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Fernanda Aoki Navarro is a composer, multimedia artist and educator. She was born in Brazil and is based in the United States. Her music has been performed by major ensembles and soloist, her instrumental music, electronic works, and installations had been performed and exhibited in the United States, Latin-America, and Europe.

Education Fernanda studied Music Composition at University of Sao Paulo, University of California Santa Cruz, and at University of California San Diego (PhD), where she worked with Roger Reynolds, Rand Steiger, Steven Schick, and Katharina Rosenberger.

Career Navarro joined the faculty at Arizona State University in 2020 as an Assistant Professor of Music Composition within the Herberger Institute for Design and the Arts. She was a fellow at the Radcliffe Institute for Advanced Study (2019-20) at Harvard University, and an artist-in-residence at Yaddo (2022). She was a finalist of the Charles Ives Living prize for the American Academy of Arts and Letters (2023).

Performances of Navarro’s work include those with the International Contemporary Ensemble, New York Philharmonic, New World Symphony, Phoenix Symphony Orchestra, Talea Ensemble, Yarn/Wire, Callithumpian Consort, Platypus Ensemble, Fonema Consort, Nadar Ensemble, Ensemble Paramirabo, Accordant Commons, Fulcrum Point New Music Project, San Francisco Contemproary Music Players, among others.

She had also worked with conductors and performers such as Kate Campbell, Brice Catherin, Dalia Chin, Mario Del Nunzio, Larissa Coutrim, Nic Gerpe, Tyler J. Borden Otavio Manzano Kavakama, Matt Kline, Matthias Koole, Steven Schick, Derek Stein, Ine Vanoeveren, and Ashley Zhang.

Her works have been performed at venues, institutions and music festivals including Mata Festival, Americas Society, Roulette Intermedium, National Sawdust, New Music Gathering, LA Phil Noon to Midnight, June in Buffalo, Center for New Music (San Francisco), Bienen Institute for New Music (Evanston), Center for the Art of Performance (Los Angeles), Elastic Art and Constellation (Chicago), Nierf-Norf, NYC Electronic Music Festival, New England Conservatory, New York University, Biennial Festival of New Music (Tallahassee), Goethe Institute, Poetry Foundation, SEAMUS, Festival de Inverno de Campos do Jordao (Brazil) Cinemateca de Bogota (Colombia), Visiones Sonoras (Mexico), KM28 (Berlin), Ecofluxx (Czech Republic), Walled City Music Festival (Northern Ireland), Reaktor (Austria), SONIC MATTER Festival (Switzerland).

Navarro’s works had been featured in publications by ANPPOM (Associacao Nacional de Pesquisa e Pos-Graduação em Musica), Revista Vortex, ABRAPEM (Associacao Brasileira de Performance Musical), C&C’19: Proceedings of the 2019 Conference on Creativity and Cognition, Audio Engineering Society. Her works were mentioned in other media such as books (Allison C. Dobbin – Routledge, 2021; Chaves & Iazzetta – Bloomsbury, 2019; Tiago Bernardon de Oliveira – editora UNESP, 2015), dissertations (Rebecca Tavares Furtado – University of Iowa; Tania Mello Neiva – UFPB), newspapers, and radio interviews (with Arrigo Barnabe at Supertonica; with Raquel Amorin Novaes at Radio USP; Opus 94 Mexico).

Selected Works Ensemble: •	Re-flex (2023) mezzo-soprano, flute, clarinet, trumpet, 2 percussionists, violin, viola, cello, electronics and video •	Unnoticed Spectacles II (2023) soprano, flute, clarinet, bassoon soloists, ensemble, electronics, and video •	Unnoticed Spectacles I (2022) soprano, flute, clarinet, bassoon and electronics •	Glottogony (2018) large ensemble /orchestra and electronics •	Impermanence (2019) flute, clarinet, percussion, violin, violoncello, toy instruments, electronics, wearable speakers •	Ms. Spider (2019) 3 toy pianos, coat hangers, and performes’ voices •	The flaw that bears the entire building (homage to Clarice Lispector) (2018) soprano, percussion, piano and electronics •	Daddy (homage to Sylvia Plath) (2017) flute, clarinet, piano/Disklavier, violin, violoncello and electronics •	Otherness (2014) amplified flute, clarinet, piano, percussion, violin, viola, violoncello •	Pink (2013) soprano, flute, clarinet, piano, percussion, violin/viola, violoncello •	Parthenogenesis (2012) clarinet, trombone, violoncello, piano

Solo •	Crumbling (2022) piano •	Mestica (2019) piano •	Through (2015) I. Watching – flute; II. About Beauty ¬¬– bass flute •	Too big for the door (2014) double bass •	Emptying the Body (2012) amplified violoncello •	Fendas (2011) electric guitar and electronics

Electroacoustic: •	A song to let go (2015) •	Unboxing Helena (2011) •	To Bruno Mantovani (2014) •	Seated Figure (2008)

Installation / Performance Art / Visual •	Soundscape, Sound Escape – Chapter 1: Arizona (2023), co-created with Rodrigo Meirelles and Jean Howard •	Transition (2021) •	Unfolding (2020) •	Playing the piano while being aware of colonialism (2020) •	The Burden of Selfhood (2017), co-created with Stefani Byrd, Amy Fox, Sarah Ciston, Heidi Kaiser. •	A song to let go (2015) •	The Unattainable / The Intimate (2015), co-created with Stefani Byrd and Juan Rubio. Dinner Music (2015) •	MeMeMe (2014)

Music for film / theater •	Kuka (2016), film by Lindsay Bloom •	A Espera da Morte (2006), play by Nathalia Lorda •	Tecido Memoria (2009), documentary by Celso Brandao

External Links Official website