. 9: 2-8.
  • Biró, Dániel Péter. 2008. Remembering and Forgetting Lizkor VeLiskoach for String Quartet after Schubert. Circuit _ Musiques Contemporaines. 18: 39-60.
  • Biró, Dániel Péter; Schloss, Andrew. 2007. African Rhythms by Pierre-Laurent Aimard, György Ligeti, Steve Reich, Simha Arom. Ethnomusicology. 51: 162-165.
  • Biró, Dániel Péter. 2005. Composing Mishpatim – Laws: A Response to Ben’s Mishna Music as a Music. Perspectives of New Music. 43/44: 232-265.
Reports and theses
  • Biró, Dániel Péter; Van Kranenburg, Peter. 2014. 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. Bogazaci University, Istanbul. 8 pages.
  • Biró, Dániel Péter; Van Kranenburg, Peter; Ness, Steven; Tzanetakis, George. 2012. Stability and Variation in Cadence Formulas in Oral and Semi-Oral Chant Traditions – a Computational Approach.”. Aristotle University of Thessaloniki. School of Music Studies, Thessaloniki. 8 pages.
  • Biró, Dániel Péter. 2004. 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. Princeton University, Princeton, NJ, USA. 149 pages.
Book sections
  • Biró, Dániel Péter. 2016. Ehiye asher Eyihe: the Future of Historicized, Nonrepresentational New Music. 14, pages 189-214. In:
    • Polzhofer, Kai. 2016. Perspectives for Contemporary Music in the 21st Century. 218 pages. ISBN: 978-3-95593-072-1.
  • Biró, Dániel Péter. 2014. The Sound of the Voice is the Name of the Place: On Compositional Allegory in Al Ken Kara (That Is Why It Was Called). 3, pages 35-50. In:
    • Mahnkopf, Claus_Steffen; Cox, Frank; Schurig, Wolfram. 2014. Substance and Content in Music Today. 197 pages. ISBN: 3955932095.
  • Biró, Dániel Péter. 2014. Bartók's Quartets, Folk Music, and the Anxiety of Influence. 13. In:
    • Biró, Dániel Péter; Krebs, Harald; Krebs, Harald. 2014. The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective. Oxford University Press. 352 pages. ISBN: 978-0-19-993619-9.
  • Biró, Dániel Péter. 2012. Reading the Song and Remembering the Word: Musical Material and ‘Historicized Composition’ in Ko Amar (Thus Said). 2, pages 21-38. In:
    • Mahnkopf, Claus_Steffen. 2012. Musical Material Today. 219 pages. ISBN: 9783936000191.
  • Biró, Dániel Péter; Van Kranenburg, Peter; Ness, Steven; Tzanetakis, George. 2011. A Computational Investigation of Melodic Contour Stability in Jewish Torah Trope Performance Traditions. Oral Session 2: Non-Western Music, pages 163-168. In:
    • Klapuri, Anssi; Leider, Colby. 2011. ISMIR 2011: Proceedings of the 12th International Society for Music Information Retrieval Conference, October 24-28, 2011, Miami, Florida. 816 pages. ISBN: 9780615548654.
  • Biró, Dániel Péter. 2008. Musik und die Einwanderung der Sprache. 9, pages 120-142. In:
    • Hiekel, Jörn Peter. 2008. Musik-Kulturen: Texte der 43. Internationalen Ferienkurse für Neue Musik 2006. 179 pages. ISBN: 9783897273917.
  • Biró, Dániel Péter. 2008. Variations on Variations. 3, pages 284-298. In:
    • Adams, Randy; Gibson, Steve; Arizona, Stefan. 2008. Transdisciplinary Digital Art: Sound, Vision and the New Screen: Digital Art Weeks and Interactive Futures 2006/2007. 509 pages. ISBN: 9783540794851.
Artistic production
  • Biró, Dániel Péter. 2018. Concert at Musikalischen Kultursalons at the Zentrum für Gegenwartsmusik at the Leipziger Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy”.
  • Biró, Dániel Péter. 2018. Ex Natura et Origine.
  • Biró, Dániel Péter. 2018. Concert at Congregation Emanuel, Victoria, BC.
  • Biró, Dániel Péter. 2018. Scholium II, Concert at the Nikolausberger Musiktage in Göttingen, Germany.
  • Biró, Dániel Péter. 2018. Scholium II, Festakt Concert at the Annual Meeting of the Swiss Philosophy Association, Basel, Switzerland.
  • Biró, Dániel Péter. 2018. Portrait concert of works by Dániel Péter Biró, Americas Society, New York, USA.
  • Biró, Dániel Péter. 2018. Lizkor Velishkoach (To Remember and to Forget), concert performed by the Lafayette String Quartet.
  • Biró, Dániel Péter. 2018. Gvul (Border) Version II, Concert at Ariowitsch-Haus, Zentrum Jüdischer Kultur.
  • Biró, Dániel Péter. 2018. Gvul (Border).
  • Biró, Dániel Péter. 2018. Scholium 2.
  • Biró, Dániel Péter. 2018. Nulla Res Singularis.
  • Biró, Dániel Péter. 2018. Scholium II, Concert at the Völkerkundemusem (Museum for Ethnography) in Heidelberg, Germany.
  • Biró, Dániel Péter. 2017. Shevarim (Breakings) for piano solo, performed at Bargemusic, New York (2017).
  • Biró, Dániel Péter. 2017. Mishpatim (Laws) Part 1, performed at E-werk, Freiburg, Germany (2017).
  • Biró, Dániel Péter. 2017. Gvul (Border) performed at at the Site-Mémorial du Camp de Milles in Aix-en-Provence, France.
  • Biró, Dániel Péter. 2017. Nulla res singulares.
  • Biró, Dániel Péter. 2017. Mishpatim (Laws) Part 1.
  • Biró, Dániel Péter. 2017. Fragmina ex axiomata.
  • Biró, Dániel Péter. 2017. Mishpatim (Laws) Part 1 Concert at ISCM World Music Days in Vancouver.
  • Biró, Dániel Péter. 2017. Shvarim (Breakings).
  • Biró, Dániel Péter. 2017. Mishpatim (Laws) Part 1: Lo Tisa (Do Not Accept).
  • Biró, Dániel Péter. 2017. Al Ken Kara (That Is Why It Was Called), performed at the Átlátszó Hang Festival in Budapest, Hungary (2017).
  • Biró, Dániel Péter. 2017. Fragmina ex axiomata.
  • Biró, Dániel Péter. 2016. Al Ken Kara (That Is Why It Was Called), premiered at the Osterfestival Imago Dei in Krems, Austria (2016).
  • Biró, Dániel Péter. 2016. Kivrot HaTa’avah (Graves of Craving) Version II, performed at the Institut für Elektronische Musik und Akustik at the University of Music and Performing Arts in Graz, Austria (2016).
  • Biró, Dániel Péter. 2016. Bemitzraim (In Egypt), performed at Syker Vorwerk in Syke, Germany (2016).
  • Biró, Dániel Péter. 2016. Kivrot HaTa’avah (Graves of Craving) Version II, performed at the International Symposium of New Music in Curitiba, Paraná, Brazil (2016).
  • Biró, Dániel Péter. 2016. Mitoch He’anan (From the Midst of the Cloud) Version II, performed atLa Chapelle historique du Bon-Pasteur in Montreal, Canada (2016).
  • Biró, Dániel Péter. 2016. Kivrot HaTa’avah (Graves of Craving) Version II, performed at the Festival Átlátszó Hang in Budapest, Hungary (2016).
  • Biró, Dániel Péter. 2015. Sefirot (Emanations), performed at the Technoseum in Mannheim, Germany (2015).
  • Biró, Dániel Péter. 2015. Sefirot (Emanations), performed at the Wilhelm-Hack-Museum in Ludwigshafen (2015).
  • Biró, Dániel Péter. 2015. Memory (Installation).
  • Biró, Dániel Péter. 2015. Vayiru Et (And They Saw) – In Memoriam Matan Givol, performed at the Festival Montréal/Nouvelles Musiques and Matrix 15 on Tour (2015).
  • Biró, Dániel Péter. 2015. Sefirot (Emanations), premiered at the University of Heidelberg (2015).
  • Biró, Dániel Péter. 2015. Kivrot Hata’avah (Graves of Craving) performed at the Gala of the Royal Society of Canada Annual General Meeting (2015).
  • Biró, Dániel Péter. 2015. Salvim (Quails), premiered at the festival VIRTUOSI XVIII in Recife, Brazil. (2015).
  • Biró, Dániel Péter. 2015. Sefirot (Emanationen).
  • Biró, Dániel Péter. 2015. Kivrot HaTa’avah (Graves of Craving) for solo bass flute, performed at the SALT New Music Festival and Symposium (2015).
  • Biró, Dániel Péter. 2015. Mitoch He’anan (From the Midst of the Cloud), premiered at New Music Edmonton in Edmonton, Canada (2015).
  • Biró, Dániel Péter. 2014. Kilkul (Breakdown) for solo saxophon, performed at the SIMN 2014 / Matrix14 on Tour in Curitiba, Brazil (2014).
  • Biró, Dániel Péter. 2014. Al Ken Kara (That Is Why It Was Called) for seven voices.
  • Biró, Dániel Péter. 2014. Bemitzraim (In Egypt), performed at the Berger Park Cultural Center in Chicago, USA (2014).
  • Biró, Dániel Péter. 2014. Bemitzraim (In Egypt), performed at the Foro Internacionel de Música Nueva Maunuel Enríquez in Mexico City (2014).
  • Biró, Dániel Péter. 2014. Al Ken Kara (That Is Why It Was Called), premiered as part of the Mediterranean Voices Project at the Eclat Festival (2014).
  • Biró, Dániel Péter. 2014. Al Ken Kara (That Is Why It Was Called), performed at the Teatro de la Zarzuela in Madrid (2014).
  • Biró, Dániel Péter. 2014. Al Al Ken Kara (That Is Why It Was Called) Version II, premiered at the Teatro Fondamenta Nuove in Venice (2014).
  • Biró, Dániel Péter. 2013. Kivrot HaTa’avah (Graves of Craving), premiered at the 2013 World New Music Days in Vienna (2013).
  • Biró, Dániel Péter. 2013. Livnat Hasapir (Sapphire Brickwork), performed at the University of Victoria, School of Music (2013).
  • Biró, Dániel Péter. 2013. Vaya’al Moshe (And Moshe Ascended), performed at the Center for Contemporary and Electronic Music in Tel Aviv (2013).
  • Biró, Dániel Péter. 2013. Vaya’al Moshe (And Moshe Ascended) revised version, performed at the Theaterhaus Stuttgart (2013).
  • Biró, Dániel Péter. 2012. Salvim (Quails).
  • Biró, Dániel Péter. 2012. Bahar (Auf dem Berg).
  • Biró, Dániel Péter. 2011. Hadavar (Das Wort) (Version 2).
  • Biró, Dániel Péter. 2011. Kivrot Hata'avah (Gräber der Begierde).
  • Biró, Dániel Péter. 2010. Gam Zera (Also the Seed).
  • Biró, Dániel Péter. 2009. Kilkul (Breakdown).
  • Biró, Dániel Péter. 2005. Bemizrajim (In Ägypten).
  • Biró, Dániel Péter. 2002. Messages (Botschaften).
  • Biró, Dániel Péter. 2000. Lizkor veLishkoah (To Remember and to Fortget).

More information in national current research information system (CRIStin)

Scholium Secundum, for Five Singers and Five String Instuments, Edition Gravis, 2018.

Live-Electronics in the SWR EXPERIMENTALSTUDIO, co-edited by Dániel Péter Biró, Jonathan Goldman, Detlef Heusinger and Constanze Stratz. Wolke Verlag, 2018 (Forthcoming).

Fields of competence