Abstract
In cultural geography, several authors agree on the existence of a two-way relationship between music and place. Thus emerges the concept of “soundscape”, according to which a geographical space is identified and perceived also thanks to its auditory dimension. This is certainly the case of Lisbon’s fado: born in the slums of the Portuguese capital during the XIX century, it has now achieved a strong tourist value, also thanks to its inclusion in the list of Unesco Intangible World Heritage in November 2011. In this paper we try to understand if fado corresponds to a still authentic feeling, or if it is turning rather into a “scenography” and a representation aimed at an audience of tourists, which inevitably involves a process of “commodification” and trivialization.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
