Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) Informatol. 46, 2013., 1, 45‐53 45 INFO‐ 2081 UDK :78.072(497.1:007) Primljeno / Received: 2012‐03‐16 Pregledni rad / Authors Review

COMMUNICATION PROCESS OF CREATING REGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia)

KOMUNIKACIJSKI PROCESI STVARANJA REGIONALNE GLAZBENE INDUSTRIJE (Studija slučaja: bivša Jugoslavija)

Oleg Sineokyj Institute of Journalism and Social Communication of Classical Private University, Zaporizhzhya, Ukraine Institut za novinarstvo i komunikacijske znanosti Klasičnog privatnog sveučilišta, Zaporizhzhya, Ukrajina

Abstract Sažetak The article deals with the history of recording indus‐ Članak se bavi poviješću glazbene industrijeu Jugos‐ try organization in Yugoslavia. The author summa‐ laviji. Autor rezimira jugoslavenski iskustvo, u retro‐ rizes the Yugoslavian experience, in retrospect, the spektivi, razvoj audio‐glazbene industrije i pop glaz‐ development of audio‐record industry and pop mu‐ bu tijekom razdoblja socijalizma. Govori o reformi sic during the period of socialism. He speaks about sustava izdavačkih kuća. Analiza referentnog mate‐ the reforming of the system of record companies. rijala posvećenog sistematizaciji informacija u povi‐ The analysis of reference material dedicated to the jesti rock glazbe zauzima posebno mjesto u autoro‐ systematization of information in the history of rock vom pristupu.Članak se bavi pitanjem reforme regu‐ music occupies a special place in the author’s ap‐ latornog okvira glazbene industrije nakon raspada proach. The article covers the issues of reforming the Jugoslavije. regulatory framework of record industry infrastruc‐ ture after the dissolution of Yugoslavia.

1. Introducion and some other. All the data serve as theoretical and methodological basis for writing this article, At all times, the musical culture was a mirror of the subject of which was the history of music re‐ mood and state of mankind. Nowdays recording cording in the system of mass communications in continues to be a critical factor in the formation of Yugoslavia throughout the period of socialism and electronic culture and an integral part of the intan‐ the main trends of its transformation in the post‐ gible cultural heritage of every country. communist period. The music recording in Yugoslavia is a special, distinctive phenomenon in the social structure. 2. The Basic Theory of Rare Sound Records Rare sound recordskeep to excite many people. Therefore, the question is to study the causes of The term ʺcollectiblesʺ (latin “collectio” – gathering) formation and development of institutions in the means systematic collection of similar items. It is system of recording of social communication in the believed that this concept was first introduced second half of the XX century, when socialism was more than 2000 years ago by Cicero. The famous an important issue.Examining the history of popu‐ orator named a collection of disparate subjects into lar music in the social communication of the for‐ one by this word. Academicians P. Alexandrov, A. mer Yugoslavia includes the study into mainly Tikhonov, B. Pontecorvo, G. Flerov, B. Gnedenko national peculiarities of musical recordings. are called among the famous Soviet record collec‐ Among them there are works by Serbian authors – tors. M. Peshkov, Y. Perepolkin, A. Belkova, G. Duško Antonić, Danilo Štrbac, Petar Janjatović, Shilov, B. Vladimirskyj, Y. Saltanov and others Živko Ivković, Bogomir Mijatović, Dragan Pavlov, were also influential collectors in the Soviet Union Dejan Šunjka, Alkesandar Žikić, Vladan Stanojević /1/. In almost all areas of human activity there are

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Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) 46 Informatol. 46, 2013., 1, 45‐53 collectors – people who are passionate about col‐ finding a certain disc, but about the fate of all such lecting various items. From a simple gathering collections, and compare it with other phono‐ collecting differs, it is study and systematization of graphic rarities. Quality of audio experience for the materials /2/. Thus, the central task of collecting is collector is only one of a number of safety criteria finding specific substantive values to the discovery instance. Thus, for this category of collectors there of new information. Collecting can act as a way of is no difference between a form of a sound repre‐ knowing the world. In some studies the causes of sentation. According to V. Ilyin statements, collect‐ collecting is often limited by categories of Individ‐ ing is a compensatory psychological function (sub‐ ual Psychology, which explains everything with limation) /6/, i.e. from the imaginary output to an such concepts as ʺtastesʺ or ʺinterestsʺ /3/. One of interesting microcosm for a person themselves to a the most popular types of collectibles in the twen‐ psychological relief from stress. Sometimes collect‐ tieth century is filophone (collectible items record‐ ing music media can take some addictive forms, ing). The term ʺfilophoneʺ (rare sound records & the most famous of which are ʺvinylophiliaʺ, record collectors) means collecting art, documentary ʺaudiophiliaʺ and some similar psychological de‐ and other recordings (on phonograph records, tape pendence when a passion turns to obsession, the CD‐ROM, etc.). The international Federation of motive to collect became primary and dominant amateur recording was founded in the early 1960s (negative aspect). Thus, it is not desirable (even and those times may be considered as the founda‐ dangerous) that collecting as a kind of unprofes‐ tion of filophone social and communicative phe‐ sional sociocultural activity will grow from recrea‐ nomenon. Those people involved in filophone – tional plane to dominant behavior. It is the hobby collecting and systematization rare music tapes, that requires a moderation. The main purpose of vocal and other sound recordings considered to the filophone community is an intelligent, spiritu‐ filophone‐men (weʹve derived this term “a al, human development, satisfaction of personal filophoneman” as there is no appropriate one to interest (located in different areas of music record‐ convey the meaning of this realia). The filophone ing circles), self‐education, and even creative self‐ refers to a particular type of leisure activity (hob‐ expression.In native traditions the characteristic by). Most foreign scholars consider offering hobby ʺmusic fanʺ means a passionate fan of music or as five categories: collectibles, crafts, amateur, singing and has rather a positive coloring. Some sports, various forms of art /4/. It should be noted researchers state that in the past, music lovers were that at the first glance the term ʺFilophoneʺ is not called those who were fond of music very passion‐ identical or near the term ʺMelomaniaʺ. The first ately and selflessly, but in a very shallow way /7/. one in a greater degree is placed on the search, There is another term that often equates with the storage and cataloging of music media, but the term ʺmusic loverʺ. This is audiophile man. Howev‐ priorities of the second are rather creative features er this category correctly used for fans who are of authors and artists, as well as music works than fond of supersound (priorities Hi‐Fi or High‐End particular carrier, which actually recorded musical technology rather than musical content or the con‐ information. Some researchers note that at various tent of the work). In the private collecting they stages of the history of collecting a certain sociocul‐ distinguish democratic and elitist orientation. At tural motivation dominate, but in each case one of the first step of collecting for filophones man‐ the motivations will always be crucial /5/. novice the priority of items (LPs, CDs, etc.) in this Collectors LPs try to expand their ideas to the na‐ collection is important, but not their value. Later ture of musical information audiomatter, carefully collecting becomes selective, thematic, cataloged, examining each instance where you can find some‐ systematic. On the one hand, collecting became a thing new and special and exceptional (positive polimotive activity, which reflected the interests of aspect). Collectors are respected not only for their the collector system, and the other – a collector has own collection, but also for thorough knowledge of different ways of organizing their leisure activity. general problems in their chosen field. Some col‐ It should be emphasized that the main components lectors want to get to the final point in the for‐ of collectibles are always linked /8/. Collecting mation of the complete collection (figuratively items of fonograph a person gradually changes speaking – material finals), for others the actual from a connoisseur to a master, evolving aesthetic, process of collecting is more interesting, ie active communicative, creative, and deepens their artis‐ search. Having overcome the excitement of the tic, historical, scientific knowledge. Collecting is collection, many collectors think not only about peculiar to all segments of population. The social

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Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) Informatol. 46, 2013., 1, 45‐53 47 status of a person plays a great role in the level of the same name (for example, on the basis of his\her filophone environment affects. With age, aninstrumental musician, singer, producer record‐ the social status of record collector, his educational ing volume edition, the author of the text or music, background, financial capabilities change. Perhaps belonging to the record labels, genre, etc.), it is the adult collector LPs can afford ʺexpensiveʺ col‐ named as a selected discography /10/. Recordings, lection and also seek the opportunity to purchase issued under a certain label often fall into this cat‐ rare specimens recording products. Collecting LPs egory. An important feature of a discography is its and other items of filophone involves a systematic sorting out. Usually recordings are sorted out by dialogue with like‐minded people, exchanging of release date and their release/11/. Surely, it is for information, opinions, experiences, innovations, certain that studying discography will help mini‐ implications of their research. Therefore collecti‐ mize ʺwhite spotsʺ in the history of recording. Letʹs bles efficiently develop in hobby groups /9/. Thus, consider the concept of ʺcollectionʺ as a systematic a hobby group is a specific form that differs from collection of homogeneous objects of scientific, other social groups of its activity, its nature, origi‐ historical, artistic and similar interest. Rock ar‐ nality interpersonal communication, democracy chives is a storage system, ordering and descrip‐ and voluntariness. The main purpose of the tion of documentary material (including LPs, tape filophone communities is an intelligent, spiritual, and video recordings, optical media, books, manu‐ human development, satisfaction of personal in‐ scripts, lyrics, notes, drafts, letters, paintings, cloth‐ terest (located in different circles records areas), ing, photographic images and other attributes) self‐education, and even creative self‐expression. relating to the development of pop and rock music The material storage is an important component of in general and the formation of musical subcul‐ a phonogram, because phonogram without it can tures in the second half of the twentieth century. In not exist. A form of recording (fixation) disco in‐ the narrow sense the disco archive is a system of formation can be of three basic types: optical (CD‐ storing, organizing and describing only LPs, with ROMs), magnetic (CD and cassette audiotape) and all genres (material criterion). But disco archive electromechanical (gramophone). The most appro‐ broadly represents a storage system, ordering and priate source of a playback information remains description of documentary materials of all kinds disco vinyl phonograph records. There are many relating to disco as a musical direction, disco as a definitions of the term ʺdriveʺ. In our case, the way of entertainment (hobby) or a subculture, and drive offers a round media music audio infor‐ disco product (genre and activity‐sign). Thus, there mation, which is made of polyvinyl chloride, in are some grounds to include filophone, music lov‐ fact, identical to the content concept ʺvinyl recordʺ ers and collectors to certain types of disco commu‐ or ʺgramophoneʺ. In other cases, when we say nication with special typological characteristics.By something about the optical (digital) media music the early 1970s of the last century it became clear information another term is used namely – Com‐ that a tape player perfectly complemented vinyl pact Disc (CD). disc and had the ability to play recorded material A systematic collection of phonograms and audio with little or no damage to its quality and durabil‐ as a displaying album of the same name is a li‐ ity. Therefore, in the domestic environment a vinyl brary. Nowadays private collections of music and player was not enough for music fans. The fact other audio material are called libraries. Personal that vinyl disc left a handicap in the soul of audio‐ libraries represent personal collections of music phile.Actually recording subculture phenomenon books, stored in a variety of physical and digital is a specific social and communicative phenome‐ formats. Discography (from ʺdriveʺ which is a non that differs significantly from other mass phe‐ generic name for tracks regardless of the medium, nomena in the sphere of entertainment – the pur‐ and ʺgraphy ...ʺ) is a full list of sound recordings pose of the activity, its nature, originality interper‐ by a famous artist, usually musical, produced in sonal communication and voluntariness. In the different forms in the mass circulation combined USSR tape subculture developed in three areas – into a single list with the sign of the name under professional (official), semi (illegal) and amateur which the record was distributed. A discography (leisure). During the 1980s, the Soviet Union there usually include those recordings that have been were studios for two purposes: 1) to record music released in one form or another in the mass circu‐ by the musicians themselves or mainly by other lation on any media. If the list contains only the authors, and partly – for other additional purposes records selected by some narrower grounds within (e.g., to record phonograms, greetings, etc.) actual‐

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Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) 48 Informatol. 46, 2013., 1, 45‐53 ly performed at home (home tapes); 2) to record Officially, this band splited up in May copies of musical works of authors on their official 1999.Speaking about other Yugoslav group inter‐ tape cassette or reel (so‐called ʺsecondʺ and ʺthirdʺ esting to Soviet music lover, we can mention copies as the ʺfirstʺ copy was considered the direct АнсамбльАнгелаВладковичаАВС – ANGEL recording of phonograph records, and the second VLADKOVIĆ GROUP ABC. Unfortunately, we half of the 1990s – from the CD). don’t’t know the correct spelling of his name, be‐ cause different sources use different versions: A. 3. The Yugoslavian Rock Music on Soviet Rec‐ Vlatković, Angelo Vlatković, Angel Vladković, А. ords Владкович, А. Влаткович, АнгелВладкович, АнгелоВладкович. The reasons of this are un‐ «The Melody Firm» has reissued the works of Yu‐ known to us as encyclopedias and reference books goslavian musicians, the originals of which were cannot give the right answer. There is no infor‐ recorded in Yugoslavian labels as the firm had no mation about this project. Therefore we have as‐ license agreements to produce phonographic sembled the story of the group «bit by bit».Angelo products. In 1976, the «The Melody Firm» Vladkovich had a debut as a composer, having presenred a shellac record of vocal and instrumen‐ written the music for the short film «Kad Bi tal group СЕМЕРОМОЛОДЫХ (C60‐07165‐6). In Ribe...» (1960). For the first time, the name АВС 1963, the Riga records factory was issued a gramo‐ was used in 1963 on the album Perica Stojančić i phone record of Yugoslav pop ensemble KVINTET A‐B‐C – Lucia (PGP RTB, 1963), contain‐ СЕМЬМОЛОДЫХ in a simple white envelope, in ing energetic compositions in the style «beat» and which there were two tracks – «rock ʹnʹ roll». From 1963 to 1967, Angelo «КогдаяпошелнаБембашу» and Vlatkovich worked as a professional high‐end «Черныеглазаутебя, девушка». This ensemble arranger with such musicians as Nada (Esperan‐ was one of the first beat groups in Yugoslavia. The za), Radmila Karaklajić, Ivana Nikolić, Ana Štefok, exact name of the group was SEDMORICA Vanja Stojković and participated in some other MLADIH (sometimes 7 MLADIH or projects, sometimes acting as a composer. In the СЕДМОРИЦАМЛАДИХ), and it was created on USSR, from 1971 to 1981, five records were re‐ September 29, 1959, in Belgrade. They played folk‐ leased in various formats (one as an accompanying music in variety version and their own composi‐ orchestra, one single and three full length). In total, tions in the style of pop‐rock (It is better to name it we have four versions of different designs of rec‐ Early Balkans Beat). The group was successfully ords issued in the Soviet Union over the years. recorded in the most of Yugoslavian labels, partic‐ Maybe, more of them exist. Different factories that ularly in «ZKP RTLJ», «Jugoton», «PGP‐RTB», produced phonograph records used several vari‐ «Jugodisk». At different times the band members ants of envelopes and names of this band – АВС, were such Yugoslav musicians as Nebojša «АнсамбльАнгелаВладковичаАВС» and just Dančević (piano, vocals), Milutin Vasović (guitar, «ЭстрадныйансамбльАВС». vocals), Ljubiša Stošić (bass, vocals), Branislav Todorović (drums, vocals, 1959‐78), Zarija Raković 4. The Structure of Record Labels in the Second (trumpet, vocals), Ljubiša Milić (trombone, vocals), Half of the XX Century Vladislav Vasilić (clarinet, tenor saxophone, vocals, 1959‐63), Jova Radovanović (clarinet, tenor saxo‐ «Jugoton» is the state recording and publishing phone, vocals, 1963‐91), Nebojša Kunić (drums, company (both network and music store). This vocals, 1978‐91). label was one of the largest recording companies in It is interesting that the plate, the record similar to the former Yugoslavia. «Jugoton» was founded on a disk that was released in the USSR in 1976, was July 10, 1947 in Zagreb (Socialist Republic of Croa‐ not releaseed by the Yugoslav labels, so some‐ tia) in place of nationalized factory «Elektroton». times, the record was included in the official dis‐ In 1990, this company was reorganized and con‐ cography of the band, and sometimes it was not. tinued its activity in Croatia as the major label In the second half of the 1970s, some concerts were under the name «Croatia Records». In 1959, the given in the Soviet Union, particularly in Kharkov. firm «Jugoton» got its first competitor, Belgrade In addition to a very unique, full of humor, au‐ firm «PGP RTB» (It was later renamed to «PGP‐ thorʹs compositions, bright hits of LES HUMPHRY RTS»). «PGP‐RTB / PGP‐RTS» («Produkcija SINGERS, SWEET and some other stars sounded. Gramofonskih Ploča ‐ Radio‐Televizije Beograd»).

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Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) Informatol. 46, 2013., 1, 45‐53 49 It was one of the biggest record companies in the the first three releases were dated 1966 and 1967. former Yugoslavia (Socialist Republic of Ser‐ Then, under the label «Beograd Disk» three for‐ bia).The label was one of the branches of the na‐ mats of records were produced from 1968 to 1981 – tional media group «Radio‐Televizije Belgrade» LP, EP and singles /17/. «Beograd Disk» began its /12/, and the only real competitor to the Croatian activity in the 1980s. company «Jugoton» in the music publishing. As a result of re‐organization, the record company Sometimes on envelopes of licensed discs issued changed its name to «Jugodisk»in 1981 /18/. «Beo‐ by the company, the manufacturer was mentioned grad Disk», as a record label, existed from 1968 to as «Yugoslavia ROTB». After the disintegration of 1981, and was succeeded by «Yugodisk». Since Yugoslavia, the last letter in the new name of the 1981, the phonographic production of a «new» company «PGP‐RTS» changed, and the label got «Jugodisk» has been published in two formats ‐ the name «Produkcija Gramofonskih Ploča ‐ Ra‐ vinyl records and cassette tapes, CDs, and con‐ dio‐Televizije Srbije». The company was a part of tained the records of Yugoslav artists of various the largest public broadcasting corporation in the styles: folk music, pop and rock music.As well as Balkans «Radio‐Televizije Srbije». This corporation other record companies that were Yugoslavia has been the member of the European Broadcast‐ competitors in the international music market, ing Union since 2001 /13/. Since then, the studio «Jugodisk» had a license to record and release equipment and plants for the production of music records of foreign performers. Since 1992, the media have been significantly upgraded and company has stopped the production of vinyl equipped with electronics to produce CDs.The products by switching over to the production of third largest company in the former Yugoslavia, CD‐drives. In 2003, the company was bought by a which was established in 1974, was «ZKP RTLJ / manager in the sphere of show business Nenad ZKP RTVS» («Založba kaset in plošč RTV Ljublja‐ Kapor, and since then the label has been acting as a na» or «Založba kaset in plošč Radiotelevizije joint‐stock company «Jugodisk AD».«Diskoton» Ljubljana»). It was and still remains a leading pub‐ (full name «Diskoton production of CDs, Saraje‐ lishing firm in Slovenia. «PGP‐RTB», «ZKP RTLJ» vo») was a record label in Sarajevo (Bosnia and is not a single firm, and represents the branch of Herzegovina), established in 1973. By this time, the the republican group «Radio‐Televizija Ljubljana» decentralisation was very widespread in Yugosla‐ /14/. The record products of the company «ZKP via. Each of the former republics of Yugoslavia RTLJ» came out in the form of records and CD‐ would have something very «own» at the regional cassettes in 1986 and carried the companie’s logo. level. So it was in the sphere of recording. Precisely In 1990, the company was privatized and renamed in such circumstances, «Music Radio Television into «ZKP RTVS» («Založba kaset in plošč Sarajevo» publishing house established this record Radiotelevizije Slovenija»). Since then, it has been company.In 1992, there was a war in Bosnia and the leader in the liberal Slovenian market. «ZKP Herzegovina, and there was a fight in the building RTVS» is part of the broadcasting group «RTV that was a studio and audio‐video library of Slovenija», whose General Director is Marko Fili «Diskoton», so this building was completely de‐ /15/.Another record label from Belgrade is stroyed by fire. This was the reason of disappear‐ «Jugodisk» owned by Nikola Vujović. We should ance of most part of the original master tapes with mention that in the history of Yugoslavia records recordings /19/. As a result, the company there were two labels called «Jugodisk». The name «Diskoton» ceased to exist due to the destruction of the label consists of two parts: «Jugo» ‐ Yugo‐ of archived master tapes, except those few that slavia and «Disk» ‐ disk (record). The first label were released and issued by the label «Diskoton» that had the name «Yugodisk» appeared in 1950, at the beginning of the 1990s on CDs.Vinyl and and it published 78 rpm records with Yugoslav cassette recordings were released under the brand folk music and folklore. Unfortunately, the history name of «Sarajevo Disk» label. They used to pro‐ of the label is not well understood. But we have duce the records of Yugoslav pop and folk artists managed to find additional information. Some from 1979 to 1989. The highest circulation was sources indicate that the second «Yugodisk» was 50000 copies.Record label «Suzy» (in Croatian it created in 1974 in Serbia /16/. However, it should has a name «Suzy produkcija gramofonskih be clarified here that in Belgrade, the capital of ploča») is situated in Zagreb, Croatia. The compa‐ Serbia and whole Yugoslavia, a record label «Beo‐ ny was formed in 1972. During the 1990s, after the grad Disk» was set up in 1968, but for some reason abandonment of socialistobjectives and the disin‐

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Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) 50 Informatol. 46, 2013., 1, 45‐53 tegration of Yugoslavia, this record company was «Jugoton / Croatia Records», «PGP‐RTB / PGP‐ transformed into a limited liability company RTS», «Komuna», «ZKP RTLJ / ZKP RTVS», «SUZY d.o.o.»(LLC). «Jugodisk», «Diskoton», «Suzy» and «Menart Rec‐ However, in contrast to such strong competitors as ords».Brand «Helidon» was not a full‐fledged rec‐ «Jugoton» and «PGP‐RTB», which at that time ord label. It was the name of the music department were renamed to «Croatia Records» and «PGP‐ of the Slovenian publishing house «Založba RTS», «Suzi» continued to work under the same Obzorja Maribor», founded in 1950, where the first name. During the first decade of the 2000s in col‐ Slovenian records were released in 1960. Vinyl laboration with other contemporary Croatian rec‐ discs produced under this brand name were based ord labels under the same brand name, some ra‐ on technological Croatian label «Suzi». By the ther unique records were reissued. This company 1980s, the Yugoslav phonographic market received also interests us because of the fact that it worked tape cassettes with the records of its own produc‐ with pop and rock musicians of the former Yugo‐ tion. In the 1990s, the Slovenian brand «Helidon» slavia, from different regions of the country. Today began to produce CDs. In 1987, a Serbian record‐ the label is actively remastering old records, releas‐ label «Komuna» was founded in Belgrade. At first, ing them in the form of CDs, and continues to rec‐ it manufactured and released vinyl records. Since ord Croatian artists and artists from other coun‐ 1994, before the war, the label «Komuna» switched tries ‐ the republics of the ex‐Yugoslavia over to the production of CDs, releasing classic of /20/.«Menart Records» is practically new full‐ Yugoslav rock music. fledged record label, which has partnership with Speaking about 1990s, we should also mention record companies in Croatia and Serbia. This label other record companies formed on the territory of has appeared in the Balkan region since the mid‐ the former Yugoslavia. In northern Serbia in 1990s. Despite the difficult social and political con‐ Kikinda, the label «FIVET» was established at the ditions, it became widely spread across Yugosla‐ beginning of the 1990s by Raka Đokić. Since 1992, via. In 1994, its office was opened in Slovenia ‐ cassette tape recordings were only produced «Menart Slovenia», in 1997 ‐ a similar office began (DRAGANA, BEKI, MANDA, RUŽ, Zlata Petrović, its activity in Croatia under the name «Menart Lepa Brena, etc.), but by the end of the year, the Croatia». Thus, by the second half of the 1990s, same releases were published in a CD format. In «Menart Records», as the official distributor of the 1990s, the turbo‐folk label «ZAM» was the «Sony BMG Music Entertainment», obtained ex‐ sublabel of the company. The company «FIVET» clusive rights to the licensed activity in the sphere existed till 2001. In 1992, a Serbian label «ZAM» of musical production in Slovenia, Croatia, Serbia, (Zabava Miliona) produced compact cassettes. Bosnia and Herzegovina, Macedonia, Kosovo, And in a year (in 1993) the first CD was released Montenegro and Albania.As an internal label, under this label there. In 1994, this small company «Menart» was formed in Slovenia as a company of has gradually moved to its own production of the which major activity was the sale of licensed prod‐ CDs until 1996. Latest releases of this label (KEBA) ucts with pop music records. The main music are dated by 2002.Phenomenon of filophone is one styles of the company are pop, rock, folk, rap and of the most important forms of social and cultural electro music. The headquarters of the company is interaction on meta‐level (organization) and micro‐ located in Ljubljana. «Menart» didn’t produce level (interpersonal communication). Filophone vinyl discs, and initially was focused on CD and communication tends to a dialogue between dif‐ DVD market of ex‐Yugoslavia.By the beginning of ferent subcultural components and in rock music it the new millennium, «Menart Records» has often occurs between people in information and reached the top of Slovenian music industry. In limited recreational space. Filophone communica‐ 2008, the label opened its website «mZone.si» /21/, tion can be realized by legal and illegal conditions which proposes Slovenian people and foreign us‐ in the latter type the priority role always play ʺau‐ ers of the resource to «download» music artists dio piracyʺ (the first obligatory link), distribution from Slovenia. In Croatia, «Menart Records» had of counterfeit audiomusic products (the second the status of the top label. In addition, «Menart obligatory link), the consumption of illegal audio Records» supported various interesting projects production (the third mandatory link) and finally outside the former Yugoslavia. the sharing of some instances ʺpiratedʺ audio (the Thus, in the former Yugoslavia by the mid‐1990s, fourth optional link). Regarding the last link we there were eight companies that produced records: can say that one of the kinds of social interaction is

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Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) Informatol. 46, 2013., 1, 45‐53 51 the communication which is a sequence of dis‐ dividual micro‐society. Collecting LPs and other courses. The perception of audio production (pho‐ artifacts recording serves different purposes: nograph records, tape recording, CD, etc.) is not pragmatic, aesthetic, economic, sacral, research the ultimate authority in the characteristic of dis‐ and more. We also agree that, collectibles are a course. This product can be exchanged through reliable money investment as before, and now time, sold, donated and then its communicative even at a greater extent.In modern conditions the action passes to a new object. There is a possibility recording is the most important factor in shaping of recurrence. But the subject (filophone collector, e‐culture. In Ukraine, nowadays there is no scientif‐ music lover) can stop this moment, leaving a copy ically developed discography fund LPs. Mean‐ of audioproduct to himself.Actually recording while, in some foreign countries gramophone are subculture phenomenon is a specific social and gathered as well as books in libraries, special ar‐ communicative phenomenon that differs signifi‐ chives, and a discography is recognized as one of cantly from other mass phenomena in the sphere the auxiliary historical disciplines. As a promising of entertainment – the purpose of the activity, its direction we define the development of effective nature, originality interpersonal communication anti‐counterfeit recording by legal means of simul‐ and voluntariness. In the USSR tape subculture taneous creation and efficacious implementation of developed in three areas – professional (official), the legal framework of communication in using semi (illegal) and amateur (leisure). During the phonograph records in the new information‐ 1980s, the Soviet Union there were studios for two psychological space. purposes: 1) to record music by the musicians themselves or mainly by other authors, and partly 5. The Final Findings – for other additional purposes (e.g., to record phonograms, greetings, etc.) actually performed at Our main conclusion is that a single global system home (home tapes); 2) to record copies of musical of records does not exist, as there is no universal works of authors on their official tape cassette or model of rock music. Sound recordings of rock reel (so‐called ʺsecondʺ and ʺthirdʺ copies as the music in every country are unique, unique and ʺfirstʺ copy was considered the direct recording of original, with its inherent national traditions and phonograph records, and the second half of the other key features and characteristics. In other 1990s – from the CD).Prior to the 1980s, the Soviet words, we can say that the national music record‐ Union formed the social and informational phe‐ ing is, in equal proportions, social, political, musi‐ nomenon ʺthe magnetic tape recorder subcultureʺ, cal and cultural face of the region. which has been characterized by its Phenomenon of filophone is one of the most im‐ psychocommunicative features. The structure of portant forms of social and cultural interaction on Soviet music lovers in general was the overall meta‐level (organization) and micro‐level (inter‐ scope of filophone phenomenon in the USSR. The personal communication). Filophone communica‐ main elements of this framework were individuals tion tends to a dialogue between different subcul‐ involved in collecting different attributes associat‐ tural components and in rock music it often occurs ed with rock music. Combining these subjects of between people in information and limited recrea‐ filophone interaction based on their status charac‐ tional space. Filophone communication can be teristics in different groups and subgroups (sup‐ realized by legal and illegal conditions in the latter porters of jazz, blues, rock and roll, art rock, punk type the priority role always play ʺaudio piracyʺ rock, heavy metal, «new wave», disco and pop (the first obligatory link), distribution of counter‐ music, and many others.) led to the formation of feit audiomusic products (the second obligatory the overall environment of Soviet music lovers to link), the consumption of illegal audio production sufficiently different genres picture where there (the third mandatory link) and finally the sharing was a chain of people involved in the system, of some instances ʺpiratedʺ audio (the fourth op‐ which relied on the interests of collectors. Under tional link). Regarding the last link we can say that such conditions, a mechanism began to operate one of the kinds of social interaction is the com‐ which, using the term in social psychology, was munication which is a sequence of discourses. The noted as a ʺchannel traffic reportsʺ. Modern collec‐ perception of audio production (phonograph rec‐ tors LPs form their collection from various sources ords, tape recording, CD, etc.) is not the ultimate (auctions, antique shops, flea markets), but the authority in the characteristic of discourse. This main circle is formed of the filophone serving in‐ product can be exchanged through time, sold,

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Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) 52 Informatol. 46, 2013., 1, 45‐53 donated and then its communicative action passes not ignore some of the legal issues connected with to a new object. There is a possibility of recurrence. the digital restoration of phonographic rarities. But the subject (filophone collector, music lover) Contemporary society is considered as a medium can stop this moment, leaving a copy of of a record institutionalization, where special place audioproduct to himself.Yugoslavia has tried to belongs to the actual problems connected with create a market of multidirectional recording in‐ sound recordings, new forms of music, using In‐ dustry. The major labels and trademarks were: ternet technology «upload‐download», and traffic «Jugoton» – «Croatia Records», «PGP‐RTB» – records of various kinds, including vintage rock «PGP RTS» – «Yugoslavia ROTB», «Suzy», rarities. We propose practical ways of resolving the «Založbakasetinplošč RTV Ljubljana» – «ZKP issues raised, at a legal level. RTLJ», «Beograd Disk» – «Jugodisk», «Diskoton», «Menart Records»). In socialist Yugoslavia there Notes were at least three schools of rock, each of them represented by quite distinctive bands, the music /1/ Muzika. Pesn’ja. Gramplastinka (Music. Song. Shellac) : of which was determined by regional features ‐ Sbornik pamjati filofonista Valerija Franchenko / Sostavitel V. Solonenko [Compilation of Memory to Belgrade, Sarajevo and Zagreb.The filophone in‐ Record Collector Valeria Franchenko / Compiled by teraction between people is generated and main‐ V. Solonenko],Moskva, Serebrjannyje niti, 2006, 239 tained by making typical the circumstances of p. communication in this field (code of conduct). The /2/Izraelit, M. O kollektcionirovanii i sobiratel’stve development and adoption of collective norms are [About Collecting and Gathering]. Sovetskij the result of typing the content of mental states of kollektcioner – Soviet Collector,1971, no.9, pp. 14‐16. filophone‐men and music fans. So melomania in its /3/Saverkina, I.V. Istorija chastnogo kollektcionirovanija v communication content is a special type of the Rossii (The History of Private Collecting in Russia), filophone communication (a social interaction of Sankt‐Peterburg, SPBGUKI, 2004, 208 p. /4/Kiselyeva, T.G. Teorija dosuga za rubezhom (Theory collectors), where the main communicative tool Leisure Abroad), Moskva, MGIK, 1992, 1963 p. supports collecting (as an active ac‐ /5/Saverkina, I.V. Istorija chastnogo kollektcionirovanija v tion).Communication in filophone community Rossii (The History of Private Collecting in Russia), (purchase, sale, exchange, overwriting disks, to‐ Sankt‐Peterburg, SPBGUKI, 2004, 208 p. dayʹs Internet environment added to this network /6/Ilyin, V. I . Igra kak sotcial’noye povedeniye [Game as communication of filophone‐men) is a special dis‐ Social Behavior]. Pubezh (Al’manakh social’nykh co‐level communication. Filophone information issledovanij) – Frontier (Almanac for Social (total) includes specific species and subspecies Research),1998, no.12, 1998, pp. 218‐239. information (components) which function in /7/Buluchevskij, U. & Fomin, V. Kratkij muzykalnij slovar (A Short Musical Vocabulary), Moskva: Muzyka, filofonic community (from the message about find‐ 2005, 462 p. ing a rare media music information to the time and /8/Korepanova, I.A. & Zhurkova, E.A. place of the collectorsʹ meeting the next time, etc.) Kollekcionirovaniye – fenomen kulturnyj I when communicators, i.e. people who are in com‐ psikhologicheskij [Collecting – Cultural and Psycho‐ munication interactions, represents different types logical Phenomenon]. Kul’turno‐istoricheskaja of corporate collectors, audiophiles and autono‐ psikhologija – Cultural‐historical psychology, 2007, no.4, mous actors‐consumers who, for various reasons, pp. 32‐38. individually perceive information messages (radio, /9/Petrova, I.V. Dozvill’ja v zarubezhnykh krainakh (Leisure television, listening to LPs at home, oral communi‐ in Foreign Countries), Kyiv, Kondor, 2008, pp.153‐ 154. cation, acquaintances, rumors etc.). On the basis of /10/Diskografija// Wikipedia[Electronic resource]. – this material we can make a conclusion that origi‐ Retrieved from: nal and developped phenomenon of musical re‐ http://ru.wikipedia.org/wiki/Дискография. cording was formed in the closed information sys‐ /11/Diskografija[Electronic resource]. – Retrieved from: tem. The majority of information resources is con‐ http://www.sunrise‐avenue.ru/prodazhnyie‐ nected with the popular music of the socialist past stati/diskografiya‐eto‐polnaya‐kollektsiya‐ of the country. muzyikalnyih‐zapisey‐opredelennogo‐ispolni.html. The information revolution which has changed the /12/ PGP‐RTB // Wikipedia [Electronic resource]. – Re‐ society nowadays, in the twenty‐first century.The trieved from: http://en.wikipedia.org/wiki/PGP‐RTB. /13/ Radio Televisionof Serbia // Wikipedia [Electronic most active and systematic work in this sphere was resource]. – Retrieved from: made by record companies in Croatia. But we can

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Oleg Sineokyj :COMMUNICATIONPROCESSOF CREATINGREGIONAL MUSIC INDUSTRY (Case study: former Yugoslavia) Informatol. 46, 2013., 1, 45‐53 53 http://en.wikipedia.org/wiki/Radio_Television_of_Se /18/ Beograd Disk // Discogs [Electronic resource]. – rbia. Retrieved from: /14/ Založbakasetinplošč RTV Ljubljana // Wikipedia www.discogs.com/label/Beograd+Disk. [Electronic resource]. – Retrieved from: /19/ State Labels of Central Europe (1960‐1990) // http://en.wikipedia.org/wiki/Založba_kaset_in_plošč Eurоpopmusic [Electronic resource]. – Retrieved _RTV_Ljubljana. from: /15/ Vodstvo zavoda // RTVSlo [Electronic resource]. – www.europopmusic.eu/Newsletters/Features/State Retrieved from: www.rtvslo.si/ortv/. _labels.html. /16/ Jugodisk // Wikipedia [Electronic resource]. – Re‐ /20/ Suzy (record label) // Wikipedia [Electronic re‐ trieved from: source]. – Retrieved from: http://en.wikipedia.org/wiki/Jugodisk. http://en.wikipedia.org/wiki/Suzy_(record_label). /17/ Beograd Disk // Labels [Electronic resource]. – Re‐ /21/ Menart // Menart Records website (in Slovenian) trieved from: [Electronic resource]. – Retrieved from: http://rateyourmusic.com/label/beograd_disk/3. www.menart.si/.

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