(pianist, PhD in Psychology of Music, University of Keel, UK) has been engaged in music teacher education at the Music Department of the College of Education in the Porto Polytechnic, Portugal, for more than 25 years, while maintaining a regular activity as a pianist in a Piano duet with the pianist Nelly Santos Leite. Currently, she is Director of the CIPEM (Research Center in Psychology of Music and Music Education) that has been recently integrated in the INET-MD as the Polytechnic Institute in Porto’s branch. She is a member of the direction of INET-MD and coordinates de Research Group ‘Education and Music in the Community’. Graça’s research work is concerned with innovation in music education, musical practice and social inclusion, community music, and women in Philharmonic Bands. Recent publications include: “Crescer a tocar na orquestra Geração: contributos para a compreensão da relação entre música e inclusão social” (co-authored with João Teixeira Lopes, orgs.). Porto: Verso da História (2017); “Social inclusion and non-formal music learning—in the shadow of Venezuela’s El Sistema (co-authored with Geoff Baker, Beatriz Ilari, Susan O,Neill & YaroslavSenyshyn. In S. O’Neill (Series Ed.) and R. Wright, B. A. Younker, & C. Beynon (Vol. Eds.), Research to practice: Vol. 7. 21st century music education: Informal learning and non-formal teaching approaches in school and community contexts (pp. 38-54). Waterloo, ON: Canadian Music Educators’ Association (2016); “Twenty five years of music teacher education in Portugal – revisiting history”. In Figueiredo, S.; Soares, J.: Schambeck, R. F.(orgs.), The preparation of music teachers: a Global Perspective. Florianópolis: UDESC (Grupo de Pesquisa Música e Educação), (2015); “A Educação Musical em Portugal: Uma história plena de contradições”. Debates – Cadernos do Programa de Pós-Graduação em Música, Centro de Letras e Artes, UNIRIO. Vol. 13, pp. 41 – 50 (2014); “Musical development and positive identity change within criminal justice settings (co-authored with J. Henley, & M. L. Cohen), In G. C. Beyens, M. A. Ramos, E. Zipane & T. Ophuysen (Eds.), Rethinking Education: Empowering Individuals with the Appropriate Educational Tools, Skills and Competencies, for their Active Cultural, Political and Economic Participation in Society in Europe and Beyond, 120-149. Brussels: Access to Culture Platform (2014); “Thorns and joys in creative collaboration: A project with music education and visual arts students” in M. S. Barrett (Ed.), Collaborative creative thought and practice in music, 221-238. Farnham, UK: Ashgate (2014); “Thirty years of music and drama education in the Madeira Island: facing future challenges” (co-authored with Liliana Abreu), International Journal of Research in Music Education, Vol. 32(3), pp. 360-37 (2014); “Music and drama in primary schools in the Madeira Island – narratives of ownership and leadership” (co-authored with Maria José Araújo), Music Education Research, Vol. 15, (3), pp. 275-289 (2013); “Initiating music programs in new contexts: in search of a democratic music education” (co-authored with Sergio Figueiredo) in G. McPherson and G. Welch (eds.), The Oxford Handbook of Music Education. Oxford: OUP (2012); “Voices of two young women – Listening to a growing selfhood” in M. S. Barrett & S. Stauffer (Eds.), Narrative Soundings: An anthology of narrative inquiry in music education. Dordrecht, the Netherlands: Springer (2012); “Music in higher education after the Bologna Treaty: Or, in search of a new educational culture” in C. Benedict & P. Schmidt (eds.), NSSE Yearbook, 111(1), pp. 112–132 (2012). At present, she integrates one of the evaluation teams of the Agency for Evaluation and Accreditation in Higher Education (A3ES). She was Chair of the Research Commission of the International Society for Music Education (ISME) and member elected to the ISME Board for the biennium 2014-2016.