Professor of viola and violin at the "Escuela de Música de la Universidad de Ciencias y Artes de Chiapas" (UNICACH) in Mexico. Other responsibilities in the institution (2009-2015): chief of the string department, conductor of the "Camerata de Cuerdas de la UNICACH" and artistic director of the "PaaxFest Chiapas - Festival Internacional de Música". At the moment she pursues her doctoral studies at the "Universidade de Aveiro" (Portugal) while teaching at bachelor level at the "Centro Superior de Enseñanza Musical Progreso Musical" in Madrid. She is regularly invited as guest artist and master-class teacher to music festivals, concert halls and music colleges in Mexico, Spain and the United States. Among her artistic projects highlights "Dúo Ditirambo", a viola and classical guitar ensemble founded in 2008 with her husband, guitarist Alfonso Aguirre Dergal. This ensemble has premiered works by composers such as Leonardo Coral, Julio César Oliva, Mario Gosálvez Blanco, Fernando Buide del Real, Flores Chaviano e Claudia Herrerías. She holds a bachelor from the Real Conservatorio Superior de Música de Madrid and a master and artist diploma from the Yale School of Music, which she earned under a Fulbright Scholarship. She was granted the Alexander von Humboldt Scholarship to make postgraduate work at the Hochschule für Musik Köln (Germany). She was awarded the Georgina Lucy Grosvenor Memorial Prize 2008, "to the violist in the graduating class whose performances while at Yale University have exhibited the highest potential for success as a soloist or chamber musician in the field". Recently she participated as a lecturer in the congress PERFORMA'15 at the Universidade de Aveiro.
Viola & guitar as collective subject
This artistic research project aims to provide knowledge about the processes of collective creativity that develop in rehearsals and performances of chamber music ensembles. With this purpose, the viola and classical guitar duo will be used as a case study. Ensembles carry out a search for different expressive and technical resources that culminates in a variety of collective interpretations, which explains and justifies our listening to multiple versions of the same musical work. My research is based on the understanding of this transformative process, which takes places through shared artistic experiences and which generates a musical identity that characterizes each ensemble. This identity belongs to a collective subject that, hypothetically, has its own personality.
Keywords: chamber music, creativity, collective personality