Music creative practice, pedagogy, and historical musicology are my strongest areas of expertise. Besides that, I am also experienced in the field of music technology and studio recording practice. My enclosed CV provides details of my skills, my academic qualifications, and my employment history (references as requested). My academic records withhold two Bachelor Degrees (Music Performance and Music Education), a Master Degree in Music Performance, and a Doctorate in Musical Arts. I have a multidisciplinary background in music and my professional activity is situated at the intersection between music performance, pedagogy and scientific discovery for which I have gained international recognition.
I have more than 6 years of teaching experience in Music Conservatoriums and Universities in Australia, Asia, and Europe, teaching piano performance at the Sydney Conservatorium of Music, the University of New England, the College of Arts and Social Sciences of the Sultan Qaboos University, and the Reus Conservatorium of Music. I have learned to adapt my methodologies to different cultural contexts. Working in different continents helped me to grow my cross-cultural competence through a multicultural teaching experience. I have experience, conducting tutorials, workshops, practical lessons, and lectures to graduate and undergraduate students. My students have achieved outstanding success and have been major prize-winners in local, national, and international competitions. I also complement my teaching activities with regular participation in international scientific conferences, building a network of international collaborators beyond my host institutions. Thus, I am a guest faculty member and performing artist in international festivals and also I am regularly invited to give courses and lectures in some of the world’s top universities such as the Royal Academy of Music London, the Lithuanian Academy of Music and Theatre, the Hochschule der Kunste Bern, the Tokyo National University of Fine Arts and Music, the Kawai Salon Omotesando JSSPM, the University of Strasbourg, the University of Melbourne and the University of New York, among others.
I have experience in successfully acquiring third-party funding for leading independent research projects and also in the field of fundraising for international cultural events, for which I did lead to secure a significant number of substantial grants from governmental institutions and public agencies that support the promotion of culture. I am the recipient of prestigious research grants such as the Spark 2020/21 from the Swiss National Science Foundation in Switzerland, the George Henderson Award 2013/14/15 given by the University of Sydney, the SGAE Grant 2016, the Government of Spain’s Artistic Award 2015, Australian Research Grants 2012/13/15, the Kathleen & Allison Short Faculty Merit Award 2013, the European Gold Cross and the Grand Cross of the Humanitarian Merit.
I began my music studies at the age of four, I won my first piano competition at the age of eight, and over the subsequent years, I was successful in international music competitions music festivals, and universities, receiving numerous awards and prizes in music performance. Although my always-growing repertoire ranges from Bach to the music of present-day masters, my primary focus is composers of the 19th and 20th centuries. My aim is to convince audiences of the immense beauty and diversity of music from the classical period to our own time through solo recitals, lecture-recitals, concerto performances, recordings, and special projects. I regularly appear as a recitalist in Europe, Asia and Australia. My concerts are regularly broadcasted by Spanish and foreign radio and television networks. In recent seasons, I have performed in many of the world’s major venues and festivals, as a collaborative pianist, soloist, and soloist with symphonic orchestras.
In my own research, I explore the impact of empirical research for music education applying technology to assist in the analysis of performance and exploring new pedagogical methods and how to implement them in music education. Thus, I focus in the area of transdisciplinary research towards a digital transformation in music education and the performing arts (see my list of publications). I am interested to develop digital tools that would ensure equality of access (especially necessary in times of social distancing restrictions), aiming to transform the way pianists approach to music learning, through a new methodological approach to embodying performing practices using computational models through a machine learning system. I am currently building a proof of concept in partnership with the Bern University of Applied Sciences (BFH). Moreover, I am an experienced user of digital audio workstations (DAW) and software specialized for music production (Ableton, Protools, Cakewalk Sonar), technological equipment for audio recordings and specialized software for audio enhancement (iZotope). I also have advanced level using video conferencing (Microsoft Teams, Zoom and Skype) and also using tools like Microsoft Excel, Word and PowerPoint. In my free time I have created and designed an online platform that explores the links between the digital world and classical music, exploring new digital ownership through non-fungible tokens (www.iberiaclassics.com). I have experience promoting my digital music compositions in the NFT marketplace, successfully creating and selling my artworks to art collectors. As a digital artist I am the author of the world’s first NFT Symphonic work (sold for $4000), and currently working on new NFT music compositions and limited edition art.
I am particularly interested to keep exploring the impact of digital technologies in music education, the impact of new technologies in the study of music performance, digital art creation, and the transformation in the music industry. These lines of research imply the opening of new horizons for music education and research communities and potential growth in the music industry economy and commercialization of digital music generation models on performance.