Pedro Sousa Silva is a performer, teacher, and researcher specialising in Medieval, Renaissance, and Baroque music. He studied recorder with Pedro Couto Soares at the Escola Superior de Música de Lisboa, and later with Pedro Memelsdorff at the Civica Scuola di Musica di Milano and the Conservatorio di Musica di Palermo, where he obtained the Diploma di Solista with highest distinction. He undertook studies in Musicology at Universidade Nova de Lisboa and completed a PhD in Music at the University of Aveiro, with a dissertation titled Um Modelo para a Interpretação de Polifonia Renascentista, focusing on the intersections between historical theory and performance practice. ¶ A substantial part of his work has focused on the recovery and performance of Portuguese musical heritage from the sixteenth and seventeenth centuries. His activities in this area include editorial work, public performances, and recordings of repertoire drawn from Portuguese archival sources, including previously unpublished or unrecorded works. He is the founder and artistic director of Arte Minima, an ensemble dedicated to early Portuguese music, with which he has produced and directed numerous projects. He also performs with Gli Incogniti (directed by Amandine Beyer) in a programme of concertos by J. S. Bach, and with the medieval ensemble Vozes Alfonsinas, directed by Manuel Pedro Ferreira. ¶ His discography includes The Bad Tempered Consort – A Imagem da Melancolia (Challenge Classics, 2009), In Splendoribus (Arte Minima, musicusminusculus, 2021), Missa "O Beata Maria" (Arte Minima, Pan Classics, 2023), featuring a mass by Francisco de Santa Maria, and Liber Primus Epigramatum (Arte Minima, Pan Classics, 2025), dedicated to the music of Vicente Lusitano. These projects reflect a sustained engagement with primary source materials and repertories not commonly represented in the early music recording catalogue. ¶ He has presented more than 200 concerts across Western Europe and Brazil, primarily within the field of historically informed performance. His work often involves collaboration with researchers, libraries, and archives, as well as ensembles and institutions focused on early music. ¶ Pedro Sousa Silva has taught at ESMAE – Escola Superior de Música e das Artes do Espetáculo since 2002, where he is currently Coordinating Professor. He participated in the creation of ESMAE’s Early Music Programme and the postgraduate course Polyphonia, and has coordinated various academic programmes, including the Master in Music – Performance. Since 2020, he is the coordinator of CESEM-P.Porto, the Porto-based branch of the Centre for the Study of the Sociology and Aesthetics of Music (CESEM). ¶ He has been invited to give masterclasses and seminars at institutions including the Schola Cantorum Basiliensis, Universität für Musik und darstellende Kunst Wien, Koninklijk Conservatorium Brussel, Conservatoire National Supérieur de Musique et de Danse de Lyon, Hochschule für Musik Trossingen, Akademie für Alte Musik Bremen, Norges Musikkhøgskole, and the State University of São Paulo. ¶ His research activity includes participation in several international projects focused on early Iberian and European music, such as Lost & Found (PI: João Pedro d'Alvarenga), the Hieronimite Plainchant Project (PI: Océane Boudeau), and Chanter les Motets (HEM Genève, coordinated by David Chappuis). Within the COST Action EarlyMuse – Early Music in Europe, he serves as Stakeholders’ Coordinator and Co-Leader of the Working Group on Performances. ¶