Rafael Piccolotto de Lima holds a dual BACHELOR degree in Brazilian Jazz Studies and Classical Composition from UNICAMP (2004-2011, Campinas - SP, Brazil), a MASTER OF MUSIC degree in Studio Jazz Writing from the Frost School of Music - University of Miami (2011-2013), and a DOCTORATE OF MUSICAL ARTS degree in Jazz Composition also from University of Miami (2013-2016).
FELLOWSHIPS AND SCHOLARSHIPS
2013-2016 – ASCAP Henry Mancini Institute Composer Fellowship
2011-2013 – ASCAP Henry Mancini Institute Composer Fellowship
2010-2011 – FAPESP Scholarship
SCIENTIFIC INITIATION (full scholarship)
THE BRAZILIAN BIG BAND - SAMBA COMPOSITIONS AND ARRANGEMENTS BY NAILOR AZEVEDO (PROVETA) FOR BANDA MANTIQUEIRA.
Abstract of a scientific initiation essay at the State University of Campinas (Brazil): Given the importance of Nailor Azevedo (Proveta) as a composer, arranger, and performer in Brazilian music, this essay analyses the compositional procedures used in three selected pieces written for the Mantiqueira band. The intent of this research is to verify the originality degree of Nailor's work and describe how he contributed to developing the sonority of the Brazilian big band music.
Study supervised by professor Rafael dos Santos.
MASTER OF MUSIC (full scholarship)
MASTER’S AUDIO AND VIDEO PROJECT: STUDIO JAZZ WRITING
Master thesis supervised by professor Gary Lindsay.
DOCTOR OF MUSICAL ARTS (full scholarship)
BLURRED DISTINCTIONS; BEYOND THIRD STREAM – A STUDY IN COMPOSITION OF CONFLUENT HYBRID MUSICAL STYLES: THE AMALGAM OF JAZZ AND CLASSICAL CONCERT MUSIC
Abstract of a doctoral essay at the University of Miami: Categorizations are very necessary as shortcuts to facilitate teaching, academic discourse, and for publicizing, but they are also very dangerous in the attempt to put absolute values on unquantifiable concepts, such as styles, ideas, or eras. This essay presents dividing lines of musical genres as they are: blurred and open to crossovers. The discussion focuses on both musical and historical elements of jazz and classical music, particularly from the perspective of their mutual influence during the twentieth century and beginning of the twenty-first century. Departing from the Third Stream concept, the purpose of this research is to discuss the importance of the hybridization processes in music evolution through the examination of the blurred lines that separate styles of music. Three distinct contemporary composers recognized by their hybrid work were used as a case of study – Maria Schneider, Vince Mendoza, and John Psathas. An original confluent suite – Seven Masks – was created as a result of the research. Three movements of this new composition were analyzed with a focus on the hybridization processes used in its fabric.
Doctoral essay supervised by professor Gary Lindsay.