Marina Pacheco

Biography

Marina Bonfim is a flutist and music teacher graduated from the Federal University of Rio de Janeiro. She is a Montessori Education Specialist certified by the Brazilian Association of Montessori Education and holds a Master’s degree in Ethnomusicology from the Federal University of the State of Rio de Janeiro.

She participated in the research group “Working with Music,” coordinated by Professor Dr. José Alberto Salgado at UFRJ. Marina worked as a military musician and instructor of Music History in the Brazilian Navy. She has been part of Choro and Brazilian Popular Music groups, including the Regional Tocata do Rio, formed by traditional chorões from Rio de Janeiro, whose activities are the subject of her master’s dissertation.

She has worked as a music teacher from early childhood education to technical education, teaching Transverse Flute, Saxophone, Music Theory, and Visual Arts in public and private educational institutions in the state of Rio de Janeiro.

In the scope of her research, she is interested in topics relevant to the field of Ethnomusicology, namely Choro, Memory, Fado, Amália Rodrigues and Archive.

Doctoral Project

Tile
Amália brasileira: o papel de Amália Rodrigues na construção de um arquivo partilhado entre Brasil e Portugal (1945-1960)

Advisor
Susana Bela Soares Sardo

Co-advisor
Pedro de Moura Aragão

Abstract
The first record of the singer Amália Rodrigues (1920 – 1999) was made in 1945 by the Continental label, in the city of Rio de Janeiro (RJ/Brazil). During that year, Amália stayed in Brazil and released eight albums, a phenomenon usually referred to in her biographies as the “Continental phase”. From then on, Amália’s voice, already present in theaters and live radio programs in Brazil, gained greater projection with the possibilities offered by the record, especially with access to home listening and expanded radio play. The singer also appeared in soap operas on Brazilian television, participated in festival juries and incorporated Brazilian music into her repertoire. In this way, the albums of the continental phase constitute a unique event that consolidates a close relationship between Amália and the Brazilian artistic scene that continues to this day, as evidenced by the production of exhibitions and shows in her honor in recent years, especially in the city of Rio de Janeiro. This research analyzes the social and musical contexts in Brazil and Portugal that converge in the inauguration of Amália Rodrigues’ recording career, seeking to understand the repercussions generated by this process, both for the singer’s career and for the repertoires and musical heritage of both countries. The time frame is between 1944 and 1972

Keywords
Amália Rodrigues; Brazil; ethnography; archive; fado.