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Joana Gama


Joana Gama

PhD. fellowship

Joana Gama (Braga, 1983) is a pianist and a researcher. She was awarded the first prize at the Young Musicians Awards (PT), in 2008. Her performing activity unfolds in solo concerts and collaborations with different Portuguese groups. She was a student at Conservatório de Música Calouste Gulbenkian (Braga, Royal Academy of Music (London) and Escola Superior de Música de Lisboa. In 2010, she finished a Masters in Piano Performance, in the class of Antonio Rosado, at the University of Évora, where she recently finished her thesis entitled “Performance studies on Portuguese contemporary music for piano: the particular case of evocative music of elements of the Portuguese culture”, with a scholarship by FCT. As a pianist and performer, in the last few years, she has been involved in projects that associate music with dance, theatre, cinema and photography. QUEST, piano and electronics project shared with Luís Fernandes was released by Shhpuma and considered one of the best albums of 2014 by diverse Portuguese critics. During 2016, with the support of Antena 2, Joana is dedicated to SATIE.150 – a celebration in the shape of an umbrella, a series of concerts and events around Portugal that celebrate the 150th anniversary of the french composer Erik Satie. In this context she coordinated a special edition of the piano score “Embryons desséchés” by Erik Satie (Pianola Editores), lectured in several Portuguese schools and made an uninterrupted fifteen hours performance of the work “Vexations” in the Festival Jardins Efémeros in Viseu. She is preparing the launch of HARMONIES – an authorial project that departs from the music of Erik Satie – shared with Luis Fernandes (electronics) and Ricardo Jacinto (cello and electronics). (November, 2016)


Gama, Joana. (2013). Como o “fogo de artifício” presente na música de Liszt inspirou a peça para piano Fogo Posto de João Godinho. Pensar a Música – GuimaraMUS 2012. Guimarães: Fundação Cidade de Guimarães.

Gama, Joana. (2013). The Role of Inspiration in the Performance of Programme Music: The Case of “Viagens na minha Terra” by Fernando Lopes-Graça em Geoff Luck & Olivier Brabant (Eds.). Actas do 3rd International Conference on Music & Emotion (ICME3). ISBN 978-951-39-5250-1. Disponível em: https://jyx.jyu.fi/dspace/handle/123456789/41595.

Gama, Joana. (2012). Absence d’une mémoire présente” — O Estudo I de Jorge Peixinho e o Étude d’ut de [Ka’mi] em AA. VV., Assis, Paulo (coord.). Mémoires… Miroirs. Conferências do Simpósio Internacional Jorge Peixinho. Lisboa: Colibri, 159-172.

Gama, Joana. (2012). Lisztomania – o poder atractivo de Franz Liszt, em AA. VV., Música Discurso Poder. Braga: Húmus / Universidade do Minho – Centro de Estudos Humanísticos,317-329.

Post-Doc/PhD/Master Thesis
Title PhD. Thesis: Performance studies on Portuguese contemporary music for piano: the particular case of evocative music of elements of the Portuguese culture

Benoît Gibson

Scholarship Reference: SFRH/BD/87536/2012

The constructive process of the interpretation of ten Portuguese contemporary piano pieces that evoke extra-musical aspects of the Portuguese culture is the core of this research. Its body of work corpus consists of Lume de Chão (2003 – 2004) by Amílcar Vasques-Dias, terras por detrás dos montes (2011) by Carlos Marecos, l’aire de l campo (2003) by Eurico Carrapatoso, Variações sobre o Coro da Primavera (2000) by Fernando Lapa, Viagens na Minha Terra (1953-1954) by Fernando Lopes-Graça, Fogo Posto (2011) John Godinho, Para EBowed-Piano, Melódica e Field Recordings (2015) by Tiago Cutileiro and by versions for piano of the fado songs Um Homem na Cidade, Barco Negro and Talvez se chame saudade authored, respectively, by Vasco Mendonça, João Madureira and Pedro Faria Gomes, composed in 2007. The methodology, based on the identification, analysis and comparison of the extra-musical elements with music inspired by them, show, firstly, how composers have incorporated these references in their works, and then find out how the contact with the original sources influences the musical interpretation. Although there are different degrees of reference and impact on the interpretation, it is stated that the establishment of bridges with the Portuguese cultural elements that inspired the creation of these works is a distinctive element in the interpretation at the piano.

Research Group:

Contemporary Music

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