周强，中央音乐学院作曲系副教授，硕士研究生导师，中国博士后科学基金资助人才,维也纳环球出版社(Universal Edition)签约作曲家。本科、硕士、博士、博士后曾相继在上海音乐学院、中国音乐学院、中央音乐学院学习，先后师从于甘璧华、林华、贾达群、张韵璇、杨通八、权吉浩、Alexander Krasotov、杨勇等先生学习作曲与作曲技术理论。2011、2013年赴巴黎高等师范音乐学院随Stéphane Delplace学习对位、赋格与作曲，并在巴黎国立高等、巴黎市立等多所高等音乐学府学习音乐分析（ Anthony Girard，Asguillaume Vincent），配器（Denis Cohen，Guillaume Connesson），多声写作（Thomas Lacôte，Jean-Pierre Deleuze）。
自2006年以来主要从事作曲与作曲技术理论的教学与学术研究，担任 “对位与复调”、“和声”、“巴赫音乐的文本研究与表演实践”、“20世纪复调音乐曲体”、“音色-音响音乐技法”、“音乐综合分析”等本科、硕士与博士课程的教学。曾在2015年北京市教委人文社科计划面上项目的结项中，重点论证了法国、比利时高等音乐院校传统作曲理论的教学模式与现代音乐的课程体系，及其对于我国当代音乐学院作曲理论教学的启示。
创作有近40部多种风格、不同体裁与题材的音乐作品，诸如交响爵士《秋雪》（2016）、《雪韻春华》（2022），交响合唱《五月的风》（2018），音乐剧《敦煌卷影》（2021），民族室内乐《神凝》（2018）、《玉凤》（2021）、《古衢溪东》（2023），混声合唱《Over three centuries》（2017）、《咏嘹歌絮》（2020）,乐队与人声《向北京》（2019）、《我们在一起》（2020）、《天使妈妈》（2020）、《你是天上那颗星》（2024）等，曾在国内外音乐会上演。
出版学术专著《西方[音色-音响]音乐中的模仿形态研究》（2014,入选中国音乐学院优秀博士文库）、《泰勒曼36首键盘幻想曲集注》（2021）、译著《勋伯格对位法》（2019，目前已被收录于奥地利勋伯格研究中心）,在《音乐研究》、《中国音乐》、《人民音乐》等核心音乐刊物发表的学术论文，以及博士后研究成果共计20多篇（部），逾50万字。主持和参与的国家级、省部级、学院级科研项目10多项，博士后研究课题获2018年中国博士后科学基金第63批面上二等资助，2019年被评为中央音乐学院优秀博士后，《时值比例织体研究》荣获2021年优秀博士后出站研究报告提名。
曾携北京德音爱乐交响乐团，参加在中央音乐学院王府音乐厅举办的首届“奏响北京 共筑中国梦”全市器乐大赛中荣获西洋乐器组金奖。自2015以来，担任北京语言大学中外艺术团交响乐队及合唱团、北京北方交响乐团特邀指挥，多次指挥了专场与艺术团体联合音乐会，其中包括“慧听I”（2016）、“再夏天”（2016）、“Crossing the Moldau to the Danube”（2017）、“Over Three Centuries”（2017）、“世界音乐地图”（2019）、“世界艺术地图”（2021）年，期间首演了为乐队与合唱团创作的6部大型跨界作品。曾于2019年为教育部和联合国教科文组织共同举办的“推动亚洲文明多样性论坛”改编合唱作品，在国家会议中心担任演出指挥。近10年指挥了包括专场音乐会在内的20多场演出与比赛，荣获金奖、银奖等优秀奖项。
Zhou Qiang is an Associate Professor in the Composition Department at the Central Conservatory of Music, mentor for master's degree students，and a composer signed by Universal Edition, Vienna. He is also a recipient of funding from the China Postdoctoral Science Foundation. He completed his bachelor's degree, master's degree, doctor's degree and post-doctoral work in Shanghai Conservatory of Music, China Conservatory of Music and Central Conservatory of Music. His academic journey of composition and technical theory of composition spans distinguished mentorships with renowned professor Gan Bihua, Lin Hua, Jia Daqun, Zhang Yunxuan, Yang Tongba, Quan Jihao, Alexander Krasotov (Ukrainian), Yang Yong, etc. In 2011 and 2013, he studied counterpoint, fugue, and composition under Stéphane Delplace at the École Normale de Musique de Paris, as well as music analysis (Anthony Girard, Asguillaume Vincent), orchestration (Denis Cohen, Guillaume Connesson), écuture (Thomas Lacôte, Jean-Pierre Deleuze), at the Conservatoire National Supérieur de Musique et de Danse de Paris and other Parisian conservatories.
Since 2006, he has been dedicated to teaching and academic research in composition and music theory, instructing undergraduate, master, and doctoral courses including
Counterpoint and Polyphonic Music, Harmony, Scores-text researches and Performance practices of Bach’s Music, 20th-Century Polyphonic Forms, Sound-Mass Composition Techniques, and Comprehensive Music Analysis. His 2015 research project under the Beijing Municipal Education Commission’s Humanities and Social Sciences General Program systematically discussed the pedagogical models of traditional composition theory and modern music curricula in French and Belgian conservatories, offering insights for contemporary composition education in China.
Zhou has composed nearly 40 musical works across various styles, genres. His notable compositions include the symphonic jazz pieces such as Snow in Autumn and (2016), Snow Melody of Spring (2022), the symphonic choral work Winds of May(2018), the musical Echoes of Dunhuang(2021), and Chinese national chamber music pieces such as Contemplation of Sakyamuni(2018), Yu Feng(2021), Memories of Yutan upon River Qu(2023), mixed chorus: Over Three Centuries (2017), Yong Liao Ge Xu (2020), orchestra and vocals such as Gallop to Beijing (2019), We Are Together (2020), Angel Mother (2020), You Are the Star in the Sky (2024),etc. His works have been performed at music festivals and concerts both in China and internationally.
Zhou has published an academic monograph titled Imitational Structure in Sound-mass Composition of Western Music(2014，selected into the Excellent Doctoral Dissertation Library of China Conservatory of Music), and Notes on Telemann's 36 Keyboard Fantasia(2021). He has also translated Schoenberg’s Counterpoint (2019, currently collected at the Arnold Schoenberg Centre in Austria) and authored over 20 scholarly articles in esteemed music journals including Music Research, Chinese Music, and People's Music. Collectively, his publications and postdoctoral research contributions exceed 500,000 words.
Zhou has led and contributed to over 10 research initiatives at national, provincial, and university levels. His postdoctoral research was recognized with a second-class grant from the 63rd batch of the China Postdoctoral Science Foundation in 2018. In 2019, he received the title of Outstanding Postdoctoral Fellow from the Central Conservatory of Music. Furthermore, his study, Texture with Proportional Time-Rhythm, was nominated for the Excellent Postdoctoral Outbound Research Report in 2021.
As a conductor，Zhou collaborated with the Beijing Deyin Philharmonic Orchestra and participated in the inaugural Performing Beijing Together to Build the Chinese Dream citywide instrumental music competition, held at the Wangfu Concert Hall of the Central Conservatory of Music, securing the gold medal in the Western Instrument Group. Since 2015, he has served as the guest conductor of the Symphony Orchestra and Choir at Beijing Language and Culture University and Beijing Northern Symphony Orchestra. He has directed numerous special and collaborative concerts with various art groups. Notable performances include Wise Listening I (2016), Summer Again (2016), Crossing the Moldau to the Danube (2017), Over Three Centuries (2017), World Music Map (2019), and World Art Map (2021). He also conducted choral adaptations at the 2019 Forum on Promoting Asian Civilizational Diversity co-hosted by China’s Ministry of Education and UNESCO (National Convention Center, Beijing). These events featured the premieres of six large-scale crossover works for orchestra and choir. Over the past decade, Zhou has conducted more than 20 performances and competitions, earning numerous accolades, including gold and silver awards.
