Biography
Andrea Vilar López (pianist) was born in Rábade (Spain) in 1997. She gets her Degree in Piano Performance at Escola Superior de Música de Catalunya. She then continues improving her skills in Madrid, with the teacher Kennedy Moretti while she starts her path in Artistic Research in the Research Master that she does in 2020 at the International University of Valencia (Spain). Since September 2021, Andrea has studied at the Liszt Ferenc Academy in Budapest with the teacher András Kemenes. In 2022, Andrea won a scholarship as a student at the Cornell Center for Historical Keyboards Summer Academy, in New York (EEUU). There, she learned from great personalities such as Malcolm Bilson in a very unique collection of historical keyboard instruments.
Nowadays she studies in the University of Aveiro, where she is doing a PhD in Music with the pianist and musicologist Luca Chiantore and Monica Aresta. For the last few years, she has received masterclasses from different maestros such as Pierre Laurent Aimard, Rita Wagner, Claudio Martínez Mehner and Eldar Nebolsin. Moreover, her interest in chamber music led her to learn from renowned artists, like members of Casals and Quiroga quartets, the pianist Csálog Gabor or the clarinetist Pascal Moragués, among others.
Andrea has performed in different venues, such as L’Auditori (Barcelona), MÜPA (Budapest), Lincoln Hall (New York), Kinghts Hall (Ljubljana), BMC (Budapest), etc.
Title
"#TRENDING MOZART - Música clássica, redes sociais e narrativa transmídia"
Advisor
Co-advisor
Monica Aresta
Abstract
Understanding the use of social networks as a constituent element of a musical product, with the dynamics of the Internet inevitably linked to the project, is a proposal that, until now, the world of classical music has not exploited.
Beyond marketing and musical dissemination, this proposal aims to rethink the relationship between the classical music concert and the dynamics of social networks, the attention and the public’s perception of time.
Based on the concept of transmedia narrative, experiences will be proposed that reconcile the current ideology of classical music with the dynamics that prevail in social networks, organizing a fictional world in which the musical content will grow interrelated in the live concert and on social media like TikTok or Instagram. The consumer (turned into a prosumer) will be able to immerse themselves as they wish in this new universe, participate in it and generate a community. This is, eventually, an impulse to energize the field of classical music.
Keywords: Classical music; social media; Transmedia narrative
