He begins his studies in piano in Montevideo (Uruguay) with Genoveva Fariña de Parga, and afterwards, he perfected them with Numen Vilariño. Subsequently, he frequented studies of Musichologie in Facultad de Humanidades y Ciencias (Montevideo);
traditional harmonies, counterpoint, musical forms, twelve tones technical and serial technical, with Angelo Turriziani. Composition in the ex-Conservatorio Nacional de Música (at the present time, University Music School), with Carlos Estrada, Manuel Fernández Espiro, Héctor Tosar and Antonio Mastrogiovanni. Juan José Iturriberry, participate also as pupil, in the first and second “Latin-
American Courses of Contemporary Music” (Piriápolis, Uruguay), during the years 1971 and 1972, thought them, by prominent composers from Latin-American and Europe. Already as composer, in the first works, he adhered to serial technical, developing afterwards to another systems –as also to assumed “non-systematical” putting in execution. They are, the best reconciled with the expressive needs and perhaps, wit the aesthetic preferences. This it was possible, for a larger frequenting with the music of twenty centuries and very specially from the teaching received during the courses mentioned.
During 1969, he has declared victor in the “Annual Concourse of Music National Conservatory” (composition), for his work “Variations for piano”.
During 1975, he has selected in the “I.S.C.M. Festival”, Boston, U.S.A. (North America), for his “Meditation” for solo oboe.
During 1989, by the “Agrupación Musical Anacrusa” (Santiago, Chile) to participate in the “Third Encounter Latin-American of contemporary Music” (Latin-Americans composers), realized just, Santiago, for his work “Fuera de la jaula” (prepared piano).
He was redeemed as teacher in lyceums “Santa Luisa de Marillac”, “Monseñor Nicolás Luquese”, in the “Center of the Arts”, “Artigas teacher’s Institute” (IPA) and in the University Music School (E.U.M.)
He was critical in the newspaper “Época” and “Lea”, and also in the weekly publications “Marcha” and “Brecha” (Montevideo).
He also was invited -as specialist- for “General Society of Spanish Authors” (projected for the “Diccionario de la Música Española e Hispanoamericana”, where he collaborated in the wording of voices corresponding to Uruguayan composers.
He is active member of “Núcleo Música Nueva de Montevideo” and of the “Sociedad Uruguaya de Música Contemporánea” (filial I.S.C.M.)