Common-Practice Tonal Theory I
(Fall 2003-present date)
Introduction to the study of Harmony, Counterpoint, and Form:
16th century species counterpoint, Baroque style chorale part writing,
harmonic analysis, aural and musicianship skills.
Introduction to Electroacoustic Music
(Fall 2003-present date)
An introduction to the basic operations of a Computer Music
studio: digital sound, recording and editing, sound processing, sound synthesis,
multitrack editing and mastering. These skills and the concept of a solfege
of Sound Objects are developed in the context of creative compositional
exercises using synthesis and interactive software from the computer music
Common-Practice Tonal Theory II
(Spring 2004-present date)
The continuation of the study of Harmony, Counterpoint, and
Form: Four-part writing, harmonic procedures and analyses of works from
the classical period, as well as aural and musicianship skills.
Introduction to Tonal Theory (Spring 2004)
A basic Music Fundamentals theory course.
Topics in Music: Cinema for the Ear: A History and Aesthetics
of Electroacoustic Music. (Spring 2004)
An exploration of the 50-year-old art of recorded organized
sound, beginning with the pioneering movements of Musique Concrète
and Elektronische Musik. Thoroughly illustrated with recordings of key
works and readings of historical articles and essays from the 50s and 60s.
At the Lehman College of the City University of New York, New York,
Advanced Electronic Music (Spring 2002)
Taught Computer Music, digital audio, recording studio and sound
engineering techniques (including ProTools operation). Administrated the Electronic Music Studio of Lehman College.
At Columbia University, New York, NY, USA:
Ear-Training I, Fall semester 2002 ;
Diatonic Harmony/Counterpoint, 2001-2002 academic year ;
Introductory Ear-Training, 1998-1999, 1999-2000, and 2000-2001 academic
Assistant Conductor of the Columbia University Orchestra, 1997-1998 academic
At the Festival of the city of Prados-MG, Brazil:
Assistant to the Youth Choir and Children's Theater programs, XVIII Festival,
Piano Instructor, XVI and XVII Festivals,1992 and 1993 ;
TEACHING INTERESTS AND QUALIFICATIONS :
Composition related topics :
Composition; Instrumentation, Orchestration and Arranging; Music Structure
and Form; 20th Century Compositional Techniques; Principles of Acoustics
Applied to Orchestration; Microtonality.
Music Theory and History topics :
Music Humanities; Music Appreciation; Fundamentals of Music Theory; Analysis;
Harmony and Counterpoint (tonal and atonal, all levels); Set-Theory; Dodecaphonic
Techniques; Costère Analysis (Costère, Edmond); Western Classical
Music History; Contemporary Music History; Brazilian Music History; History
and Theory of Concrete and Electroacoustic Music; Survey of World/Ethnic
Computer Music topics :
Recording Studio and Digital Audio Techniques; Computer Programming for
Artists and Musicians (C, C++, Java, Object Oriented design); Electroacoustic
Composition Techniques (basic concepts, structure and form, signal processing,
spatialization, orchestration of sound objects); Computer Music tools and
software (all major Macintosh, Linux and PC music software and hardware);
Digital Signal Processing; Finale music publishing; MIDI applications;
Algorithmic Composition; Interactivity between Music, Dance and Image;
Human/Machine Interfaces; Live Electronics and Interactive Music Systems;
Computer Assisted Composition; Acoustics.
Performance and Musicianship related topics :
Piano lessons (basic to advanced level); Conducting (choral and instrumental);
Ear-Training and fixed-DO Solfege; Contemporary Music Practice.
Read Student Evaluations
Having taught mostly music
courses, my philosophy of teaching has always insisted on the development
of a broad and solid musicianship for the student (solfege, performance,
music theory, composition), informed by a vast knowledge of western music
repertoire from past till present, by the observation of non-western music
civilizations and also by the integration of the new technologies into
the learning processes. My concern is always to give the student the best
possible solid background on the subject of the course taught and then
to instigate the student to independent thinking, thus stimulating his/her
own individual research and creative work.
I am committed to higher
education as a teacher, researcher and as an active musician (composer
and performer). I have experience teaching students of all ages, from children
to senior citizens, both music and non-music majors, undergraduate and
graduate students, and I am accustomed to working in a multiethnic, multicultural
environment. Since my first teaching assignments in 1993, I learned to
adapt my teaching methods to the specific needs of the students. The point
of view I have always tried to pass to the students is the point of view
of an artist/musician at work, a person that has his hands "soiled with
sound matter", so to speak, engaged on artistical pursuits.