Fernando Miguel Marques Jalôto is a PhD student in Musicology at Universidade Nova de Lisboa (Faculty of Social and Human Sciences) under the supervision of Rui Vieira Nery and Cristina Fernandes. He completed his Master of Music at the Department of Communication and Art at the University of Aveiro, and the Bachelor and Master Degrees in Historical Performance Practice at the Koninklijk Conservatorium in The Hague (Netherlands), in Harpsichord and Historical Keyboard Instruments. His main teacher was Jacques Ogg, but he also followed master-classes with renowned teachers, such as Gustav Leonhardt, Olivier Baumont and Ilton Wjunisky. He also studied clavichord and Baroque organ. As a researcher, he dedicates himself to the study of eighteenth-century Portuguese music, namely the sacred music at the Royal and Patriarchal Chapel of D. João V and D. José I. He has also studied the court serenata - having transcribed and analyzed the Serenata L¿Ippolito by Francisco António de Almeida, composed for the birthday of D. Maria Bárbara of Braganza - and the practice of chamber music at Portuguese court, under the auspices of D. Maria Anna of Habsburg and D. Mariana Vitória of Bourbon. His Master's degree was concerned with main sources of instrumental chamber music in eighteenth-century Portugal. He published articles and book chapters dedicated to the Neapolitan composer and librettist active in Lisbon, D. Antonio Tedeschi, a key figure in the history of opera in Portugal, and who is the subject of his PhD research. Member of INET/Md, he currently participates at the project PROFMUS, about the socio-professional status of musicians in Lisbon (1750-1985). He is also interested in the research of Historical Performance Practices of the various Performing Arts - Music, Dance and Theater - in the 17th and 18th centuries. He is the Artistic Director of the Ludovice Ensemble, one of the most relevant and active Portuguese early music groups. As a free-lancer musician, he develops an intense concert activity as a harpsichordist, organist and maestro al cembalo, in Europe, Israel, China and Japan. He collaborates with some of the most prestigious national and international early music groups such as Vox Luminis, La Galanía, Oltremontano, Collegium Musicum Madrid, Bonne Corde, Real Câmara, among others. He recorded solo or with several of these groups, as well as with the Gulbenkian and Divino Sospiro orchestras, for Harmonia Mundi, Ramée/Outhere, Glossa Music, Dynamic, Anima & Corpo, Veterum Musica, Paratí and Brilliant Classics, as well as for the channels Arte, Mezzo, RTP and the Portuguese, German and Czech national broadcasting companies. His next recording projects are dedicated to Iberian music: a CD with Ludovice Ensemble dedicated to chamber music sponsored by D. Maria Anna of Habsburg, with works by Astorga, Té y Sagau, Giorgi and Seixas, and another CD with works by the Avondano family. Two other recordings of Portuguese Baroque Music, by Ensemble Bonne Corde and Real Câmara Baroque Orchestra, feature his own editions/revisions/arrangements of works by António Pereira da Costa and Pedro Jorge Avondano. He's the artistic and pedagogic director at the Ludovice Ensemble Summer Academy and Festival for Baroque Music, Theatre and Dance in Aveiro (Portugal) and artistic director and tutor at the Benslow Music Baroque Opera Courses in Hitchin (UK). As musical director he conducted some of the greatest Baroque masterpieces, as well as less know works of the period: Monteverdi 1610's Marian Vespers; Operas and Ballets by Lully, Th.-L. Bourgeois, Charpentier, Rameau and Purcell; oratorios by A. Scarlatti; J. S. Bach's sacred cantatas and masses; grands motets by Rameau; concerti grossi by Corelli, Pasquini, Scarlatti and Handel; and a great amount of Portuguese Baroque music.