- Started in
- Musician type
- Host institution
- Leiden University
Already at the age of 14 under the guidance of flutist Fernando Lopes, he discovered his passion for old instruments and the historical sources describing their performance. Those studies sparked not only an interest in early music but also for general aesthetical ideas and the history of thought. Because of this, João decided to study philosophy after finishing high-school and completed a bachelor at the University of Brasília in 2008. In that same year, he started his studies with Barthold Kuijken at the Royal Conservatory in the Hague completing a bachelor and a masters.
With many ensembles, João performs regularly music ranging from the 16th century to the present days. Since 2012 he teaches at the Royal Conservatory in the Hague courses about performance practice, music theory and philosophy.
I would like to investigate what are the philosophical and practical consequences a reappraisal of the 17th-and 18th-century concept of taste may have for general and historical performance practice. Often in primary literature, authors appeal to the necessity of having taste (or good taste) when explaining what good musical expression is. Our contemporary notions, however, differ considerably from what they meant by taste, and reassessing their older meaning might have interesting consequences for how we understand musical performance, composition and style. Furthermore, they suggest that acquiring taste might endow the artist with a practical methodology, which relates musical expression not only to declamation and theater, but also to the arts, history, philosophy and even politics. But in order to appreciate better this older conception, I would like to link it to other fields of research such as Philosophical Hermeneutics, Dramatic Theory, Cultural Darwinism and the Authenticty Debate.