Composers

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Manuel Pedro Ferreira took the transversal flute course with Carlos Franco at Lisbon’s National Conservatory. He graduated in Philosophy from Lisbon University and dedicated himself to the study of mediaeval music. In Princeton University (USA) he presented his Musicology PhD dissertation on Gregorian chant at the Cluny Abbey. He taught at the Arts School of the Portuguese Catholic University in Porto and currently lectures in History and Analysis of the Renaissance and the Middle Ages at the Music Sciences Department of Lisbon’s Universidade Nova. He is also a member of this university’s Music Sociology and Aesthetics Research Centre. Dedicated to musicology studies, Manuel Pedro Ferreira published a vast number of papers on mediaeval and contemporary music. He received the Music Essay Award from the Portuguese Music Council for his 1986 paper O Som de Martin Codax (The Sound of Martim Codax) and was responsible for the facsimile edition of Cancioneiro da Biblioteca Publia Hortensia de Elvas (1989). As a research scholarship holder of JNICT, the Fulbright Comission and the Calouste Gulbenkian Foundation, he continued to develop his studies in mediaeval music, both in Portugal and abroad. He has also participated in interdisciplinary research teams in connection with the Fondation Royaumont (research on Braga’s cathedral) and the Centre Européen de Recherche pour l’Interprétation des Musiques Médiévales (research on Gregorian chant). Manuel Pedro Ferreira was president of the Portuguese Musical Youth and co-director of the Portuguese Music Council. He took part in the advisory team of “Lisbon 94 – European Capital of Culture" and was a critic and commentator at the National Broadcast Radio station Antena 2 between 1995 and 1998 He wrote several music press articles for periodicals like Música & Som (1978-83), Expresso (1982-83), Grande Reportagem (1985) and Jornal de Letras (1983-89) and directed the periodicals Informação Musical (1981-83) and Arte Musical (1986). Premiered in Portugal, his music pieces include chamber music (small instrumental ensembles and piano music) and choir music. Emmanuel Nunes, Constança Capdeville and Luigi Nono were some of the people who encouraged him to compose. In 1995 he created the group Vozes Alfonsinas, which he also directs. With this group he has already recorded three CDs dedicated to the interpretation of Renaissance and mediaeval music.