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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

Zanya Escolar (Madrid 1993) is a pianist interested in performance, education, research and dissemination writing. She began her musical studies at the age of four with the Spanish pianist and composer María Escribano. She obtained the Bachelor Degree in 2016 at the Conservatorio Superior de Música “Andrés de Vandelvira” de Jaén with the guidance of Ernesto Rocío Blanco. In 2018 she completed the Master’s Degree in Performance of Classical and Contemporary Music of the Conservatori del Liceu with Albert Attenelle. Her interest in research and communication of artistic knowledge makes her particularly involved in musical dissemination for the general public. As an example, the article “Intención y azar ponen nombre a la música”, published in the first number of the quarterly magazine Archiletras, in 2018. She is currently a PhD student in Music Performance at the Universidade de Aveiro under the supervision of Luca Chiantore. She also combines her artistic career as a member of Dúo Kailash –with the flutist Conchi Mota– with her activity as an accompanist and her vocation for teaching. 

 

 

Doctoral Project
 
Title
Migrating to the origin: bird-becoming and musical performance through an interpretation of the Catalogue d'oiseaux de Messiaen
 
Advisor
 
Co-Advisor
Abstract
This project seeks to propose an approach to the piano repertoire of Cécile Chaminade from the experimentation with treaties on piano technique of her time and other written and sound sources. The writings of Marie Jaëll, Blanche Selva, Maurice Dumesnil and E. Robert Schmitz reveal unique interpretative and pedagogical features and embody an important source of information about the pianism of the time that has not been explored at a practical level in an artistic research yet. Applying this experimentation on the piano music of Chaminade –not belonging to the canonical repertoire– allows us to broaden the historiographical vision we have of its contemporaries and better understand the heterogeneous French music scene of the late 19th and early 20th centuries. Performance plays a fundamental role in this search, being the key tool to redesign established stylistic frames and historiographic categories and, at the same time, claiming the value of body experimentation within the field of Artistic Research.