Rui Vieira Nery was born in Lisbon in 1957 and began his musical studies at the Academia de Música de Santa Cecília and then studied at the National Conservatory of Lisbon. Graduated in History from the Faculty of Arts of Lisbon (1980), he received a PhD in Musicology from the University of Texas at Austin (1990), which he attended as a Fulbright Scholar and a fellow of the Calouste Gulbenkian Foundation. Associate Professor at Universidade Nova de Lisboa, he has supervised a large number of masters and doctorates in Portuguese, Spanish and French universities. He is a researcher at the Institute of Ethnomusicology – Center for Music and Dance Studies and at the Center for Theater Studies. At the Calouste Gulbenkian Foundation, he was Deputy Director of the Music Service (1992-2008) and Director of the Gulbenkian Education for Culture Program (2008-2012), Director of the Gulbenkian Program for Portuguese Language and Culture (2012-2021). Currently, he is Advisor of the Board of Directors.

As a musicologist and cultural historian, he is the author of a vast scientific production on the History of Portuguese Music.

He was National Commissioner for the Centenary Celebrations of the Republic and President of the Scientific Commission for the candidacy of Fado to Intangible Cultural Heritage of Humanity (UNESCO). He was Secretary of State for Culture in the XIII Constitutional Government, is a member of the National Council for Culture and of the European Cultural Parliament, and president of the General Assembly of the Portuguese Society of Authors.

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Depois do curso de Piano e da licenciatura em História da Música em Nápoles, doutorou-se em Ciências Musicais na Universidade Nova de Lisboa (UNL) com uma tese sobre a vida concertística lisboeta do século XIX. Foi investigador do CESEM e membro do Caravelas, bolseiro da Fundação Gulbenkian e de pós-doutoramento da FCT, desenvolvendo uma pesquisa sobre as tournées concertísticas oitocentistas. Autor de artigos e de uma ampla monografia sobre a vida musical lisboeta oitocentista (Um Movimento Musical como nunca houve em Portugal: associativismo musical e vida concertística da Lisboa liberal, Colibri 2016), colaborou com edições de New Grove, MGG e Istituto della Enciclopedia Italiana e um ensaio da sua autoria sobre a estadia em Portugal de Franz Liszt em 1845 ganhou a V edição do Premio Liszt.

Leccionou em diversas instituições portuguesas, entre as quais a Escola Superior de Música e a UNL e colaborou com o Teatro de S. Carlos de Lisboa e a Casa da Mùsica de Porto. Foi membro do INET-md e co-IP do projecto “PROFMUS, Ser Músico em Portugal: a condição sócio-profissional dos músicos em Lisboa (1750-1985)”, foi membro da equipa de investigação do projecto “O Teatro de S. Carlos: as artes do espectáculo em Portugal “ (CESEM) e do projecto “Estudos de Música Instrumental em Portugal: 1755 – 1834” da Unidade de Investigação em Música e Musicologia da Universidade de Évora.

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Cristina Fernandes holds a PhD in Music and Musicology from the University of Évora and is a contracted researcher at INET-md (NOVA FCSH). Between 2011 and 2017, she carried out a post-doctoral project on the musical practices and the ceremonial of the Royal and Patriarchal Chapel of Lisbon (1716-1834), with a research grant from FCT, and between 2015 and 2017 she coordinated the thematic strand of INET-md “Historical Approaches to Musical Performance”. Currently, she is Co-PI of the Project PROFMUS and integrates the research team for the projects PERFORMART-Promoting, Patronising and Practising the Arts in Roman Aristocratic Families (1644-1740) (CNRS, ÉFR, funded by the ERC) and MUSIN - La música como interpretación en España: historia y recepción (1730-1930) (Univ. de La Rioja). She was a guest lecturer at the Escola das Artes (UCP-Porto) and the department of Musical Sciences (NOVA FCSH) and is a music critic for the newspaper Público. She is the author of several books and articles on 18th century music and culture, among other subjects. Recently, she was co-editor (with M.A. Aguilar Rancel) of the book A música como fonte para a história da interpretação musical (Lisboa: BNP, INET-md, 2021) and (with Iskrena Yordanova) of the volume “Padron mio colendissimo…”: Letters about Music and the Stage in the 18th Century (Viena: Hollitzer, 2021).

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Alejandro Reyes Lucero, natural de Venezuela, começou os seus estudos musicológicos na Universidad Central de Venezuela (UCV). Actualmente esta a realizar o terceiro ano da Licenciatura em Ciências Musicais na NOVA-FCSH, é membro colaborador do Centro de Estudos Sociológicos e de Estética Musical (CESEM) formando parte igualmente dos grupos Caravelas e Música no Período Moderno. Tem 10 anos de experiência pianística e realizou um diplomado em Direção Orquestral na UCV.

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Ana Machado was born in Porto, on the 24th of August 1993. Her interest in music appeared very early on, starting by integrating several Youth Orchestras and Philharmonic Bands. In 2015, she finished her bachelor degree in History at the Faculty of Arts of the University of Porto. In 2017, she became a MSc in History and Heritage by the same institution, with the dissertation entitled Representações Musicais em Lisboa nos Século XVIII e XIX na Gazeta de Lisboa. In 2019, she joined the group Estudos Históricos e Culturais em Música of the INET-md of NOVA-FCSH, where she joined the research project "PROFMUS – Ser Músico em Portugal: a condição socioprofissional dos músicos em Lisboa (1750-1985)" and began working for the Instituto Europeu de Ciências da Cultura Padre Manuel Antunes,, in the Pombalia project. She is a PhD student at NOVA-FCSH, in the PhD course in History, with the project "A Irmandade de Santa Cecília em Portugal Uma abordagem socioprofissional do músico". Her interests as a researcher are: History of culture, with a focus on the History of music; care History; History of Porto and Douro; History of the vine and of the wine.

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Margarida Cardoso began her musical studies in philharmonic bands in Seia and Gouveia Bands. After entering the Conservatório de Música de Seia, she decided to opt for professional education, concluding the course of Wind and Percussion Instrumentalist at Escola Profissional da Serra da Estrela (EPSE) and publishing the book O Oboísta e a Palheta Dupla.

She is graduated in Musical Sciences at the NOVAFCSH (Lisbon) and has a Master in Music History Teaching at the University of Aveiro (UA). She is a PhD student in Ethnomusicology, a member of INET-md at the same university and has a fellowship of the Foundation for Science and Technology (FCT). She is author of several publications within the studies on the professional status of musicians during the Estado Novo and their connections with the philharmonic bands. She organizes several academic and non-academic events and is a member of the Associação de Arte e Imagem de Seia and Vice-President of Patrimónios da Estrela Association.

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Born in Lisbon, António Baptista holds a master's degree in Documentation and Information Sciences from the Faculty of Arts of the University of Lisbon (2020). He did his Curricular Internship at the Musical Archive of the Fábrica da Sé Patriarchal de Lisboa, and concluded his master’s degree with the Internship Report “Representation of Musical Information from the Manuscript Collection of the Fábrica da Sé do Patriarchate of Lisbon: Inventory”, supervised by Professor Doutor Carlos Guardado da Silva and co-supervised by Professor Cristina Fernandes. He graduated in Musical Sciences from NOVA FCSH in 2018, after having attended the Integrated Master in Civil Engineering, at IST, and the Integrated Master in Theology, at UCP. António Baptista was a fellow of the INET-MD (NOVA FCSH), in the project “PROFMUS - Being a Musician in Portugal: the socio-professional condition of musicians in Lisbon”, financed by the FCT. Currently, he is librarian at Instituto Camões I.P., in the control and implementation of the international network of libraries of this institute. He has participated in national and international congresses and conferences on musicology and documentation and information sciences. Between 2017 and 2019 he collaborated with several musicology projects of the research group Studies in Early Music at CESEM (NOVA FCSH).

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Diana Vinagre is a cellist devoted to historically informed performance practice, having earned her Bachelor and Master degrees with distinction under the guidance of Jaap ter Linden in the Early Music Department of the Royal Conservatory of The Hague. Her activity is also extended to musicological research, namely about the cello in Portuguese music in the 18th and 19th centuries. Focusing in the role of the instrument in Portuguese sacred repertoire between 1750 and 1834, Diana obtained her doctoral degree in Universidade Nova de Lisboa - INET-MD in 2021. In addition to an intense activity as a free-lance baroque cellist with several renowned European groups, Diana founded in 2009 Ensemble Bonne Corde, an early music ensemble centered in 18th century cello repertoire, developing an intense work of recovering unknown works, notably of Portuguese composers. We can highlight the first modern recording in period instruments of the Concerti grossi op.1 of António Pereira da Costa, as well as the recording of the complete Lamentation for the Holy Week from the Belgian composer Joseph-Hector Fiocco (1703-1741), both for the belgian label Ramée. Diana is also involved as a founder an artistic director with Real Câmara, a baroque orchestra devoted to the recovery of Portuguese orchestral music, lead my italian violinist Enrico Onofri.

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Bachelor and Master of Music in Harpsichord from the Department of Early Music of the Royal Conservatory of The Hague, studying with Jacques Ogg. Attended masterclasses with Leonhardt, Baumont, Wjuniski and Cummings. Studied baroque organ and clavichord, with a grant from Centro Nacional de Cultura. Has a Master of Music from the University of Aveiro and is a PhD candidate in Musical Sciences at the Universidade Nova of Lisbon (FCT scholarship). Specialist on historical keyboard instruments and researcher. Founder and artistic director of the Ludovice Ensemble, he also collaborates with specialized ensembles such as Oltremontano, La Galanía, Orquestra Barroca Casa da Música, Collegium Musicum Madrid, Red-Herring, Bonne Corde, Real Câmara and Allettamento, as well as the main Portuguese orchestras (Gulbenkian Choir and Orchestra, Sinfónica do Porto, Metropolitana de Lisboa). He has recorded for Harmonia Mundi, Ramée, Glossa Music, Paratyi, Veterum Musica, Brilliant Classics, Dynamic, Anima&Corpo, Mezzo, Arte and RTP. As maestro al cembalo he directed great works of the Baroque repertoire, such as Monteverdi's Vespers, Bach's cantatas and masses, operas by Charpentier, Lully and Bourgeois, Rameau's motets and Scarlatti's oratories in prestigious venues such as the CCB and the Gulbenkian Foundation, or the Oude Muziek Utrecht and MA Bruges festivals.

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Doctoral candidate in Musical Sciences by the doctoral program “Music as Culture and Cognition”, hosted by the FCSH – School of Social Sciences and Humanities and by CESEM – Centre for the Study of Sociology and Aesthetics of Music, at Universidade Nova de Lisboa. He joined the PROFMUS project team in March 2022. His main research interests are the practices around music during the second half of the 19th century, including musical comedy, café-concert and song, spaces and sociability, periodical press, history of women musicians and gender, among others. He is currently developing the doctoral project “From history to daily life of operetta in Lisbon: From the mid-nineteenth century to the end of the 1920s” (FCT funding: PD/BD/132377/2017). Since 2012, he has collaborated with CESEM, as a member of the research group “Music in the Modern Period”, of the NEMI – Study Group for Music in the Periodical Press and of the LE Opera – Opera Studies thematic line. He was a fellow of the project “«Teatro para rir»: The musical comedy in Portuguese language theatres (1849-1900)”.

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Hélder Sá studied violin at Porto Music Conservatoire and ESMAE (Escola Superior de Música e Artes do Espectáculo). Among his teachers figured António Cunha e Silva, Malgorzata Wierzba, Zofia Wóycicka (violin), Ana Mafalda Castro, Ryszard Wóycicki (chamber music) and António Saiote (orchestra). He also studied with other violinists as Jossif Grinman, Vadim Feldblioum and Anibal Lima and attended to masterclasses with Gerardo Ribeiro, Radu Ungureanu, Vadim Brodsky, Roman Nodel, Daniel Rowland, Tatiana Samouil and Benjamin Schmid. Hélder completed his master's degrees in violin and musical teaching at the University of Aveiro where he proceed a Doctorate in Music with Helena Marinho with a research entitled O Violino em Portugal na Primeira República: Contextos, Protagonistas e Repertórios. He is a member of INET-MD and part of his investigations is published by Ava, UA – Editora and Comares. The main themes of his investigations deal with the historical musicology and the performance of Portuguese late 19th-century and the first half of the 20th-century's repertoire. He teaches violin at Escola de Música Óscar da Silva and Academia de Música de Santa Maria da Feira and is also a civil engineer.

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Isabel Pina is a PhD student in Historical Musicology with a doctoral fellowship in NOVA FCSH, Lisbon, mainly interest in the study of Portuguese history of music of the 19th and 20th centuries, music and ideology, nationalism and neoclassicism, analysis and semiotics of music, and periodical press and music criticism. Isabel finished her masters in Musicology – Historical Musicology in 2016 with the dissertation “Neoclassicism, nationalism and latinism in Luís de Freitas Branco, between the decades of 1910 and 1930”. In CESEM (Centre for the Study of the Sociology and Aesthetics of Music), Isabel Pina is a member of the Critical Theory and Communication Group, and a collaborator of SociMus (Advanced Studies in Sociology of Music). She is also one of the founders and coordinators of NEMI (Research Cluster on Music in the Press).

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João Silva is a musicologist working on on popular entertainment and its relationships with modernity, nationalism, historiography, technology, and everyday life. He published the monograph Entertaining Lisbon: Music, Theater, and Modern Life in the Late 19th Century with Oxford University Press in 2016 and regularly contributes to specialised publications and colloquia with his work He teaches in specialist music schools, is program annotator for Portuguese institutions, such as the Fundação Calouste Gulbenkian and Casa da Música, and works in music appreciation programmes.

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Luís M. Santos is a Ph.D. Candidate in Musicology at the NOVA FCSH, having been awarded a Doctoral Grant by the Portuguese Foundation for Science and Technology. His research, supervised by Paulo Ferreira de Castro, is focused on symphonic music in Lisbon during the period 1910-1933. He studied at the National Conservatory of Lisbon, having concluded the Piano Course (2006). At the NOVA FCSH he graduated in Musicology (2007) and obtained the Master of Arts degree in Historical Musicology (2010). Since 2007, he is a Collaborator at the CESEM | Research Centre for the Sociology and Aesthetics of Music (NOVA FCSH), where he was a “Research Fellow” (2007-2010), and currently is a member of the Research Group in Critical Theory and Communication. He was distinguished with the Joaquim de Vasconcelos Award 2016 by the SPIM | Portuguese Society for Music Research. Since 2010, he has collaborated regularly with the Casa da Música, the São Carlos National Theater and the Calouste Gulbenkian Foundation in the writing of musicological texts. Since 2013, he has also collaborated as a guest lecturer with the Department of Musicology at the NOVA FCSH.

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Luís Santos has a degree and a master's degree in Telecommunications and Computer Engineering from Instituto Superior Técnico (IST).

His thesis was carried out together with the Faculty of Social Sciences and Humanities, where, as a fellow, he developed the initial prototype of the PROFMUS application.

This application supports the project "PROFMUS - To be a musician in Portugal: the social and professional condition of musicians in Lisbon"

Luísa Cymbron obtained her PhD in Musicology from the Universidade Nova de Lisboa, where she has also taught since 1986. Her research focuses on 19th-century Portuguese music, the reception of the Italian and French opera repertoire in Portugal and musical relations between Portugal and Brazil during the same period. She is the author, in collaboration with Manuel Carlos de Brito, of a História da Música Portuguesa (1992) and organised in the National Library of Portugal the exhibition Verdi em Portugal 1843-2001. In 2012 she published a volume of essays entitled Olhares sobre a música portuguesa no século XIX: ópera, virtuosismo e música doméstica (CESEM – Edições Colibri). She has published several articles in journals and collective works as well as collaborated in various research projects in Portugal and abroad. Since 2013, she has been the review editor of the Revista Portuguesa de Musicologia. She is currently preparing a book on the Portuguese composer and violinist Francisco de Sá Noronha (Francisco de Sá Noronha (1820-1881): um músico português no espaço atlântico) and editing a collective work on the Teatro de S. João of Porto (O velho Teatro de (1798-1908): teatro e música no Porto do longo século XIX).

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Manuel Deniz Silva holds a PhD in Musicology from the University of Paris VIII (2005), with the thesis "La musique a besoin d'une dictature»: Musique et politique dans les premières années de l'Etat Nouveau (1926-1945)". He is an integrated researcher at the Institute of Ethnomusicology - Center for Studies in Music and Dance (INET-md) and coordinator of the thematic line “Music and Media” at INET-md, as well as co-editor of the Portuguese Journal of Musicology and editor of Kinetophone magazine, Journal of Music, Sound and Moving Image. His areas of interest are Portuguese musical life in the Estado Novo period and music in Portuguese cinema (1931-1974). He is currently a postdoctoral fellow at the Foundation for Science and Technology, with the project "Sound and Screen: Cinema, Television and Music Industries in Portugal in the 20th Century.

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Has a Degree in History and a PhD in Geography (Historical Geography) from the University of Lisbon (UL). Teaches as assistant professor at the University of Lisbon, researcher at Center for Geographical Studies/IGOT-UL.
Her research has focused on Sociability and Associations, Counter-Revolution and History of Tourism in Portugal (19th and early 20th centuries). Recently she is working on two projects: Cultural life in provincial towns: public space, sociability and representations (Portugal, 1840-1926) and Critical and alternative social movement (Portugal, 20th century).

Maria Alexandre Lousada has been a commissioner of exhibitions and has participated as a lecturer in conferences and other national and international scientific meetings held in Portugal and abroad.
 

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Maria João Durães Albuquerque holds a PhD in Information Sciences, from the Complutense University of Madrid, 2015 special doctoral award. At the present she is librarian at the Ajuda Library (Lisbon, Portugal) and integrated researcher at the Instituto de Etnomusicologia - Centro de Estudos em Música e Dança, Universidade Nova de Lisboa, Portugal. Received an honourable mention award Raul Proença 2004, (BAD; IPLB). She graduated in History from the University of Lisbon. Completed the Superior Course of Piano in the Lisbon Conservatory of Music and graduated in Composition in the Lisbon Superior School of Music. She later specialized in librarianship, obtaining a post-graduate degree in Documentation Sciences (University of Lisbon) and a master's degree (University of Évora). She worked at the National Library of Portugal, Ajuda Library, Lisbon University Library, School Libraries Network, and Public Administration Libraries. She participated in national and international Congresses, Colloquia, Seminars, Conferences, and has published books, book chapters, and several articles. She is in the research team for the project "PROFMUS-To be a musician in Portugal: the social and professional condition of musicians in Lisbon" (INET-md, funded by FCT), where she has developed work on music ontologies.

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Maria José Artiaga studied musicology at the universities of Lisbon (Faculty of Social Sciences and Humanities), Berlin (Freie Universität) and London (Royal Holloway) where she graduated with a PhD thesis on Continuity and Change in Three Decades of Portuguese Musical Life 1870 – 1900. She has taught at Instituto Politécnico de Lisboa where she was Head of Department of Languages and Arts. Presently she is a research fellow at CESEM - Centre for the Study of the Sociology and Aesthetics of Music at Lisbon, Nova University, and a member of the Research Group on ‘Music in the modern era’. Her publications and main research topics focus on nineteenth-century Portuguese music, having participated in scientific funded projects, such as ‘Theatre of Laughter’: Musical Comedy in Portuguese-speaking Theatres (1849-1900), ‘Music in-between: the ‘orfeonismo’ movement and choral singing in Portugal (1880-2012)’ and ‘Euterpe unveiled: Women in Portuguese musical creation and interpretation during the twentieth and twenty-first centuries’, "To be a musician in Portugal: the social and professional condition of musicians in Lisbon (1750-1985)".

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Historian, with a PhD from the École des Hautes Études en Sciences Sociales (2007), and researcher at the Centro de Investigação e Desenvolvimento Sobre Direito e Sociedade (CEDIS), NOVA School of Law. Member of several national and international research projects, and interested in the history of the Portuguese judiciary in the early modern and modern periods, the history of administration in colonial contexts and the social history of power. His work uses methods of the digital humanities applied to prosopography, geographic information systems, network analysis and relational databases. Author of several articles and books, namely his doctoral thesis Juízes e administração da Justiça. Portugal e o seu império colonial, sécs. XVII-XVIII (Lisbon, Gulbenkian/FCT, 2010 and Paris, L'Harmattan, 2012).

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Nuno Domingos is a research fellow at the Institute of Social Sciences - University of Lisbon. He has a PhD in social anthropology (School of Oriental and African Studies, University of London).He researches the history of Portuguese colonialism, especially in Mozambique during the period of the Estado Novo. In his PhD he produced a historical anthropology of colonial Maputo, the capital of Mozambique, focusing on the dissemination of modern popular culture in the form of sports practices and consumptions. More recentlly he began a research project on the history of Portuguese wine in the colonial and postcolonial contexts. This last project is deeply related with the broader development of studies on the anthropology of food at ICS. He also worked on the social and cultural policies of the Estado Novo regime. In his master's thesis he explored the dynamics of the Portuguese corporatism through the study of an opera company based in Lisbon. After that, but still related with the Portuguese Estado novo, he published researches on reading practices and on the history of sport in Portugal. He was principal investigator of the project "The Portuguese colonial empire and urban popular culture: comparative visions of the metropolis and the colonies" (1945-1974) PTDC / CPC-CMP / 2661/2014. He is co-editor of the book series História e Sociedade (Edições 70) and co-editor of the book collection of the publisher Outro Modo.

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Pedro Moreira has a PhD in Musicology by the Faculty of Social and Human Sciences (Universidade Nova de Lisboa) having specialized in the study of musical practices in the early years of the Estado Novo. He is currently a postdoctoral researcher at INET-MD, where he develops a research on music and media in Portuguese community in Île de France. He has taught in several universities and polytechnics, and also assumed various positions as director of music performance departments, such as National Academy of Orchestra Metropolitana, and Instituto Piaget. He also collaborates in writing program notes for the Calouste Gulbenkian Foundation, the National Theater of São Carlos and Casa da Música.

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Rui Magno Pinto is a PhD candidate in Musicology at the Faculty of Social Sciences and Humanities of the New University of Lisbon. He is an integrated researcher of the Centre for the Study of the Sociology and Aesthetics of Music and an associate member of the Internationale Gesellschaft zur Erforschung und Förderung der Blasmusik. His doctoral thesis, funded by the Foundation for Science and Technology FCT, and supervised by Paulo Ferreira de Castro, discusses the “upgrowth of a symphonic culture ins Lisbon between 1846 and 1911”. Pinto concluded in 2010 in the same institution his MA in Musicology with a dissertation on virtuosity in wind-instrument praxis in Lisbon between 1821 and 1870. In 2007 he concluded his degree in Musicology. Pinto was a fellow researcher on the following CESEM projects funded by FCT: “The Teatro de São Carlos: the performing arts in Portugal (10.2007-9.2010), “Musical Heritage – Foundation Jorge Álvares” (7-12.2011) and “Sanfona (8.2019-1.2021). Pinto is the artistic director of the following projects, held in the scope of the program Artistic Practices for Social Inclusion of the Calouste Gulbenkian Foundation: “Novos alunos d@ Guillherme Cossoul”, created by Cossoul; and “Filarmónica Enarmonia”, developed by Associação Bengala Mágica.

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Producer and Musicologist, Tiago Hora is a researcher at the Institute of Ethnomusicology – Center for Studies in Music and Dance (“Historical and Cultural Studies in Music” research group) at Universidade Nova de Lisboa (UNL), where he has dedicated himself to the historical research of Portuguese music and of record production.

He holds a PhD in Musicology at NOVA-FCSH (2020) and a Master's degree in Historical Musicology (2010).

Between 2012 and 2014, he collaborated with CITAR-Universidade Católica Portuguesa in the projects “Sociedade de Concertos Orpheon Portuense” and “Espólio Manuel Ivo Cruz”.

He is the author of the book publications "Espólio Manuel Ivo Cruz: Música Manuscrita Portuguesa e Brasileira" (UCE-Porto, 2013), "Joaquim Simões da Hora: Intérprete, Pedagogo e Divulgador" (Edições Colibri, 2015) and "Fernando Lopes-Graça e Eugénio de Andrade: o diálogo entre a música e a poesia (Chiado Editora, 2018), as well as several articles and chapters for scientific and artistic publications in Portugal and abroad.

He regularly participates in national and international colloquia and congresses in the field of music research and musicology, and has also participated in several concerts as a commentator and organized workshops and free courses on the History of Music, as well as curatorships in the field of the history of culture.

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