Musicologist. Professor and researcher, affiliated to the Department of Musicology and the CESEM – Research Centre for Aesthetics and Sociology of Music, Faculty of Human and Social Sciences, New University of Lisbon.
She lectures in the Department of Musicology of the FCSH since 2005, in the domains of the Sociology of Music; History of Music (1950 to present); Opera and Music Theatre Dramaturgy. She has also been collaborating, in the FCSH-UNL, with the Departments of Communication Sciences (Scenic Arts), Sociology (Gender Studies) and the Master of Artistic Studies.
Gomes-Ribeiro received a Ph. D. and a Master degree in Music (Aesthetics, Sciences and Technologies of the Arts) from the Paris University (Université de Paris VIII) – with research Grants from the Portuguese government –, after having graduated in Musicology from the New University of Lisbon. She studied music theory, piano, composition, as well as (in the context of specialized seminars) opera dramaturgy, choir conducting, singing, acting, stage direction, having completed her musical studies at the National Conservatory (Lisbon).
Specialized in sociology of music and in opera/music theatre studies, her research interests and publications concern primarily the social, cultural and political roles of music, understood as ordering devices in social life. Her research concern the 20th and 21st centuries, including topics as media (especially new media) and communication, celebrity and fandom, cyberculture, power and politics, gender, production and circulation of symbolic goods, patterns of taste and opinion, among other.
She took part in several research projects, including the Research Project DMCE (Dramaturgie Musicale Contemporaine en Europe), Paris, and of several international conferences and publications scientific committees, jury and evaluation panels, and served as vice chair of the SPIM – Portuguese Society for Music Research. She received a research fellowship from the FCT (2009-2014) to develop, at the CESEM, the project: “Dynamics of cultural forms under globalization phenomena: musical discourses as representation of new socialization models”. She taught at the National Conservatory Opera Studio (staging and opera dramaturgy).
Gomes-Ribeiro serves currently as coordinator of the Research Group of Music, Critical Theory and Communication of the CESEM, as well as a member of the coordination of the following research teams: SociMus (Advanced Studies in the Sociology of Music), NEGEM (Gender and Music), CysMus (Music and Cyberculture) and NEMI (Music in the Press).
Gomes-Ribeiro’s musicological publications include, among many other, Le drame lyrique au début du XXe siècle: Hystérie et Mise-en-abîme (2002), “Reviewing music sociology in the light of its recent epistemological challenges” (2015) or “The politics of memory: Brecht’s legacy on opera staging at the Teatro de São Carlos in the first years of democracy in Portugal”(2014). She signed several opera and music theatre productions, including Comedy on the Bridge, by Martinu, at the Teatro Nacional de São Carlos, Lisboa.
Paula GOMES-RIBEIRO (with Joana FREITAS, Júlia DURAND, André MALHADO) (eds.), Log In, Live On: Música e Cibercultura na era da Internet das Coisas (Vila Nova de Famalicão/Lisboa, Húmus/CESEM, 2018), 370 pp., ISBN 978-989-755-377-6
Paula GOMES-RIBEIRO, “Da transformação de paradigmas de comunicação musical na era da internet: interatividade, participação e convergência” in Log In Live On: Música e Cibercultura na era da Internet das Coisas, ed. Paula Gomes-Ribeiro, Joana Freitas, Júlia Durand, André Malhado (Vila Nova de Famalicão/Lisboa, Húmus/CESEM, 2018), pp. 37-67, ISBN 978-989-755-377-6
Paula GOMES-RIBEIRO (with Joana FREITAS, Júlia DURAND e André MALHADO), “Introdução” in Log In Live On: Música e Cibercultura na era da Internet das Coisas, ed. Paula Gomes-Ribeiro, Joana Freitas, Júlia Durand, André Malhado (Vila Nova de Famalicão/Lisboa, Húmus/CESEM, 2018), pp. 29-36, ISBN 978-989-755-377-6
Paula GOMES-RIBEIRO (2015) “Reviewing music sociology in the light of its recent epistemological challenges”, in ‘Estes Sons, esta Linguagem’. Essays on Music, Meaning and Society in Honour of Mário Vieira de Carvalho, ed. Gilbert STÖCK, Paulo Ferreira de CASTRO, Katrin STÖCK (Leipzig, Universität Leipzig, Institut für Musikwissenschaft/Lisbon, CESEM 2015), 41-64, ISBN 978-989-20-4566-5.
Paula GOMES-RIBEIRO (2014) “The politics of memory: Brecht’s legacy on opera staging at the Teatro de São Carlos in the first years of democracy in Portugal”, in Isolde Schmitt Reiter (ed.), Opera Staging: Erzählweisen, Viena, EMA – Europäische Musiktheater-Akademie, 215-236.
Paula GOMES-RIBEIRO (2014) “‘Smoking’ ou ‘jeans’? Negociar a democracia nos discursos sobre a ópera”, Eds. Irene Flunser Pimentel e Maria Inácia Rezola (coord.), Democracia e Ditadura – Memória e Justiça Política, Lisboa, Tinta da China, 449-464.
Paula GOMES-RIBEIRO (2013) “Interface opéra technologie: sur les politiques de la différence dans les dramaturgies de la convergence”, International Review of the Aesthetics and Sociology of Music, 44, 1:137‐148.
Paula GOMES-RIBEIRO (2012) “Opera e no ‐ sur un geste idéologique anti‐totalitaire : La Vera Storia de Luciano Berio et Italo Calvino”, in Madalena Gonzales (ed.) Minority Theatre on the Global Stage: Challenging Paradigms from the Margins, Newcastle‐upon‐Tyne, Cambridge Scholars Press, 61‐74.
Paula GOMES-RIBEIRO (2002) Le drame lyrique au début du XXe siècle – Hystérie et Mise‐en‐abîme, Paris, Harmattan.