This project was structured into three phases: a secondment in Paris, an outgoing phase in Chile, and an incoming phase in France. Throughout its duration, I worked closely with my supervisor Silvia Sebastiani (EHESS), while Rafael Gaune (PUC) provided guidance during the outgoing phase.
During the secondment in Paris, my work was divided between conducting research at the Muséum National d’Histoire Naturelle (MNHN) and participating in seminars at the MNHN’s affiliated Centre Alexandre-Koyré. During the outgoing phase in Chile, I was integrated into Dr. Rafael Gaune’s research project El silencio de la misión, which evolved into a dynamic series of seminars, collective readings, and the co-organisation of a workshop. I also contributed to the preparation of a forthcoming volume of collected essays resulting from the project. In parallel, I collaborated on museum catalogues for the Museo de Arte Precolombino and the Museo Histórico Nacional, where I explored themes related to colonial music and sound through the analysis of textile iconography. My time in Chile also enabled me to establish connections with music and heritage scholars in Santiago and Valparaíso, which culminated in the organisation of an interdisciplinary conference on musical heritage at the Pontificia Universidad Católica de Valparaíso.
The incoming phase at the Centre de Recherches Historiques (CRH) in Paris was especially enriching for both advanced training and knowledge exchange. I took part in a weekly seminar and two monthly seminars at CRH, alongside events at EHESS and other institutions. I built a strong professional network and joined several active research groups. Outside academia, I collaborated with musicians from the Orchestre de Paris and curators at the Musée de la Musique de Paris, contributing to their exhibition catalogue.
I also led two major initiatives: the international conference Music and Knowledge Making in the Eighteenth Century, and the documentary Sarasate et les Oiseaux du Chili. For the latter, I established a partnership between EHESS and the Philharmonie de Paris / Cité de la Musique, co-producers of the film. These initiatives—one scholarly, the other public-facing—required extensive coordination and were successfully delivered. I also submitted a proposal for a special journal issue based on the conference. This phase was especially productive for writing and finalising my monograph manuscript, Harmonic Enlightenment. Music, Science and Social Order.
The main outcomes of the project are the following:
1. Academic publications: one article, one book chapter and a co-edited book; forthcoming: one monograph, one journal special issue, two book chapters and two articles.
2. Outputs for wider audiences: a video documentary, three articles in museum catalogues.
3. Organisation of events: an international conference in France, an intersectoral conference in Chile, a workshop in Chile, two conference panels.
