Paul Miller is a music theorist and a performer specializing in music of the 17th, 18th and 20th centuries. Before joining the musicianship department of the Mary Pappert School of Music at Duquesne University in 2015, he served as a Mellon Postdoctoral Fellow at Cornell University and on the faculties of the University of Colorado in Boulder and Temple University.
Paul has presented research at numerous national and regional conferences, and his work has been published in Perspectives of New Music, the American Music Research Center Journal, Twentieth-Century Music, Music and Letters and Opera Quarterly. Further work has appeared in Early Music and the MLA Association’s Notes. An expert on the remarkable music of Karlheinz Stockhausen, Paul studied with the composer for six summers and premiered his solo viola work "In Freundschaft" in Europe and the United States. Paul's research has centered on the unusual spatial dimension of Stockhausen's music as well as the phenomenon of metric complexity. In addition, he has studied viola d’amore music in Bohemian and Moravian manuscripts.
As a performer, Paul has appeared at the Metropolitian Museum of Art in New York City, the Library of Congress, the National Cathedral in Washington D.C., the Darmstadt International Festival for New Music, the Bethlehem Bach Festival, the Hawai`i Performing Arts Festival and with ensembles such as El Mundo and Tempesta di Mare. He has collaborated in chamber music concerts with Richard Savino and Jory Vinikour, both Grammy® award nominees. During his tenure as a fellow at Cornell, Paul led the Baroque Orchestra there and studied with Neal Zaslaw, Christopher Hogwood and Malcolm Bilson. Paul also performs on a five-string electric violin built by the firm Zeta.
As a pedagogue with over 20 years of classroom experience, Paul enjoys teaching everything from fundamental skills such as solfege, voice-leading, counterpoint and harmony to more advanced topics such as Schenkerian analysis and post-tonal theory. His students hold full-time and tenured positions at James Madison University, the Pittsburgh Symphony, the San Francisco Conservatory and other top-tier institutions throughout the country. He holds a Ph.D. from the Eastman School of Music and a Master's in viola performance (Eastman). Paul's undergraduate studies were at Vassar College, New England Conservatory and Harvard University.
Most recent CV -- paul-miller-cv-2020.pdf
Sample Syllabi -- Musicianship 2, Spring 2019 || Musicianship 1, Fall 2019 || 18th Century Counterpoint
Past Programs from The Duke's Music, Duquesne's Early Music Ensemble
Bach Suites Project -- website || blurb
Volume 2: Suites 4 -- 6
Electric Ensembles: Music of J. S. Bach, Corrette and Telemann (possibly Wilhelm Friedrich)
Niku Niwa -- by Devon Tipp/Paul Miller
Joseph Haydn: String Quartet op. 33/2, "The Joke"
Videos on YouTube
Please visit my YouTube Channel!!
Other Recordings and Videos
J. S. Bach -- Sarabande from the second suite for unaccompanied violoncello, BWV 1008
J. S. Bach -- Gigue from the second suite for unaccompanied violoncello, BWV 1008
With the Bethlehem Bach Festival
J. S. Bach -- Betrachte from the John Passion
J. S. Bach -- Erwäge from the John Passion
With Thomas Georgi
Huberty -- Duo for two violas d'amore
I play both parts on the following recordings. I performed and produced these files.
Recorded everything at Annabel Taylor Chapel on the lovely Cornell University Campus when I was a postdoc there.
Leclair -- Duo for two violins in E Major, op. 12 -- 1st movement
Leclair -- Duo for two violins in E Major, op. 12 -- 2nd movement
Leclair -- Duo for two violins in E Major, op. 12 -- 3rd movement
Leclair -- Duo for two violins in E Major, op. 12 -- 4th movement
Using a Zeta 5-string electric violin and various effects on a Roland GR-55 synthesizer.
Jean-Luc Ponty -- Pizzy Cat
A brief take on the famous Krell Patch. More on what this is here.
Electric Violin + Electronics + (Video)
William Herschel: Caprice No. 15 for Solo Violin with Electronic Variation
This is a performance of one of Herschel's solo violin pieces
with a "variation" afterwards using a granular processor.
Dedicated to Thomas Georgi. Video version.
Marini: Sonata con due corde
with Justin Wallace and Patricia Halversion
30 September 2017
A new collection of viola d'amore music from late 18th century Bohemia
Early Music, Volume 45/4 (30 December 2017), pp. 613 - 627.
An Adventure in Outer Space: Stockhausen's Lichter-Wasser and the Analysis of Spatialized Music
Perspectives of New Music, vol. 50 (2012), pp. 342 - 392.
Serial Minimalist or Minimal Serialist? The Music of John McGuire
American Music Research Journal, vol. 21 (2012), pp. 1 - 39.
Meredith Monk's ATLAS in Los Angeles -- in Opera Quarterly, spring 2020.
Stockhausen in Basel and Paris: Donnerstag in a New Light
Opera Quarterly, vol. 32/4 (December 2016), pp. 321 - 327.
Mary Bauermeister and Karlheinz Stockhausen: A Collaboration in Sound and Space
in Mary Bauermeister: The New York Decade, ed. Linda Muelig (Northampton, Massachusetts: Smith College Museum of Art, 2014), pp. 87 - 97.
Metamorphosis in Music: The Compositions of György Ligeti in the 1950s and 1960s
MLA Notes, (September 2019), pp. 118 - 122.
Perspectives for Contemporary Music in the 21st Century
MLA Notes, vol 75/1 (September 2018), pp. 106 - 109.
The Musical Legacy of Karlhein Stockhausen: Looking Back and Forward
MLA Notes, vol. 74/2 (December 2017), pp. 281 - 84.
Furchtlos weiter: The Written Legacy of Stockhausen (Review-Article)
Music and Letters, vol 97/2 (May 2016), pp. 316 - 26.
Tombeau: Facsimilies of the Draft Score and the First Fair Copy of the Full Score
Music and Letters, vol 95/3 (August 2014), pp. 487 - 89.
From Boulanger to Stockhausen: Interviews and a Memoir
Music and Letters, vol. 95/3 (August 2014), pp. 484 - 87.
Stockhausen: A Theological Interpretation
Music and Letters, vol 94/4 (November 2013), pp. 712 - 715.
Ich hänge im Triolengitter: Mein Leben mit Karlheinz Stockhausen
Twentieth Century Music, vol. 9, issues 1-2 (March 2012), pp. 221- 227.
Concerto for Two Violas D'Amore
A concerto, c. 1800, attributed to Franz Götz. I made this score from manuscripts in the Czech Museum of Music, Prague. The realization involved a considerable amount of work decyphering the scordatura notation for the viola d'amores, not to mention the flageolet notation.
Photos by Michael Will, Pittsburgh PA.
To provide plenty of context, I've included the full review in each of these PDF files.
Bethlehem Bach Festival, 2017
Boulder Bach Festival, 2014
Vivaldi Concerto, 2013
Vivaldi Concerto, 2012
Last updated on 29 September 2020.