Dr. Javier Clavere

Associate Professor of Music
At Berea College since 2010

Contact Information

Presser Hall, 404
CPO 2194
Email: claverej@berea.edu
Phone: 859-985-3464
Fax: 859-985-3994
Personal Website

Fall 2017

Office Hours

On Sabbatical Spring 2018
By appointment

Class Schedule

  • MUACO 100-400 (Mon/Wed: 9:00 am – 12:00 pm)
  • MUACO 100-400 (Tue: 9:00 – 10:00 am)
  • GSTR 410 H (Tue/Thur: 10:00 am – 11:50 am)
  • MUS 220  (Mon/Wed/Fri: 1:30 pm – 2:30 pm)
  • MUS 221  (Tue/Thur: 1:30 pm – 2:30 pm)
  • MUSA 100-400 (Mon/Wed: 9:00 am – 12:00 pm)

Applied Lessons

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

Degrees

    • 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

    • Steinway and Sons, Top Teacher Award, New York City, 2017
    • Fellow, New Leadership Academy, American Association of Hispanics in Higher Education, University of Michigan, 2017-2018
    • Fellow, Academic Leadership Academy, Bluegrass Higher Education Consortium, Kentucky, 2015
    • 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 Performing Arts Tour, Artist in Residence
    • IX International Utah Mozart Festival, Park City, Utah
    • Los Angeles International Piano Competition, Los Angeles, CA

Courses

    • 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 (Semiotics)
    • GSTR 410: Global Multiculturalism (Foucault Studies and Semiotics)
    • MUS 340P: Piano Pedagogy
    • MUS 341: Supervised Teaching
    • MUS 342: Composition / Technology (Logic Pro–Finale / Electronic and Commercial Music / )
    • 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.

Affiliations

    • American Semiotic Society (Executive Director)
    • Association for the Assessment of Learning in Higher Education
    • American Association of Hispanics in Higher Education
    • National Association of Schools of Music
    • Society of Music Theory
    • American Guild of Organists
    • Guild of Carillonneurs in North America

Papers and Publications

    • “Assessment Toolbox: Designing Reliable Assessment to Improve Performance and Academic Success for LatinX Students.” Presentation at the 2018 National Conference of the American Association of Hispanics in Higher Education, 2018.
    • “From Gethsemane to the Grave: A Multimodal Analysis of the Passion Narrative Topics, Characters, and Spaces.” Paper presented at the 42nd Annual National Meeting of the Semiotic Society of America, Puebla, Mexico, 2017.
    • “Diversity, Multiculturalism, and Inclusion: Toward a Modeling System Theory and the Creation of Meaning.” Paper presented at the 41st Annual National Meeting of the Semiotic Society of America, Delray Beach, Florida, 2016.
    • “Shrine or Enshrined: The Musical Representation of the Passion Narrative.” Javier Clavere (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 Technology and Music Production, Educational Leadership, Assessment in Higher Education, Educational Leadership, Musical Composition with technology, Audio Production and Engineering. Semiotics, Sexuality Studies, Foucault Studies, and the process of Semiosis (sign signification).

Biography

Javier Clavere, is an award winning performer and scholar that crosses over the worlds of keyboard performance, music theory, music technology, sacred music, and semiotics. As a polymath his research interests includes musical semiotics, sacred music and signs, popular music and semiotics, Foucault studies, semiotics and globalization, multi-modality, 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, higher education administration, assessment in higher education, and strategic program design. His love for technology allow him to research music production and engineering, recording, livestreaming, and audio forensics.

As an artist Javier 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. Studies organ studies with Parley Belnap at Brigham Young University. 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. He is also a carillonneur for Berea College, where he performs regularly in the beloved “John Courter” Carillon. 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.