João Quinteiro starts his musical studies at the Conservatório Regional de Música de Viseu, where his first exercises and compositional studies are sketched. Between 2004 and 2009 he take the Music Teaching (Composition) Bachelor Degree at the Universidade de Aveiro, where he studied composition with João Pedro Oliveira, Isabel Soveral and Evgueni Zouldikine. Between 2011 and 2013 he takes a Masters Degree in Philosophy, specializing in Esthetics at the Faculdade de Ciências Sociais e Humanas of the Universidade Nova de Lisboa, under the supervision of Professor João Constâncio and Professor Paulo Pereira de Assis. During the same period he takes the Masters Degree in Music Composition (performance) at the Universidade de Aveiro, under the supervision of Professor Helena Santana. In 2015 he started his PhD in Artistic Studies – Art and Mediations at the Universidade Nova de Lisboa, under the supervision of Professor Paula Gomes Ribeiro. and Professor Paulo Pereira de Assis. He attended several workshops and seminars by composer Emmanuel Nunes. He also participated in seminars, workshops and conferences with Brian Ferneyhough, Edson Zampronha, Staffan Mossenmark, Flô Menezes, Helmut Lachenmann and Beat Furrer. Since 2013 he has participated in the organization of sessions about contemporary music on the project Omnia Mutantur, in Aveiro. As a composer he has had his work performed by groups as the Orquestra Gulbenkian, the Lisbon Ensemble 20/21 and the Grupo de Música Contemporânea de Lisboa, having worked with conductors as Guillaume Bourgogne, Pedro Pinto Figueiredo, Vasco Azevedo and Alberto Roque. In 2015 he was awarded the 1st Prize (A) at the II International Composition Competition Jorge Peixinho/GMCL.
Paulo Assis (c)
The dissertation “Nono, Lachenmann, André, the performance of the body as archetype mechanism of insurrection: Genealogy of the opera after Darmstadt” proposes an analysis of the evolution of the operatic genre since the sixties until the present day, particularly in what concerns its evolution as an esthetic/political mechanism of insurrection. For this, musicological mechanisms of analysis are articulated with the analysis of extra-musical performative mechanisms as well as the sociological and political context of the works “Intoleranza 1960” by Luigi Nono, “Das Mädchen mit den Schwefelhölzern” by Helmut Lachenmann and “Wunderzaichen”, by Marc André.