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PhD Candidate
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
Portugal
Tel: (+351) 234 370 389 (ext. 23700)

Biography

Pedro Lopes Baptista started his guitar studies with Régine Campagnac at the Sintra Music Conservatory, concluding the fifth grade. He was admitted at the Music School of the Lisbon National Conservatory, studying with Júlio Guerreiro and completing the eighth grade. He then studied at the University of Évora, obtaining his degree in guitar with Dejan Ivanovic and in composition with Christopher Bochmann and Pedro Amaral. Pedro Baptista concluded his Master’s degree at the University of Aveiro in music teaching underPedro Rodrigues and Paulo Vaz de Carvalho. He teaches guitar at the Montijo Regional Conservatory of Arts as well as at the School Dr. Manuel Fernandes in Abrantes. Currently Pedro is attending Ph.D. studies in Music at University of Aveiro under guidance of Pedro Rodrigues and Evgueni Zoudilkine.
 
 
 
 
Doctoral Project
 
Title
Guitar in Jorge Peixinho’s music
 
Advisor
 
Co-advisor
 
Abstract
Jorge Peixinho (1940-1995) was a Portuguese composer who played a pivotal role during the second half of the twentieth century, being at the forefront of the Portuguese avant-garde musical movement. Having studied with composers such as Luigi Nono, Karlheinz Stockhausen and Pierre Boulez, Jorge Peixinho learned and was responsible for the introduction in Portugal of the most recent techniques and aesthetics at the time.
Over a period of 24 years (1971 to 1994), Peixinho composed 21 guitar pieces. L’Oiseau-Lyre is Peixinho’s only solo guitar piece, being the remainder of his guitar works composed for diverse instrumental formations which include classical guitar (chamber music and orchestral music). Guitar pieces represent roughly 15% of his known compositions.
This project of Artistic Research consists on a framework of Peixinho’s works with guitar, on the identification of the specificities of the composer’s writing for the guitar and on the exploration of its technical and musical implications. The aim is to inform the performance and to raise awareness of these largely unknown works, which deserve its rightful place in the main guitar repertoire from last century’s European art music.