Since 2010, I have taught various undergraduate and M.A. courses at NOVA FCSH, including 'History of Ethnomusicology' and 'Recent Trends in Ethnomusicology' – the former was the subject of an award for pedagogical innovation and a paper published in a reputable Education Conference Proceedings, while the latter includes the participation of nine international specialists on emerging ethnomusicological themes. Presently, I supervise seven students – five MA and two PhD, who were awarded grants by the Portuguese Foundation for Science and Technology (FCT) through competitive calls.
I had brilliant teachers that inspired me to follow this career and my mission is to make sure my students feel as inspired as I once felt. I believe that a university education should not be merely seen as a path for obtaining a degree: it should be a transformative experience that should impact upon students’ lives as socially responsible human beings. At the end of the day, that is the noblest goal of all
Marco Roque de Freitas (Visiting Assistant Professor) and João Filipe Soutelo Soeiro de Carvalho (Full Professor in Ethnomusicology), from NOVA FCSH, won an honourable distinction for the project 'History of Ethnomusicology: the implementation of storytelling tropes in a MA seminar' in the first edition of the NOVA Prize for Pedagogical Innovation, addressed to professors at NOVA University Lisbon. The prize consists of the attribution of a pedagogical innovation scholarship in the monetary value of 4.500 euros and up to a maximum of five honourable distinctions in the value of 1.500 euros each.
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M.A. Seminar: RESEARCH THEMES IN ETHNOMUSICOLOGY
ethics and research methods in ethnomusicology
(2023-)
M.A. in Musicology (Specialisation in Ethnomusicology)
Role: Responsible professor and coordinator
OBJECTIVES:
1. To learn the main methodologies and theoretical perspectives on ethics in the social sciences and Ethnomusicology.
2. To develop the ability to identify ethical issues related to the topics covered, as well as the application of theoretical and methodological tools to specific case studies;
3. To promote principles of ethical responsibility of researchers in their relationship with their interlocutors and collaborators.
4. To analyze and debate ethical dilemmas relevant to ethnomusicological research.
5. To apply the knowledge acquired in the development of an ethical declaration to be included in the MA project.
CONTENTS:
1. Ethics in Scientific Research: An introduction (Marco Roque de Freitas)
2. Ethical Considerations in Research Projects (Marco Roque de Freitas)
3. Publication Policies and Potential Conflicts of Interest (Marco Roque de Freitas)
4. Scoring, Jazz networks & Gender Studies: Dialogical Ethnography and Participatory Research (José Dias)
5. Filming a Rom Funeral in Transylvania (Romania): Ethical and Methodological Issues (Filippo Bonini Baraldi)
6. Colonial Legacies, Post-colonial Challenges: Tales of a Portuguese Researcher in Mozambique (Marco R. de Freitas)
7. The Sounds of Ethnography in Research Fields (Alix Didier Sarrouy)
8. ‘The Hook-up Song’: Ethical Challenges of Research in LGBTQIA+ Nightclubs (Marco Roque de Freitas)
9. How to Conduct Ethnographic Research?: From Project Design to Field Research (Dulce Simões)
10. Shared Research Practice: Social Commitment in Ethnomusicology (Susana Sardo)
11. Navigating the Roles of Musician and Ethnomusicologist (Andrew Snyder)
12. Development of an Ethical Statement (M.A. Project) (Marco Roque de Freitas)
13. Ethics in Ethnomusicology: Continuing the Conversation (Virtual Closing Event with Beverly Diamond, Jonathan Stock and Salwa Castelo-Branco (editors of ‘Transforming Ethnomusicology’ (2021) and ‘The Routledge Companion to Ethics and Research in Ethnomusicology’ (2023)
TEACHING METHOD:
The curricular unit is taught in a seminar format by the responsible teacher and invited experts (3h) and is complemented by tutorials that provide scientific support to the students' projects (1h).
EVALUATION:
The evaluation process is divided into three moments:
1. Participation and presentation of texts (35%);
2. Annotated bibliography of five recent publications (25%, 1 page per publication);
3. Research project/essay on a research ethical dilemma (40%, 7 pages).
Role: Responsible professor and coordinator
OBJECTIVES:
1. To learn the main methodologies and theoretical perspectives on ethics in the social sciences and Ethnomusicology.
2. To develop the ability to identify ethical issues related to the topics covered, as well as the application of theoretical and methodological tools to specific case studies;
3. To promote principles of ethical responsibility of researchers in their relationship with their interlocutors and collaborators.
4. To analyze and debate ethical dilemmas relevant to ethnomusicological research.
5. To apply the knowledge acquired in the development of an ethical declaration to be included in the MA project.
CONTENTS:
1. Ethics in Scientific Research: An introduction (Marco Roque de Freitas)
2. Ethical Considerations in Research Projects (Marco Roque de Freitas)
3. Publication Policies and Potential Conflicts of Interest (Marco Roque de Freitas)
4. Scoring, Jazz networks & Gender Studies: Dialogical Ethnography and Participatory Research (José Dias)
5. Filming a Rom Funeral in Transylvania (Romania): Ethical and Methodological Issues (Filippo Bonini Baraldi)
6. Colonial Legacies, Post-colonial Challenges: Tales of a Portuguese Researcher in Mozambique (Marco R. de Freitas)
7. The Sounds of Ethnography in Research Fields (Alix Didier Sarrouy)
8. ‘The Hook-up Song’: Ethical Challenges of Research in LGBTQIA+ Nightclubs (Marco Roque de Freitas)
9. How to Conduct Ethnographic Research?: From Project Design to Field Research (Dulce Simões)
10. Shared Research Practice: Social Commitment in Ethnomusicology (Susana Sardo)
11. Navigating the Roles of Musician and Ethnomusicologist (Andrew Snyder)
12. Development of an Ethical Statement (M.A. Project) (Marco Roque de Freitas)
13. Ethics in Ethnomusicology: Continuing the Conversation (Virtual Closing Event with Beverly Diamond, Jonathan Stock and Salwa Castelo-Branco (editors of ‘Transforming Ethnomusicology’ (2021) and ‘The Routledge Companion to Ethics and Research in Ethnomusicology’ (2023)
TEACHING METHOD:
The curricular unit is taught in a seminar format by the responsible teacher and invited experts (3h) and is complemented by tutorials that provide scientific support to the students' projects (1h).
EVALUATION:
The evaluation process is divided into three moments:
1. Participation and presentation of texts (35%);
2. Annotated bibliography of five recent publications (25%, 1 page per publication);
3. Research project/essay on a research ethical dilemma (40%, 7 pages).
M.A. Seminar: HISTORY OF ETHNOMUSICOLOGY
(2019-)
M.A. in Musicology (Specialisation in Ethnomusicology)
Role: Responsible professor (In 2019, I taught this discipline with Full Professor Castelo-Branco in the format 'team teaching')
OBJECTIVES:
1. To identify the major research questions, concepts, theoretical frameworks, methods, techniques, authors and publications that marked the history of Ethnomusicology and other similar disciplines/approaches (Folklore Studies, Comparative Musicology and historical safeguard of audio/musical heritage) from the second half of the 19th century until the end of the 20th century;
2. To acquire the conceptual tools for developing a critical and historically informed perspective on the literature analysed;
3. To develop the ability to relate historical, political, social and musical processes;
4. To acquire tools to analyse oral music traditions;
5. To apply the knowledge acquired in the preparation of academic outputs, including an annotated thematic bibliography, a book review, and an essay.
CONTENTS:
1. Ethnomusicology: an introduction
PART I - COMPARATIVE MUSICOLOGY
2. Historical background and scientific developments (c. 1870-1900)
3. The "Berlin School" (1900-1945)
PART II - SAFEGUARDING HERITAGE
4. The study of Native American's heritage and the institutionalization of Anthropology in the U.S.A. (1890-c. 1955)
5. 'Musical areas', 'acculturation', and the study of aesthetic values
PART III - FOLKLORISM
6. Musical nationalism and research traditions in Europe (c. 1850-1990)
7. Musical nationalism and research traditions in Portugal (c. 1850-1990)
PART IV - MODERN ETHNOMUSICOLOGY
8. Ethnomusicology in the 1960s: one discipline, two different approaches?
9. 'Anthropology of Music', 'Cantometrics' and the application of linguistic models to the study of music (c.1960-1970)
10. The Ethnomusicology of John Blacking
11. Expansion of the study object I: Ethnicity, migration and urban musical practices (1970-1980)
12. Expansion of the study object II: Music industries, popular music and world music (1980-2000)
13. From ‘individual’ to ‘collective’: Music and Identities (1990-2000)
14. Ethnographic studies: classic ethnomusicological monographs (1975-1990)
TEACHING METHOD:
The curricular unit is taught in a seminar format (3h) + individual tutorials (1h). Each session has a tripartite structure:
1. COLD OPEN (15-20m): Analysis of an audio/audiovisual sample to introduce the session's topic or to summarize previous sessions;
2. EXPOSITION (c.60-90m): Presentation of contents by the teacher;
3. DISCUSSION (c.40-60m): Students' presentations of selected articles and book chapters related to the session's topic.
EVALUATION:
The evaluation process includes four cumulative outputs:
1. In-class presentations (25%);
2. Book/monograph review on a topic ideally related to the student's M.A. dissertation (25%, 1500 words);
3. Annotated bibliography (10 journal articles) on the same topic (20%, 1 page per publication);
4. Essay synthesizing the contents previously developed in elements 1, 2 and 3 (30%, 3000 words).
Role: Responsible professor (In 2019, I taught this discipline with Full Professor Castelo-Branco in the format 'team teaching')
OBJECTIVES:
1. To identify the major research questions, concepts, theoretical frameworks, methods, techniques, authors and publications that marked the history of Ethnomusicology and other similar disciplines/approaches (Folklore Studies, Comparative Musicology and historical safeguard of audio/musical heritage) from the second half of the 19th century until the end of the 20th century;
2. To acquire the conceptual tools for developing a critical and historically informed perspective on the literature analysed;
3. To develop the ability to relate historical, political, social and musical processes;
4. To acquire tools to analyse oral music traditions;
5. To apply the knowledge acquired in the preparation of academic outputs, including an annotated thematic bibliography, a book review, and an essay.
CONTENTS:
1. Ethnomusicology: an introduction
PART I - COMPARATIVE MUSICOLOGY
2. Historical background and scientific developments (c. 1870-1900)
3. The "Berlin School" (1900-1945)
PART II - SAFEGUARDING HERITAGE
4. The study of Native American's heritage and the institutionalization of Anthropology in the U.S.A. (1890-c. 1955)
5. 'Musical areas', 'acculturation', and the study of aesthetic values
PART III - FOLKLORISM
6. Musical nationalism and research traditions in Europe (c. 1850-1990)
7. Musical nationalism and research traditions in Portugal (c. 1850-1990)
PART IV - MODERN ETHNOMUSICOLOGY
8. Ethnomusicology in the 1960s: one discipline, two different approaches?
9. 'Anthropology of Music', 'Cantometrics' and the application of linguistic models to the study of music (c.1960-1970)
10. The Ethnomusicology of John Blacking
11. Expansion of the study object I: Ethnicity, migration and urban musical practices (1970-1980)
12. Expansion of the study object II: Music industries, popular music and world music (1980-2000)
13. From ‘individual’ to ‘collective’: Music and Identities (1990-2000)
14. Ethnographic studies: classic ethnomusicological monographs (1975-1990)
TEACHING METHOD:
The curricular unit is taught in a seminar format (3h) + individual tutorials (1h). Each session has a tripartite structure:
1. COLD OPEN (15-20m): Analysis of an audio/audiovisual sample to introduce the session's topic or to summarize previous sessions;
2. EXPOSITION (c.60-90m): Presentation of contents by the teacher;
3. DISCUSSION (c.40-60m): Students' presentations of selected articles and book chapters related to the session's topic.
EVALUATION:
The evaluation process includes four cumulative outputs:
1. In-class presentations (25%);
2. Book/monograph review on a topic ideally related to the student's M.A. dissertation (25%, 1500 words);
3. Annotated bibliography (10 journal articles) on the same topic (20%, 1 page per publication);
4. Essay synthesizing the contents previously developed in elements 1, 2 and 3 (30%, 3000 words).
The remodelling process of this seminar has been the focus of a paper presentation at CIVAE 2021: 3rd Interdisciplinary and Virtual Conference on Arts in Education. The paper was published at a Preceedings Book, while the presentation is available in Youtube.
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M.A. SEMINAR: Recent trends in ethnomusicology
(2021-2023)
M.A. in Musicology (Specialisation in Ethnomusicology)
M.A. in Migrations, Inter-Ethnicities, and Transnationalism
M.A. in Aesthetics and Art Studies
Role: Responsible professor and coordinator
OBJECTIVES:
1. To identify the main topics, methodologies and theoretical perspectives within Ethnomusicology from the 1990s to present day;
2. To acquire the ability to critically analyse ethnomusicological literature;
3. To develop the ability to identify ethical issues related to the topics covered, as well as the application of theoretical and methodological tools to specific case studies;
4. To develop communication skills to disseminate ethnomusicological knowledge;
5. To apply the skills and knowledge acquired to the development of a research project/essay in Ethnomusicology.
CONTENTS (2022):
1. Ethnomusicology at the turn of the 21st century: theories, methods and research trajectories (Marco Roque de Freitas)
2. Who are we?: Music and Identities (Marco Roque de Freitas)
3. Global imagination and the study of World Music (Marco Roque de Freitas)
4. Festive policies in pandemic times (Andrew Snyder)
5. Music as an instrument to touch other human beings (Alix Sarrouy)
6. Gender of distortion: the case of women in rock in Portugal (Rita Grácio)
7. Scoring, jazz networks & gender studies: dialogic ethnography as an ethnomusicological tool (José Dias)
8. How to build a nation through sound?: the case of Mozambique (Marco Roque de Freitas)
9. Music and sexual dynamics: 'drag queen performances' and 'seduction as performance' (Marco Roque de Freitas)
10. Touristification, sound environments and urban transformation (Iñigo Fuarroz)
11. Theorizing musical heritage (Salwa Castelo-Branco)
12. Transforming Ethnomusicology: challenges and prospects (Marco Roque de Freitas)
13. Colloquium with students' presentations (Marco Roque de Freitas)
CONTENTS (2023):
1. Ethnomusicology at the turn of the 21st century: theories, methods and research trajectories (Marco Roque de Freitas)
2. From 'individual' to 'global': expressive culture, identities and world music (Marco Roque de Freitas)
3. Scoring, jazz networks & gender studies: dialogic ethnography as an ethnomusicological tool (José Dias)
4. YOUSOUND: Music Education as an inclusive tool for underage refugees in Europe (Alix Sarrouy)
5. From decoding to the media perspective as practice: radio reception in the Goan home in colonial Mozambique (Catarina Valdigem)
6. Music and activism: festivity politics in times of crisis (Andrew Snyder)
7. How to build a nation through sound?: the case of Mozambique (Marco Roque de Freitas)
8. New media and participatory research in decolonial contexts (Lee Watkins)
9. Music and sexual dynamics: 'drag queen performances' and 'seduction as performance' (Marco Roque de Freitas)
10. Partying: material culture and change in the rural/urban landscape of Galicia (Iñigo Fuarroz)
11. Theorizing musical heritage (Salwa Castelo-Branco)
12. Libersound: Innovative archival practices toward sound memory liberation (Pedro Aragão)
13. 'Press Start': theory and method to the study of music and sound in videogames (Marco Roque de Freitas)
14. Ethnomusicology today: challenges and prospects (João Soeiro de Carvalho and Marco Roque de Freitas)
15. Colloquium with students' presentations (Marco Roque de Freitas)
TEACHING METHOD:
The curricular unit is taught in a seminar format by the responsible teacher and invited experts (3h) and is complemented by tutorials that provide scientific support to the students' projects (1h). Each thematic session is divided into three parts:
1. Presentation of the session's topic and its related theoretical and methodological trends, as well as relevant publications and authors;
2. Presentation of a case study, ideally related to the invited specialist's research;
3. Discussion of texts and debate with students, aiming to identify, among other topics, the main research challenges and related ethical issues.
EVALUATION:
The evaluation process is divided into three moments:
1. Participation and presentation of texts (30%);
2. Annotated bibliography of five recent publications (20%, 1 page per publication);
3. Research project/essay in Ethnomusicology: presentation and discussion in a colloquium (20%) and final written document (30%, 15 pages).
M.A. in Migrations, Inter-Ethnicities, and Transnationalism
M.A. in Aesthetics and Art Studies
Role: Responsible professor and coordinator
OBJECTIVES:
1. To identify the main topics, methodologies and theoretical perspectives within Ethnomusicology from the 1990s to present day;
2. To acquire the ability to critically analyse ethnomusicological literature;
3. To develop the ability to identify ethical issues related to the topics covered, as well as the application of theoretical and methodological tools to specific case studies;
4. To develop communication skills to disseminate ethnomusicological knowledge;
5. To apply the skills and knowledge acquired to the development of a research project/essay in Ethnomusicology.
CONTENTS (2022):
1. Ethnomusicology at the turn of the 21st century: theories, methods and research trajectories (Marco Roque de Freitas)
2. Who are we?: Music and Identities (Marco Roque de Freitas)
3. Global imagination and the study of World Music (Marco Roque de Freitas)
4. Festive policies in pandemic times (Andrew Snyder)
5. Music as an instrument to touch other human beings (Alix Sarrouy)
6. Gender of distortion: the case of women in rock in Portugal (Rita Grácio)
7. Scoring, jazz networks & gender studies: dialogic ethnography as an ethnomusicological tool (José Dias)
8. How to build a nation through sound?: the case of Mozambique (Marco Roque de Freitas)
9. Music and sexual dynamics: 'drag queen performances' and 'seduction as performance' (Marco Roque de Freitas)
10. Touristification, sound environments and urban transformation (Iñigo Fuarroz)
11. Theorizing musical heritage (Salwa Castelo-Branco)
12. Transforming Ethnomusicology: challenges and prospects (Marco Roque de Freitas)
13. Colloquium with students' presentations (Marco Roque de Freitas)
CONTENTS (2023):
1. Ethnomusicology at the turn of the 21st century: theories, methods and research trajectories (Marco Roque de Freitas)
2. From 'individual' to 'global': expressive culture, identities and world music (Marco Roque de Freitas)
3. Scoring, jazz networks & gender studies: dialogic ethnography as an ethnomusicological tool (José Dias)
4. YOUSOUND: Music Education as an inclusive tool for underage refugees in Europe (Alix Sarrouy)
5. From decoding to the media perspective as practice: radio reception in the Goan home in colonial Mozambique (Catarina Valdigem)
6. Music and activism: festivity politics in times of crisis (Andrew Snyder)
7. How to build a nation through sound?: the case of Mozambique (Marco Roque de Freitas)
8. New media and participatory research in decolonial contexts (Lee Watkins)
9. Music and sexual dynamics: 'drag queen performances' and 'seduction as performance' (Marco Roque de Freitas)
10. Partying: material culture and change in the rural/urban landscape of Galicia (Iñigo Fuarroz)
11. Theorizing musical heritage (Salwa Castelo-Branco)
12. Libersound: Innovative archival practices toward sound memory liberation (Pedro Aragão)
13. 'Press Start': theory and method to the study of music and sound in videogames (Marco Roque de Freitas)
14. Ethnomusicology today: challenges and prospects (João Soeiro de Carvalho and Marco Roque de Freitas)
15. Colloquium with students' presentations (Marco Roque de Freitas)
TEACHING METHOD:
The curricular unit is taught in a seminar format by the responsible teacher and invited experts (3h) and is complemented by tutorials that provide scientific support to the students' projects (1h). Each thematic session is divided into three parts:
1. Presentation of the session's topic and its related theoretical and methodological trends, as well as relevant publications and authors;
2. Presentation of a case study, ideally related to the invited specialist's research;
3. Discussion of texts and debate with students, aiming to identify, among other topics, the main research challenges and related ethical issues.
EVALUATION:
The evaluation process is divided into three moments:
1. Participation and presentation of texts (30%);
2. Annotated bibliography of five recent publications (20%, 1 page per publication);
3. Research project/essay in Ethnomusicology: presentation and discussion in a colloquium (20%) and final written document (30%, 15 pages).
This seminar has been the focus of a paper presentation at CIVAE 2023: 5th Interdisciplinary and Virtual Conference on Arts in Education, entitled 'Introducing ‘Polycentric Intersubjectivity’ in the classroom: the case of the M.A. Seminar ‘Recent Trends in Ethnomusicology’. The paper was published at a Preceedings Book in June 2023.
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Other SEMINARS
Seminar: 'Ethnomusicology: Introduction'
Course: BA in Musicology Roles: Júnior Teaching Assistant, Assistant Lecturer (w/ Full Professor João Soeiro de Carvalho) Period: 2010-2013 Seminar: 'Ethnomusicology: Musical Cultures of the World'
Course: BA in Musicology Roles: Júnior Teaching Assistant, Assistant Lecturer (w/ Full Professor João Soeiro de Carvalho) Period: 2010-2013 |
OTHER TEACHING EXPERIENCES AND WOKSHOPS
Title: 'Em nome do povo: folclore musical e nacionalismo em Portugal' (w/ Salwa Castelo Branco)
Event name: Seminar: 'Music and Thought' (Responsible Teacher: Paulo Ferreira de Castro) Host (event location): Universidade Nova de Lisboa Faculdade de Ciências Socais e Humanas (Lisbon, Portugal) Date: 2023/04/03 |
Title: 'Rádiodifusão e política cultural: o que nos dizem os documentos sonoros sobre a história de Moçambique?'
M.A. Seminar: Ciclo de aulas abertas: patrimónios informais e performance (India-Portugal-Moçambique) Host (event location): Universidade Autónoma de Lisboa (Lisbon, Portugal) Date: 2021/06/17 |
Supervision
Student: Moraru Ionut-Razvan
Title: 'Electrecord, cultural policy and the phonographic industry in Socialist Romania (1965-1989)'
Role: M.A. advisor (2020-2022)
Dissertation juri: São José Côrte-Real (President), Victor A. Stoichita (Arguer), Marco Roque de Freitas (Advisor)
Title: 'Electrecord, cultural policy and the phonographic industry in Socialist Romania (1965-1989)'
Role: M.A. advisor (2020-2022)
Dissertation juri: São José Côrte-Real (President), Victor A. Stoichita (Arguer), Marco Roque de Freitas (Advisor)
Student: Bruna Souza
Title: 'Música e Estudos de género na Academia Brasileira: um estudo comparativo (2000-2020)'
Role: M.A. advisor (2020-2023)
Dissertation juri: Pedro Roxo (President), Rita Grácio (Arguer), Marco Roque de Freitas (Advisor)
Title: 'Música e Estudos de género na Academia Brasileira: um estudo comparativo (2000-2020)'
Role: M.A. advisor (2020-2023)
Dissertation juri: Pedro Roxo (President), Rita Grácio (Arguer), Marco Roque de Freitas (Advisor)
IN PROGRESS
Student: Ana Raquel Moreira
Title: 'Para uma coesão social através da música: cidades criativas da UNESCO no Noroeste Mediterrâneo'
Role: PhD advisor (2021-)
Student: Raul Hernan Daza Ramos
Title: 'VOZES DA MARGEM: A rádio como alto-falante para práticas de resistência e identidade'
Role: M.A. Advisor (2021-)
Student: Pedro João Santos
Title: 'Visões-ficções: o teledisco como instrumento de transgressão na Radiotelevisão Portuguesa (1981-85)'
Role: M.A. Advisor (2022-)
Student: Sérgio Álvarez Vales
Title: 'Mina: opacidade, êxtase e resistência através da experiência musical coletiva numa rave queer em Lisboa'
Role: M.A. Advisor (2022-)
Student: Sebastián Andree Maldonado Aymar
Title: 'Música, migración y negociación identitaria: el caso de una familia otavaleña en Lisboa'
Role: M.A. Advisor (2023-)
Student: Ana Raquel Moreira
Title: 'Para uma coesão social através da música: cidades criativas da UNESCO no Noroeste Mediterrâneo'
Role: PhD advisor (2021-)
Student: Raul Hernan Daza Ramos
Title: 'VOZES DA MARGEM: A rádio como alto-falante para práticas de resistência e identidade'
Role: M.A. Advisor (2021-)
Student: Pedro João Santos
Title: 'Visões-ficções: o teledisco como instrumento de transgressão na Radiotelevisão Portuguesa (1981-85)'
Role: M.A. Advisor (2022-)
Student: Sérgio Álvarez Vales
Title: 'Mina: opacidade, êxtase e resistência através da experiência musical coletiva numa rave queer em Lisboa'
Role: M.A. Advisor (2022-)
Student: Sebastián Andree Maldonado Aymar
Title: 'Música, migración y negociación identitaria: el caso de una familia otavaleña en Lisboa'
Role: M.A. Advisor (2023-)