Manuela Morilleau de Oliveira
Manuela Morilleau de Oliveira was born in Châtellerault (France, 1977) and began his musical studies in early music at the age of seven. She completed the CFEM in chamber music (ENMD d’Angoulême, 1997) and in early music (CNR of Tours, 1998), while she began a DEM in viol, completed in 2002. Apart from the practical activity as a musician in Renaissance, Baroque and contemporary music, in France and Portugal, she lectured Musicianship, History of Music and Acoustics between 2000 and 2009. She obtained a DEUG in Musicology (1998) in the UFR Sciences Humaines – Poitiers (France), graduated in Musicology from the FCSH-UNL (2006), and obtained the Masters degree in Musicology (2012), variant of Historical Musicology, in the same university, with a thesis entitled Women of the Portuguese royal family and music: a preliminary study from 1640 to 1754. In the context of the Centre for the Study of the Sociology and Aesthetics of Music (FCSH-UNL) she was, between May 2010 and October 2012, a research fellow in the project “Marcos Portugal: the work and its dissemination”, funded by FCT, in which she developed a work of critical edition of pieces composed by Marcos Portugal to Their Royal Highnesses. Besides, between September and December 2014 she was a research fellow in the project “José Mário Branco’s musical work”, in which she prepared the digitalization and inventory of some of the composer’s scores and papers. Nowadays, she is a Ph.D. candidate in Historical Musicology at the FCSH-UNL, having been awarded a grant by the doctoral program “Music as culture and cognition”, and her research is focused on the domains of the Sociology of Music, Gender Studies, Modern History and Cultural History.
Manuela Morilleau de Oliveira – (CESEM, FCSH NOVA) – “Sobre o silenciamento do feminino na história da música. D. Maria Ana de Áustria e a prática musical na corte joanina” – in Falar de Mulheres dez anos depois – (coord.) Isabel Henriques de Jesus (CESNOVA, FSCH NOVA), Paula Gomes Ribeiro (CESEM, FCSH NOVA), Rita Mira (FACES DE EVA, FSCH NOVA) e Zília Osório de Castro (FACES DE EVA, FSCH NOVA) – (V.N. Famalicão: Edições Humus, 2016) – pp.153-170 – ISBN:978-989-755-245-8.
Manuela Morilleau de Oliveira – (CESEM, FCSH NOVA) – “Os álbuns de Suas Altezas Reais: fontes, conteúdos e particularidades” – in Marcos Portugal: Uma Reavaliação – (coord.) David Cranmer – (CESEM, FCSH NOVA) – (Lisboa: Edições Colibri – CESEM, 2012) – 403-417 – ISBN:978-989-689-245-6.
Publicações em actas de encontros científicos / Papers in conference proceedings
2013 (no prelo) – «Tous les matins du monde — ficção e realidades históricas», in Actas do I Fórum Itinerários Musicais: Música e Cinema, CESEM (FCSH-UNL), Universidade Nova de Lisboa, 19-20.06.2010.
Capítulos de livros/Chapters in books
2012 – “Os álbuns de Suas Altezas Reais: fontes, conteúdos e particularidades”, in David Cranmer (coord.), Marcos Portugal: Uma Reavaliação, Lisboa, Edições Colibri / CESEM, capítulo XXIII.
(Prelo) – “O silenciamento das práticas musicais femininas na corte portuguesa, nas narrativas históricas e culturais”, ed. Faces de Eva/CESNOVA.
Ana Isabel Buescu (c)
Faced with a substantial corpus of primary sources concerning the administration of the House of Queen D. Catherine of Austria (1507-1578), in addition to the documentation present in the Corpo cronológico (I, II and III), the idea of conducting an investigation centered on the Music / Woman / Court axis emerged, with a PhD thesis entitled A música no quotidiano da casa da rainha D. Catarina de Áustria (1507-1578): Discursos, práticas, sociabilidades e questões de género. It aims, on the one hand, considering 16th-century discourses of a varied nature (manuscript or printed, contemporaneous and / or circulating in the court of D. João III), to analyze the references around the cultural practices of the cultural elites (teaching, practices and sociabilities) in the context of the Court. On the other hand, it attempts not only to portray chronologically the musical presence in the Queen’s house through administrative documentation (payments of singers, musicians, purchase of instruments, etc.), but also to understand the musical everyday life of this institution, in what circumstances and contexts, in order to define the role of music in the ambit of a queen’s house, comprised in the Joanine royal court. This research falls within the scope of music studies, the history of the early modern period, the history of women, cultural history and court historiography.
