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Miguel
A. Roig-Francolí Textbooks Harmony in Context, 3rd edn., McGraw-Hill, 2020. Harmony in Context, 2nd edn., McGraw-Hill, 2011 Understanding Post-Tonal Music, 2nd edn., Routledge, 2021 Understanding Post-Tonal Music, McGraw-Hill, 2007. Chinese translation, Beijing: People's Music Publishing House, 2012 Anthology of Post-Tonal Music, 2nd edn., Routledge, 2021 Anthology of Post-Tonal Music, McGraw-Hill, 2007. Chinese translation, Beijing: People's Music Publishing House, 2012 Articles and Reviews "From Renaissance to Baroque: Tonal Structures in Tomás Luis de Victoria's Masses." Music Theory Spectrum 40/1 (2018): 27-51. "A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students." Indiana Theory Review 33 (2017): 36-68. "A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students. Portuguese translation by Alex Pochat. Teoria e Análise Musical em Perspectiva Didáctica, Salvador (Brazil): UFBA, 2017, pp. 19-46 “Approaching the Analysis of Post-1945 Music: Pedagogical Considerations.” Revista Portuguesa de Musicologia 3/1 (2016): 57-78. “Los tientos 68, 65 y 67 de Obras de música: Estudio analítico de tres obras maestras de Cabezón.” Anuario Musical 69 (2014): 61–72. “Tonal Structures in the Magnificats, Psalms, and Motets by Tomás Luis de Victoria.” In Estudios. Tomás Luis de Victoria. Studies. Ed. Javier Suárez-Pajares and Manuel del Sol. Madrid: ICCMU, 2013, pp. 145-162. “Some Basic Principles of Good Teaching.” Music Theory Pedagogy Online, 2013. “Semblanzas de Compositores Españoles: Antonio de Cabezón (1510-1566),” Revista de la Fundación Juan March, Madrid, April 2010 (a commissioned article). “Procesos compositivos y estructura musical: Teoría y práctica en Antonio de Cabezón y Tomás de Santa María.” In Políticas y prácticas musicales en el mundo de Felipe II (Madrid: Instituto Complutense de Ciencias Musicales, 2004), pp. 393-414. “A Theory of Pitch-Class-Set Extension in Atonal Music,” College Music Symposium 41 (Fall 2001): 57-90. “Santa María, Tomás de.” New Grove Dictionary of Music and Musicians, 7th ed. Diccionario de la Música Española e Hispanoamericana (Dictionary of Spanish and Latin-American Music), forthcoming (Madrid). Articles on “Tañer a consonancias” (“Playing in consonances”) and “Tañer fantasía” (“Playing fantasía”). “Paradigms and Contrast in Sixteenth-Century Modal Structure: Commixture in the tientos of Antonio de Cabezón.” Journal of Musicological Research 19 (2000): 1-47. Review of the Italian book Canone infinito (540 pp.), by Loris Azzaroni. Analisi: Rivista di teoria e pedagogia musicale 30 (1999): 24-31. “Dos tientos de Cabezón basados en tonos del Magnificat.” Revista de Musicología 21 (1998): 1-19. “Teoría, análisis, crítica: Reflexiones en torno a ciertas lagunas en la musicología española.” Revista de Musicología 18 (1995): 11-25. “Harmonic and Formal Processes in Ligeti's Net-Structure Compositions.” Music Theory Spectrum 17/2 (Fall 1995): 242-67. Review of Historical Organ Techniques and Repertoires: An Historical Survey of Organ Performance Practices and Repertoires. Vol. 1: Spain, 1550-1830. MLA Notes (September 1995): 297-99. “Playing in Consonances: A Spanish Renaissance Technique of Chordal Improvisation.” Early Music (August 1995): 93-103. “Modal Paradigms in Mid-Sixteenth-Century Spanish Instrumental Composition: Theory and Practice in Antonio de Cabezón and Tomás de Santa María.” Journal of Music Theory 38/2 (Fall 1994): 247-89. Review of Apparitions and Macabre Collage, by György Ligeti. MLA Notes 51/1 (September 1994): 421-23. “En torno a la figura y la obra de Tomás de Santa María: Aclaraciones, evaluaciones, y relación con la música de Cabezón.” Revista de Musicología (Madrid) 15/1 (Spring 1992): 55-85. “Bass Emancipation in Sixteenth-Century Spanish Instrumental
Music: The Arte de tañer fantasía by Tomás
de Santa María.” Indiana Theory Review 9 (Fall
1988): 77-97. |
