My curiosity about real-time music composition has been with me since my first contact with the arts. I grew up living in a theater and throughout my childhood, I had contact with artists from the most diverse fields: music, dance, circus, visual arts, and performing arts. I also always followed my parents’ artistic endeavors. My mother, Lucélia de Cássia Clarindo, is a storyteller, and my father, Américo da Silva Nunes, is a theatrical technician, scenic designer and director. This period of childhood surrounded by artistic stimuli was very inspiring and contributed to the emergence of a questioning spirit in me.

I had my first contact with music while I was still a child, in the theater where we lived. There was a piano and I remember playing it intuitively between one or another child game. During this period I used to be present during the sound check and concerts of local artists of the most diverse styles.

During my early adolescence, I took music lessons and learned to play the classical guitar with musicians such as Rosângela Jorge, Angela Sasse and Marcelo Teixeira at the Maestro Paulino Conservatory in my hometown of Ponta Grossa. After that, I began to investigate the world of percussion instruments with an undefined pitch, such as drums, bongo, pandeiro, zabumba, and others.

Later, at the Conservatory of Brazilian Music in Curitiba (CMPB), I had the opportunity to improve my knowledge of Brazilian percussion in classes with great percussionists such as Vina Lacerda and Luis Rolim. During this period, I created Encontro de Pandeiros, an artistic project that provides experiences and discussions about the Brazilian pandeiro.

During this same period, I was drawn to the electronic and experimental sounds I found in the music of international groups such as Kraftwerk, Pink Floyd, Radiohead, Björk and Aphex Twin. Later, my interest in sound experimentalism also extended to Brazilian artists such as Tom Zé, Itamar Assumpção, Elis Regina, Karnak, Naná Vasconcelos, and Airto Moreira.

I then developed an appreciation for unconventional sounds and the possibility of expressing myself musically in a less restricted way.

During my academic training, I came into contact with the music of composers such as Olivier Messiaen, Karlheinz Stockhausen, Pauline Oliveros, and Murray Schafer. I also had classes with composers and sound artists such as Indioney Rodrigues, Maurício Dottori, and Clayton Mamedes. The subject of improvisation became more and more exciting, to the point of further becoming  the theme of my master’s course academic research.

In 2017, I attended the International Improvisation and Sound Art Festival (IMPROFEST) in São Paulo. On that occasion, I attended free improvisation performances by various improvisers, including Paulo Hartmann, Marcos Scarassati, Antonio Gianfratti, and Otomo Yoshihide. The freedom of the artists taking part in this type of performance blew my mind.

Artistic experiences outside and inside the music university sparked my interest in free improvisation even more.

During this same period, I had my first contact with improvisation with music and dance at an event called Improviso Dança e Música promoted by Casa Hoffmann – Center of Movement Studies, in Curitiba. In my first experience at this event, I explored many percussion instruments, such as pandeiro, drum, bongô, caxixi, etc. Gradually, I began to invite musicians from my artistic circle to take part in the meetings, and we began to explore other musical instruments, such as guitars, electric basses, and computers for sound processing.

From these experiences, I formed a free improvisation group called Projeto Netuno, which frequently performed as musical support for Improviso Dança e Música between 2017 and 2018. In 2019, I was invited by Dan Piantino, a collaborating artist of Improviso Dança e Música, to help as a music curator for the event, position I held until 2023.

I feel that the curiosity to create and explore different sonic forms through free improvisation, which developed from artistic experiences throughout my life, led me to an interest in deepening my knowledge about theoretical, practical, and conceptual aspects of free improvisation.

In 2023, I concluded a thesis entitled Movement-sound: Creative Interactions between Music and Dance in free improvisation performances, during a master’s course in Sound Creation at the Postgraduate Program in Music at the Federal University of Paraná (UFPR). In 2024, I moved to Portugal and got more actively involved with experimental music. Currently, I am doing a PhD in Artistic Creation at the University of Aveiro.