Biography

She began his violin studies in João Pessoa (Brazil), with teachers José Ademar Rocha and Leopoldo Nogueira. She graduated from the Federal University of Paraíba, under the guidance of professors Pedro Pinto and Yerko Tabilo Pinto. In 1995 she toured Brazil, as a guest violinist in the Curitiba Chamber Orchestra, with musicians and composers Egberto Gismonti and Wagner Tiso. For two years, she studied in Porto Alegre, with professor Marcello Guerchfeld, also part of the chamber orchestras of Teatro São Pedro, Unisinos and SESI. She completed her Masters in Violin at Indiana University South Bend, USA, under the guidance of Professor Aaron Berofsky. She was included on the "Dean's List" of the School of the Arts at Indiana University South Bend, due to "Acknowledging Student Excellence". She played for two years in the South Bend Symphony Orchestra, under the baton of maestro Tsung Yeh. In Rio de Janeiro, she was a member of the Brazilian Symphony Orchestra, performing in the first violin section for 4 years. She was a soloist with the Rio Grande do Norte Orchestra. She was a member of the Paraíba Symphony Orchestra, in the first violin section. At the Anthenor Navarro School of Music, she taught violin and, as an undergraduate at the Federal University of Pernambuco, violin and viola. She is currently a professor of violin and viola at the Federal University of Campina Grande and a doctoral student in music at the University of Aveiro.

This research proposal aims to enrich contemporary musical interpretation through an interpretative approach that explores the technical-expressive specificities of Brazilian northeastern fiddle practices. Despite its importance, the particularities of its performance practices were little highlighted in academic works, involving the violin repertoire inspired by armorial music. Armorial music was formed from an artistic movement, which officially emerged in 1970, in the city of Recife (northeast of Brazil), led by the writer Ariano Suassuna Suassuna (1927-2014). This Movement intended to create a “Brazilian high art” based on the oral tradition culture of the northeast of the country (Nóbrega, 2000, p. 43). Another point that I consider relevant in this proposal is the recognition and visibility that I propose in relation to music from the oral tradition of Northeast Brazil. It is hoped that this proposal motivate other researchers on new ways of conceiving and experiencing violin music inspired by armorial music.

Research Group: Creation, Performance and Artistic Research