Fanfare Contributor Bio
My name is Ruth Prieto. I am from Spain but I have been living in Belgium for the last 17 years. I am director of Composer Speaks (www.elcompositorhabla.com), a website devoted to composers of the 20th and 21st centuries where I have done more than 300 interviews. The main purpose of Composer Speaks is to create a neutral, independent, and impartial repository of interviews, profiles, news, and information about contemporary musical creation. Composer Speaks is a concerted effort of documentation and dissemination that reaches around 80,000 followers every month. I am also the director of the Perkustra music company (www.perkustra.com), guest lecturer in cultural management at Alcalá de Henares University in Spain, and frequent contributor to the magazine Mundo Clásico, where I do reviews and articles about contemporary music. I am also often invited to festivals and concert halls in Spain and Belgium to write and advise.
My profile combines the artistic with the creative and the educational. I studied music at the Madrid Conservatoire, where I qualified as a piano teacher and as a specialist in the theory of music. I continued my musical and educational training in Geneva (Dalcroze Certificate of Musical Education), London (Accredited Piano Teacher), Boston and Princeton (Specialist in Early Musical Education), Michigan (Program in Education) and Granada (Masters Course in Didactic Concerts and Musical Education and Dissemination). I also have a Master’s Degree in Cultural Management from the University of Alcalá de Henares in Madrid and a European Diploma in Cultural Projects Management from the Marcel Hichter Foundation in Brussels. I have worked as a teacher of music and lecturer at the Madrid Conservatoire, Valladolid University, and the University of Music of the Basque Country. I have to my name a number of innovative projects in musical education, arts administration, journalism, and dissemination including the Música en Familia, Musi-k, and Menuda Música cycles produced in conjunction with, amongst others, the Spanish Performing Rights and Copyright Society (SGAE), the Spanish Ministry of Culture, Teatro Lara (Madrid), the Kursaal (San Sebastián), Residence Place (Brussels), and the National Auditorium of Spain.
I continue to work in musical journalism and on projects of music dissemination, arts management, and reviewing from Brussels, where I live.
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