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


Born in the countryside city of Americana in São Paulo state, Samuel Pompeo began studying saxophone in that city music school and had his professional debut with Americana Municipal Band. He has always been especially interested in the instruments of the saxophone family and the flute, the piccolo, the clarinet, and the bass clarinet, which moved him to go after the practical knowledge that allowed him to develop in that range of instruments. To accomplish that, he has studied with some of the most renowned musicians of Brazil: Nailor Aparecido de Azevedo (Proveta), Eduardo Pecci (Lambari), Cláudio Leal, Grace Lauren, Roberto Sion, Hudson Nogueira, Nivaldo Ornellas, Dilson Florêncio, Idriss Boudroua and Vitor Alcântara to name a few. He has been a guest musician in concerts in performances with the foremost Brazilian Symphonic Orchestras like São Paulo Municipal Theater Orchestra, São Paulo State Symphonic Orchestra (OSESP), Experimental Repertoire Orchestra (OER), Municipal Orchestras in the cities of Campinas, Ribeirão Preto, and Santo André, São Paulo University Symphonic Orchestra (OSUSP) and Brazilian Symphonic Orchestra (OSB). He has recently performed in concerts with important jazz names like Mantiqueira Band, Tad Nash, Ben Alisson, Ohad Talmor, Bepi Damati (Italy), Gilson Peranzzetta, and Woody Witt. Samuel has recorded and played with several Brazilian Popular Music and World performers, like Jane Duboc, Elba Ramalho, Alceu Valença, Gilberto Gil, Pepeu Gomes, Ian Anderson (Yes), Alice Cooper, Fito Paes, Toquinho, Trio Mocotó, Maria Rita, Jair Rodrigues, Simoninha, Ivan Lins, Gal Costa and Zélia Duncan. He is currently a teacher at São Paulo City Music School (EMESP), a guest professor at the “Fiato Al Brasile” festival in Italy, and a Ph.D. student in music at the University of Aveiro (Portugal) and UNESP (Brazil). He leads Samuel Pompeo Quintet and joins Soundscape Big Band, Banda Urbana, and BandoOzonze.
Doctoral Project
Choro hodierno: a practical and theoretical model for creation and performance of Choro
Jorge Salgado CorreiaGilvano Dalagna and Sonia Regina Albano de Lima
Historically, Choro has remained restricted to technical and interpretative postulates that still date back to its beginnings (e.g., use of the rondo form, predominant use of binary forms, improvisation based on melody, the constant movement of the bass intense chord inversion). If, on the one hand, these postulates contributed somehow to the preservation of this performance practice, on the other hand, this same fidelity has restricted the development and expansion of Choro beyond its limits. Aware of this limitation, several performers have tried to promote a "modernization" of Choro. However, these attempts-categorized in several ways in the literature (modern Choro, contemporary Choro, neo-Choro, concert Choro, Choro fusion, hybrid Choro)-are far from being consensual and do not consistently achieve the proposed goal. To answer this problem, I propose a new typology of Choro, which I call Choro hodierno. Choro hodierno is an expansion (and not the abandonment) of all the technical-performative postulates that have characterized Choro until today. Therefore, the defined objective for the current artistic research project is to develop a practical-theoretical model to guide the performance of modern Choro. Based on the structure of action research, the proposed theoretical-practical model will grow through the systematic study of the different typologies of Choro and their limitations (planning), the experimentation and creation from the technical-interpretative postulates of modern Choro (action), and a critical analysis of this experience (reflection). The result will be the composition and arrangement of ten works built from the theoretical-practical model, presented in this thesis document by describing the creative-performative process mentioned above.