Andreia Duarte is a PhD candidate in Music – branch of Ethnomusicology – at University of Aveiro since 2019. She holds a master’s degree in Music Teaching - saxophone - from the University of Aveiro (2018), and a BA in Music - saxophone performance - from the same institution (2015). She attended masterclasses held by Jean-Yves Formeau, Stephane Laporte, Tjako van Schie, Henk van Twillertt, Roberto Benitez, Pablo Coelho, Ties Mellema, Joseph Murphy, Mario Marzi and Nacho Gascón. She was also integrated into several chamber music groups and orchestras. She worked with several conductors, namely: Alex Schillings, Carlos Marques, Alberto Roque, Ernst Schelle, José-Ignacio Petit, Nigel Clarke, Mark Heron, among others. She played with several musicians such as Paulo de Carvalho, Henri Bok, Henrique Portovedo, Fernando Ramos, Fanfarra Káustika, Brigada Victor Jara, Fausto, João Bettencourt da Câmara, The Lengendary Tigerman, Capicua, among others. From 2012 to 2018, she taught music and saxophone performance at various institutions. From May 2018 to January 2021, she was a fellow at INET-md, developing research and cataloguing several shellac discs collections donated to the Museum of the University of Aveiro. She is part of the SOMA project – Sounds and Memories of Aveiro since 2018, and part of the Liber|Sound project since 2021. Currently, she is a PhD fellow of Foundation for Science and Technology and is currently developing the project: “Atlas 78: Paths towards the recovery of Portuguese sound memories, starting from the Collection of shellac discs of the University of Aveiro”.
Atlas 78: Paths towards the recovery of Portuguese sound memories, starting from the Collection of shellac discs of the University of Aveiro
This project aims to find methodologies and strategies for classification / declassification and communication that can respond to the needs of different agents and epistemological fields involved in the institutionalization of phonographic collections. Supported by the development of a concept of ecology of knowledge, the approach through ethnomusicology will be fundamental through the adoption of shared research practices. It will also serve as an epistemological platform to think about declassification in the face of the “digital ethnomusicology” paradigms (Hsu 2013). The project focuses on the analysis of collections institutionalized by the University of Aveiro, consisting of shellac discs, which are an information medium with a polysemic profile, often safeguarded by collectors. The “archive condition” (Garcia 2017) expands its plural value by simultaneously transforming it into a phonogram, a museum object and a document that can be investigated. In this “archive condition”, the articulation between the disciplinary domains at stake (archivism, museology, library science, musicology and ethnomusicology) and the interests of the agents involved (the institution, the researcher and the collector) creates two central interception plans for this investigation.