Campus Address: Rockwell Hall 105
Tomás Henriques joined the Music Department in 2009. He teaches music composition, music theory and electronic music, and technology applications for music education. Recent pedagogical endeavors include successfully reaching out to faculty in the areas of engineering and computer science to engage in new, multidisciplinary research and teaching paths.
Henriques' creative work and research activities are wide-ranging both in their scope and diversity. His compositional output includes pieces for acoustic instruments, both large and small formations, as well as music for electronic and mixed media.
His works are regularly commissioned and have been played in music festivals such as the Musica Viva Festival, the Festival Synthèse, the Logos Festival, the North American New Music Festival, the June in Buffalo Contemporary Music Festival, the 3rd Practice Electronic Music Festival, the Art Series Now Festival, etc, as well as in concerts in USA, Portugal, England, France, Italy, Spain, and Hungary. Examples of his music can be heard on the Numerica and MisoRecords labels. Parallel to his creative work, Henriques maintains an active agenda in the areas of music theory, musicology, and aesthetics, regularly presenting papers on these subjects.
Research in music technology has played a major role in his scientific output ever since he was a graduate student at the University at Buffalo, where he obtained his masters and Ph.D. Henriques' work in this area has covered the topics of spatial motion of sound and real time interactive music.
From 2005 onwards he has focused his research on using sensor technologies to create innovative electronic instruments for music performance and composition. These new digital music controllers are performed by the composer and currently presented in conferences and concert venues both in North America and in Europe.
Henriques has been an educator at higher education institutions for the last 12 years. He taught twentieth-century music analysis and computer music techniques at the New University of Lisbon in Portugal from 1996 until 2008 where he also established and directed the Computer Music Studios of the university. He is a member of CESEM, Center for Studies in Aesthetics and Sociology of Music, in Lisbon, where he regularly collaborates in international research projects.
In 2009 he was a research fellow at Carnegie Mellon University in Pittsburgh, working in the area of real-time interactive music composition and also developing new interfaces for real-time speech synthesis.
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