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Integrated | PhD Candidate
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
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Tel: (+351) 234 370 389 (ext. 23700)


Born in Lisbon in 1979, pianist, composer and improviser Joana Sá works in the field of new music/contemporary classical music. She is currently enrolled in a doctoral program in music (performance) at the University of Aveiro, as an FCT (Fundação para Ciência e Tecnologia) fellow.
Joana Sá has performed in several festivals and as part of season programs of renowned institutions both in Portugal and abroad. Her first solo work, through this looking glass, shot by filmmaker and cinematographer Daniel Costa Neves, was released as a dvd+cd by the German label blinker - Marke für Rezentes in 2011. Her current work, IN PRAISE OF DISORDER, was released in 2013 by Shhpuma, an imprint of Clean Feed Records. She is one half of the duo of Almost a Song (with Luís José Martins), with whom she recorded the album Almost a Song, in 2013 (Shhpuma), and one third of POWERTRIO (with Luís José Martins and Eduardo Raon). She collaborates frequently with visual artists Rita Sá, Daniel Costa Neves and Pedro Diniz Reis.
PhD Thesis 
O indizível – monólogo interior instrumental de uma performer/compositora (The unutterable - interior instrumental monologue by a performer/composer)

Prof. António Chagas Rosa
Agustí Fernandez (Escola Superior de Música de Catalunya)
The PhD proposal "The unutterable – interior instrumental monologue by a performer/composer" was developed during my working process as performer/composer and under two essential motivations (that might appear to be contradictory at first sight): one refers to the need for in-depth research and reflection in my working process, which has been greatly marked by a tacit dimension; the other refers to the will of bringing to investigation and academic discussion other forms of music creation, which are generally less approached and studied – in this case, music creation which is achieved in performance rather than on paper.
With this investigation I aim at:
Defining a new formal concept in the historical context of the instrumental theatre - interior instrumental monologue or Music of Thought;
Defining a personal idea of unutterable – through research, reflection and the intersection of information from different fields, subjects and authors – and applying it to the concept of interior instrumental monologue or Music of Thought;
Creating a group of works associated to these concepts (a trilogy).
The idea of unutterable arises in this case from two essential questions: the great tacit and unwritten dimension in my working process, and my idea of interior instrumental monologue, in which the representation of interior speech is mostly achieved without using words. Music of thought is an expression from George Steiner's The Poetry of Thought: From Hellenism to Celan, which I adopted as a far better designation for my formulation of "interior instrumental monologue".