School of Music
Greensboro, NC 27402-6170
(336) 334-5491; e-mail: i_priore@uncg.edu
Education:
• Ph.D. in Music Theory, University of Iowa (2004)
Dissertation Title: The Continuous – Amplifying the Schenkerian Concept of Interruption – with Analytical Interpretations of Beethoven’s opp. 101, 109, 111
Advisers: Thomas Christensen and Lawrence Fritts
• Fellow, Mannes Institute for Advanced Studies in Music Theory (2001)
• D. M. A. in Flute Performance, CUNY (1993)
Dissertation: The Flute and Piano Music of Joachim Andersen
Adviser: Joel Lester
• M. M. in Flute Performance, CUNY, Queens College (1990)
Master Thesis: Charles Griffes’ Poem for flute and Orchestra: Considerations about Performance Practice
Advisers: Charles Burkhart and Carl Schachter
Writings:
• “The Origins of Luciano Berios’s Journal Incontri Musicali." Musical Quarterly (forthcoming)
• “Luciano Berios’s Aspects of Formal Craft: Translated and Annotated. Musical Quarterly (forthcoming)
• Serialism in the 1950s: the Berio Approach (submitted)
• “Authenticity and Performance Practice: Bossa Nova and João Gilberto." Lied und Populäre Kultur/Song and Popular Culture: Jarbuch des Deutschen Volksliedarchivs, Vol. 53, 2008
• “The Only Cool Song is the Protest Song: Brazilian Popular Music from 1964-68” (submitted)
• “Further Considerations about the Continuous 5.” Indiana Theory Review, Vol. 25, Spring-Fall 2007
• “Vestiges of 12-Tone Practice in Berio’s Sequenza for Solo Flute.” Article in a book entitled: Sequenza Series, ed. by Steve Halfyard, with a forward by David Osmond-Smith. Birmingham, UK: Ashgate Academic Publishers, 2007
• “The Compositional Techniques of Messiaean’s Le Merle Noir,” Flute Talk Magazine, April, 2002
• “A Response to John Wion,” Flute Talk Magazine, February 2002
• “Density 21.5,” Flute Talk Magazine, November 2001
• “Griffe's Poem: Considerations about Performance Practice,” Flutist Quarterly, 1996
• Paula Robison Flute Masterclass: Music of Paul Hindemith, Schott/European American Music Co., 1996
• The Andersen Collection (Paula Robison and Irna Priore), European American Music Corporation, 1994
Research Grants:
• Paul Sacher Foundation
Basel, Switzerland May 5-June 30, 2009 (forthcoming)
• International New Music Institute
Darmstadt, Germany May 2006, December 2006, and May 2007
Conferences:
• International New Music Festival, Biannual Meeting
Darmstadt, Germany July 5-20, 2008
• Transcending Borders: Latin American and Latino Music in North Carolina and the United States Congress
Chapel Hill, NC March 27-30, 2008
Paper: Bossa Nova and Joao Glberto
• Music Theory Midwest, Annual Meeting
Bowling Green, OH May 16-17, 2008
Paper: Berio's Serialism in the 1950s
• Music Theory Southeast, Annual Meeting
Greensboro, NC February 29-March 1, 2008
Paper: Berio's Serialism in the 1950s
• XIV Annual Conference of the Societá Italiana di Musica
Chieti-Pescara, Italy October 25-28, 2007
Paper: The Darmstadt Influence in the Works of Luciano Berio
• International Association for the Study of Popular Music, Biannual Meeting
Mexico City, June 25-29, 2007
Paper: “Authenticity and Performance Practice: Bossa Nova and João Gilberto”
• AMS/SEM/MTSE Joint Meeting
Athens, GA March 16-17, 2007
Paper: “The Only Cool Song is the Protest Song"
• AMS/SEM/MTSE Joint Meeting
Athens, GA March 16-17, 2007
Session Chair: The Protest in Latin American Music
• AMS/SEM/MTSE Joint Meeting
Athens, GA March 16-17, 2007
Session Chair: Variation
• Associação Brasileira de Etnomusicologia (ABET) International Conference
São Paulo, Brazil, November 21-24, 2006
Paper: “That Beat…that Beat”
• Society for Ethnomusicology National Meeting
Honolulu, Hawaii November 16, 2006
Paper: “The Beat of the Bossa Nova”
• University of Iowa Centennial Guest Music Theory Lecture Series
Iowa City, IA October 27, 2006
Paper: “The Darmstadt Dream: Luciano Berio and the Writings of Incontri Musicali (1956-1960)”
• Sixth Biennial National Symposium on Multicultural Music
Knoxville TN, October 11-14, 2006
Paper: The Beat of the Bossa Nova”
• Darmstadt , Du Stadt meiner Traeume: The International Reception of
Post-War Darmstadt as the Shangri-La of Musical Modernism
Brno, Czech Republic, September 25-27, 2006
• National Flute Association Convention Annual Meeting
Pittsburgh, PA August 3-6, 2006
Paper: “Debussy’s Syrinx: Historical Considerations and Pedagogical Approach”
• National Flute Association Convention Annual Meeting
Pittsburgh, PA August 3-6, 2006
Paper: “Pedagogical Approach: Berio’s Sequenza for Solo Flute
• Popular Musics of the Hispanic and Lusophone Worlds
Newcastle upon Tyne (UK), July 14-16, 2006
Paper: “Borrowing from All Sides: Caetano Veloso, Popular Music, and Politics in Brazil”
• Northeast Society for Ethnomusicology Annual Meeting
Hartford, CT, April 8, 2006
Paper: “Currents in Brazilian Popular Music: The Paths of MPB”
• Music Theory Southeast Annual Meeting
Chapel Hill, NC March 3-4, 2006
Paper: “Incontri and Disincontri: Berio's Writings and Boulez's Arguments in the 1950s”
• Florida State University Music Theory Forum Annual Meeting
Tallahassee, FL, January 28, 2006
Paper: “Incontri and Disincontri: Berio's Writings and Boulez's Arguments in the 1950s”
• Society for Ethnomusicology National Conference
Atlanta, GA November 28-29, 2005
Paper: “Borrowing from All Sides: Caetano Veloso, Popular Music, and Politics in Brazil”
• University of Chicago Music and Cultural Politics
Chicago, IL May 20-21, 2005
“Borrowing from All Sides: Caetano Veloso, Popular Music, and Politics in Brazil”
• Texas Society for Music Theory Annual Meeting
Arlington, TX, February 22, 2005
“Vestiges of 12-Tone Practice in Berio’s Sequenza for Solo Flute”
• South Central Society for Music Theory Annual Meeting
New Orleans, LA February 21, 2005
“Borrowing from All Sides: Caetano Veloso, Popular Music, and Politics in Brazil”
• College Music Society Mid-Atlantic Chapter
Meredith College, NC March 19-20, 2004
“Vestiges of Twelve-Tone Practice a Compositional Process in Berio’s Sequenza I for Solo Flute”
• Music Theory Society of the Mid-Atlantic
Philadelphia, PA April 26-27, 2004
“A Systematic Approach to the Concept o Schenkerian Interruption and its Implication to the Theory of Sonata Form,”
• College Music Society Mid-Atlantic Chapter
Davidson, NC March 28, 2003
“Density 21.5: Relationships Between Analysis and Performance Practice”
• South Central Society for Music Theory
Tuscaloosa, AL February 21-22, 2003
“Paradigmatic Structures: Beethoven’s Opp. 101and 109”
• Graduate Theory Colloquium Biannual Meeting
Bloomington, IN February 8-9, 2002
“The “One Note Samba” Concept and the Continuous as a Schenkerian Paradigm”
• Music Theory Southeast Annual Meeting
Tallahassee, FL February 1-2, 2002
“The One Note Samba Concept and the Continuous as a Schenkerian Paradigm”
• National Flute Association Convention Annual Meeting
Kansas City, KS August 11, 2000
Lecture-Recital in collaboration with Paula Robison: “The Andersen Collection”
Committees:
• Society for Music Theory
Diversity Committee, 2007-present
• Music Theory Southeast
Members at Large Committee
• Music Theory Southeast
Local Arrangements Chair, 2008
• Music Theory Southeast
Program Committee, 2006
"My own
Sequenzas are always written with this sort of interpreter in mind,
whose virtuosity is, above all, a virtuosity of knowledge."
---Luciano Berio
