Paul Miller is an Instructor of Music Theory at The University of Colorado in Boulder. He holds an MM in viola performance (2006) and a PhD in Music Theory (2009) from the Eastman School of Music (University of Rochester) and a Bachelor's degree from Vassar College in Poughkeepsie, New York. As an undergraduate, he also studied at the New England Conservatory of Music and at Harvard University. His research focuses on the music and theory of Karlheinz Stockhausen, post-war serial and minimal music, and baroque music theory and analysis. His work has been funded through the Presser Foundation, the German Academic Exchange Service (DAAD), the Stockhausen Foundation for Music in Kürten, Germany, and the University of Colorado. Publications have appeared in Perspectives of New Music, Twentieth Century Music, and the American Music Research Center Journal. In 2012, he was named "Resident Scholar" of the Boulder Bach Festival in Boulder, Colorado. Miller has presented papers at international, national, regional and local conferences in the United States and Germany. He has edited two volumes of essays and texts for the Stockhausen Foundation as well as the score of the viola version of In Freundschaft, a work that he premiered in 2005. He was also co-editor of the journal Music Theory Spectrum for two years. Dr. Miller is currently working on projects having to do with late-20th and 21st-century metric complexity, as well as a paper detailing his unique approach to teaching Freshman Theory. He is also working on a large-scale project for the Stockhausen Foundation transcribing and analyzing Stockhausen's late lectures, which he plans on turning into a book in the very near future. As a pedagogue, Miller won the Outstanding Teaching Assistant Prize at the Eastman School of Music in 2001. Subsequently he has been an instructor for a total of twenty-five semesters at institutions of higher learning, as well as a coordinator of undergraduate theory and aural skills classes at CU Boulder. In a recent doctoral seminar he taught, Miller was ranked in the 99th percentile in his department in five out of nine evaluation criteria. He has taught at the Eastman School of Music, the University of Rochester, and Temple University in addition to the University of Colorado. Dr. Miller has also taught dozens of young students music theory fundamentals and violin and viola technique. In addition to his regular classroom duties, he advises several graduate students on their Master's and Doctoral projects. Dr. Miller is active as a performer of baroque music on period instruments. His recent performance of Vivaldi's A Major viola d'amore concerto RV 396 in Philadelphia earned him the highest praise from the local newspaper in Chestnut Hill, Pennsylvania. He has lectured at and performed on instruments at the Metropolitan Museum of Art in New York City and the Library of Congress in Washington, DC. Other notable performances have been at the National Cathedral in Washington, DC and as a soloist with the Bethlehem Bach Festival in Bethlehem, Pennsylvania. In 2006, Dr. Miller won a Stipendiumpreis from the Darmstadt International Vacation Courses in New Music for his performances on the viola and the viola d'amore. As a mentor of graduate students at CU, Paul has been heard twice on Colorado Public Radio collaborating with young artists. Paul is the program director of the new Rocky Ridge Early Music Festival and Workshop, which had its inaugural season in August, 2012. Miller founded the Denver and Boulder-based baroque music ensemble 'Pearl' in 2010, and has now passed the group on to the students. Several concerts are planned for the 2012-2013 season. He serves on various committees at the College of Music, and as the Webmaster for the Rocky Mountain Society of Music Theory. He also serves on the sustainability committee of SMT (the Society for Music Theory). To download a PDF of my CV, please click here.
	My dissertation, Stockhausen and the Serial Shaping of Space -- link to ProQuest, may not work everywhere! "An Adventure Into Outer Space: Stockhausen's LICHTER-WASSER and the Analysis of Spatialized Music", now in print in Perspectives of New Music, volume 50/1. "Minimal Serialist or Serial Minimalist: The Music of John McGuire", published in the American Music Research Center Journal, vol. 21 (2012). A review for the Cambridge University Press journal Twentieth Century Music of Mary Bauermeister's 2011 memoir, "Ich hänge im Triolengitter: Mein Leben mit Karlheinz Stockhausen", forthcoming in March 2013. Ongoing research projects include: Temporal Dissonance in Stockhausen's Late Works -- a research project that uses computational models to find structral points of coincidence and near points of coincidence in Stockhausen's works with complex multilayered tempo fields. Applying Gjerdigen's schema to teaching Freshman theory A review of Thomas Ulrich's new book Stockhausen: A Theological Interpretation Stockhausen's Pedagogy -- a transcription of the Kürten lectures (in cooperation with the Stockhausen Stiftung) Teaching evaluations from 2010 and earlier Student evaluations from fall 2011 Student evaluations from spring 2012 Student evaluations from fall 2012 Three Waltzes, written as examples for a sophomore composition project. Two full-length teaching videos -- which are already on this web site in quicktime format -- are available immediately upon request. The two arias, Erwäge and Betrachte for violas d'amore from Bach's St John Passion, with Greg Funfgeld, Evelyn Jacobs-Luise, Benjamin Butterfield, Christopheren Nomura, and performers with the Bach Festival of Bethlehem. Betrachte, meine Seel Erwäge, wie sein blutgefärbter Rücken An arrangement of Gluck's aria Un ruisselet bien clair, for viola d'amore and soprano, by Anton Huberty featuring Paul Miller and soprano Christie Hageman,voice. Miller is playing on a viola d'amore by Martin Biller made in 2010. Vivaldi's concerto for viola d'amore, RV 392, with the Early Music Ensemble at the University of Colorado, under the direction of Elizabeth Farr Allegro Largo Allegro Kral's Nocturne for two viola d'amores, with Thomas Georgi First movement of the 7th Partita from Biber's Harmonia artificiosa, at the Metropolitan Museum of art with Thomas Georgi and others An anonymous partita, circa 1730, for viola d'amore with Bill Simms, theorbo. Recorded live at the Coolege Auditorium at the Library of Congress in Washington, DC Allegro Aria More to come, including: Conducting Stockhausen's Kreuzspiel, North American premiere of Stockhausen's In Freundschaft for viola.
	All content on this page is Copyright © 2012-2013 by Paul Miller. Last updated on January 29, 2013.