Rui Magno Pinto
Rui Pinto Magno (*1980), member of the Research Center for Studies in Sociology and Musical Aesthetics (CESEM), of the Portuguese Society for Music Research (SPIM) and of the International Society for the Promotion and Research of Wind Music (IGEB), is currently attending his PhD in Musicology at the Faculty of Social Sciences and Humanities at NOVA University (FCSH-UNL). His doctoral dissertation, funded by the Foundation for Science and Technology (FCT) and supervised by Prof. Dr. Paulo Ferreira de Castro, discusses the “upgrowth of a symphonic culture in Lisbon between 1846 and 1911”. Rui Magno 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. Rui Magno Pinto was a fellow researcher on the following projects funded by FCT and held at CESEM: “Musical Heritage of the Jorge Álvares Foundation – the musical collection of Filipe de Sousa” (July to November 2011) and “The S. Carlos Theater: the performing arts in Portugal” (October 2007 to October 2010).
 – “The Portuguese Symphonic Poem (1884-1909)”, XII International Congress on Musical Signification Proceedings, Louvain-la-Neuve, Belgium, 2013.4-2-6 (no prelo).
2014 – “Operatic content and form in the nineteenth-century Portuguese wind-instrument repertoire, Internationale Gesellschaft zur Erforschung und Förderung der Blasmusik 20th Meeting (Coimbra, Portugal)”, Alta Musica, Band 31, 2014, pp. 179-220.
2010  – Luís Miguel Santos & Rui Magno Pinto: João Pedro d’Alvarenga, Estudos de Musicologia, [Lisboa, Edições Colibri, 2002] in Revista Portuguesa de Musicologia 14-15, 2004-2005, Lisboa: Zéfiro, pp. 226-229.
2008 – A Música para piano na Madeira (CD-ROM) (coord. com Paulo Esteireiro), Colecção Madeira Música, Funchal, Secretaria Regional de Educação, Direcção Regional de Assuntos Culturais, Gabinete Coordenador de Educação Artística.
The long transition from a concert programming especially focused on the exhibition of operatic genres and “light” instrumental works – several of which were intended to display the technical and expressive prowess of specific virtuosi – to the “monumental” masterpieces of the “great” German, French and nationalistic composers, defended under the aegis of “musical idealism” in the specialized periodical press with special impetus since the 1870s and encouraged by several national and foreign entrepreneurs was set in course in several promenade and symphonic concerts performed since the dawn of the second half of the century by orchestras of the corporations of professional musicians, of the academies of amateur musicians and of other education institutions, most prominently in the concerts of the Sociedade de Concertos Clássicos da Associação Música 24 de Junho, directed by several renowned foreign conductors, and those by orchestras of most notorious European musical centers. Despite its early failure, the “orchestral concerts” held in Lisbon between 1860 and 1911 contributed to the emergence of a symphonic culture which was consolidated in the musical milieu of the Portuguese capital in the republican period, due to, among other factors, the establishment of regular concert series, which took the former relevance of the venues of the (by then closed) “Italian theater” of Lisbon. The transformation of Lisbon’s concert programming had direct influences on the Portuguese compositional praxis, which proceeded with the gradual abandonment of “trivial works” in freer formal genres and the consequent adoption of programmatic symphonic genres and retrieval of classic sonata form genres.