Dániel Péter Biró began his studies at the Bartók Conservatory in Budapest, Hungary studying composition with Miklós Kocsár, music theory with Iván Madarász and guitar with Ede Roth. He studied guitar with Stefan Schmidt at the Bern Musikhochschule in Switzerland and with Jürgen Ruck at the Würzburg Musikhochschule in Germany. He continued his studies with Hans Zender (composition), Bernhard Kontarsky (score reading and chamber music) and Isabel Mundry (music theory) at the Frankfurt Musikhochschule. From 1995 – 1996 he studied composition with Michael Jarrell at the Universität für Musik in Vienna. He completed his PhD in composition at Princeton University in 2004. His dissertation was a comparative study of early notational practices in examples of Jewish Torah trope, early plainchant from St. Gallen and Hungarian laments and his dissertation composition is entitled Mishpatim (Laws) Part I. His dissertation advisors were Kofi Agawu, Scott Burnham and Paul Lansky. At Princeton University he studied musical paleography with Peter Jeffery and Judaic studies with Peter Schäfer and Rabbi James Diamond.
Dr. Biró has researched Hungarian folk music at the Academy of Science in Budapest and Jewish and Islamic chant in Israel and the Netherlands. Awarded the Hungarian Government’s Kodály Scholarship for Hungarian composers, his compositions have been commissioned by the Frankfurt Radio Symphony, the City of Darmstadt, the Stuttgart Opera, Sudwestfunk, Vancouver New Music, the ISCM, and the Imatronic Festival. In 2001, his piece The Crossing (Daf), based on a text by Franz Kafka, was commissioned by the Stuttgart Opera. In 2003 he took part in the Sommerakademie at the Schloss Solitude in Stuttgart, Germany where he studied with Richard Barrett, Chaya Czernowin and Steven Kazuo Takasugi. There he worked with the Ensemble SurPlus, which performed the first part of his composition Mishpatim (Laws).
In 2004, Dániel Péter Biró was appointed Assistant Professor for Composition and Music Theory at the University of Victoria in Victoria, BC Canada. In the same year he presented his work at the International Summer Courses for New Music in Darmstadt, Germany. In 2005 he was a fellow at the Mannes Institute for Advanced Studies in Music Theory. In 2006 he was a featured composer and lecturer at the Darmstadt International Summer Courses for New Music where Mishpatim (Laws) Part II, commissioned by the city of Darmstadt, was performed by the ensemble recherche. In 2006 Dániel Péter Biró was a faculty fellow at the University of Victoria Centre for Studies in Religion and Society. In 2007 his electroacoustic composition Simanim (Signs/Traces) was performed by members of the Frankfurt Radio Symphony Orchestra and the Experimentalstudio: this composition was commissioned by the German Radio (Hessischer Rundfunk).
In 2009 he was promoted to Associate Professor in the School of Music at the University of Victoria. In the same year he was granted a work-stay at the Experimentalstudio of the SWR and was awarded a SOCAN Composer Residency Grant in order to work with the Quasar Saxophone Quartet in Montreal. In 2008 he was composer-in-residence at the International Messiaen Week in Neustadt, Germany. In 2008 Dániel Péter Biró was commissioned by Vancouver New Music to write a piece for solo piano, voices, ensemble and electronics, supported through a grant of the British Columbia Arts Council and the Canada Council for the Arts, premiered in October 2009. In the same year he was commissioned by the Quasar Saxophone Quartet, assisted through a grant from the Canada Council for the Arts, for the work Udvarim Achadim (And the Same Words), which was featured during their Canadian Tour. In May 2010 he was a featured composer at the Mehrklang Festival in Freiburg, Germany where his composition Mishpatim – Part IV – Ko Amar (Thus Said) was premiered by Noa Frenkel, the Ensemble Surplus and the Experimentalstudio. In 2010 he was awarded grants from the Ernst von Siemens Music Foundation and the Canada Council for the Arts to write the next sections of the composition cycle Mishpatim (Laws) for the Ensemble SurPlus. In 2010 The ZKM – Center for Art and Media in Karlsruhe, and the Experimentalstudio in Freiburg, Germany awarded Dániel Péter Biró the Gigahertz Production Prize for Electronic Music.
From 2010-2015 he was a faculty member at the Matrix Academy for Electronic Music at the Experimentalstudio in Freiburg, Germany and Amsterdam, Netherlands. In the fall of 2011 he was Visiting Professor in the Department of Information and Computing Sciences at Utrecht University where he researched Jewish and Islamic chant traditions in the Netherlands. In 2011 he was a featured composer in the Zeitkunst Festival (Berlin, Germany) and at the Fromm Concerts at Harvard University where Hadavar (The Word) Version II was performed by Kai Wessel, Sven Thomas Kiebler and Kirk McNally. From 2011–2014 he was a faculty member at the Tedarim Project of the Meitar Ensemble at the Center for Center For Contemporary and Electronic Music in Tel Aviv, Israel and at the International Symposium of New Music and Computer Music in Curitiba, Brazil. In 2012 he received a grant-in-aid from the Ernst von Siemens Music Foundation to compose a new composition for the Meitar Ensemble. In the same year his composition Kivrot HaTa’avah (Graves of Craving) was selected to represent Canada in the World Music Days of the ISCM and was premiered in November 2013 at the Vienna Konzerthaus as part of the Wien Modern Festival by flautist Sylvie Lacroix. In 2012 he was commissioned by violist Ralf Ehlers (Arditti Quartet) to write new work: this new composition, Salvim (Quails), was supported with a Composer Commissioning Grant from the Canada Council for the Arts and Art Mentor Foundation Lucerne and premiered at the International Symposium of New Music and Computer Music in Curitiba, Brazil. In 2012-2014 he was awarded Internal Research Grants from the University of Victoria and a grant from the Barr Ferree Fund of Princeton University to record the composition cycle Mishpatim (Laws), written from 2003-2016. In 2013 he taught at the International Masterclass for Young Composers at the Akademie Schloss Solitude in Stuttgart, Germany. In 2014 he completed a commissioned composition for the Neue Vocalsolisten, as a participant in the Mediterranean Voices Project, premiered at the Eclat Festival in Stuttgart, Germany. In 2015 completed a new piece for the Schola Heidelberg and ensemble aisthesis, premiered at the University of Heidelberg, Germany in October 2015.
Prof. Biró was a fellow at the Radcliffe Institute for Advanced Study, Harvard University in 2014-2015 where he worked on the completion of the composition cycle Mishpatim (Laws). The recording of the cycle, performed by Noa Frenkel, the Ensemble Surplus and the Experimentalstudio, will be released by Neos Music in 2018. In 2015 he was elected to the College of New Scholars, Artists and Scientists of the Royal Society of Canada. In 2016 – 2017 he was Artist-in-Residence at the University of Victoria Centre for Studies in Religion and Society. In 2017 Dániel Péter Biró was awarded a fellowship from the John Simon Guggenheim Memorial Foundation.
Dániel Péter Biró was co-editor of Search – Journal for New Music and Culture and co-editor (with Harald Krebs) of The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective (Oxford University Press: 2014). He was a founding member of the new music ensemble Tsilumos and the Salt New Music Festival and Symposium.
In 2018 he was appointed Associate Professor for Composition at the Grieg Academy, University of Bergen and in 2019 he was promoted to Professor for Composition. In 2018-2019 he completed commissions from the Ultraschall Festival and the Swiss Philosophical Society, performed by Hildegard Rützel, the Ensemble Mixture, the Schola Heidelberg and the ensemble aisthesis. In 2019-2020 he was commissioned by the Norwegian Youth Chamber Music Festival and BIT20. In 2020-2021 he was commioned to write a piece as part of the project Voice Affairs (a co-production of the Akademie der Künste Berlin, Irtijal Festival Beirut, Onassic Cultural Centre/Stegi Athen, Ultima Contemporary Music Festival Oslo und Deutschlandfunk Kultur).
His compositions are published by Edition Gravis.
- 2020. “On Learning and Teaching Composition” in Revista Vortex Music Journal, Periódico Eletrônico |Universidade Estadual do Paraná, Escola de Música e Belas Artes do Paraná | BrasilISSN 2317–9937, v. 8, n. 1, 2020 . Revista Vortex. 1-12.
- 2016. Emanations: Reflections of a Composer. Konzepte. 39-62.
- 2015. Existenz und Ablenkung. Musik & Ästhetik. 95-99.
- 2010. Computer-assisted cantillation and chant research using content-aware web visualization tools. Multimedia tools and applications. 207-224.
- 2009. Crowns. Kunstmusik. 2-8.
- 2008. Remembering and Forgetting Lizkor VeLiskoach for String Quartet after Schubert. Circuit _ Musiques Contemporaines. 39-60.
- 2005. Composing Mishpatim – Laws: A Response to Ben’s Mishna Music as a Music. Perspectives of New Music. 232-265.
- 2021. The Ethica Composition Cycle: Music Creation and Computational Ethnomusicology. .
- 2021. The Historical as Modern.
- 2020. “Artistic Research in Music Composition” .
- 2020. Presentation of the recording of the Mishpatim (Laws) composition cycle published by Neos Music.
- 2020. Pre-concert discussion “What is your musical DNA?” with Katia Makdissi-Warren and Maxime McKinley, moderated by Quentin Lauvray.
- 2020. Panel discussion “Gender, Inspiration and the Creative Process”.
- 2020. "The Historical as Modern".
- 2020. "Reflections on Composition Today".
- 2020. "De Natura et Origine: Spiritual Inspiration and Creative Process".
- 2020. "Challenges for the Arts".
- 2019. Spinoza’s Ethics: Secular Religion Expressed in Historicized and Contemporary Sound.
- 2019. Composing Ethica after Baruch Spinoza” .
- 2018. Deus Sive Natura: Das theologische Weltbild von Spinoza in Musik ausgedrueckt.
- 2018. Deus Sive Natura, Understanding Spinoza’s Ethics in terms of Jewish History.
- 2015. On the Historical Development and Practice of the Ta’amei Hamikra.
- 2015. On Transcription.
- 2014. Existence and Distraction.
- 2020. Panel discussion about the Hungarian Film “Those Who Remained”(2019).
- 2020. “The Materials and Methods of Ethics” .
- 2020. “Sounding Philosophy: Multidisciplinary Education via Artistic Research".
- 2020. “Movements of History – Transpositions of Spirit” .
- 2020. “Environments of Philosophical Inquiry: Composing Spinoza’s Ethics” .
- 2020. "Sounding Philosophy" .
- 2020. "Composing Ethica: Creative Process and Computational Ethnomusicology".
- 2018. Komposition als Archäologie.
- 2018. Composition and Philosophy.
- 2018. Composing Spinoza’s Ethics: Charting a Migration of Spirit Through Sound.
- 2018. Composing Spinoza’s Ethics.
- 2016. Religious Recitation as Oral Culture.
- 2016. Melodic Stability and Memory Analysis in Semi-Oral Chant Traditions: A Computational Study of Qur’an Recitation and Torah Trope.
- 2015. Musical Topics in Music of the 20th/21st Centuries.
- 2015. Music Composition as Research of History and Memory.
- 2015. Mishpatim (Laws) compositional cycle.
- 2015. Ehyeh-Asher-Ehyeh: The Future of Historicized, Non-Representational New Music.
- 2014. Mahler’s Modernities.
- 2013. Current Compositional and Ethnomusicological Research.
- 2018. Nulla Res Singularis, Broadcast on Deutschlandfunk, Jan. 8, 2018.
- 2020. The Mishpatim (Laws) composition Cycle (2003-2016) .
- 2019. Ethica: Presentation at Norwegian Youth Chamber Music Festival.
- 2019. De Natura et Origine.
- 2018. Portait Concert of the Works of Dániel Péter Biró.
- 2007. African Rhythms by Pierre-Laurent Aimard, György Ligeti, Steve Reich, Simha Arom. Ethnomusicology. 162-165.
- 2014. The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective. Oxford University Press.
- 2018. Live-Electronics in the SWR EXPERIMENTALSTUDIO.
- 2016. Perspectives for Contemporary Music in the 21st Century.
- 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. .
- 2012. Stability and Variation in Cadence Formulas in Oral and Semi-Oral Chant Traditions – a Computational Approach.”.
- 2019. Mishpatim (Laws).
- 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.
- 2018. Canadian Excellence, Global Recognition: Canada’s 2017 Winners of Major International Research Awards, .
- 2017. Festival Diktaturen: Dániel Péter Biró discussed his composition Nulla Res Singularis, based on text from Baruch Spinoza’s Ethics.
- 2018. Die Amerikatournee: Der Komponist Dániel Péter Biró, Film about work with Klangforum Heidelberg .
- 2020. Musik der Gegenwart: Program on Radio Berlin Brandenburg about composition De Natura et Origine.
- 2017. Verfolgt, vertrieben, verboten. Wenn Komponisten ins Kreuzfeuer politischer Ideologien geraten .
- 2019. Studies in Contrast: Notes from the Field. 10 sider.
- 2016. Ehiye asher Eyihe: the Future of Historicized, Nonrepresentational New Music . 26 sider.
- 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). 16 sider.
- 2014. Bartók's Quartets, Folk Music, and the Anxiety of Influence.
- 2012. Reading the Song and Remembering the Word: Musical Material and ‘Historicized Composition’ in Ko Amar (Thus Said). 18 sider.
- 2011. A Computational Investigation of Melodic Contour Stability in Jewish Torah Trope Performance Traditions. 6 sider.
- 2008. Variations on Variations. 15 sider.
- 2008. Musik und die Einwanderung der Sprache. 23 sider.
- 2020. Udvarim Achadim (et les même Mots) (Version 2020) for saxophone quartet and electronics.
- 2019. Simanim (Signs/Traces): concert at Timespans Festival in August, 2019.
- 2019. Kilkul (Breakdown): performance at Chapelle historique du Bon-Pasteur in Montréal, QC, Canada.
- 2019. Ethica: Performance with Bit20 at Grieghallen.
- 2018. Scholium II, Festakt Concert at the Annual Meeting of the Swiss Philosophy Association, Basel, Switzerland.
- 2018. Scholium II, Concert at the Völkerkundemusem (Museum for Ethnography) in Heidelberg, Germany .
- 2018. Scholium II, Concert at the Nikolausberger Musiktage in Göttingen, Germany.
- 2018. Portrait concert of works by Dániel Péter Biró, Americas Society, New York, USA.
- 2018. Lizkor Velishkoach (To Remember and to Forget), concert performed by the Lafayette String Quartet .
- 2018. Gvul (Border) Version II, Concert at Ariowitsch-Haus, Zentrum Jüdischer Kultur.
- 2018. Concert at Musikalischen Kultursalons at the Zentrum für Gegenwartsmusik at the Leipziger Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy”.
- 2018. Concert at Congregation Emanuel, Victoria, BC.
- 2017. Shevarim (Breakings) for piano solo, performed at Bargemusic, New York (2017).
- 2017. Nulla res singulares.
- 2017. Mishpatim (Laws) Part 1, performed at E-werk, Freiburg, Germany (2017).
- 2017. Mishpatim (Laws) Part 1 Concert at ISCM World Music Days in Vancouver.
- 2017. Mishpatim (Laws) Part 1.
- 2017. Gvul (Border) performed at at the Site-Mémorial du Camp de Milles in Aix-en-Provence, France.
- 2017. Fragmina ex axiomata .
- 2017. Al Ken Kara (That Is Why It Was Called), performed at the Átlátszó Hang Festival in Budapest, Hungary (2017).
- 2016. Mitoch He’anan (From the Midst of the Cloud) Version II, performed atLa Chapelle historique du Bon-Pasteur in Montreal, Canada (2016).
- 2016. Kivrot HaTa’avah (Graves of Craving) Version II, performed at the International Symposium of New Music in Curitiba, Paraná, Brazil (2016).
- 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).
- 2016. Kivrot HaTa’avah (Graves of Craving) Version II, performed at the Festival Átlátszó Hang in Budapest, Hungary (2016).
- 2016. Bemitzraim (In Egypt), performed at Syker Vorwerk in Syke, Germany (2016).
- 2016. Al Ken Kara (That Is Why It Was Called), premiered at the Osterfestival Imago Dei in Krems, Austria (2016).
- 2015. Vayiru Et (And They Saw) – In Memoriam Matan Givol, performed at the Festival Montréal/Nouvelles Musiques and Matrix 15 on Tour (2015).
- 2015. Sefirot (Emanations), premiered at the University of Heidelberg (2015).
- 2015. Sefirot (Emanations), performed at the Wilhelm-Hack-Museum in Ludwigshafen (2015).
- 2015. Sefirot (Emanations), performed at the Technoseum in Mannheim, Germany (2015) .
- 2015. Salvim (Quails), premiered at the festival VIRTUOSI XVIII in Recife, Brazil. (2015).
- 2015. Mitoch He’anan (From the Midst of the Cloud), premiered at New Music Edmonton in Edmonton, Canada (2015).
- 2015. Memory (Installation).
- 2015. Kivrot Hata’avah (Graves of Craving) performed at the Gala of the Royal Society of Canada Annual General Meeting (2015).
- 2015. Kivrot HaTa’avah (Graves of Craving) for solo bass flute, performed at the SALT New Music Festival and Symposium (2015).
- 2014. Kilkul (Breakdown) for solo saxophon, performed at the SIMN 2014 / Matrix14 on Tour in Curitiba, Brazil (2014).
- 2014. Bemitzraim (In Egypt), performed at the Foro Internacionel de Música Nueva Maunuel Enríquez in Mexico City (2014).
- 2014. Bemitzraim (In Egypt), performed at the Berger Park Cultural Center in Chicago, USA (2014).
- 2014. Al Ken Kara (That Is Why It Was Called), premiered as part of the Mediterranean Voices Project at the Eclat Festival (2014).
- 2014. Al Ken Kara (That Is Why It Was Called), performed at the Teatro de la Zarzuela in Madrid (2014).
- 2014. Al Ken Kara (That Is Why It Was Called) for seven voices.
- 2014. Al Al Ken Kara (That Is Why It Was Called) Version II, premiered at the Teatro Fondamenta Nuove in Venice (2014).
- 2013. Vaya’al Moshe (And Moshe Ascended), performed at the Center for Contemporary and Electronic Music in Tel Aviv (2013).
- 2013. Vaya’al Moshe (And Moshe Ascended) revised version, performed at the Theaterhaus Stuttgart (2013).
- 2013. Livnat Hasapir (Sapphire Brickwork), performed at the University of Victoria, School of Music (2013).
- 2013. Kivrot HaTa’avah (Graves of Craving), premiered at the 2013 World New Music Days in Vienna (2013).
- 2020. Colinda.
- 2020. Asher Hotseti Etkhem ("Who Brought You Out of the Land").
- 2019. Ethica (2017-2019).
- 2018. Scholium 2.
- 2018. Nulla Res Singularis.
- 2018. Gvul (Border).
- 2018. Ex Natura et Origine.
- 2017. Shvarim (Breakings).
- 2017. Mishpatim (Laws) Part 1: Lo Tisa (Do Not Accept).
- 2017. Fragmina ex axiomata.
- 2015. Sefirot (Emanationen).
- 2012. Salvim (Quails).
- 2012. Bahar (Auf dem Berg).
- 2011. Kivrot Hata'avah (Gräber der Begierde).
- 2011. Hadavar (Das Wort) (Version 2).
- 2010. Gam Zera (Also the Seed).
- 2009. Kilkul (Breakdown).
- 2005. Bemizrajim (In Ägypten).
- 2002. Messages (Botschaften).
- 2000. Lizkor veLishkoah (To Remember and to Fortget).
- 2019. Composing Gvul. 255-266. I:
- 2019. Narratives of Memory: Migration and Xenophobia in the European Union and Canada. University of Victoria Libaries.
- 2017. Computer-supported analysis of religious chant. 230-252. I:
- 2017. Live Electronic Music. Routledge.
- 2010. Enquête sur l'avenir de la musique contemporaine. Circuit _ Musiques Contemporaines. 101-104.
The project Sounding Philosophy integrated an academic conference with a series of concerts and performances in November 2019 at the Grieg Academy – Department for Music, at the Grieghallen and at the Norwegian Youth Chamber Music Festival in Stavanger. This conference and concerts built on research into music, philosophy and science seeking to investigate how concepts of mind and consciousness can interact among various disciplines. A secondary theme of this project was how processes of migration played a role in the philosophy of Baruch Spinoza (1632-1677) and also in contemporary artistic, philosophical and scientific ventures.
International lecturers included Grit Schwarzkopf, University of Heidelberg, Gunnar Hindrichs, Professor for Philosophy, University of Basel and Elhanan Yakira, Professor for Philosophy, Hebrew University of Jerusalem. Vibeke Andrea Tellmann, Associate Professor for Philosophy, Christopher Senf, PhD candidate, Department of Philosophy, Arnulf Mattes, Associate Professor, Grieg Academy – Department of Music, Leader of Centre for Grieg Research, Craig Wells, PhD candidate, Grieg Academy – Department of Music and myself, Dániel Péter Biró, Associate Professor, Grieg Academy – Department of Music took part in the conference from the University of Bergen. Audience members came from various departments across the university and beyond and provided for a very lively discussion.
During the conference at the Grieg Academy, University of Bergen, Dr. Grit Schwarzkopf from the University of Heidelberg presented a lecture on the relationships between concepts of spirit (geist), telos and new research into quantum mechanics and emergence theory. Prof. Gunnar Hindrichs from the University of Basel discussed the question of intelligence in the theories of Eduard Hanslick and their relationship to contemporary art theories. Elhanan Yakira from the Department of Philosophy, Hebrew University of Jerusalem gave a lecture on Spinoza, connecting the biographical aspects of Spinoza in relation to migration with his philosophical thought. Arnulf Mattes, Associate Professor at the Grieg Academy – Department of Music, Leader of Centre for Grieg Research, gave a talk on relationships between music and psychology in the works of Arnold Schoenberg and theories of physicist and philosopher Ernst Mach. Finally, I gave a talk on my composition cycle Ethica, looking at how migration played a role in the theological and musical culture of the Jewish Portuguese synagogue of Amsterdam, how such processes continued among other immigrant communities in the 20th century and how my research of music and migration, combined with philosophical and scientific enquiries, informed the creation of my composition based on writings by Spinoza, which I initiated as a Guggenheim fellow.
Following the conference, two performances took place. On Nov. 6, 2019 a performance of the work Ethica, done in conjunction with renowned Norwegian Painter Kjell Pahr-Iversen and choreographer Hagit Yakira, Associate Professor University of Stavanger occurred at the atelier of Kjell Pahr-Iversen. The music was performed by the Neue Vocalsolisten from Stuttgart Germany, one of the premiere vocal ensembles of our time, along with Laurens Weinhold, Luke Hsu, Xiaoti Guo, Rainer Crosett, Clara Lindenbaum, students from the Norwegian Youth Chamber Music Festival. After the performance, Elhanan Yakira from the Department of Philosophy, Hebrew University of Jerusalem gave a lecture on Spinoza, discussing how migration played a role in the Jewish community of Amsterdam and how such migration influenced the text used for the composition Ethica.
On November 9, 2019 a second performance of Ethica with the Neue Vocalsolisten and the Bit20 Ensemble took place at the Grieghallen in Bergen. This performance, also with pre-concert talk and works by students of composition from the Grieg Academy, allowed audiences in Bergen to contemplate relationships between migration, philosophy and science via musical performance.
The conference Sounding Philosophy was held at the Grieg Academy – Department of Music, University of Bergen from 1-2 November 2019.
Concerts and performances, in coordination with the conference, occured on Nov. 6 and Nov. 9, 2019 at Atelier of Kjell Pahr-Iversen, Stavanger and at the Peer Gynt-salen, Grieghallen, Bergen.
November 1, 2019 , Grieg Academy, Prøvesalen, Lars Hilles gate 3
Christopher Senf, Department of Philosophy, University of Bergen, Session Moderator
15:00 Prof. Elhanan Yakira, Hebrew University Jerusalem: “Spinoza’s Ontology of the Intellect”
16:00 Prof. Dániel Péter Biró, Grieg Academy: “Parametric Composition in the Ethica Composition Cycle.”
17:00 Coffee Break
17:30 Dr. Grit Schwarzkopf, University of Heidelberg, “Was ist Teleologie?”
November 2 Grieg Academy, Gunnar Sævigs Sal, Lars Hilles gate 3
Dániel Péter Biró, Grieg Academy, Session Moderator
10:00 Prof. Gunnar Hindrichs: On Hanslick’s proposition: “Composition is spiritual work on spiritually capable material.”
11:00 Coffee Break
11:30 Prof. Arnulf Mattes, Grieg Academy: “Intoxicating Oscillations: Ernst Mach and Arnold Schoenberg”
Concerts and Performances
November 6, 2019
Norwegian Youth Chamber Music Festival
Atelier of Kjell Pahr-Iversen, Stavanger
Ethica, after Baruch Spinoza Composition by Dániel Péter Biró, Professor for Composition, Grieg Academy, University of Bergen
Choreography by Hagit Yakira, Associate Professor for Dance, University of Stavanger
Paintings of Kjell Pahr-Iversen, Stavanger
Introductory lecture by Elhanan Yakira, Hebrew University, Jerusalem
November 9, 2019 15.30
Peer Gynt-salen, Grieghallen
Dániel Péter Biró: Ethica after Baruch Spinoza (2017-2020)
Works by Grieg Academy composition students Gunhild Seim, Lisa Braathen, Anders Hannevold and Bendik Savstad, involved in the Sounding Philosophy Worksop and other works by Knut Vaage.
Dániel Péter Biró, Trond Madsen, conductors