James Dalton joined Boston Conservatory in 2000 and teaches music theory, ear training, score reading, and World music courses.
As a music theorist, Dalton's interests and research have ranged from palindromes and symmetrical musical structures to just intonation and microtonality. He has presented at conferences in the U.S. and abroad including the Northeast Chapter of the Society for Ethnomusicology, the Society for American Music, the Macro Analysis Creative Research Organization, and Beyond the Semitone (Aberdeen, Scotland).
Dalton’s compositions have been performed throughout the U.S., Canada, and Europe by the Providence Mandolin Orchestra, Enigmatica, Toronto Camerata, Ensemble Decadanse, Transient Canvas, Scottish Voices, Sharan Leventhal, Stephen Altoft, Marti Epstein, Paul Ayres, Aaron Larget-Caplan, and Carson Cooman at venues such as the Kansas Symposium of New Music, Musiques Nouvelles (Lunel, France), EuroMicroFest, Sound: the Scottish Festival of New Music (Aberdeen, Scotland) and Akademie der Tonkunst (Darmstadt, Germany).
Dalton performs on guitar, mandolin, banjo, and other plucked string instruments with soprano Maggi Smith-Dalton, specializing in historically informed performance of 19th- and 20th-century American music. Together, they have released four recordings. He freelances in orchestral, chamber music, new music, and theater/opera pit orchestra settings.
Dalton earned a B.A. with honors from Rutgers University and a M.M. from the University of Idaho. He studied composition with George Walker, Louie White, Neely Bruce, Robert Dickow, and Dan Bukvich; and guitar with Michael Newman and John Abercrombie. D alton contributed to Music in American Life (ABC-CLIO) and a forthcoming book on the early banjo. He is the author of Mandolin for Beginners (Alfred 2001).
Professional Recognitions and Awards:
- First Prize, choral composition, "The Rocky Road to Dublin" (Toronto Camerata Competition, 1997)