My musical journey began in my adolescence with rock and Brazilian folk music , genres I cultivated through the guitar, starting from an empirical approach. I soon felt the need to go further and embarked on an academic path, which began with the classical guitar . Thanks to Maestro Valdomiro Prodóssimo, my practice of the instrument developed rapidly, and so, in addition to performing with various pop groups, I began playing in chamber music groups, appearing on television programs, and performing as a guitarist. As I pursued this path, my interest continued to broaden; it became essential for me to fully understand the music I was playing. I therefore entrusted myself to the guidance of an orchestra conductor, Maestro Osvaldo Colarusso, with whom I studied for several years in Curitiba, my hometown. With him, I entered the fascinating world of great composers and began to master the theoretical aspects that govern musical writing. At that point, I realized that I had no choice but to study composition; and I did so in Italy, where for over a decade I was a student of Maestro Paolo Ferrara (an authoritative conductor, heir to the Furtwängler school). He guided me until I earned my diploma in composition, which I obtained from the Niccolò Paganini Conservatory of Music in Genoa, an institution where, during the final phase of my studies, I was also able to count on the teachings of Maestro Luigi Giachino. Sources of further musical enrichment in Italy were, on the one hand, learning the fundamental principles of orchestral conducting , again under the guidance of Maestro Paolo Ferrara, and on the other, choral activity with Maestro Marco Berrini . Equally significant was my introduction to the piano, my encounter with the organ and with Gregorian chant, thanks respectively to Maestros Nicola Giribaldi, Pierdino Tisato and Pasquale Spiniello. From the early years of my academic career, I have been interested in teaching; initially with regard to the guitar, then with regard to music learning in a broader sense. The culmination of my teaching efforts coincided with the publication of the book What Does Reading Music Mean?, a journey through melody and harmony that draws on the folk traditions of various countries and aims to broaden the concept of music reading. "If you can't write, I doubt you can read," one of my teachers often said. Studying composition not only allowed me to learn to read and write, but also showed me that while it's true that "talent without genius isn't worth much," it's equally true that "genius without talent is worth nothing at all." On the other hand, thanks to this "talent," I was able to master the craft and ultimately draw closer, with greater awareness, to those composers who, through their art—"which cannot be learned and cannot be taught"—have made history.…My musical journey began in my adolescence with rock and Brazilian folk music , genres I cultivated through the guitar, starting from an empirical approach. I soon felt the need to go further and embarked on an academic path, which began with the classical guitar . Thanks to Maestro Valdomiro Prodóssimo, my practice of the instrument developed rapidly, and so, in addition to performing with various pop groups, I began playing in chamber music groups, appearing on television programs, and performing as a guitarist. As I pursued this path, my interest continued to broaden; it became essential for me to fully understand the music I was playing. I therefore entrusted myself to the guidance of an orchestra conductor, Maestro Osvaldo Colarusso, with whom I studied for several years in Curitiba, my hometown. With him, I entered the fascinating world of great composers and began to master the theoretical aspects that govern musical writing. At that point, I realized that I had no choice but to study composition; and I did so in Italy, where for over a decade I was a student of Maestro Paolo Ferrara (an authoritative conductor, heir to the Furtwängler school). He guided me until I earned my diploma in composition, which I obtained from the Niccolò Paganini Conservatory of Music in Genoa, an institution where, during the final phase of my studies, I was also able to count on the teachings of Maestro Luigi Giachino. Sources of further musical enrichment in Italy were, on the one hand, learning the fundamental principles of orchestral conducting , again under the guidance of Maestro Paolo Ferrara, and on the other, choral activity with Maestro Marco Berrini . Equally significant was my introduction to the piano, my encounter with the organ and with Gregorian chant, thanks respectively to Maestros Nicola Giribaldi, Pierdino Tisato and Pasquale Spiniello. From the early years of my academic career, I have been interested in teaching; initially with regard to the guitar, then with regard to music learning in a broader sense. The culmination of my teaching efforts coincided with the publication of the book What Does Reading Music Mean?, a journey through melody and harmony that draws on the folk traditions of various countries and aims to broaden the concept of music reading. "If you can't write, I doubt you can read," one of my teachers often said. Studying composition not only allowed me to learn to read and write, but also showed me that while it's true that "talent without genius isn't worth much," it's equally true that "genius without talent is worth nothing at all." On the other hand, thanks to this "talent," I was able to master the craft and ultimately draw closer, with greater awareness, to those composers who, through their art—"which cannot be learned and cannot be taught"—have made history.WWWW…