Known for his energetic rhythms, rich harmonic language, and striking colors, Josh Rodriguez (b. 1982) continues to gain recognition as an emerging composer and collaborator on a national and international scale. Born in Argentina and raised in Guatemala and Mexico, Rodriguez's musical imagination has been formed by the sounds and cultures of his childhood.
Rodriguez collaborates regularly with theatre and film directors and has received several notable concert commissions in a wide range of musical genres: commissions include Partita Picosa (a 5-movement piece for solo piano), Contra Spem Spero (violin chamber concerto), and That Crazed Girl Improvising (piano trio), which were finalists for the AMERICAN PRIZE (TIKAL, for concert band received Honorable Mention, 2021). He's written numerous choral works, music for jazz trio and big band, original scores for Courtyard Shakespeare Festival's 2019 production of Hamlet and Rosencrantz and Guildenstern are Dead, and CBU Theatre's productions of Love's Labour's Lost (2020) and She Stoops to Conquer (2021). In addition to concert and theatre music, Rodriguez has scored numerous animated shorts, several of which have appeared in international film festivals and received special awards.
Rodriguez is composer-in-residence of the Corona Symphony Orchestra, and currently serves as Assistant Professor of Music Theory and Composition at the Collinsworth School of Music at California Baptist University. He regularly contributes to various arts & culture blogs and is on the Leadership Team of Deus-Ex-Musica an initiative that brings musicians, pastors, and non-musicians together for concerts and conversations about the intersection of faith and new music.
Rodriguez earned his MM at the Cleveland Institute of Music and upon winning the Eugene V. Cota-Robles Fellowship moved west to study a doctorate at the University of California, Los Angeles. His research at UCLA culminated with his dissertation on Argentine composer Alberto Ginastera.
with composer JAC Redford and CBU faculty
with Ēriks Ešenvalds