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Books by Pedro Félix
![Research paper thumbnail of [PDF: Book abstract, full introduction, and Table of contents] Popular Song in the First World War - an International Perspective](https://attachments.academia-assets.com/58749317/thumbnails/1.jpg)
](What did popular song mean to people across the world during the First World War? For the first t... more What did popular song mean to people across the world during the First World War? For the first time, song repertoires and musical industries from countries on both sides in the Great War as well as from neutral countries are analysed in one exciting volume. Experts from around the world, and with very different approaches, bring to life the entertainment of a century ago, to show the role it played in the lives of our ancestors. The reader will meet with the penniless lyricist, the theatre chain owner, the cross-dressing singer, fado composer, stage Scotsman or rhyming soldier, whether they come from Serbia, Britain, the USA, Germany, France, Portugal or elsewhere, in this fascinating exploration of showbiz before the generalization of the gramophone. Singing was a vector for patriotic support for the war, and sometimes for anti-war activism, but it was much more than that, and expressed and constructed debates, anxieties, social identities and changes in gender roles. This work, accompanied by many links to online recordings, will allow the reader to glimpse the complex role of popular song in people’s lives in a period of total war.
Papers by Pedro Félix
Transposition, 2019
Once the notions of tangible assets and intangible knowledge become noncontroversial and "heritag... more Once the notions of tangible assets and intangible knowledge become noncontroversial and "heritage" enters a process of generalized recognition, assets and knowledge take different paths. In current heritage practice, "assets" are treated as archival and/or museological items, while "knowledge" is the subject of monographs and scientific papers, or goes untreated and is eventually forgotten. With this separate, differentiated approach, tangible and intangible heritage usually do not intersect.
Popular Song in the First World War, 2018
Being one of the most relevant authors for the ethical reflection on "Modernity", Adomo... more Being one of the most relevant authors for the ethical reflection on "Modernity", Adomo is usually appropriated by cultural studies as a sociologist of the art work aesthetics. This perspective will be necessarily different if, taking his work as an intelectual constellation, we critically analyse other Adomo's works. We are dealing with a philosopher of reason in contemporaneity, showing the impossibility of moral after Auschwitz. This paper tries to introduce a discussion on the concepts of Cultural Industry and "Popular Music", two áreas where Adomo operates his theoretical schemata where those concepts play a décisive role on the "negative dialectics". On the other hand, the reality requires new perspectives on concepts such as "autonomy", "freedom", "person" and "creativity", claiming a new ethic approach to technology and a new position of researchers as agents in the process of enlightenment.
Звучно наслеђе у етномузикологији: Приступи и перспективе (Књижица апстраката: Међународни научни скуп, Београд, 27. октобар 2021. – Sound Heritage in Ethnomusicology: Approaches and Perspectives (Book of Abstracts: International Scientific Conference, Belgrade, October 27th, 2021), 2021
Journal of World Popular Music, 2015
Transposition. Musique et Sciences Sociales, 2019
HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (t... more HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (tangible and intangible), thereby promoting participatory curatorship by mobilizing communities of practice. Developed over a three-year period by a European consortium, the project was based on a cooperative ethnography study on the uses and re-uses of historical sound recordings of two cultural manifestations inscribed on the UNESCO ICH list: fado and flamenco. Taking historical sound recordings as a fundamental actor that informs current musical practice, the project focused on overcoming the artificial divide between tangible heritage (historical phonograms) and intangible heritage (musical practice and community of practice knowledge). HeritaMus was designed to display the networks established by all kinds of actors (human and non-human), deepening the understanding of their intricate relationships.
This paper introduces the theoretical background of the HeritaMus project and the conceptual challenges that the consortium faced while developing the tool, describes the tool’s main characteristics and processes, and projects future developments. Some research results are also presented concerning politics of representation, the uneven representation of communities of practice and communities of research, the impact of “heritage excess” and the erasure of controversy among heritage practices—topics that are known to practitioners but often overlooked by academia.
Transposition Musique et Sciences Sociales, 2019
HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (t... more HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (tangible and intangible), thereby promoting participatory curatorship by mobilizing communities of practice. Developed over a three-year period by a European consortium, the project was based on a cooperative ethnography study on the uses and re-uses of historical sound recordings of two cultural manifestations inscribed on the UNESCO ICH list: fado and flamenco. Taking historical sound recordings as a fundamental actor that informs current musical practice, the project focused on overcoming the artificial divide between tangible heritage (historical phonograms) and intangible heritage (musical practice and community of practice knowledge). HeritaMus was designed to display the networks established by all kinds of actors (human and non-human), deepening the understanding of their intricate relationships.
This paper introduces the theoretical background of the HeritaMus project and the conceptual challenges that the consortium faced while developing the tool, describes the tool’s main characteristics and processes, and projects future developments. Some research results are also presented concerning politics of representation, the uneven representation of communities of practice and communities of research, the impact of “heritage excess” and the erasure of controversy among heritage practices—topics that are known to practitioners but often overlooked by academia.
Sommaires des numéros parus by Pedro Félix
by Transposition. Musique et sciences sociales, Elsa Broclain, Maria José Barriga, Lucia Campos, Séverine Gabry-Thienpont, Dominique Cyrille, Pierre-Eugene Sitchet, PhD aka Gino Sitson, Pedro Félix, rob casey, and Samuel Llano
What did popular song mean to people across the world during the First World War? For the first t... more What did popular song mean to people across the world during the First World War? For the first time, song repertoires and musical industries from countries on both sides in the Great War as well as from neutral countries are analysed in one exciting volume. Experts from around the world, and with very different approaches, bring to life the entertainment of a century ago, to show the role it played in the lives of our ancestors. The reader will meet with the penniless lyricist, the theatre chain owner, the cross-dressing singer, fado composer, stage Scotsman or rhyming soldier, whether they come from Serbia, Britain, the USA, Germany, France, Portugal or elsewhere, in this fascinating exploration of showbiz before the generalization of the gramophone. Singing was a vector for patriotic support for the war, and sometimes for anti-war activism, but it was much more than that, and expressed and constructed debates, anxieties, social identities and changes in gender roles. This work, accompanied by many links to online recordings, will allow the reader to glimpse the complex role of popular song in people’s lives in a period of total war.
Transposition, 2019
Once the notions of tangible assets and intangible knowledge become noncontroversial and "heritag... more Once the notions of tangible assets and intangible knowledge become noncontroversial and "heritage" enters a process of generalized recognition, assets and knowledge take different paths. In current heritage practice, "assets" are treated as archival and/or museological items, while "knowledge" is the subject of monographs and scientific papers, or goes untreated and is eventually forgotten. With this separate, differentiated approach, tangible and intangible heritage usually do not intersect.
Popular Song in the First World War, 2018
Being one of the most relevant authors for the ethical reflection on "Modernity", Adomo... more Being one of the most relevant authors for the ethical reflection on "Modernity", Adomo is usually appropriated by cultural studies as a sociologist of the art work aesthetics. This perspective will be necessarily different if, taking his work as an intelectual constellation, we critically analyse other Adomo's works. We are dealing with a philosopher of reason in contemporaneity, showing the impossibility of moral after Auschwitz. This paper tries to introduce a discussion on the concepts of Cultural Industry and "Popular Music", two áreas where Adomo operates his theoretical schemata where those concepts play a décisive role on the "negative dialectics". On the other hand, the reality requires new perspectives on concepts such as "autonomy", "freedom", "person" and "creativity", claiming a new ethic approach to technology and a new position of researchers as agents in the process of enlightenment.
Звучно наслеђе у етномузикологији: Приступи и перспективе (Књижица апстраката: Међународни научни скуп, Београд, 27. октобар 2021. – Sound Heritage in Ethnomusicology: Approaches and Perspectives (Book of Abstracts: International Scientific Conference, Belgrade, October 27th, 2021), 2021
Journal of World Popular Music, 2015
Transposition. Musique et Sciences Sociales, 2019
HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (t... more HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (tangible and intangible), thereby promoting participatory curatorship by mobilizing communities of practice. Developed over a three-year period by a European consortium, the project was based on a cooperative ethnography study on the uses and re-uses of historical sound recordings of two cultural manifestations inscribed on the UNESCO ICH list: fado and flamenco. Taking historical sound recordings as a fundamental actor that informs current musical practice, the project focused on overcoming the artificial divide between tangible heritage (historical phonograms) and intangible heritage (musical practice and community of practice knowledge). HeritaMus was designed to display the networks established by all kinds of actors (human and non-human), deepening the understanding of their intricate relationships.
This paper introduces the theoretical background of the HeritaMus project and the conceptual challenges that the consortium faced while developing the tool, describes the tool’s main characteristics and processes, and projects future developments. Some research results are also presented concerning politics of representation, the uneven representation of communities of practice and communities of research, the impact of “heritage excess” and the erasure of controversy among heritage practices—topics that are known to practitioners but often overlooked by academia.
Transposition Musique et Sciences Sociales, 2019
HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (t... more HeritaMus is a digital tool for gathering, retrieving and visualizing complex data on heritage (tangible and intangible), thereby promoting participatory curatorship by mobilizing communities of practice. Developed over a three-year period by a European consortium, the project was based on a cooperative ethnography study on the uses and re-uses of historical sound recordings of two cultural manifestations inscribed on the UNESCO ICH list: fado and flamenco. Taking historical sound recordings as a fundamental actor that informs current musical practice, the project focused on overcoming the artificial divide between tangible heritage (historical phonograms) and intangible heritage (musical practice and community of practice knowledge). HeritaMus was designed to display the networks established by all kinds of actors (human and non-human), deepening the understanding of their intricate relationships.
This paper introduces the theoretical background of the HeritaMus project and the conceptual challenges that the consortium faced while developing the tool, describes the tool’s main characteristics and processes, and projects future developments. Some research results are also presented concerning politics of representation, the uneven representation of communities of practice and communities of research, the impact of “heritage excess” and the erasure of controversy among heritage practices—topics that are known to practitioners but often overlooked by academia.
by Transposition. Musique et sciences sociales, Elsa Broclain, Maria José Barriga, Lucia Campos, Séverine Gabry-Thienpont, Dominique Cyrille, Pierre-Eugene Sitchet, PhD aka Gino Sitson, Pedro Félix, rob casey, and Samuel Llano