Education
Graduate Certificate, International Security Policies (2011)
George Washington University, Elliott School of International Affairs
Washington, DC
Graduate Certificate, Project Management (2010)
Georgetown University, School of Continuing Studies
Washington, DC
Master of Arts, International Relations (2008)
St. Mary’s University
San Antonio, TX
Bachelor of Music, Composition (2003)
Cleveland Institute of Music
Cleveland, OH
Additional Information
Distinguished active member of the arts community:
Featured in multiple local newspapers and radio for musical achievements and essay writing.
Professional music performances in the world-renowned Carnegie Hall, Centro de Bellas Artes Luis A. Ferré, and Teatro La Perla among others.
Inclusion in a Doctoral Thesis in Arizona State University.
Participated in master classes and seminars with prominent composers and theorists such as John Adams, Samuel Adler, Bruce Adolphe, Pierre Boulez, John Corigliano, George Crumb, Thea Musgrave, Steven Paulus, Bernard Rands, Christopher Rouse, Ludmila Uhlela, and Richard Wargo.
His piece for soprano and piano La Soleá -an art song- won a vocal-category award in the 2000 Delius Composition Competition in Jacksonville, Florida.
Critical Acclaim:
“[His piano piece Wormhole por la Número Dos is]…an engaging work, combining colors and rhythms of Puerto Rican music with the intriguing ‘wormhole’ idea for its structure.”
-Rorianne Schrade, New York Concert Review, 2009
“[His Symphonic Dance is]…a stupendous piece…Gil elaborates a dialog between two different worlds, the Afro-Antillean and the symphonic.”
-Mario Alegre Barrios, Roselín Pabón, El Nuevo Día (San Juan, Puerto Rico), 2002
“[His Symphonic Dance has]…rhythms and melodic turns drawn from the Salsa music of the 70s…the composer creates an original structure through minimalist resources such as theme fragmentation…[the piece] depicts the joy of Caribbean music while it nourishes from nostalgic sentiments…the audience was engaged and delighted.”
-Luis Enrique Juliá, El Nuevo Día (San Juan, Puerto Rico), 2002
“The highest merit of [his Symphonic Dance] is that it integrates rhythmic patterns, sound elements, cadences, and timbers of Afro-Caribbean and Puerto Rican music within the most rancid musical forms of the occidental classical traditions…cultural syncretism is manifested with abundance and originality…flavorful Latin percussion, a framework of complex rhythmic and structural richness, risky dissonances, and moments of virtual cacophony result in an effective impression of dynamism and color.”
-Victor R. Castro, Escenario (San Juan, Puerto Rico), 2002