David Ruiz Molina was born in Madrid (Spain) in 1979. He has developed his professional career in the field of music as a phonographic produce, an interpreter or as a consolidated composer of different genres such as contemporary music, film music, religious music or pop. He has also worked as a music teacher in elementary and secondary schools, and as a professor of fundamentals of composition, harmony and musical analysis in several conservatories. In 2003 he got the higher degree of composition by Royal Conservatory of Music of Madrid under the guidance of Miguel Grande. In 2010 The Conservatory of Music of Aragón selected him as an active student for the Postgraduate of Composition under the tutelage of Jesús Rueda. And in 2005 The SGAE (General Society of Authors and Publishers) selected him as an active student for “Seventh course of music for film” with renowned composers as Patrick Doyle, Stephen Warbeck, Antonio Melibeo, Eduardo Armenteros, José Miguel Martínez, Roque Baños, Eva Gancedo… or filmmakers as Carlos Saura or Rafael Gordon. He completed his training with Master class with renowned composers such as Joan Ginjoan, Jesús Villa Rojo, Agustí Charles, Ivan Fedele, Philippe Hurel or Hector Parra among others. He got Master’s degree in Cultural Management at the Open University of Catalonia (2015), and he is degree of Music Education (2001) and Professor of Music Theory (2000). Currently studying PhD Program in Heritage from the University of Córdoba. His compositional language has a great conceptual richness, content density, neo-symbolist aesthetic and a very personal character. He is the father of the concept of Evolutionary syncretism” composition: <<It is not just musical fusion, where the elements are moved from a conventional use to a space that is not yours. Syncretism is because two or more linguistic elements arise and create a new form of expression. This inspires elements and transform or reinterpret to fit or generate new elements. The syncretism can draw on the fusion elements, but this is not its purpose. This resource is not original, since all the aesthetic-artistic history of mankind is replete with examples. Moreover, I defend their regenerative power as a real engine and justification of contemporaneity. Since if this is understood as the latest created, we must be aware and recognize that the man reinvents more than invents, new discoverie are almost always a new reinterpretation, or deliberate search for contrast to its immediate past… and with luck, random. The individual perspective of each composer always creates a new approach, because there lies the “originality” in each new work created.