Sidney M. Boquiren | Faculty Profiles

Diplomas/Degrees

Ph.D., Music Composition, Duke University (1999)

B.M., Music Theory and Composition, Butler University (1992)

Recent Courses

Liberal Arts Seminar: From Bach To Beyonce- Understanding Music

Form And Analysis I

Improvisation Ensemble

Seminar 360: Music Plus: Bach, Beyonce,And Beyond

Theory And Harmony I

Theory And Harmony II

Specialization/Interests

TEACHING EXPERIENCE

September 1, 2004 – May 2011
Assistant Professor
June 2011 - Present
Associate Professor
Department of Music
ADELPHI UNIVERSITY

I am responsible for developing the syllabus for each of the courses I have taught listed below within the structure of our current degree offering, including a Special Topics course on Advanced Analytical Techniques as well as various Independent Studies as needed and requested by students. Additionally, I developed a seminar for the Honors College based on one that I taught while a Postdoctoral Fellow at the Penn Humanities Forum.

MUSIC THEORY: Core Sequence

Aural Skills and Musicianship III

This course focuses on the strengthening and further development of students’ musical and aural skills, including sight-reading in four clefs; written harmonic, melodic, and rhythmic dictation; and more complex rhythmic training. Solfege syllables (movable “do”) as well as numbers are used for sight-reading exercises.

Aural Skills and Musicianship IV

This course involves sight-reading in four different clefs, following both tonal and atonal melodic examples, as well as complex rhythmic patterns. Dictation examples similarly are more challenging, moving from tonal to modulating and chromatic examples.

Theory and Harmony I

This course focuses on the fundamentals of reading and notating music, the principles of voice leading, and analyses of brief diatonic harmonic progressions. The majority of examples studied are drawn from the Western classical canon, supplemented by excerpts from other genres of music such as jazz, rock, and musical theatre.

Theory and Harmony II

This course begins with a review of diatonic chords in both major and minor keys, as well as the basic principles of voice-leading and part-writing before proceeding to the analysis of musical examples drawn primarily from the Western classical canon, supplemented by excerpts from popular literature, and ending with the study of non-chord tones.

Theory and Harmony III

This course begins with a review of the principles of diatonic harmony and part-writing, focusing on triads and seventh chords, before proceeding to the study of chromatic harmony, including but not limited to: chromatic chords and progressions, borrowed chords, altered chords, modulation, extended dominants, and modal and nonfunctional harmony.

Theory and Harmony IV

This course focuses on complex chromatic and harmonic principles, particularly Neapolitan and augmented sixth chords, and ends with an overview of harmonic practices in the late 19th Century including extended chromatic tonal harmony and compositional and analytical techniques of the 20th Century.

Form and Analysis

This course is a study of musical form and structure as exemplified by works drawn primarily from the Western canon. During the semester, students develop a set of skills and a vocabulary that allow them to analyze and discuss various aspects of form and structure in music, which are then applied to analysis of works from their own studio repertoire.

MUSIC THEORY: Advanced Courses

Conducting and Orchestration

This course is taught in two parts. During the first half of the semester the focus is on the study of orchestration, including a review of instruments and their technical considerations (ranges, transpositions, basic characteristics, etc.) before moving toward scoring and arranging techniques. Students are required to complete a major orchestration project.

During the second half of the semester, students study the fundamentals of conducting, working toward learning techniques and methods necessary to prepare, rehearse, and perform music as a conductor of various types of musical ensembles. For the final evaluation, students are required to conduct a small ensemble of musicians and/or singers.

Special Topics: Advanced Analytical Techniques

This course covers advanced techniques in the analysis of music, including set theory, serial, Schenkerian, and Macro-analysis. Musical examples studied range from Western classical repertoire (Bach, Mozart, Beethoven) and contemporary works (Second Viennese School), to popular works including examples from musical theater, jazz, and rock. Students apply learned techniques to their own studio repertoire.

Counterpoint

This course is a study of counterpoint, from the modal practice of the Late Renaissance, through tonal counterpoint of the Baroque Period, and imitative polyphony in the 19th and 20th centuries. Students will write their own counterpoint following exemplary and representative models, both modal and tonal.

MUSIC PERFORMANCE

Workshop in Chamber Music Performance

This course focuses on the rehearsal and performance of chamber music of today and the past. Through the course of the semester, students learn, develop, and improve their skills as chamber musicians by working on repertoire that simultaneously expands their knowledge and appreciation of the Western canon. The course culminates with a public performance at the end of the semester.

MUSIC HISTORY

Honors College Liberal Arts Seminar: From Bach to Beck

This multi-disciplinary seminar focuses on the close examination of encounters with music in various contexts: from live performance to YouTube videos, from music for worship to rock concerts. Through reading, listening, and writing assignments, students will develop a vocabulary and an arsenal of analytical tools as well as methods of inquiry that will help them to explore, study, and critically discuss their experiences of music in a nuanced and sophisticated manner, instead of merely offering a categorical judgment on its supposed quality and value.

Honors College Liberal Arts Seminar: Music and Christian Worship in Contemporary Culture

This course examines the numerous ways that people today worship through music, and explores how these differences express and formulate identity, serving to unite as well as articulate boundaries among people of faith. During the process of studying the interface between music and worship, students develop a critical ear through listening to and aurally analyzing a variety of musical examples examined in different contexts. Students are asked to hear and experience a variety of Christian musical traditions through in-class and assigned listenings as well as through visits of local area churches and worship centers. Through this comparative and experiential process, the students gain an encompassing view on the dynamic balance between worship and music as it is informed and shaped by culture (traditional, popular, local, marginalized, “imported,” and so forth).

Major Composers of the 19th and 20th Centuries

This course focuses primarily on the study of seminal composers and their works from the 19th and 20th centuries, but also includes a brief foray into contemporary composers and aesthetic trends. The course begins with Beethoven as the transitional figure at the cusp of the Classical and Romantic eras and moves through the major musical figures of Romanticism. The course continues with studies of composers and exemplary works from late-19th century Impressionism through the turn of the century into the 20th, leading through the important musical trends early in that century. The second half of the semester emphasizes composers of the last century, leading to post-World War II developments and culminating with close examination of contemporary musical issues as addressed by living composers.

INDEPENDENT STUDY

Advanced Analytical Techniques
Composition
Music Analysis and Performance Practice
Research and Bibliography in Music
Stringed Instruments of the World

September 1, 2003 – May 1, 2004
Andrew F. Mellon Postdoctoral Fellow
Penn Humanities Forum
UNIVERSITY of PENNSYLVANIA

As a Postdoctoral Fellow, I attended weekly seminars focused on the examination of Belief in a range of disciplines in the Humanities, Arts, and Sciences; continued research on the practice of music and religious faith; gave presentation to Forum on compositional works that explore the relationship between music and religious faith; along with Christopher Adler, performed a recital of sacred music for piano, which included the premiere of my project for the forum, Misang Walang Salita (Mass Without Words), scored for two performers, sound technician, amplified piano, preparations, and reverberation/delay units. Course taught:

Music and Christian Worship in Contemporary Culture

This seminar focused on examining the relationship between music and worship as exemplified in current practice. Students are required to attend and write about a range of events that involve the interaction of music and worship.

August 1, 1995 – May 31, 1999
Teaching Fellow and Instructor
Center for Teaching, Learning, and Writing
DUKE UNIVERSITY

University Writing Course: Workshop in Rhetoric

As a Fellow, I designed the assignment sequence for a Teaching Collective of 6 instructors; met with the Collective regularly to discuss pedagogical issues; observed individual instructors in the classroom setting and assisted them in addressing teaching concerns; and assisted in the orientation and training of new instructors.

As an Instructor, I taught selected topics in rhetoric, academic writing, library research, source use and documentation, and grammar; conducted rhetorical analysis of selected texts; facilitated workshops of students’ work; and assisted students in the composition of a final multiple-source research paper.

ARTISTIC ACHIEVEMENTS: COMMISSIONS (2005 – Present)

Ruth Boshkoff for OAKE: Psalm IX for unaccompanied women's chorus (2013)

QuadrATOMIC Saxophone Quartet (New York, NY): Untitled (2013)

Jupiter String Quartet (Champaign, IL): Untitled (2013)

mmm... and Hibari Project (Tokyo, Japan): Requiem in Memoriam for violin, flute, and piano (2011)

Jane Pickett (Los Angeles, CA): Music for the silent film Cuttlefish by Jane Pickett, for piano and bass drum (MIDI recording, 2011)

pulsoptional (Durham, NC): Music for Cuttlefish for oboe, bassoon, electric guitar, bass guitar, piano, and marimba (2011)

Margaret Lally and the Department of Theatre at Adelphi University (Garden City, NY): Music for Sarah Ruhl's Eurydice (2011)

Christopher Adler and NOISE Ensemble (San Diego, CA): Babaylan for khaen (Thai/Lao mouth organ), flute, and cello (2011)

Improvisation Group of Lawrence Univ. (Appleton, WI): Paper Pieces for paper ensemble of six or more
performers (2010)

Allan Friedman and Women’s Voices Chorus (Chapel Hill, NC): Devi for women’s chorus (2009)

Jonathan Goodman and William Zito (Garden City, NY): Last Seen (Four Songs) for tenor and guitar (2009)

Elaine Comparone and Peter Seidenberg (Garden City, NY): The Decent Experience for harpsichord and cello
(2009)

Lone Larsen and Voces Nordicae (Stockholm, Sweden): Out of the Ashes for a cappella mixed choir, 2008

Lone Larsen and Voces Nordicae (Stockholm, Sweden): O-we yówa (choral version) for a cappella mixed
choir (2008)

pulsoptional (Durham, NC): Doves for violin, oboe, bassoon, electric guitars, piano, marimba, and
temple bowls (2008)

Lone Larsen and Voces Nordicae (Stockholm, Sweden): I Shall Not for a cappella mixed choir (20070

Christopher Adler (San Diego, CA): angel music for solo khaen (Lao/Thai mouth organ) (2007)

James John and Queens College Choirs (New York, NY): Speak to Me for a cappella mixed choir (2007)

Tufts University New Music Ensemble (Medford, MA): The Book of Hours for one piano and six or more performers (2007)

Linda Wetherill and the Adelphi Summer Flute Week (Garden City, NY): The Walls of Jericho for flute ensemble and piano (2006)

NOISE ensemble (Garden City, NY): Missa cum Jubilo, for flute, cello, guitar, piano, and percussion (2005)

ensemble amarcord (Leipzig, Germany): Seven Folksongs for Male Vocal Quintet (TTBtBB; 2004)

Spencer Martin and Murasaki Duo (Decorah, IA): Tres Marias (“Three Marys”)
for viola, cello, and piano (2004)

Mallarmé Chamber Players (Durham, NC): on the ineffable nature of the divine being for
flute/alto flute, oboe/english horn, clarinet/bass clarinet, and percussion (2004)

Eric Pritchard (Durham, NC): Panalangin (“Prayer”) for solo violin (2003)

Ayelet Harpaz (Amsterdam, the Netherlands): Stabat Mater for amplified voice and 3 CDs (2003)

Ayelet Harpaz/Anne Faulborn (Amsterdam, the Netherlands): Pagdaramay (“Mourning”)
for amplified voice, harpsichord, and CD (2002)

ensemble amarcord (Leipzig, Germany): Gloria for Male Vocal Quintet (CtTBtBB; 2001)

Ciompi Quartet (Durham, NC): Pagsamba (“Worship”) for string quartet, 2001-2002 season

University of North Carolina (Chapel Hill, NC) Women’s Glee Club:
Three Philippine Folksongs for unaccompanied women’s chorus (SSAA; 2001)

pulsoptional (formerly CSMG): Tunugan (“Soundings”) for prepared piano and four players (2000)

ARTISTIC ACHIEVEMENTS: PERFORMANCES (2005 – Present)

Most recent performances are given first, followed by previous performances of the same work.

II. Lento Misterioso from Three Preludes for solo piano(1997)
David Holzman
September 25, 2012
Long Island University-CW Post, Brookville, NY

Stop and Frisk (2012; from Triptych in Grant Park)
First scene from projected chamber opera for tenor, baritone, and chamber ensemble.
Version with piano. Developed and realized with the support of American Opera Projects through the Composers and the Voice Series. Multiple performances.
Libretto by Daniel Neer
Directed by Noah Himmelstein
Brandon Snook (tenor), Jorell Williams (baritone), and Mila Henry (piano)
BEAT FESTIVAL performances:
September 22, 2012, The Irondale Center, Fort Greene, Brooklyn, NY
September 19, 2012, Brooklyn Conservatory of Music, Brooklyn, NY
September 13, 2012, Flatbush Reformed Church, Flatbush, NY
AOP's Six Scenes performances:
September 7 & 9, 2012, AOP S. Oxford Space, Brooklyn NY

American Opera Project's First Glimpse Concert
Performance of three arias with lyrics by Daniel Neer
"Sunday, Early Evening" for bass and piano (2011)
Justin Hopkins (bass) and Mila Henry (piano)
"Riverview Amusement Park" for soprano and piano (2012)
Amy Shoremount-Obra (soprano) and Kelly Horsted (piano)
"The View from the Lunch Counter" for mezzo-soprano and piano (2012)
Rebecca Ringle (mezzo-soprano) and Jeanne-Minette Cilliers (piano)
May 20/21, 2012, AOP's S. Oxford Space, Fort Greene, Brooklyn, NY

Music for Cuttlefish(2011)
Arrangement of Music for the Film Cuttlefish for oboe, bassoon, electric guitar, bass guitar.
pulsoptional
March 10, 2012, DiMenna Arts Center, New York, NY
March 9, 2012, Adelphi University, Garden City, NY
March 3, 2012, IUSB, South Bend, IN

"Father's Song" from Music for Eurydice, version for violin and piano (2011)
Mark Menzies (violin) and Sidney Marquez Boquiren (piano)
November 18, 2011
Garden City, NY

Panalangin ("Prayer"), version for violin and reverb/delay units (2011)
Mark Menzies (violin) and Sidney Marquez Boquiren (electronics)
November 18, 2011
Garden City, NY

Music for Eurydice (2011)
Incidental music for the play by Sarah Ruhl.
Directed by Maggie Lally
Music composed and performed by Sidney Marquez Boquiren
October 25 - 30, 2011
Garden City, NY

Babaylan ("Healer") for khaen (Lao/Thai bamboo mouth organ), flute, and cello (2010)
Members of NOISE: Christopher Adler (khaen), Lisa Cella (flute), and Franklin Cox (cello)
June 17, 2011, La Jolla, CA
March 12, 2011, Garden City, NY

The Decent Existence, version for solo harpsichord (2009)
Michiyo Honma
November 27, 2010
Tokyo, Japan

Odes to Earth and Air (2010)
A chamber opera for mezzo-soprano, baritone, and piano with video projection
Abigail Fischer (mezzo-soprano), Daniel Neer (baritone), and Adam Nielsen (piano)
Lyrics by Daniel Neer
Video and Stage Direction by Ted Gorodetzky
October 16, 2010
Adelphi University, Garden City, NY

We Will Not Be Silent (2010)
A structured improvisation for amplified piano and electronics
Sidney Marquez Boquiren (piano) and Bryan Teoh (electronics)
October 16, 2010
Adelphi University, Garden City, NY

Paper Pieces for paper ensemble of 6 or more performers
IGLU (Improvisation Group of Lawrence University)
May 17, 2010, Lawrence University, Appleton, WI

Doves for violin, oboe, bassoon, electric guitars, piano, marimba, and temple bowls (2008)
pulsoptional:
May 8, 2010, Duke University, Durham, NC
February 28, 2009, Eastern Carolina University, Greenville, NC
March 17, 2008, Adelphi University, Garden City, NY
March 16, 2008, Philippine Consulate, New York, NY

“Salidummay” (from Tatlo sa Buhay) for a cappella women’s choir (2001)
The Women of Adelphi University Chorus (Michael Hume, Director):
May 2, 2010, Adelphi University, Garden City, NY
May 7, 2007, Adelphi University, Garden City, NY

Three Pages for solo piano (2009)
John McDonald:
March 18, 2010, Tufts University, Medford, MA

Devi for women’s chorus (2009)
Women’s Voices Chorus (Allan Friedman, Director):
January 25, 2010

Requiem: alone for flutes and reverb/delay units (2009)
Anne La Berge:
May 27, 2009, Utrecht, the Netherlands
March 23, 2009, Adelphi University, Garden City, NY

Last Seen (Four Songs) for tenor and guitar (2009)
Jonathan Goodman and William Zito:
April 5, 2009, Adelphi University, Garden City, NY (premiere)

Pananampalataya (“Faith”) for solo piano (2002)
Eric Huebner:
March 9, 2009, Adelphi University, Garden City, New York

Out of the Ashes for a cappella Mixed Choir (2008)
Gregg Smith Singers (Gregg Smith, Director):
March 7, 2009, New York, NY

The Book of Hours for one piano, six or more performers, and preparations (2007)
AXIS Ensemble
March 6, 2009, Cambridge, MA
Tufts University New Music Ensemble
April 30, 2007, Tufts University, Medford, MA

The Decent Existence for harpsichord and cello (2008)
Elaine Comparone and Peter Seidenberg:
February 13, 2009, Adelphi University, Garden City, NY

Panalangin/Pananampalataya (“Prayer/Faith”) for violin/piano (2003/2002)
Excerpts used as music for the film Go North by Lum Ngo:
January 31, 2009, NYU NewDocs Film Festival, New York, NY
Used as music for Color Codes: a Point of Hue, choreography by Trebien Pollard,
performed by Residue Dance Theatre:
July 26-29, 2007, Joyce SoHo, New York, NY
Carmel Raz and Christopher Adler:
April 4, 2007, Chicago, IL
Used as music for Color Codes: Memory, Love, and Sacrifice, choreography by Trebien Pollard,
performed by Dance Adelphi:
April 25-30, 2006, Adlelphi University, Garden City, NY

Stabat Mater for amplified female voice and 3 CDs (2003)
Ayelet Harpaz:
January 18, 2009, De Witte Dame, Eindhoven, the Netherlands

The Civilized Captivity of a Primitive Existence (2008)
Collaborative dance, music, and theater project that included performances of O-we yówa and Winter
Sidney Marquez Boquiren and Trebien Pollard:
November 23 and 24, 2008, Adelphi University, Garden City, NY

I Shall Not for a cappella Mixed Choir (2006)
Voces Nordicae (Lone Larsen, Director):
November (?), 2008; Normandy, France
September 28, 2007; Stockholm, Sweden

O-we yówa for solo voice and piano (2008)
Sidney Marquez Boquiren:
October 3, 2008, Tufts University, Boston, MA
September 26, 2008, Duke University, Durham, NC
March 17, 2008, Adelphi University, Garden City, NY
March 16, 2008, Philippine Consulate, New York, NY
January 8, 2008, MacDowell Colony, Peterborough, NH

Winter for solo piano (2008)
Sidney Marquez Boquiren:
April 1, 2008, Adelphi University, Garden City, NY
January 20, 2008, MacDowell Colony, Peterborough, NH

angel music for solo khaen (Lao/Thai mouth organ; 2007)
Christopher Adler:
June 16, 2007, First Annual NOISE Festival of New Music; San Diego, CA

Speak to Me for a cappella Mixed Choir (2006)
Queen’s College Choirs (James John, Director):
May 10, 2007, Flushing, NY
April 29, 2007, New York City, NY

first love story for a cappella Mixed Choir (2005)
Duke University Chorale:
March 11-17, 2007, California tour (various locations)
November 5, 2006, Pinehurst, NC
Adelphi University Choir:
May 1, 2006, Adelphi University, Garden City, NY

Four Laments and a Dirge for flute, oboe, viola, piano, and percussion (2007)
Adelphi University Contemporary Music Ensemble:
March 12, 2007, Adelphi University, Garden City, NY

Gloria for a cappella male vocal quintet (2001)
ensemble amarcord:
March 9, 2007, Hartford, CT
September, 30, 2005, Lehrte, Germany
July 11, 2005, Association of Lutheran Church Musicians Concert, York, NY
July 5, 2005, The Alliance World Festival Concert, Collegeville, MN
June 12-16, 2005, Festival La Fabbrica del Canto, various locations in Italy
Feb. 25, 2005, Greensboro, NC
Feb. 10, 2005, Hamburg, Germany

Seven Folksongs for a cappella male vocal quintet (2004)
ensemble amarcord:
August 14, 2006, Altafulla, Spain
July 20, 2006, Schloss Runkelstein, Bozen, Italy
June 17, 2006, 9th Annual Festival “Köstritzer Musikmeile” Opening Concert,
Bad Köstritz, Germany
June 16, 2006, Festival La Fabbrica del Canto, Cerro Maggiore, Italy
April 15, 2006, “A Cappella Festival for Vocal Music,” Leipzig, Germany
March 17-18, 2006, various locations in Germany (selections)
February 20-March 3, 2005, USA concert tour, various locations (selections)

The Walls of Jericho for flute ensemble (2006)
Adelphi University Flute Ensemble (Linda Wetherill, Director):
August 4, 2006, Adelphi University, Garden City, NY

Matins for one or more pianos (2006)
Sidney Marquez Boquiren and Christopher Lyndon-Gee:
March 20, 2006, Adelphi University, Garden City, NY

Sala'am for solo harpsichord (1994)
Zvi Meniker:
December 3, 2005, Hannover, Germany

Missa Cum Jubilo for flute, cello, guitar, piano, and percussion (2005)
NOISE Ensemble:
May 1, 2005, San Diego, CA

Jubilus for amplified flute/bass flute, amplified oboe, and reverb and delay units (2005)
Linda Wetherill (flutes) and Terry Keevil (oboe):
March 14, 2005, Garden City, NY

“Litany/Kyrie” for solo piano, from Misang Walang Salita (Mass Without Words) (2004) Sidney Marquez Boquiren:
March 14, 2005, Adelphi University, Garden City, NY

ARTISTIC ACHIEVEMENTS: COMPOSITIONS

ORCHESTRAL/LARGE ENSEMBLE

…in memoriam… et benedicti sunt… for string orchestra: 2002
30-35’

Misa for Mixed Chorus, string quintet, two guitars, piano, percussion: 1999
90-120’

CHAMBER

Requiem in Memoriam for flute, violin, and piano: 2012
4'

Music for Cuttlefish for oboe, bassoon, electric guitar, bass guitar, piano, and percussion: 2011
9'

Babaylan for khaen, flute, and cello: 2010
9'

The Decent Existence for harpsichord and cello: 2009
6’

Doves for violin, oboe, bassoon, electric guitars, piano, marimba, and temple bowls: 2008
12 – 15’

angel music for solo khaen (Lao/Thai mouth organ): 2007
12’

Four Laments and a Dirge for flute, oboe, viola, piano, and percussion: 2007
12’

Walls of Jericho for flute ensemble and piano: 2006
14’

Missa cum Jubilo for flute, guitar, cello, piano, and percussion: 2005
10’

on sundered souls for five double basses: 2004
10’

Tres Marias (“Three Marys”) for viola, cello, and piano: 2003
15-20’

on the ineffable nature of the divine being for flute/alto flute, oboe/english horn,
clarinet/bass clarinet, and percussion: 2003
15-20’

Panalangin (“Prayer”) for solo violin: 2003
12’

Pagsamba (“Worship”) for string quartet: 2001
30-45’

Magkasama (“Together”) for string quartet: 1999
4’

Isa’t-Isang Magkakasama (“One by One, All Together”) for flute, oboe,
bass clarinet, violin, viola, cello, piano, and percussion: 1995
6’

AD TE for string quartet: 1993
6’

5 Sketches for solo cello: 1992
10’

S.L.M. for solo viola: 1992
4’

CHORAL/VOCAL

The View from the Lunch Counter for mezzo-soprano and piano (2012)
Lyrics by Daniel Neer
5'

Riverview Amusement Park for soprano and piano (2012)
Lyrics by Daniel Neer
4'

I Am (adapted from Devi) for soprano and piano (2012)
Lyrics by Sidney Marquez Boquiren
6'

Sunday, Early Evening for bass and piano (2011)
Lyrics by Daniel Neer
8'

Stop and Frisk for baritone and piano (2011)
Lyrics by Daniel Neer
4'

Washington Square Park for tenor and piano (2011)
Lyrics by Daniel Neer
3'

My Beloved Speaks to Me for a cappella mixed chorus (SSAATB): 2011
4'

Devi for women’s chorus: 2009
6’

Last Seen (Four Songs) for tenor and guitar: 2009
ca. 12’

O-we yówa version for a cappella mixed chorus (SSAATTBB): 2008
6’

Out of the Ashes for a cappella mixed chorus (SSAATTBB): 2008
5’

O-we yówa for solo voice and piano: 2008
6’

I Shall Not for a cappella mixed chorus (SSAATTBtBB): 2006
6’

Speak to Me for a cappella mixed chorus (SSAATTBB) and Speaking Chorus: 2006
6’

first love story for a cappella mixed chorus (SSAATTBB): 2005
3’

Seven Folksongs for male vocal quintet (TTBtBB): 2004
25’

…at pinagpala and mga mapagpayapa… (“…and blessed are the peacemakers…”)
for voice, bassoon, piano, and percussion: 2004
15-20’

Iyeyan arranged for male vocal quintet or choir (TTBtBB): 2002
5’

Dolor, Lamentatio, et Spes for unaccompanied mixed chorus (SSAATTBB): 2001
10-15’

Sanctus for male vocal quartet (CtTTB): 2001
8’

Gloria for male vocal quintet (CtTBtBB): 2001
6’

Three Philippine Folksongs for a cappella women’s chorus (SSAA): 2000
8’

An Irish Benediction for a cappella mixed chorus (SATB): 2000
3’

Maawa Ka/Miserere Mei for boy soprano, baritone, and piano: 1997
8’

Iyeyan for a cappella mixed chorus (SSAATTBB, with soloists): 1996
5’

Salamat (“Thanks”) for four baritone voices: 1995
12’

Pater Noster for a cappella mixed chorus (SSAATTBB): 1994
6’

Canticle: AMDG for tenor, bass, flute/alto flute, bassoon, guitar, and viola: 1993
8’

Three Poems by Tristan Tzara for dramatic soprano and piano: 1992
10’

KEYBOARD

Three Pages for solo piano: 2009
variable duration

Winter for solo piano: 2008
10 – 12’

The Book of Hours for piano, six or more performers, and preparations: 2007
24’

Matins for one or more pianos: 2006
8’

“Litany/Kryie” (from Misang Walang Salita) for solo piano: 2005
6’

Pananampalataya (“Faith”) for solo piano: 2002
20-25’

Tunugan (“Soundings”) for prepared piano and four players: 2000
20-24’

Birthday Piece for two pianos: 1995
3’

Three Preludes for solo piano: 1995 13’

Prelude and Cha-cha for solo piano: 1993
0.5’

Sala’am for solo harpsichord: 1993
9’

ELECTRONICS

Panalangin for violin and reverb/delay units: 2011
12'

We Will Not Be Silent: a structured improvisation for amplified piano and electronics: 2010
ca. 20'

Requiem: alone for flutes and reverb/delay units: 2009
10 – 12’

Jubilus for amplified flute/bass flute, amplified oboe, and reverb/delay units: 2005
8’

Misang Walang Salita (“Mass Without Words”) for two performers, sound technician,
amplified piano, preparations, and reverb/delay units: 2004
40-50’

Stabat Mater for amplified female voice and three CDs: 2003
6-8’

Pagdaramay (“Mourning”) for amplified voice, harpsichord, and CD: 2002
15-25’

MULTI-DISCIPLINARY and COLLABORATIVE PROJECTS

Stop and Frisk for tenor, baritone, and piano: 2012
First scene from projected chamber opera (Triptych in Grant Park) for tenor, baritone, and chamber ensemble. Developed and realized with the support of American Opera Projects through the Composers and the Voice Series.Lyrics by Daniel Neer and directed by Noah Himmelstein.
ca. 25'

Odes to Earth and Air for baritone, mezzo-soprano, and piano: 2010
ca. 45’
A semi-staged chamber opera on Camille and Paul Claudel, with lyrics by Daniel Neer and video by Ted Gorodetzky

The Civilized Captivity of a Primitive Existence for dancer and vocalist/pianist: 2008
ca. 40’ Collaborative dance, music, and theater project that included performances of O-we yówa and Winter

Research Interests

MUSIC, WORSHIP, and ETHNICITY
Research into the conveyance, perception, and reception of religious and ethnic identity and practices in music, focusing on the compositions of Jose Maceda, Olivier Messiaen, and Arvo Pärt, and the writings of Anscar Chupungco and Catherine Bell in their work on inculturation and ritual studies.

MULTI-DISCIPLINARY and COLLABORATIVE PERFORMANCE PROJECTS
Creative and performance interest in the production of collaborative projects that involve multiple disciplines and media.

MUSIC of TODAY
Commitment to the study, promotion, performance, and advocacy of works by living composers.

International Experience

PHLIPPINES. Beyond being a Philippine citizen, my creative work is informed by my upbringing in the Philippines and research conducted while in grad school at Duke studying the music of Jose Maceda, Ramon Santos, and Francisco Feliciano as well as Philippine indigenous practices.

SAUDI ARABIA. I lived with my family in Rahima, Saudi Arabia (east coast) during middle school years (1981-85) and began composing while I was there.

NETHERLANDS. Attended Gaudeamus New Music Week in Amsterdam the Netherlands in 2000 and 2001.

GERMANY. I regularly collaborate with the German vocal quintet, ensemble amarcord (based in Leipzig, Germany). They also commissioned me to arrange folksongs from Southeast Asia and Australia.

Creative Scholarship

""Lento Misterioso" from Three Preludes for Solo Piano". David Holzman (piano). Great Hall, LIU-CW Post. September 2012.

""Stop and Frisk" from Triptych in Grant Park". This is the first scene of a one-act opera. Realized with the support of American Opera Projects through the Composers and the Voice series. Libretto by Daniel Neer. Music by Sidney Marquez Boquiren. Direction by Noah Himmelstein. Jorell Williams (baritone), Brandon Snook (tenor) Mila Henry (piano). The Irondale Center, Fort Greene, Brooklyn, NY. September 2012.

""Stop and Frisk" from Triptych in Grant Park". This is the first scene of a one-act opera. Realized with the support of American Opera Projects through the Composers and the Voice series. Libretto by Daniel Neer. Music by Sidney Marquez Boquiren. Direction by Noah Himmelstein. Jorell Williams (baritone), Brandon Snook (tenor) Mila Henry (piano). Brooklyn Conservatory of Music, Park Slope, Brooklyn, NY. September 2012.

""Stop and Frisk" from Triptych in Grant Park". This is the first scene of a one-act opera. Realized with the support of American Opera Projects through the Composers and the Voice series. Libretto by Daniel Neer. Music by Sidney Marquez Boquiren. Direction by Noah Himmelstein. Jorell Williams (baritone), Brandon Snook (tenor) Mila Henry (piano). Flatbush Reformed Church, Flatbush, Brooklyn, NY. September 2012.

""Stop and Frisk" from Triptych in Grant Park". This is the first scene of a one-act opera. Realized with the support of American Opera Projects through the Composers and the Voice series. Libretto by Daniel Neer. Music by Sidney Marquez Boquiren. Direction by Noah Himmelstein. Jorell Williams (baritone), Brandon Snook (tenor) Mila Henry (piano). AOP S. Oxford Space, Fort Greene, Brooklyn, NY. September 2012.

"AOP's First Glimpse Concert". Performance of three arias as follows: 1. "Sunday, Early Evening"_Justin Hopkins (bass), Mila Henry (piano); 2. "Riverview Amusement Park"_Amy Shoremount Obra (soprano), Kelly Hosted (piano); 3. "The View from the Lunch Counter"_Rebecca Ringle (mezzo-soprano), Jeanne-Minette Cilliers (piano). AOP S. Oxford Space, Fort Greene, Brooklyn, NY. May 2012.

"Music for Cuttlefish". Film by Jane Pickett. Performed by pulsoptional: Sidney Marquez Boquiren (piano) marc faris (electric guitar) Todd Hershberger (bassoon) Thom Limbert (percussion) John Mayrose (bass guitar) Carrie Shull (oboe). DiMenna Arts Center, Manhattan, NY. March 2012.

"Music for Cuttlefish". Film by Jane Pickett. Performed by pulsoptional: Sidney Marquez Boquiren (piano) marc faris (electric guitar) Todd Hershberger (bassoon) Thom Limbert (percussion) John Mayrose (bass guitar) Carrie Shull (oboe). Concert Hall, Performing Arts Center, Adelphi University, Garden City, NY. March 2012.

"Music for Cuttlefish". Film by Jane Pickett. Performed by pulsoptional: Sidney Marquez Boquiren (piano) marc faris (electric guitar) Todd Hershberger (bassoon) Thom Limbert (percussion) John Mayrose (bass guitar) Carrie Shull (oboe). Campus Auditorium, IUSB, South Bend, IN. March 2012.

"Father's Song (from Music from Eurydice)". Mark Menzies (violin). Sidney Marquez Boquiren (piano). Concert Hall, Performing Arts Center, Adelphi University, Garden City, NY. November 2011.

"Panalangin ("Prayer")". Version for solo violin + electronics. Mark Menzies (violin). Sidney Marquez Boquiren (electronics). Concert Hall, Performing Arts Center, Adelphi University, Garden City, NY. November 2011.

"Father's Song (from Music from Eurydice)". Version for violin, guitar, and bass clarinet. Mark Menzies (violin), Peter Mayer (guitar), and Fabian Rucker (bass clarinet). Galerie am Roten Hof, Vienna, Austria. November 2011.

"Music for Eurydice". Incidental music for the play "Eurydice" by Sarah Ruhl. Directed by Maggie Lally. Music composed and performed by Sidney Marquez Boquiren. October 25 - 30, 2011. Olmsted Theatre, Performing Arts Center, Adelphi University, Garden City, NY. October 2011.

"Babaylan ("Healer")". Commissioned by Christopher Adler and NOISE. Supported by a Faculty Development Grant from Adelphi University. Christopher Adler (khaen, a Lao/Thai bamboo mouth organ), Lisa Cella (flute), and Franklin Cox (cello). The Athenaeum Music & Arts Library, La Jolla, CA. June 2011.

"Babaylan ("Healer")". Commissioned by Christopher Adler and NOISE. Supported by a Faculty Development Grant from Adelphi University. Christopher Adler (khaen, a Lao/Thai bamboo mouth organ), Lisa Cella (flute), and Franklin Cox (cello). Concert Hall, Performing Arts Center, Adelphi University, Garden City, NY. March 2011.

Grants

Adelphi University Faculty Development Grant for "Babaylan: A New Work for Khaen, Flute, and Cello for Noise Ensemble" (New York, NY): March 20-13, 2011

Meet the Composer MetLife Creative Connections Grant (for Guest Composer Christopher Adler): 2009

Adelphi University Faculty Development Grant for “Doves: a Series of Performances and Premieres by
pulsoptional” (New York, NY): March 15-18, 2008

Honors and Accomplishments

GRANTS

Adelphi University Faculty Development Grant for "Babaylan: A New Work for Khaen, Flute, and Cello for Noise Ensemble" (New York, NY): March 20-13, 2011
Meet the Composer MetLife Creative Connections Grant (for Guest Composer Christopher Adler): 2009

Adelphi University Faculty Development Grant for “Doves: a Series of Performances and Premieres by
pulsoptional” (New York, NY): March 15-18, 2008

HONORS, AWARDS, and RESIDENCIES

Composer Fellow, American Opera Project's Composers and the Voice Series (Brooklyn, NY: 2011 - 2012

Featured Composer, soundON New Music Festival (San Diego, CA): 2011

Composer Residency, University of San Diego (San Diego, CA): 2010

ASCAPLUS Award Recipient (Concert Division): 2006 – Present

Boosey & Hawkes, publication of Tatlo sa Buhay (Three Philippine Songs on Life): 2008

Gregg Smith Singers Readings/Workshop (New York, NY): 2008

MacDowell Residency (Peterborough, NH): December 2007-January 2008
National Endowment for the Arts Access to Artistic Excellence Fellowship

Featured Composer, SoundON New Music Festival (San Diego, CA): 2007

Omicron Delta Kappa Third Annual Academic Adviser Recognition Award: 2007

Guest Composer and Performer, Millennium Chamber Music Players (Chicago, IL): 2007

University of Pennsylvania, Mellon Postdoctoral Fellowship (Philadelphia, Pennsylvania, USA): 2003-2004

International Gaudeamus Composition Competition (Amsterdam, the Netherlands), Honorable Mention for “Pag-aalay at Panalanging Eukaristiko: Ikatlong Meditasyon,” from Misa, 2000

New London Chamber Choir Composition Competition (London, UK),
High Commendation for Iyeyan: 2000

Tunugan ’97, 18th Asian Composers League Festival (Manila, Philippines),
Chosen Performance for Salamat: 1997

Aliénor Harpsichord Composition Competition (Atlanta, Georgia, USA),
Finalist and Winner for Sala’am: 1994

William Klenz Prize in Music for Pater Noster, Duke University: 1994

Mary Duke Biddle Composition Fellowship, Duke University: 1992-1997

PUBLICATIONS

Boquiren, Sidney (arr.). 2008. Tatlo sa Buhay (Three Philippine Songs on Life). Boosey & Hawkes: New York, NY.

---. Forthcoming. Doves. CD. pulsoptional. Self release.

---. Forthcoming. Three Laments. CD. Voces Nordicae. Footprint Records: Stockholm, Sweden.

Professional Activities

ACADEMIC and PROFESSIONAL SOCIETIES: Memberships

American Composers Forum (ACF)

American Music Center (AMC)

American Society of Composers, Authors, and Publishers (ASCAP)

College Music Society (CMS)