She studied viola in the sixties at the Conservatory Amadeo Roldán. She got her degree at the National School of Art Instructors where she worked as a guitar and music theory professor.  She was a founder of the Movimiento de la Nueva Trova and one of its main representatives...She was also a member of the   Grupo de Experimentación Sonora del ICAIC, which director was Leo Brower. She produced music for movies, television and radio and at the same time took part in several .records. She died in Havana on February 1st, 2012.

Conservatory Amadeo Roldán

The Conservatory Amadeo Roldán is in Havana. It is a prestigious Academic Cuban institution for music. For more than a century It has been a symbol in reference to the study of music in our country.  It emerged as an initiative of the first Mayor of Havana; the Doctor in Medicine and a patriot, Juan Ramon O´ Farril. The Conservatory was opened on October 2nd     1903 as an Academy of Music and was in different places in Havana. The Academy becomes the Municipal Conservatory of Havana due to an important transformation in 1935. The first stone of the current building located in Rastro Street number 1,in the municipality of Centro Habana was placed in 1942.  It was re- opened in 1943 as the Municipal Conservatory of Music of Havana.

National School of Art Instructors

Fidel Castro opened the first National School of Art Instructors on April 14th , 1961. It had 4000 students registered, who trained 3000 young people who later joined the National School of Art (ENA). They were the first generation of artists developed by the Cuban Revolution.

Movimiento de la  Nueva Trova

It was a musical expression that was born in the in the second half of the sixties in Cuba. It is the prolongation of the previous troubadours such as the so called traditional ballad and feeling. 

Grupo de Experimentación Sonora del ICAIC

It was created in 1969. Its first members were: Leo Brouwer  Silvio Rodríguez, Pablo Milanés, Noel Nicol, Eduardo Ramos, Sergio Vitier, Leonardo Acosta  and later Emiliano Salvador, Pablo Menéndez, Sara González and Amaury Pérez, among others. The aim of ICAIC authorities was to get a group of creators, who were dispersed, together. They had to do a collective, analytical, deep and political and social work about the popular music; with Leo Brower as the director. The name of the Grupo de Experimentación Sonora would indicate the working system they had proposed.  It was an experimental analysis of the musical product.