Personal Website of            

Vincent P. Benitez, Ph.D., D.M.A.

 
 
 

























Vincent Perez Benitez, Jr.

Associate Professor of Music Theory, 2011–present

Assistant Professor of Music Theory, 2005–2011

Vice-Chair, SMT Interest Group on Improvisation

The Pennsylvania State University

225 Music Building I

University Park, PA 16802

(814) 863-5392 (office)

vpb2@psu.edu

http://music.psu.edu/faculty/vincent-benitez

   

Education


Ph.D., Music Theory, Indiana University (August 2001)

 

D.M.A., Organ Performance, Arizona State University (August 1985)


M.M., Theory and Composition, Arizona State University (August 1985)


M.M., Organ Performance, University of North Texas (May 1982)


B.M., Organ Performance, magna cum laude, University of North Texas (May 1980)


Applied Organ Study: Marilyn Keiser, Larry Smith, Michael Corzine, Robert Clark,

        Charles Brown, and Donald Willing


Publications


Books:


Olivier Messiaen’s Compositional Summa, Saint François d’Assise (in progress).


The Words and Music of Paul McCartney: The Solo Years. Praeger Singer-Songwriter

        Collection. Westport, CT: Praeger Publishers, 2010. ISBN: 0-313-34969-X. ISBN-13:

        978-0-313-34969-0.


Olivier Messiaen: A Research and Information Guide.  Routledge Music Bibliographies.

        New York and London: Routledge, 2008. xvi, 337 p. ISBN10: 0-415-97372-4.

        eBook ISBN10: 0-203-93558-6.


Book Chapters:


“Thoroughbass as Pedagogy in the Teaching of Improvisation in Undergraduate Music    

        Theory Courses.” In Jamming the Classroom: Improvisational Pedagogies and    

        Community Impact, edited by Ajay Heble and Mark Laver (a collection of essays in a

        negotiation stage with  a book publisher).


“Stravinsky and the End of Musical Time: Messiaen’s Analysis of the Rite and Its Impact

        on Twentieth-Century Music.” Proceedings (online) from the “Sacre Celebration:
        Revisiting, Reflecting, Revisiting,” York University, Toronto, Canada (forthcoming).


“Ram (1971)” and “Band on the Run (1973).” In The Album: A Guide to Pop Music’s  

        Most Provocative, Influential, and Important Creations, ed. James E. Perone, 147–56;

        275–85. Westport, CT: Praeger Publishers, 2012.


“Messiaen and Aquinas.” In Messiaen the Theologian, ed. Andrew Shenton, 101–26.

        Burlington, VT: Ashgate, 2010.


“Narrating Saint Francis’s Spiritual Journey: Referential Pitch Structures and Symbolic

        Images in Olivier Messiaen’s Saint François d’Assise.” In Poznan Studies on Opera.

        Vol. 4, Theories of Opera, ed. Maciej Jablonski, 363–411. Poznan, Poland: Publishing

        House of the Poznan Society for the Advancement of the Arts and Sciences, Section

        of Music and Fine Arts, Publication of the Committee for Musicology, vol. 16, 2004.


Articles:


“Illuminations of the Beyond: Improvisation, Composition, and Messiaen’s Last

        Improvisation Concert” (in progress).


“One Composer Viewed Through the Prism of Another: Messiaen’s Analysis of

        Stravinsky’s Rite of Spring” (in progress).


“Harmony and Transformational Voice Leading in the Later Music of Olivier Messiaen”

        (in progress).


“Distinguishing Between Passacaglia and Ciaccona in the Organ Works of Dieterich

        Buxtehude,” Rivista di Analisi e Teoria Musicale (forthcoming).


Reconsidering Messiaen as Serialist.” Music Analysis 28, nos. 2–3 (2009): 267–99.

  

A Conversation with Composer Gerald Levinson about Olivier Messiaen.” olivier 

        messiaen.net (12 December 2008).

   

“Messiaen as Improviser.” Dutch Journal of Music Theory 13, no. 2 (2008): 129–44.


“Aspects of Harmony in Messiaen’s Later Music: An Examination of the Chords of

        Transposed  Inversions on the Same Bass Note.” Journal of Musicological Research

        23, no. 2 (April-June 2004): 187–226.


Simultaneous Contrast and Additive Designs in Olivier Messiaen’s Opera Saint François

        d’Assise.” Music Theory Online 8.2 (August 2002).


A Creative Legacy: Messiaen as Teacher of Analysis.” College Music Symposium 40

        (2000):117–39.


“Twentieth-Century Musical Concepts and the Music of the Beatles.” GAMUT 9 (1999):

        91–104.


“Bach's Toccata and Fugue In D Minor BWV 538: A Rhythmic/Metric Perspective.” The

        American Organist (March 1991): 56–58.


“The Foundation of a Scientific Theory of Music” (third author; in collaboration with

        Michael H. McLarty and William H. Braun). Psychological Record 40 (Fall 1990):

        491–504.


“Rhythm and Meter in Buxtehude's Toccata in D Minor BuxWV 155.” Diapason (July\

        1989): 14–16.


“Musical-Rhetorical Figures in the Orgelbüchlein of J. S. Bach.” Bach 18, no. 1 (January

        1987): 3–21.


Book Reviews:


Review of Gareth Healey’s Messiaen's Musical Techniques: The Composer's View and

        Beyond (Farnham, UK and Burlington, VT: Ashgate, 2013). MLA Notes 71,

        no. 1 (forthcoming).


Review of Christopher Dingle’s Messiaen’s Final Works (Farnham, UK and Burlington,

        VT: Ashgate, 2013). MLA Notes 70, no. 4 (forthcoming).


Review of Jon Gillock’s Performing Messiaen’s Organ Music: 66 Masterclasses

        (Bloomington, IN: Indiana University Press, 2009). Performance Practice Review 16,

        no. 1, Article 2.


Review of Sander van Maas’s The Reinvention of Religious Music: Olivier Messiaen’s 

        Breakthrough Toward the Beyond (New York: Fordham University Press, 2009).

        MLA Notes 67, no. 4 (June 2011): 741–43.


Review of Siglind Bruhn’s Messiaen’s Explorations of Love and Death, and Messiaen’s      

        Interpretations of Holiness and Trinity, 2 vols. (Hillsdale, NY: Pendragon Press,

        2008). MLA Notes 66, no. 3 (March 2010): 524–27.


Review of Peter Hill and Nigel Simeone’s Olivier Messiaen: Oiseaux exotiques (Aldershot,

        UK and Burlington, VT: Ashgate, 2007). MLA Notes (June 2008): 743–45.


Review of Björn Heile’s The Music of Mauricio Kagel (Aldershot, UK and Burlington,

        VT: Ashgate, 2006). MLA Notes (December 2007): 298–300.


Review of Messiaen’s Language of Mystical Love, ed. Siglind Bruhn (New York and

        London: Garland Publishing, Inc., 1998). MLA Notes (December 1999): 424–26.


Review of Benito V. Rivera’s Translation of Joachim Burmeister’s Musica Poetica 1606

        (New Haven: Yale University Press, 1993). Indiana Theory Review 18, no. 1 (Spring

        1997): 97–114.


Review of E. Thomas Glasow’s Translation of Olivier Messiaen: Music and Color:

        Conversations with Claude Samuel (Portland, OR: Amadeus Press, 1994).  Indiana

        Theory Review 17, no. 2 (Fall 1996): 93–102.


Grants/Interviews


e-Learning Fellow, fall 2013; course buyout: weekly meetings with instructional design

        consultant Mrs. Deborah Gulick to revise assessment procedures for MUSIC 109:

        The Music of the Beatles (online course). I will also develop instructional videos of

        Beatle songs played by a Penn State ensemble comprised of both faculty and students

        in which I will direct, play piano/organ, and bass guitar.


e-Learning Fellow, spring 2013; grant in the amount of $3,000: weekly meetings with

        instructional design consultant Mrs. Deborah Gulick to revise the course content and

        document the copyright use of audio files, musical examples, photos, and videos for

        MUSIC 109: The Music of the Beatles (online course)


Penn State Incentives and Innovations Grant, 2011, to support the creation of an online

        general education course on the music of the Beatles, and to enhance the development

        of MUSIC 498, The Music of the Beatles, taught in the spring of 2012.


Interviewed on 31 March 2008 by Cathy Peters of the Australian Broadcasting Corporation

        – Radio National Benitez for her program on Messiaen’s Quatuor pour le fin du

        Temps: “Into the Music: Transcending Time – Messiaen's Quartet for the End of

        Time.” ABC aired the program on July 12, 2008 and repeated it on May 5, 2012.


Individual Faculty Grant in the amount of $2000 from the Institute for the Arts and

        Humanities, The Pennsylvania State University, to conduct research in France and   

        Italy in May–June 2006 for my book, Olivier Messiaen’s Compositional Summa, Saint

        François d’Assise, Fall 2005.


Faculty Research Grant in the amount of $3450 from the College of Arts and Architecture,

        The Pennsylvania State University, to conduct research in France and Italy in

        May–June 2006 for my book, Olivier Messiaen’s Compositional Summa, Saint

        François d’Assise, Fall 2005.


Lectures


International (refereed):


“Stravinsky and the End of Musical Time: Messiaen’s Analysis of the Rite and Its Impact

        on Twentieth-Century Music.” Eighth Biennial International Conference on Music

        Since 1900, Liverpool Hope University, Liverpool, UK, September 15, 2013;

        Sacre Celebration: Revisiting, Reflecting, Revisiting, York University, Toronto,

        Canada, April 18, 2013; 2012 Meeting of the International Musicology Society,        

        Auditorium Parco della Musica, Rome, Italy, July 6, 2012.


“The Macca/MacMa Collaboration: Persona and Protagonist in the Songs of Paul        

        McCartney and Elvis Costello.” International Conference on Analyzing Popular

        Music (PopMAC), University of Liverpool, UK, sponsored by the Society for

        Music Analysis, July 2, 2013.


“Thoroughbass as Pedagogy in the Teaching of Improvisation in Eighteenth-Century

        Counterpoint and Music Theory Classes.” ICASP Summit on Improvisation

        Pedagogy and Community Impact, University of Guelph, Canada, May 24, 2013 (part

        of a special panel discussion).


“Illuminations of the Beyond: Improvisation, Composition, and Messiaen’s Last

        Improvisation Concert.” Perspectives of Musical Improvisation Conference,

        University of Oxford, England, September 11, 2012.


“Rethinking Buxtehude as Harmonist.” 15th International Baroque Music Conference,

        University of Southampton, England, July 12, 2012.


“Harmony and Transformational Voice Leading in the Later Music of Olivier Messiaen.” 

        VII European Music Analysis Conference, Conservatory of S. Cecilia, Rome, Italy,

        September 29–October 2, 2011; Seventh Biennial International Conference on Music

        Since 1900 and the International Conference of the Society for Music Analysis,

        Lancaster Institute for the Contemporary Arts, Lancaster, England, July 31, 2011.


“Music as Incantation: An Examination of André Jolivet’s Influence on Olivier Messiaen.”

        Messiaen 2008 International Centenary Conference, City University of Birmingham,

        Birmingham Conservatoire, Birmingham, England, June 21, 2008; International

        Conference of Messiaen Studies, The University of Southern Queensland,

        Toowoomba, Queensland, Australia, March 31, 2008.


“The Fusion of the Philosophies of Saint Thomas Aquinas and Henri Bergson in Olivier

        Messiaen’s Theology of Time.” Boston University Conference, “Messiaen the

        Theologian,” October 12, 2007.


“Messiaen as Improviser.” Ninth International Conference of the Dutch-Flemish Society

        for Music Theory, Prince Claus Conservatoire, Groningen, The Netherlands, February

        24, 2007.


“Understanding Messiaen as Serialist: Theological Time and Its Musical Expression

        through Number.” Fourth Biennial International Conference on Music Since 1900

        (member of a special Messiaen panel with Stephen Broad, Christopher Dingle, and

        Nigel Simeone), University of Sussex, Brighton, England, August 25, 2005; Dublin

        International Conference on Musical Analysis, University College Dublin, Ireland,

        June 25, 2005; Third Annual Conference of the Society for Musicology in Ireland,

        University College Cork, Ireland, May  8, 2005.


“Aspects of Harmony in Messiaen’s Later Music: An Examination of the Chords of

        Transposed Inversions on the Same Bass Note.” 14th Nordic Musicological Congress,

        Sibelius Academy, Helsinki, Finland, August 13, 2004.


“Narrating Saint Francis’s Spiritual Journey: Pitch Structures and Symbolic Images in

        Messiaen’s Saint François d’Assise.”  International Conference of the College Music

        Society, University of Limerick, Limerick, Ireland, July 7, 2001.


“Simultaneous Contrast and Additive Pitch Designs in Messiaen’s Saint François

        d’Assise.” OXMAC 2000, University of Oxford, Oxford, England, September 23,

        2000.


National (refereed):


“Illuminations of the Beyond: Messiaen’s Last Concert at La Trinité.” 2014 National

        Convention of the American Guild of Organists, Boston, MA, June 24, 2014.

        “Illuminations of the Beyond: Improvisation, Composition, and Messiaen’s Last

        Improvisation Concert.” 2012 National Meeting of the American Musicological        

        Society, New Orleans, LA, November 3, 2012.


“One Composer Viewed Through the Prism of Another: Messiaen’s Analysis of

        Stravinsky’s Rite of Spring.” 2013 National Meeting of the Society for Music Theory,

        Charlotte, NC, November 1, 2013.


“Messiaen’s Language” (formal session). 2008 National Meeting of the American

        Musicological Society, Nashville, TN, November 6, 2008. Authored a formal session

        proposal that was accepted inits entirety. Panelists included: Robert Fallon, Bowling

        Green State University; Wai-Ling Cheong, Chinese University of Hong Kong;

        Christoph Neidhöfer, McGill University; and Andrew Shenton, Boston University.


“‘Tout mon opéra est un immense acte de Foi en Dieu’: Understanding the Theology of

        Olivier Messiaen's Opera Saint François d'Assise.” Symposium, “Olivier Messiaen:

        The Musician as Theologian,” The Meadows School of the Arts and The Perkins

        School of Theology of Southern Methodist University, Dallas, TX, September 26,

        2008.


“The Influence of Saint Thomas Aquinas’s Summa Theologiae on the Compositional

        Aesthetic of Olivier Messiaen.” Forum on Music and Christian Scholarship, Yale

        Institute of Sacred Music, New Haven, Connecticut, March 10, 2007.


“Timbre as Religious Symbol in Olivier Messiaen’s Opera Saint François d’Assise.” 

        Forum on Music and Christian Scholarship, Princeton University, Princeton, New

        Jersey, February 18, 2005; Thirty-Seventh Annual Contemporary Music Festival,

        Indiana State University, Terra Haute, Indiana, October 31, 2003.


“Simultaneous Contrast and Additive Pitch Designs in Messiaen’s Saint François

        d’Assise.” Twenty-Second Annual New Music & Art Festival, Bowling Green State

        University, Bowling Green, Ohio, October 18, 2001; National Meeting of the College

        Music Society, Toronto, Ontario, November 4, 2000.


“Twentieth-Century Musical Concepts and the Music of the Beatles.” National Meeting of

        the Society for Music Theory, Phoenix, Arizona, October 31, 1997.


Regional (refereed):


“Pop Pedagogy in the Twenty-First Century: Teaching the Music of the Beatles to

        Millennials” (co-authored with Randal Baier). Twentieth Regional Conference of the

        Great Lakes Chapter of the College Music Society, Western Kentucky University,

        Bowling Green, Kentucky, April 2, 2005.


“Aspects of Harmony in Messiaen’s Later Music: An Examination of the Chords of

        Transposed Inversions on the Same Bass Note.” Mid-Atlantic Society for Music

        Theory, Temple University, Philadelphia, Pennsylvania, March 26, 2004.


“Exploring Messiaen's Later Harmonic Language: An Examination of Three Non-Modal

        Chord Types in Saint François d'Assise.” Rocky Mountain Society for Music Theory,

        University of Colorado, Boulder, April 19, 2002; South-Central Society for Music

        Theory, Louisiana State University, Baton Rouge, Louisiana, February 22, 2002;

        Texas Society for Music Theory, University of Texas at Austin, February 16,

        2002.


“A Creative Legacy: Messiaen as Teacher of Analysis.” GAMUT, Georgia State

        University, Atlanta, GA, April 24, 1999; South-Central Chapter of the American

        Musicological Society, University of Kentucky, Lexington, Kentucky, March 26,

        1999; South-Central Society for Music Theory, Vanderbilt University, Nashville,

        Tennessee, March 12, 1999; Texas Society for Music Theory, University of North

        Texas, Denton, Texas, March 5, 1999.


“Motives and Musical Structure: An Analysis of the Last Movement of the String Quartet

        in C Minor of Johannes Brahms.” Great Plains Chapter of the College Music Society,

        University of Missouri at Columbia, April 10, 1992.


“Musical Style and Dramatic Meaning in the Wolf's Glen Scene of Weber's Der

        Freischütz.” South-Central Chapter of the College Music Society, University of

        Central Arkansas, Conway, Arkansas, April 12, 1991; South-Central Society for

        Music Theory, University of Arkansas at Fayetteville, March 1, 1991.


“Rhetoric and the Music of Johann Sebastian Bach.” Southeastern American Society for

        Eighteenth-Century Studies, University of Georgia, Athens, Georgia, March 2, 1990. 


“Rhythm and Meter in Buxtehude's Toccata in D Minor BuxWV 155.” Southwest Chapter

        of the American Musicological Society, Rice University, Houston, Texas, April 8,

        1989.


“Musical-Rhetorical Figures in the Orgelbüchlein of J. S. Bach.” Central Gulf Music

        Theory Society (currently South-Central Society for Music Theory), University of

        Southwestern Louisiana, Lafayette, Louisiana, March 25, 1989.


Invited/Campus:


“Stravinsky and the End of Musical Time: Messiaen’s Analysis of the Rite and Its Impact

        on Twentieth-Century Music.” Interdisciplinary Lecture Series, Lipcon Auditorium,

        Palmer Museum of Art, The Pennsylvania State University, November 5, 2013.


“Sweet Soul Music: Spotlight on Otis Redding.” Celebration of African-American Music

        Festival 2012, Esber Recital Hall, School of Music, The Pennsylvania State

        University, February 3, 2012.


“Oye cómo va mi ritmo [Listen to the rhythm of my music]: Celebrating the Music of

        Carlos Santana.” Room 110, Music Building I, School of Music, The Pennsylvania

        State University, February 18, 2011; also given for LAGRASA (Latin American        

        Graduate Student Association), 122 Thomas, The Pennsylvania State University,

        November 10, 2010.


“Motown’s ‘Pride and Joy’: The Music and Legacy of Marvin Gaye.” Celebration of

        African-American Music Festival 2011, Esber Recital Hall, School of Music, The

        Pennsylvania State University, February 4, 2011.


“Musical Rhetoric in the Organ Music of Dieterich Buxtehude and Johann Sebastian

        Bach,” Lecture-Recital for the Penn State Musicology/Music Theory Colloquium

        Series, St. Paul’s United Methodist Church, January, 21 2011.


“Tracing the Compositional Path of Olivier Messiaen’s Opera, Saint François d’Assise: An

        Assessment of the Influence of Wagner, Debussy, and Dukas on Messiaen.” Institute

        for the Arts and Humanities, Spring 2010 Faculty Lecture Series, The Pennsylvania

        State University, April 20, 2010. 


“Hitsville, U.S.A.: The Musical Legacy of Motown.” Celebration of African-American

        Music Festival 2009, Esber Recital Hall, School of Music, The Pennsylvania State

        University, February 27, 2009.


“Olivier Messiaen: Composer-Organist, Man of Faith.” Pre-Concert Lecture for an all-

        Messiaen  organ concert by Jon Gillock. Worship Hall, Pasquerilla Spiritual Center,

        The Pennsylvania State University, April 15, 2008.


“The Influence of Saint Thomas Aquinas’s Summa Theologiae on the Compositional

        Aesthetic of  Olivier Messiaen.” Institute for the Arts and Humanities, Fall 2006

        Faculty Lecture Series, The Pennsylvania State University, November 14, 2006. 


“Music that Transports Us to God: Tonalities and Religious Symbolism in Olivier

        Messiaen’s  Opera Saint François d’Assise.” Franciscan University, Steubenville,

        Ohio, April 20, 2001. 

 

“Musical-Rhetorical Figures in the Orgelbüchlein of J. S. Bach.” St. Joseph Chapter of the

        American Guild of Organists, First Presbyterian Church, St. Joseph, Missouri,

        September 16, 1990.


Chair, Paper Sessions


“Would You Let Your Daughter Analyse a Rolling Stones Song? Or: Understanding      

        Deceptively Simple Music".” International Conference on Analyzing Popular

        Music (PopMAC), University of Liverpool, UK, sponsored by the Society for         

        Music Analysis, July 3, 2013.


“Frameworks for Listening.” Eleventh Annual Meeting of the Music Theory Society of the

        Mid-Atlantic, Temple University, Philadelphia, PA, March 16, 2013.


“Baroque Music.” Tenth Annual Meeting of the Music Theory Society of the Mid-Atlantic,

        University of Delaware, Newark, DE, March 31, 2012.


“Approaches to Harmony and Voice-Leading.” Seventh Biennial International Conference

        on Music Since 1900 and the International Conference of the Society for Music

        Analysis, Lancaster Institute for the Contemporary Arts, Lancaster, England, July 30,

        2011.


“Chord Roots and Harmonic Function in Twentieth-Century Music.” Ninth Annual

        Meeting of the Music Theory Society of the Mid-Atlantic, George Washington

        University, Washington, DC, March 18, 2011.


“Lines, Layers, and Spaces.” Seventh Annual Meeting of the Music Theory Society of the

        Mid-Atlantic, George Mason University, Fairfax, VA, April 3, 2009.

       

“Messiaen’s Language.” 2008 Annual Meeting of the American Musicological Society,

        Nashville, TN, November 6, 2008. Panelists include: Robert Fallon, Bowling Green

        State University; Wai Ling Cheong, Chinese University of Hong Kong; Christoph

        Neidhöfer, McGill University; and Andrew Shenton, Boston University.


“Teacher Education: Tutoring, Technology, and Techniques,” CMS International

        Conference at the University of Limerick, Ireland, July 10, 2001.


New Music and Art Festival, BGSU, October 10, 1998; October 5, 1996.


Moderator, “The Arts,” Third Annual Latino Issues Conference, BGSU, April 25, 1997.

 

profile




Name: Vincent P. Benitez

Gender: Male

Birthday: January 29

Status: Married to Esther Ann Wingfield Benitez

Hometown: El Paso, Texas



occupation




Profession: Education

Occupation: University Professor

Institution: The Pennsylvania State University

Location: University Park, Pennsylvania



favorites




Quote: “God dazzles us by an excess of Truth. Music carries us to God by an absence of Truth”

(Olivier Messiaen, Saint François d’Assise, Tableau 5)

New Reading: Ulysses by James Joyce

Movies: The Seven Samurai, Rashômon, Godfather I and II, Spartacus, 2001: A Space Odyssey, and Barry Lyndon

TV Shows: Masterpiece Theatre: Downton Abbey

Musicians: J. S. Bach, Beethoven, Mozart, Brahms, Monteverdi, Buxtehude, Debussy, Schoenberg, Bartók, Berg, Messiaen, and the Beatles, among others

Travel Destination: Liverpool, England, Summer 2013



Olivier Messiaen: A Research and Information Guide



    Olivier Messiaen: A

    Research and

    Information Guide

    Routledge Music

    Bibliographies. New

    York and London:

    Routledge, 2008.


http://www.amazon.com/Oliver-Messiaen-Information-Routledg-Bibliographies/dp/0415973724


“Benitez displays an impressive command of the literature on Messiaen. . . . Far more than a compendium of research sources on Messiaen, this book offers an essential guide that will prove beneficial both for the specialist—who will discover a wealth of helpful new sources to examine—and for the person who is beginning to explore the fascinating and captivating music of this modern master.” - - Brian Hart, Music References Services Quarterly 12, nos. 1–2 (2009): 61–63.


    For a list of errata/addenda and

    updated Web links, click here:


Errata and Updated Web Links



    The Words and Music of Paul

    McCartney: The Solo Years



   

    The Words and Music

    of Paul McCartney: 

    The Solo Years.

    Praeger Singer-

    Songwriter Collection.

    Westport, CT:

    Praeger Publishers, 2010.


http://www.abc-clio.com/product.aspx?id=53286


http://www.amazon.com/Words-Music-Paul-McCartney-Singer-Songwriter/dp/031334969X/ref=sr_1_1?ie=UTF8&s=books&qid=1260970027&sr=8-1


Benitez’s book . . . is a welcome contribution to popular music scholarship and serves as a helpful reference for all those wishing to learn more about Paul McCartney’s musical language.” David Thurmaier,  Music Theory Online 18, no. 4 (December 2012).


"[This] book is required reading . . . for any Beatles scholar or fan. Proving that the scope of McCartney's 'musical activities [are truly] mind-boggling,' Benitez adds to the understanding of the various musical heights (and lows) this musical icon has attained thus far. Summing up: Highly recommended. All readers.” - - T. Emery, Austin Peay State University, Choice (January 2011).


“Benitez . . . analyzes McCartney’s composition[s] after his time with [t]he Beatles, beginning with his 1970 album McCartney and through the 2007 Memory Almost Full. The focus is on the elements of his musical language, and how he integrates music and text into a unified song.” Reference and Research Book News 25, no. 2 (May 2010): 225.


Olivier Messiaen’s Compositional Summa, Saint François d’Assise (in progress)





Musical Heroes Since Childhood:







contact




vpb2@psu.edu

 

Curriculum Vitae