POST-DOCTORAL FELLOWSHIP, USP [2018 - ]
"Analytical proposal on symmetric compositional processes in Popular Music: the example of Moacir Santos"
The current project intends to elaborate an analysis methodology specifically tied to symmetric compositional processes in Popular Music. For example, palindromes, axes of symmetry, inversional symmetry, among other concepts. This analytical proposal will be built through the friction of the already consolidated theories, linked to different musical backgrounds. The main musical source, which will serve as the object of study for this research, will be the compositional work of Moacir Santos (1926-2006).
I have published some initial results that point out the direction to the realization of the present research proposal. From these preliminary results, I intend to see the work of Santos through a new theoretical standpoint, pertinent to the study of Popular Music. To ground the research, besides the musicological study, extra musical aspects will be of great importance. As well as the historical discussion of Santos path with some of his main mentors, some of whom were strongly tied to the Música Viva movement, led by H. J. Koellreutter, who disseminated the study of the twelve-tone technique in Brazil from the 1940s on.
Until today, Popular Music scholars have not properly study symmetric compositional processes. Therefore, as this issue has been consistently neglected, this project is important to open new methodological paths.
Supervisor: Paulo de Tarso Salles
DOCTORAL DEGREE, UNICAMP [2014 – 2018]
"Moacir Santos ghostwriter: the composition of musical scores for films in the North-American period"
This dissertation aims to discuss a specific part of the work of Moacir Santos (1926-2006), which is temporarily located in the first decades that the composer fixed residence in the United States, between 1967 and 1985. By that time, Santos established a relevant performance as a composer in American audiovisual productions, participating in films as Love in the Pacific (1968), Africa Erotica (1970) and Final Justice (1985). The research was based, as a starting point, in the Masters dissertation of the same author, which deals with the analysis of film scores signed by Moacir Santos in Brazil in the 1960s, period immediately prior to his move to the U.S. From these preliminary results standpoint, his compositions for North-American audiovisual products were analyzed. The films scores in which Santos received formal credit were thoroughly studied and all cues were transcribed to musical notation. In this way, it was possible to identify the main characteristics of his compositional processes as a film music composer. In addition, it was also of great importance for the research to find out about his participation as a ghostwriter in non-credited productions, demystifying speculations commonly associated to this part of Santos career.
Supervisor: Ney Carrasco
VISITING GRADUATE RESEARCH, UCLA [2015 – 2016]
"The film music composition of Moacir Santos: California's field research"
This project is a branch of a doctoral research project funded by FAPESP, entitled "Moacir Santos ghostwriter: the composition of musical scores for films in the North-American period". This proposal describes the objectives, the background and the work plan of the short term research internship to be held in 2015 at UCLA (University of California, Los Angeles), in order to collect and catalog precious information of the Moacir Santos' audiovisual work in his North-American period. The temporal cut of the research stands between 1967 a 1985, when Santos became a requested composer in California's cinema and television industries, participating in the production of important movies and TV shows of the period, being a ghostwriter in the teams of Henry Mancini (1924-1994) and Lalo Schifin (1932-). The main focus of the internship period abroad will be to conduct an extensive field research, with a number of interviews with professionals who have worked with Santos at that time or who worked as ghostwriters in the film music local companies. We also intend to perform visits to several archives, with special attention to the personal collection of the Santos family, who lives in Pasadena and holds a considerable amount of scores, notebooks, books, records and other materials, which will be of great importance for the proper execution of the doctoral research.
Supervisor: Randal Johnson
MASTER DEGREE, UNICAMP [2012 – 2014]
"The film scoring as genesis of the creative process in the work of Moacir Santos"
This Project aims to discuss the compositional processes used by Moacir Santos (1926-2006) in the conception of his work from the various film scorings that he composed, mostly in the sixties. Santos devoted much of his time composing and producing film scorings, and these productions are his first major impact works launched in Brazil, the following films will be analyzed under those compositional aspects: Seara Vermelha (1964), by Alberto d'Aversa (1920-1969); O Santo Módico (1964), by Sacha Gordine (1910-1968) and Robert Mazoyer (1929-1999); Ganga Zumba (1964)and A Grande Cidade, by Carlos Diegues (1940-); Os Fuzis (1964), by Ruy Guerra (1931-); and O Beijo (1964) by Flávio Tambellini (1925-1976).These scores show an entire aesthetic direction followed by Moacir throughout his career, and the countless themes and melodies "born" at this time and that would appear in most of his instrumental music and songs released after that. Thus, we can understand better the full scope of his compositional work, studying and realizing how the imagetic references assimilated in the films reflected his compositional process.
Supervisor: Ney Carrasco
MONOGRAPH, FASM 
"Compositional Processes in Choros & Alegria: Moacir Santos's first phase"
This work figured out the personal “language” of Moacir Santos in the compositional process of Choros & Alegria, bringing up the socio-cultural and stylistic aspects and musical style. It was of great interest to research and organize the main compositional procedures, structural in the process of construction and consolidation of this Moacir’s first compositional phase, through analysis of audios and transcriptions available.
Supervisor: Sergio Molina
SCIENTIFIC INITIATION, FASM [2009 – 2010]
"Apropriation as hommage - the quotation in the compositional process in Suíte Retratos, of Radamés Gnattali"
The core of this study is to approach the citation, with all its creative potential, as a compositional procedure used in the work Suíte Retratos by Radamés Gnattali. This research has also the aim of understanding the synthesis that Radamés
accomplishes with the choice of four essential characters in the history of the choro: Pixinguinha, Ernesto Nazareth, Anacleto de Medeiros e Chiquinha Gonzaga. Through compositional analysis, it is clarified how and where Radamés cites them and transform their musical material.
Supervisor: Maurício Ayer