POSTGRADUATE DIPLOMA IN CONTEMPORARY MUSIC
Manuel de Falla Conservatory of Music - Buenos Aires - Argentina 

“Every musical vocation is resolved through critical thinking, study, continuous exploration, and sustained practice over the years. This, ultimately, is what we consider experience. Within the framework of a postgraduate program, this course proposes a space for reflection and debate based on theoretical, technical, and aesthetic content. Above all, it is an invitation to share our professional experiences as musicians who are actively engaged and aware of the importance of steadfastly sustaining and contributing as artists to our cultural sphere.”

MARCOS FRANCIOSI

Teacher, composer, and researcher. Winner of the 2019 Konex Award. He studied composition at the National University of Córdoba and at the Conservatory of Music and Dramatic Arts in Québec, Canada.

He has served as the director of the Bachelor's Degree in Composition with Electroacoustic Media at the National University of Quilmes and is currently the director of the research project “Punto de encuentro” (Meeting Point): New Approaches to Collaborative Work for Composers and Performers in the University Setting.” He also directed the research project “La obra Instrumento. Procesos de Composición Autogenerativos en el arte escénico Musical” (The Instrument Work: Autogenerative Composition Processes in Musical Scenic Art) at the same institution. He is a tenured professor of Acoustic and Electroacoustic Composition III, with the rank of “Profesor Adjunto” (Associate Professor), “Exclusiva” (Exclusive) dedication, and a “Docencia y Desarrollo Profesional” (Teaching and Professional Development) profile in the Bachelor's Degree in Composition with Electroacoustic Media. He also teaches at the Chair of Musical Creation Workshop V and VI at the National University of Tres de Febrero in Buenos Aires, Argentina. He was a professor at the Chair and Seminar of the fifth year of the Composition Program at the Faculty of Arts and Musical Sciences of UCA (2008-2017), taught Music Appreciation at IUNA (2012-2013), Contemporary Techniques II at CEAMC (2006-2008), and Harmony, Counterpoint, and Composition IV and V at UCASAL (2012). He has been a jury member, speaker, and visiting professor on numerous occasions in Argentina and abroad.

He has received numerous distinctions, including the Konex Award, Diploma of Merit in Classical Music (2009-2019), the Creation Grant from the Antorchas Foundation (2002), Honorable Mention at the International Prize in Composition 2004 at The Florida State University, and the National Composition Grant from the National Fund for the Arts (2009), among others. His chamber opera “El Gran Teatro de Oklahoma” was selected by the Music Theatre Committee of the ITI International Theatre Institute in cooperation with the German Centre of the ITI, a global organization for the performing arts.

He has received commissions from important institutions such as the Ensemble Modern, the National Symphony Orchestra of Argentina at the Teatro Colón, the Contemporary Music Concert Series at the Teatro San Martín, among others. He is the author of acoustic, electroacoustic, and mixed music, symphonic music, chamber music, music for film, dance, theater, and opera. His works have been premiered by prestigious ensembles and performers from Argentina and abroad.

“Together with the dedicated musicians of the ensemble from the chair, we co-create a space where conducting students can explore and express their interpretations of the repertoire through gesture. Conducting techniques are not absolute; the search lies in defining, for each individual, the most effective way to communicate, always with the goal of respecting the composer and the musicians. It is a process that excites us, as it fosters a unique environment of discovery and learning.”

ANNUNZIATA TOMARO

 
She began her musical studies at The Juilliard School and has trained with some of the most renowned conducting pedagogues.

She was the Music Director of the Phoenix Ensemble in the USA and the Opera Theater and Music Festival of Lucca and the Spoleto Festival in Italy. She was appointed Associate Conductor of the Cincinnati Chamber Orchestra and has served as a substitute conductor for the Cincinnati Symphony Orchestra in the USA. She was a Professor of Orchestral Conducting, “Score Reading,” and Music and Artistic Director of the Concert Orchestra, Opera, and the Contemporary Ensemble Café MoMus at the College Conservatory of Music, University of Cincinnati (USA). She was invited by the Teatro Colón to serve as Head of Stage Music and Assistant Conductor of the Teatro Colón’s Stable Orchestra.

In Argentina, she has performed as a guest conductor at the Teatro Avenida (Buenos Aires Lírica), Teatro Colón (Buenos Aires Philharmonic Orchestra, Teatro Colón’s Stable Orchestra, Teatro Colón’s ISA Academic Orchestra), Teatro San Martín (Contemporary Music Series), La Usina del Arte, Kirchner Cultural Center, conDIT Conciertos del Distrito Tecnológico, Metropolitan Museum, Teatro Argentino de La Plata, La Nave (National University of Cuyo Symphony Orchestra), and the Municipal Theater of Bahía Blanca.

She has received the following awards: International Conducting Competition “Antonio Pedrotti” (Italy, 2010), “Extraordinary Conductor” from the League of American Orchestras (USA, 2010), “Robinson Award” from the Conductor's Guild (USA, 1998), “Presser Award” (USA, 2005), and the Fulbright Scholarship (Germany, 2004-2005). Annunziata Tomaro is represented by William Reinert & Associates.

"The presentation of the semiotics of music from Boulez's perspective is explained by three reasons: on the one hand, Boulez collaborated closely with Jean-Jacques Nattiez, one of the founders of this field of musicology; Nattiez, in turn, paid special attention to Boulez's work; and finally, Boulez's poetics (with its pronounced concern for language) and his very figure as a composer, conductor, and theorist constitute a case study in semiology. This course is also a tribute to the centenary of his birth."

PABLO GIANERA

He is an essayist, music critic, and translator. He has written the books Formas frágiles. Improvisación, indeterminación y azar en la música (Fragile Forms: Improvisation, Indeterminacy, and Chance in Music) (Debate), La música en el grupo Sur. Una modernidad inconclusa (Music in the Sur Group: An Unfinished Modernity) (Eterna Cadencia), Componer las palabras (Composing Words) (forthcoming), and a short essay on Arnold Schönberg, Alban Berg, and modern Vienna. He teaches at the Manuel de Falla Superior Conservatory of Music, the National University of Tres de Febrero (Untref), and the National University of the Arts (UNA). He is the Deputy Editor of Culture and Entertainment at the newspaper La Nación. He was a member of the editorial board of the journal Diario de Poesía. He has published articles on music, aesthetics, and literature in national and international journals from Germany, Spain, and Mexico. He has translated books and texts by, among others, Georg Büchner, Jack Kerouac, Novalis, Mauricio Kagel, Immanuel Kant, Andreas Huyssen, Günter Grass, Adelbert von Chamisso, and Erich Auerbach. 

“A curricular space designed to explore aesthetic affinities, musical concerns, artistic impulses, tastes, or preferences that have developed over a certain professional or formative journey. This space aims to initiate a personal search, either as a continuation or a rupture of that path, expanding and transcending the traditional boundaries of the role of the musical interpreter.”

LUCAS URDAMPILLETA

He completed his musical studies at the Provincial Conservatory of Music in his hometown and later at the Faculty of Arts and Musical Sciences of the Catholic University of Argentina, graduating as a piano professor and with a degree in Orchestral Conducting. He is regularly invited by the Teatro Colón, CETC, the Contemporary Music Series of the Teatro General San Martín, the Teatro Argentino de La Plata, the National Cervantes Theater, the Kirchner Cultural Center, and the National Music Center as a programmer, curator, pianist, and conductor in their various seasons. He was in charge of the musical direction of the “Ciclo Mixturas” for the National Music Center under the Ministry of Culture of the Nation, the “Integral de las Sonatas de Gerardo Gandini” for the Center for Experimentation at the Teatro Colón, the concerts “La invitación” and “Le Voci sottovetro” for the Contemporary Music Festival at the Teatro General San Martín, and the Latin American premieres of the operas “Prometeo” by Luigi Nono at the Teatro Colón and “Written on Skin” by George Benjamin at the Teatro Argentino de La Plata. As a conductor and pianist, he has given the first performances in Argentina of works by Hass, Sciarrino, Murail, Grisey, Nono, Adorno, Boulez, Crumb, Henze, Spahlinger, Ustvolskaya, as well as premieres of works by Argentine composers such as Gandini, Franciosi, Viera, Kagel, Matalon, Lambertini, Mastropietro, Paiuk, Taranto, Santero, Ortiz, Mucillo, Crespo, among others. He is currently a member of Sonorama and the Dabul/Urdampilleta Piano Duo, both dedicated to the study and dissemination of 20th and 21st-century music. He was the director and professor of CEAMC (Center for Advanced Studies in Contemporary Music) and has taught seminars on interpretation and analysis at various academic institutions in the country. He currently teaches at the “Astor Piazzolla” Superior Conservatory of Music in Buenos Aires, the National University of the Arts (UNA), and the “Manuel de Falla” Superior Conservatory of Music. 

FEDERICO LANDABURU

He holds a degree in Music from the Department of Musical Arts at the National University of the Arts (UNA).

He is a founding member of the Süden Ensemble and the Sonorama Quintet, both with over ten years of experience in the local scene, which has allowed him to collaborate closely with many of Argentina’s most prominent composers.

For years, he has regularly performed at the Contemporary Music Concert Series at the Teatro General San Martín, Colón Contemporáneo, and the Center for Experimentation at the Teatro Colón. He has worked with musicians such as Mauricio Kagel, Gerardo Gandini, Salvatore Sciarrino, Steve Reich, Garth Knox, among others. He participated in the films “Süden” by Gastón Solnicki and “Montage” by Alejo Moguillanski, where he performed music by Helmut Lachenmann alongside Margarita Fernández and Francesco Dillon.

He is a member of the Contemporary Music Ensemble of DAMUS, directed by Santiago Santero. He teaches at the National University of Tres de Febrero, the Superior Diploma in Music at the Manuel de Falla Conservatory, and the Program for Children and Youth Orchestras in Buenos Aires.

“Through a journey of works that dazzle us and inspire artistic growth, we seek to accompany processes that challenge technical and interpretive structures, expanding the sonic dimension and pushing the boundaries of performance toward the unexplored, thereby affirming our own voice—our musical essence.”

PATRICIA DA DALT

1999 Konex Revelation Award, she holds a degree in Music and studied flute with Lars Nilsson at the Faculty of Arts of the National University of Córdoba. She also took advanced courses in Europe with renowned teachers. She has received awards and distinctions, premiered works by composers from around the world, and represented Argentina at important international festivals.

She has taught courses and masterclasses in Argentina, Peru, Chile, Brazil, Ecuador, and Mexico. She has performed as a soloist with orchestras and given recitals in Argentina and Latin America.

Among her intense chamber music activities, the Luminar Trio stands out, with which she has performed in London, Paris, Madrid, Valencia, Seville, and Lisbon, and recorded three albums in Argentina and Spain. As a soloist, she recorded a CD with significant works from the flute and percussion ensemble repertoire alongside Paralelo 33 and Ángel Frette. She currently plays in the National Symphony Orchestra and is a Flute Professor at the “Astor Piazzolla” and “Manuel de Falla” Conservatories.

GRACIELA ODDONE

She studied at the Superior Institute of Art at the Teatro Colón and trained with Ernst Haefliger, Régine Crespin, Dénise Dupleix, Erik Werba, Heather Harper, Delia Rigal, Guillermo Opitz, and Aldo Baldin. At the Teatro Colón, she has performed in, among others, Le nozze di Figaro, Turandot, Hänsel und Gretel, Ifigenia in Tauride, Die Zauberflöte, Madama Butterfly, Carmen, Das Rheingold, L’incoronazione di Poppea, Les Indes galantes, L’occasione fa il ladro, L’elisir d’amore, and Armide. At the Center for Experimentation, she starred in Il lamento d’Arianna, Il combattimento di Tancredi e Clorinda, and Mahagonny Songspiel.

In Europe, she debuted in Così fan tutte under the direction of René Jacobs. She has performed in Solimano by Hasse, La sonnambula, L’Orfeo, La púrpura de la rosa, Il mattutino de’ morti by Pérez, La virtù de’ strali d’amore by Cavalli, and Il vespro della Beata Vergine in London, Lausanne, Berlin, Paris, Geneva, Madrid, Brussels, Innsbruck, Montreux, Palermo, Lisbon, New York, and at the festivals of Aix-en-Provence, Beaune, Metz, Innsbruck, and Vigo, under the direction of Philippe Herreweghe, René Jacobs, and Gabriel Garrido, among many others. She has recorded Il primo omicidio by Scarlatti and Così fan tutte under the direction of Jacobs, as well as La contadina by Hasse. In 2000, she participated in the First Baroque Music Festival in Córdoba with The Rare Fruits Council, directed by Manfred Kraemer.

“What could be better for the training of an interpreter than a space where stereotypes, molds to replicate, and styles give way to surprise, exploration, and experimentation? A space where production, a priori, does not have a fixed model to fit into or the sole directive of imitation. A space where doubt and restlessness (two artistic values, by the way) replace certainty and copying as virtues. That dynamic and ever-changing space for the training of an interpreter is what I strive to make the space of our Superior Diploma in Contemporary Music.”

OMAR CYRULNIK

He earned his degree in Music from the National University of the Arts (UNA) in Argentina and studied Orchestral Conducting and Composition at the National University of La Plata. He trained in guitar with Maestro Miguel Ángel Girollet and furthered his studies in Italy with Maestro Stefano Aruta. He holds the chairs of Chamber Music and Guitar at the Manuel de Falla Conservatory and the Faculty of Music at UNA. He is a tenured professor in the Diploma in Contemporary Music program at the Manuel de Falla Conservatory. He served as Director of the Center for Experimentation at the Teatro Colón in Buenos Aires (CETC) and as an advisor to the Artistic Education Directorate of the Government of the City of Buenos Aires.

He has toured extensively as a soloist with orchestras and given recitals worldwide, including in Argentina, Australia, New Zealand, Malaysia, Indonesia, Egypt, Israel, Spain, Portugal, Italy, Germany, Poland, Finland, France, Chile, Paraguay, and more. He has taught courses at institutions such as the Mozarteum in Innsbruck, the Monteverdi Conservatory in Bolzano, the University of Melbourne, the University of Sydney, the Rubin Academy in Jerusalem, the Cairo Conservatory, the Kensenian Institute in Jakarta, and the Classical Guitar Society of Perth, among others.

He has been a member of international juries for competitions such as the Luis Sigall Competition (Chile), the Pittaluga Competition (Italy), the Arianne Urshalmi Competition (Israel), the International Kryzowa Competition (Poland), and the National Fund for the Arts (Argentina). He is the Latin American correspondent for the Associazione Fare la Musica, President of the Associazione Limina, Ambassador of Peace for Mil Milenios de Paz/UNESCO, and an invited member of CAMU/UNESCO. Together with Maestro Giorgio Albiani, he founded the Accademia DIMA di Arezzo, developing a highly significant pedagogical work and a strong international network of artistic collaboration.

“After a full year of readings and discussions, Analysis 3 will shift toward guided practice. This semester, we will work in a workshop format, testing in small group exercises some of the ideas, situations, and spaces we ‘mined’ from the authors and works we studied.”

MIGUEL GALPERIN

Born in Buenos Aires in 1972, he studied with Marta Lambertini and Néstor Andrenacci. In the United States, he trained primarily with Mario Davidovsky and Pablo Ortiz. Galperin was an Associate Professor at the University of California, a Visiting Professor at IDAES (National University of San Martín), and is currently a tenured professor in the Diploma in Contemporary Music program at the Manuel de Falla Municipal Conservatory and a lecturer at the National University of Quilmes. He also created and coordinated the “Programa de Investigación en Música Argentina” (Argentine Music Research Program) at the National Library. He has been the Director of the Center for Experimentation at the Teatro Colón in Buenos Aires (CETC) since 2011.

Galperin earned a Doctorate from the University of California, Davis, and in 2007 received the title of Doctor of Philosophy in Music (Ph.D. in Music). Upon his return from the United States, he premiered works at the Teatro Colón in Buenos Aires, the Ricardo Rojas Cultural Center at the University of Buenos Aires (UBA), the UNESCO Villa Ocampo Project, and the Recoleta Cultural Center. As part of his role in coordinating the Argentine Music Research Program at the National Library, Galperin edited the CD series “Raras Partituras” (Rare Scores), which was nominated for the Latin Grammy and Gardel Awards, and the book series “Cuadernos de Música” (Music Notebooks), which published documents such as the complete collection of Lulú: Revista de teorías y técnicas musicales (Lulú: Journal of Musical Theories and Techniques), Arreglos para Orquesta Típica (Arrangements for Typical Orchestra) by Horacio Salgán, and, more recently, Ginastera en el Instituto Di Tella, Correspondencias 1958-1970 (Ginastera at the Di Tella Institute, Correspondence 1958-1970). In recent years, his chamber music works have been featured in contemporary music festivals and concerts in the United States, Japan, and Europe.

"In these spaces, the creation of innovative and highly creative works is encouraged, supported by new technologies as a source of inspiration and creation. These technologies act as catalysts that expand the boundaries of imagination, facilitating the exploration of unconventional ideas and promoting creative approaches that transcend traditional artistic practices. I aim for this space to invite experimentation and the development of unique aesthetic proposals, integrating technology meaningfully into the creative process. At the same time, I am pleased to establish a solid foundation of theoretical and practical knowledge that allows beginners to integrate seamlessly while fostering growth and deeper exploration for those with prior experience."

JUAN PABLO POSADA

He holds a degree in Music with a focus on Guitar and Instrumental Pedagogy, a degree in Music with a focus on Guitar, a degree in Composition with Electroacoustic Media, and a degree in Music and Technology from the National University of Quilmes (UNQ). He also holds a Diploma in Composition with New Technologies.

He is currently a researcher in the ElectropUNQ research group at the EUDA (University School of Arts at UNQ), working on the design of technological tools applied to art. He is an international member of CIMA (Autonomous Research Center of Chile). He is currently developing his doctoral thesis in Composition at UCA on MMHCI Systems for Generative Interaction in Mixed Music, Electroacoustics, and Audiovisual Performance.

“What excites me most when accompanying creative processes is trying to identify and understand the explorations of those who are part of the space, and then contribute to what they are investigating. Beyond sharing reference works or artistic precedents conceptually aligned with their interests, what matters most to me is not so much seeking answers but discovering the right questions I can ask to help pave the way. I conceive artistic creation as a collective movement of individuals seeking to disrupt reality, propose another possible order of things, and bring us one step closer to what we sense is true.”

MATIAS GIULIANI

An artist transitioning from musical composition to performance, conceptual art, and interdisciplinary boundaries, he holds degrees in Composition and Choral Conducting from UCA, having studied privately with composers Jorge Rosso, Jorge Sad, and Francisco Kropfl.

In recent years, his artistic interests have shifted toward an intermediate space between musical composition and performance, conceiving musicians not only as interpreters but as performers on stage with specific musical knowledge. His experience with the Nuevo Ex Ensamble Wonderland! has been fundamental; he currently co-directs this group with Silvina Zicolillo.

He has given workshops and lectures at the University of Auckland (New Zealand), IRCAM (Pompidou Center, Paris), the Morales Conservatory in Seville, and the National Conservatory of Music and Dance in Paris, among others. He has presented works in Argentina—at the Teatro Colón (main hall and CETC), TACEC, the National Library, the Dome of the CCK, etc.—and abroad. He is a recipient of the Municipal Award (lifetime achievement), multiple editions of the J.C. Paz Award from the National Fund for the Arts (FNA), and others. He has received grants and invitations from the OV-Alliance (New York), BIT20 Ensemble (Norway), Fondation Royaumont (France), Atlantic Center for the Arts (USA), Interact 2006 (Denmark), the Secretariat of Culture, Mozarteum, Groupe de Recherches Musicales (Radio France), the Embassy of France, the Chancellery, the Antorchas Grant (two years), the Contemporary Music Area of the National Secretariat of Culture, the National Fund for the Arts, CECH (Chile), Ibermúsicas (Argentina), among others.