Music Program

Dr. Javier Clavere

Assistant Professor of Music Theory and Applied Piano
College Organist and Carillonneur

At Berea College since 2010

Contact Information:

Presser, Room 404
Phone: 1-859-985-3464
Ext: 3464
Fax: 1-859-985-3994
CPO 2194

Personal Website:

Office Hours, Spring 2016:

Wednesday from 12:30 to 1:30 pm
Thursday 12:30 to 1:30 pm
Other times by appointment.
If there is piano music playing do not interrupt the lesson.

Class Schedule:

  • MUS 222 (Mon/Wed/Fri: 1:30 pm – 2:30 pm)
  • MUS 223 (Tue/Thur: 1:30 pm – 2:30 pm)
  • MUS 324 (Mon: 10:00 – 12:00 pm)Applied Lessons

Applied Lessons

  • (Mon: 9:30 am – 1:00 pm)
  • (Tuesday: 9:00 am – 12 pm / 12:00)
  • (Wednesday: 9:00 am – 12:30 pm)
  • (Thursday: 10:00 am – 12:30 pm)

“Empire Brass and Javier Clavere” — Broadcast by WGUC Cincinnati used by permission.

“Variations after Paganini Op. 35, Book 2” – Johannes Brahms

Piano Concerto in E Minor Op.11 – Rondo – Vivace in E major


      • D.M.A.., College-Conservatory of Music, University of Cincinnati, 2010
      • M.M., College-Conservatory of Music, University of Cincinnati, 2008
      • B.A., Brigham Young University, 2002
      • D.T., Anthem Group Institute of Technology, 2002

Honors and Awards

      • Professional Development Grant, Research at the Manuscript and Rare Collection in the Vatican Library, Rome, Italy, 2015
      • Fellow, “Conflict Transformation through Culture: Peace-Building and the Arts,” Salzburg Global Seminars, Salzburg, Austria, 2014
      • Travel Grant Recipient, The Edward T. Cone Foundation, 2014
      • Research Grant, Berea College, Research at the Musicological Institute of Argentina, Buenos Aires, 2012
      • Friends of CCM, Music Grant, University of Cincinnati
      • Duo Ellis Piano Competition, Spartanburg, SC
      • Palm Beach Invitational International Piano Competition, Palm Beach, FL
      • Loaz-Johnson Scholar Award, Brigham Young University, Utah
      • Utah Arts Council Performaing Arts Tour, Artist in Residence
      • IX International Utah Mozart Festival, Park City, Utah
      • Los Angeles International Piano Competition, Los Angeles, CA


      • MUS 100-101: Class Piano
      • MUS 216: Independent Studies in Music Technology
      • MUS 220: Materials of Music I
      • MUS 221: Aural Harmony I
      • MUS 222: Materials of Music II
      • MUS 223: Aural Harmony II
      • GSTR 310: Understanding of Christianity (Semiotic)
      • MUS 340P: Piano Pedagogy
      • MUS 341: Supervised Teaching
      • MUS 342: Composition / Technology (Logic Pro–Finale)
      • MUA 105-400 Applied Lesson in Piano – Organ – Carillon – Composition

Special Interests

Spending time with his family, golf, movies, and enjoying the latest technology gadget.


      • American Semiotic Society (Assistant Executive Director)
      • National Association of Schools of Music
      • Society of Music Theory
      • American Guild of Organists
      • National Music Teachers Association
      • Guild of Carillonneurs in North America

Papers and Publications

      • “Shrine or Enshrined: The Musical Representation of the Passion Narrative.” Javier Clavere (Forthcoming).
      • “Wit and Humor in Wolfgang Amadeus Mozart’s Keyboard Sonata in D Major K. 311.” (Forthcoming)
      • “Technology and Pedagogy: Improving Learning Processes through Technology.” Presentation Kentucky Music Teachers Association Annual Conference, Western Kentucky University, Bowling Green, Kentucky, 2015.
      • “The Semiotics of Tango: Typology of Meaning through Body Movement.” Paper presented at the 40th Annual National Meeting of the Semiotic Society of America, Pittsburgh, Pennsylvania, 2015.
      • “Musical Meaning: Humor and Wit in Mozart’s Keyboard Sonatas” Paper to be presented at the 39th Annual Meeting of the Semiotic Society of America, Seattle, WA, 2014.
      • “Semiotics, Meaning, and Persuasion: A Model for Engaged Learning.” Presentation at the XVII Appalachian College Association Summit: “To Connect, To Collaborate, To Learn,” Knoxville, Tennessee, 2014.
      • “Semiosis in Music Transcendentalism” Paper presented at the 38th Annual Meeting of the Semiotic Society of America, Dayton, OH 2013.
      • The Tango Affair: Hollywood’s Infatuation”  Paper presented at the 36th Annual Meeting of the Semiotic Society of America, Pittsburgh, PA, 2011.
      • “Aesthetics, Semiosis and Meaning in Pastoral Care Through Music.” Summer Spirituality Institute, College of Mount St. Joseph, Cincinnati, OH, 2010.
      • “Mais Que Nada,” Jorge Ben, Sergio Mendes, Brasil ’66, and the Black Eyed Peas: Cultural Fusion, Sign Evolution, and Popular Music.” Paper presented at the 34th Annual Meeting of the Semiotic Society of America, Cincinnati, OH, 2009.
      • “The Semiosis of Jazz Piano transcriptions.” Paper presented at the 33rd Annual Meeting of the Semiotic Society of America, University of Houston, TX, 2008.
      • “Existential Irony in La Pasión según San Marcos by Osvaldo Golijov.” Paper presented at the 2008 Annual Meeting of Music Theory Midwest, University of Bowling Green, OH.
      • “Parody and Ironic Ethos in La Pasión según San Marcos by Osvaldo Golijov.” Paper presented at the 2008 Annual Meeting of Music Theory South East, University of Greensboro, NC.
      • “The Paradigm Shift Theory, Sacred Signs and Worship Systems.” Paper presented at the 32nd Annual Meeting of the Semiotic Society of America, New Orleans, 2007. Printed in the 2007 Semiotic Society Proceedings – finalist 2007 Kevelson Young Scholar Award.
      • “Face to Face with Orchestra and Chorus: A Handbook for Choral Conductors, 2nd ed., edited by Don V. Moses, et al.” Review: Music Research Forum, Vol. 20, 2005

Ongoing Research

      • (Ongoing Research) Educational Semiotics, Musical Semiotics, Music Theory and Keyboard Pedagogy, Keyboard Studies, Latin-American Music, Music Technology, Educational Leadership, Composition with technology.


Javier Clavere, is an award winning performer and scholar that crosses over the worlds of piano performance, music theory, music technology, and sacred music. As a polymath his research interests includes musical semiotics, sacred music and signs, popular music and semiotics, and the semiotics of educational processes. His research in educational leadership include peace and conflict resolution-transformation through the arts, as well as leadership in systemic change, diversity and inclusion.

He has performed in many prestigious concert series across the United States, South America and Europe performing with orchestras, in solo recitals and chamber music. In 1994 he was privileged to perform on Vladimir Horowitz’s piano featuring the famed pianist’s instrument, organized by Steinway and Sons. He was artist in residence of the Utah Arts Council Performing Arts Tour. In honor of Hispanic Heritage month, he was the soloist for the Opening gala of the Symphony of the Americas in Ft. Lauderdale, Florida. He also appeared as soloist with the Fairfield Symphony Orchestra, James Madison University Symphony Orchestra, Rosario State Philharmonic, and Rosario Chamber Orchestra. He has appeared in solo recitals in prestigious series such as, Palm Beach Invitational International Piano Competition, Broward Performing Arts Center in Ft. Lauderdale, Rutgers University Nicholas Music Center, DiCapo Opera Theater (NYC), Temple Square Concert Series in Salt Lake City, Xavier University Piano Series in Cincinnati. A consistent prizewinner, he has both participated and won prizes in the Los Angeles Franz Liszt International Piano Competition, International Utah Mozart Festival, Palm Beach Invitational International Piano Competition. Javier was born in Rosario, Argentina, and was invited to the United States on full scholarship to attend Brigham Young University. His graduate studies have taken place at the College Conservatory of Music of the University of Cincinnati. He studied piano with Roberto Caamano, Dr. Paul Pollei, Dr. Seymour Bernstein, Prof. Eugene and Elisabeth Pridonoff, and Mr. James Tocco. He has performed as a piano duo with his wife Lindsay since 1996. In honor of their wedding, composer Seymour Bernstein wrote “Rhapsody on Two Names – Javier and Lindsay,” premiered at their piano duo debut in the Assembly Hall Concert Series in Salt Lake City in 1997. They have performed extensively as a duo across North and South America. As a music theorist, he has presented papers at the National Conferences of the Semiotic Society of America, at Music Theory Midwest, Music Theory Southeast.


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