Links


 

 

Miguel A. Roig-Francolí
Publications


Textbooks

Harmony in Context, 2nd edn., McGraw-Hill, 2011
Understanding Post-Tonal Music, McGraw-Hill, 2007. Chinese translation, Beijing: People's Music Publishing House, 2012
Anthology of Post-Tonal Music, McGraw-Hill, 2007. Chinese translation, Beijing: People's Music Publishing House, 2012

Articles and Reviews

“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.

 
1