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Fernanda del Peón

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PhD Candidate
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
Portugal
Tel: (+351) 234 370 389 (ext. 23700)

Biography

Maria Fernanda del Peón Pacheco is a professional pianist with degrees in Piano Performance and Music Pedagogy from Universidad Veracruzana, Mexico and a Master degree in Music Research and Performance from Universidad Internacional de Valencia, Spain.  Currently, Ms. Peon Pacheco is pursuing her Doctorate in Music - Piano Performance at Universidade de Aveiro, Portugal. She has studied with Genevieve Bergold, Isabel Ladrón de Guevara, Jorge Covarrubias, Itzhak Solsky, Barbara Moser, Luca Chiantore, and participated in Master Classes with Jorge Federico Osorio and Boris Berman. Ms. Peon Pacheco is director and principal teacher at Baja Music and Piano Studio in La Paz, Mexico.  Previous teaching positions include faculty at the Yamaha Music Academy and CIMI - UV in Xalapa, Mexico. An active recitalist, she has performed as soloist with Aureos Ensemble, Musica Viva La Paz, Big Band Jazz La Paz, as well as numerous solo recitals throughout Mexico, Portugal, Austria and Spain.
She has won third place in Semana del Músico Chamber Music Competition, Youth South Californian prize in 2013 and  in 2007 and 2009 the grant offered by the Mexican government  Programa de Estímulo a la Creación y al Desarrollo Artístico. 

 

Ciência Vitae | ORCID 

 
Doctoral Project
 
Title
With Tiger Claw: Endemic Interpretation of Piano in Baja California Sur from 1880 to 1980

 fernandadelpeon projeto

 
Advisor

Ana Flávia Miguel

 

Co-Advisor

Abstract
The geographical and social conditions in Baja California Sur, Mexico from the end of the 19th century until the 1980’s, determined a particular way of playing different piano repertories. Piano playing and teaching in this region with singular characteristics have been essential for the development of its population social and artistic life. Starting from a detailed ethnographic study, the rescue of scores and recordings and the application of a gender perspective to the whole object of study, the present work offers an interpretative proposal based on what is defined here as endemic interpretation, a proposal that, through the conservation of past practices and the development of their own, provides new aesthetic conceptions that may be applicable to other repertoires. Likewise, the concept of endemic interpretation can help to study and rescue artistic practices of other communities.