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The Quinteto Nacional de Sopro (National Wind Quintet) was a group belonging to Emissora Nacional and active between 1950 and 1986, made up of flautist Luíz Boulton (1908 - 1998), oboist José dos Santos Pinto (1915-2014), clarinettist Carlos Saraiva (1910-2001), bassoonist Ângelo Pestana (1919-2002) and horn player Adácio Pestana (1925-2004). These five wind instrumentalists were representative of this context as they gravitated around many of the institutions that regulated musical activity during the Estado Novo in Lisbon, such as the National Musicians' Union, the National Conservatory, the National Radio Station Symphony Orchestra, the National Republican Guard Band or even the various concert halls where they performed in chamber concerts. Studying their itineraries showed us not only a map of musical practices in Lisbon, but also the hierarchies that exist between genres, urban spaces and performance contexts. In addition, it was also possible to understand how a musician's day-to-day life looked like by analyzing his personal diaries. The aim of this paper was to understand how these cartographies reflected a hierarchy of spaces and genders during the Estado Novo. To do this, I relied on existing studies related to urban cartographies (Cohen 2012, Bell & Johansson 2010, Thomas 2010) and the bibliography on categorisation (Shepherd 2003, Gelbart 2007), particularly those that studied this process in the context of the Cultural Policy of the Estado Novo (Pestana 2012, Castelo-Branco 2008, Melo 2001, Nery 2010). I also used archival research and interviews with family members and colleagues of the musicians.

Ana Margarida Cardoso| PhD in Music - Ethnomusicology, Ana Margarida Cardoso began her musical studies in the Seia and Gouveia bands. After enrolling at the Seia Conservatory of Music, she opted for professional education and completed the Wind and Percussion Instrumentalist course at the Serra da Estrela Professional School (EPSE), publishing what became the book "O Oboísta e a Palheta Dupla" (The Oboist and the Double Reed). This was followed by a degree in Musical Sciences at the FCSH, Universidade Nova de Lisboa (NOVA FCSH) and a Master's in Teaching Music History at the University of Aveiro (UA). She lectured at EPSE (Seia), at the Coimbra Regional Conservatory, at Colégio de São Teotónio (Coimbra) and currently at the Alentejo Litoral School of Arts. She was part of the research teams of the R&D projects "Our music, our world: philharmonic bands, musical associations and local communities (1880-2018)" (PTDC/CPC-MMU/5720/2014) and "Being a musician in Portugal: the socio-professional condition of musicians in Lisbon (1750-1985)" (PTDC/ART-PER/32624/2017), both funded by FCT. She has organized several academic events, such as Post-ip - Post-in-progress (2017-2022) and non-academic events, such as the Serra da Estrela Piano Festival, whose artistic direction she has been part of since its first edition (2019). With several years of associative experience, she is Vice-President of the Patrimónios da Estrela Association and President of the General Assembly of the Nós é Mais Bichos Association.

"An industry needs everything and everyone". Vasco Morgado: agent of an "artistic infrastructure" in Lisbon (1951-1978)

Gonçalo Antunes de Oliveira | INET-md

This communication deals with one of the most prolific entrepreneurs in the entertainment industry in Portugal in the third quarter of the 20th century, Vasco Morgado. In an interview he gave to the magazine Vida Mundial, this businessman said that his "name is a kind of brand, like Metro or Fox in the cinema". In fact, the biographical analysis of Vasco Morgado calls for a scope of observation that combines several inseparable lenses: i. Individual; ii. Company; iii. Monumental Theatre; iv. Laura Alves. This composition only becomes a whole with the inclusion of conjunctural factors (business emptiness and the construction of the Monumental Theatre at the end of the 1940s) and structural factors (post-World War II and the Estado Novo until 1974). In this context, the Cine-Teatro Monumental should be seen from a tripartite perspective: i. a symbol of state power; ii. an innovative infrastructure (size and technological characteristics); iii. a geographical reference that signed the refocusing of Lisbon in the context of an expansion of the Tejo River to areas considered "out of doors". I therefore propose to present Vasco Morgado as an agent of Lisbon's modernization, the driving force behind an "artistic infrastructure" (Larkin 2013) that operated as a network within Lisbon's urban fabric, from which a popular/light "artistic world" (Becker 1982) was developed (production) and sustained (consumption). This reflection is based on the work I have been doing for my doctoral thesis, namely interviews, archival and bibliographic research, which also resulted in a database with more than 12,000 records to be presented after my PhD.

Keywords: Infrastructure; Monumental Theatre; Vasco Morgado; Light Theatre; Industry.

Gonçalo Antunes de Oliveira | Researcher at INET-md since 2004, he began his academic studies at the Portuguese Catholic University in Economics, and later switched to Sociology at the Faculty of Social Sciences and Humanities in 2000. Having specialized in Sociology of Music, he completed his degree in 2003 with a dissertation entitled "Máquina do Tempo - Músicas ouvidas, fases vividas". He completed his postgraduate degree in Sociology of Knowledge in 2004, at which time he was already carrying out research work for the Enciclopédia da Música em Portugal no Século XX (Encyclopedia of Music in Portugal in the 20th Century) as an editor, and member of the Editorial Team. In 2005, he became part of the first team for Fado's application to the World Heritage List, during which time he developed the database of historical phonograms (78 rpm) of fado and other popular music genres. It was within this context that he discovered the vast field of Teatro de Revista in Portugal, a subject he chose for his PhD dissertation, particularly the role of impresarios in the Entertainment Industry, framing his work within the scope of Historical and Economic Ethnomusicology. He has been a member of R&D project teams funded by FCT, such as A Indústria Fonográfica em Portugal no Século XX, Jazz em Portugal: Os legados de Luís Villas-Boas e do Hot Clube de Portugal, a.o. He was co-coordinator of the project História do Espectáculo e do Teatro em Portugal, funded by the Calouste Gulbenkian Foundation. Driven by his interest in the city of Lisbon (framework for all his research work), he has carried out substantial research into Lisbon's toponymy. He has been a musician and composer in a pop-rock group since 1997 and is Vice-President and Financial Director of the NGO Kanimambo - Associação de Apoio ao Albinismo. He currently carries out financial management duties at INET-md.