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Dániel Péter Birós bilde

Dániel Péter Biró

Professor
  • E-postdpbiro@uib.no
  • Telefon+47 55 58 39 71
  • Besøksadresse
    Lars Hillesgt. 3
  • Postadresse
    Postboks 7800
    5020 Bergen
Vitenskapelig artikkel
  • 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.
Faglig foredrag
  • 2020. SmalPrat with nyMusikk Bergen.
  • 2020. Receptions of Spinoza (public lecture—webinar).
  • 2020. Gender, Inspiration and the Creative Process.
  • 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.
Vitenskapelig foredrag
  • 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.
Musikk - innspillingsprodukt
  • 2018. Nulla Res Singularis, Broadcast on Deutschlandfunk, Jan. 8, 2018.
Annen presentasjon
  • 2019. Ethica: Presentation at Norwegian Youth Chamber Music Festival.
  • 2019. De Natura et Origine.
  • 2018. Portait Concert of the Works of Dániel Péter Biró.
Anmeldelse
  • 2007. African Rhythms by Pierre-Laurent Aimard, György Ligeti, Steve Reich, Simha Arom. Ethnomusicology. 162-165.
Vitenskapelig antologi/Konferanseserie
  • 2014. The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective. Oxford University Press.
Vitenskapelig monografi
  • 2018. Live-Electronics in the SWR EXPERIMENTALSTUDIO.
  • 2016. Perspectives for Contemporary Music in the 21st Century.
Kompendium
  • 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.”.
Lydmateriale
  • 2019. Mishpatim (Laws).
Doktorgradsavhandling
  • 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.
Intervju
  • 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.
Dokumentar
  • 2018. Die Amerikatournee: Der Komponist Dániel Péter Biró, Film about work with Klangforum Heidelberg .
Programdeltagelse
  • 2017. Verfolgt, vertrieben, verboten. Wenn Komponisten ins Kreuzfeuer politischer Ideologien geraten .
Vitenskapelig Kapittel/Artikkel/Konferanseartikkel
  • 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.
Musikalsk framføring
  • 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).
Musikk - komposisjon
  • 2020. Udvarim Achadim (et les même Mots) for saxophone quartet (Version 2020).
  • 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).
Faglig kapittel
  • 2019. Composing Gvul. 255-266. I:
    • 2019. Narratives of Memory: Migration and Xenophobia in the European Union and Canada. University of Victoria Libaries.
Intervju tidsskrift
  • 2010. Enquête sur l'avenir de la musique contemporaine. Circuit _ Musiques Contemporaines. 101-104.

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