The project Mural Sonoro (“Sound Wall”) is a virtual archive where memories of Portuguese popular music take the stage: from musicians’ dialogues to composers and musical directors’ perspectives, from teachers to instrument builders. This is a place where you can find memory and music collections, talks and conferences, most of which are devoted to musical composition and interpretation. All of these collections will soon be accessible on Europeana thanks to the Europeana Sounds project.


Mural Sonoro was created by Soraia Simões in 2011, as an Association devoted to research and to build a multimedia archive. Since then, it has been promoting interviews, conferences and meetings with composers, musicians and performers.

At this platform you can meet some of Portuguese major Fado’s performers or learn about Portuguese rap. In the end, the Mural Sonoro aims to value, register, contextualize and disseminate musical practices in Portugal, mostly those related to the diaspora and to migration groups.

Among many other performers, you can find General D, a Mozambican who is already part of Portuguese rap history since the end of the 1980’s. Influenced by several musicians, such as the Brazilian Chico Buarque, the Angolan Bonga and the Portuguese Band UHF, he sings about racism and represents the Hip-Hip culture in Portugal nowadays.

The Grammy-award winner, Brazilian composer and performer Ivan Lins has also contributed to this archive. Having recorded with Sarah Vaughan, Quincy Jones, Ella Fitzgerald, Carmen McRae and Barbara Streisand, among others, he makes a retrospective of his musical career.

The Portuguese musician and composer José Mário Branco, who went through a long exile in France in the 1960’s, during the Portuguese Dictactorship, and has a wide experience in social, cultural and musical environment, has also given his personal views on contemporary musical culture.

The available collections also include interviews with some of today’s major Fado performers such as Carlos do Carmo (who recalls his first contacts with traditional Fado, during the 1960’s, and his first Fado song), António Pinto Basto (whose first steps as a Fado performer were taken in Alentejo) and Camané (who, like the previous artists, belongs to a family of Fado performers).

Instrument playing techniques are also explored in other interviews like the one given by Pedro Mestre, a young musician who plays the viola campaniça (the “campaniça guitar”) and talks about cultural particularities of traditional Alentejo music.

by Soraia Simões (author, IHC /FCSH-UNL and MuralSonoro) &

Inês Queiroz (translation and adaption, IHC /FCSH-UNL)