Letícia Maia
- PhD Student
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Departamento de Comunicação e Arte | Universidade de Aveiro
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Campus Universitário de Santiago
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3810-193 Aveiro
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Portugal
- Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
- Tel: (+351) 234 370 389 (ext. 23700)
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Biography
Born in Sao Paulo - Brazil, she is currently a first year Ph.D. student in performance at the University of Aveiro. Leticia’s main interests are artistic research and the exploration of the body in performance. Previously, she lived in Lausanne - Switzerland, where she obtained two master's degrees, in flute performance (2018) and in music teaching (2020), at the Haute École de Musique de Lausanne, in the class of the teacher José-Daniel Castellon. He also holds a degree in flute performance from Universidade Estadual Paulista - UNESP (Sao Paulo) in the class of Jean-Noël Saghaard and Sarah Hornsby in 2015. Letícia participated and collaborated with several ensembles and orchestras, such as the Orchestre de l’Opera de Lausanne, the Symphony Orchestra of the University of Sao Paulo, the Chamber Orchestra University of Sao Paulo, the Jazz Symphony Orchestra and the Young Symphony Band of the State of Sao Paulo. She also frequently performs with chamber music groups, with which she has performed in several Brazilian cities, but also in Switzerland, Italy, Austria and Portugal. Her most consistent and outstanding chamber music project is the Duo da Juá with pianist Luiza Salles, which explores the Brazilian repertoire for flute and piano from the 20th and 21st centuries. In 2020, she won the First Prize in her category in the I Virtual Flute Competition of the Brazilian Association of Flutists (ABRAF) for solo flute.
Doctoral ProjectTitleFrom the confrontation between the body and the score: recreation of pieces for solo flute
AdvisorAbstractThe body-mind integration and the appreciation of the body as an agent of the creative process in musical performance has been a very present topic in academic discussions, especially in the last twenty years. Some authors have also pointed out that the development of recording and reproduction industries at the end of the 20th century has produced a decline of the gestural dimension in music, as the recorded sound came to have more importance in relation to live performances. Based on previous researches and personal experience, there is a current tendency towards the annulment of the body in live performances, where the instrumentalist adopts rigid and static postures in an attempt to not compromise the sound quality and the technical accuracy of their instruments. In this way, the body takes a secondary role in the performance, as a mere reproducer of sound discourse and intermediary between the instrument and the audience. The primary aim of this research is to develop strategies that allow the exploration of the body in performance mediated by the flute, resulting in the creation of performances that are shaped by body movements. By understanding musical performance as a complex experience that integrates human senses with the aim of reconnecting with the body, this study has the secondary aim of understand how the human body is approached in different areas of knowledge (i.e., visual arts, theatre, dance, performing arts, sociology, philosophy, psychology). Finally, three artistic projects will be created. These projects will explore the body on stage from recreations of compositions for solo flute but adding intersections between music-dance-theatre, thus contributing to the increase of expressive possibilities in flute performances, which can also be applied to other instruments.Palavras-chave: Artistic research, Musical performance, Performance as creation, Body, Body movements, Gesture, Solo flute.Research Group: Creation, Performance and Artistic Research
