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


León Salcedo has performed as a soloist and member of classical and jazz music groups in Colombia, Europe and the United States. He has played in events and venues such as XV Festival de Guitarra de Girona – Costa Brava in Spain, Colombian National Museum, Teatro Mayor Julio Mario Santo Domingo, Chattam University, Mellon Institute Auditorium and Pittsburgh´s Carnegie Hall, Deca Auditorium at University of Aveiro in Portugal. He also has received awards and honors from Carnegie Mellon University, Ministry of Culture of Colombia, District University of Bogotá and Institute of Culture of Pereira.
Mr Salcedo´s main teachers were Martín Pedreira in Cuba and Alejandro Montoya and Guillermo Bocanegra in Colombia. He holds Bachelor of music degree from Universidad Teconológica de Pereira and Masters in Guitar Performance from Carnegie Mellon University, where he received a scholarship to study guitar with Professor James Ferla. León Salcedo is Phd candidate at the Doctoral Program in Music at the University of Aveiro where he has studied guitar with Professor Pedro Rodrigues.    
He currently teaches at the Francisco José de Caldas District University in Bogotá and University of Cundinamarca as well, where he is an Associate Professor of Guitar and coordinates the music research area at the music program.
For more information please visit https://leonsalcedo05.wixsite.com/leon-salcedo


Ciência Vitae | ORCID


Doctoral Project
Improvisation in western art music: A theoretical and practical model applied to the Douze Etudes pour Guitarre by Heitor Villa-Lobos
LeonSalcedo projeto
The current performance practice of the canonical repertoire in western art music lacks on the inclusion of improvisation processes compared with other music styles. However, there is a growing interest for improvisation in performers of western art music. In most cases, performers lack of strategies for improvisation that help them to guide their already acquired skills in their work and training. Professional performers have strong training in developing mechanical operations that allow them to play, this set of operations become mechanisms expressed in formulas of melodic designs, chord structures, arpeggios, scales, polyphonic or timbrical textures, etc, as part of the learning and practice of canonical repertoire. As result of this training, the average professional performer of western art music knows and can play a large number of mechanisms. These mechanisms can be deconstructed and transformed to become vocabulary that may be used as material for improvisation. Therefore, considering this perspective, we can propose a theoretical and practical model for improvisation in western art music departing from this first level of generating structural material from mechanism and oriented to performers. In this project, this approach will be applied to the Douze Etudes pour Guitarre by Heitor Villa-Lobos to obtain both, theoretical and artistic outcomes. To obtain these results, the proposed method is designed in phases, that spans documentary research, exploratory, experimentation and creative stages.