!Novi Zvuk 49

Total Page:16

File Type:pdf, Size:1020Kb

!Novi Zvuk 49 New Sound 49, I/2017 In the Conclusion (pp. 211–214), the tic resemantization, which is a proof of the strategies are grouped in two basic ones, claim presented in the introduction that generalization and neutralization. They here we are dealing with a new, au- point to the expression of two basic aspects thochtonous lanuage. of the treatment of the past in Modernism: Bibliography (pp. 215–223) contains adopting or undoing one. The main finding 135 items, scientific studies and papers, in of the dissertation is the identification of the English, French, Russian and Serbian the common strategies of linguistic-stylis- languages. Article received on February 27th 2017 its development, as well as its contempo- Article accepted on March 10th 2017 rary varieties, which have been revitalized UDC: 784.4(497.11)(043.3)(049.32) as old urban music and occur in different performance contexts. The performance MARIJA DUMNIĆ process is crucial for preservation, espe- Institute of Musicology of the Serbian cially since preservation implies patination. Academy of Sciences and Arts, Urban folk music is considered to be popu- Belgrade lar folk music of various geographical and individual origins, which was performed vocally and/or instrumentally before World Istorijski aspekti i savremene prakse War II in the context of tavern music mak- izvođenja starogradske muzike u ing and transmitted via oral tradition and Beogradu [Historical Aspects and media. In musical and poetical terms, it Contemporary Performance Practices was characterized by adjusting folk melo- of “Old Urban Music” (starogradska dies from various local dialects to Western- muzika) in Belgrade]1 ized arrangements in terms of form, harmo- nization, and instrumentation (some synonyms include varoška and sevdalinka). The dissertation explores the performance Old urban music (which is defined here for aspects of “old urban music” from its past, the first time, in the domain of ethnomusi- i.e. “urban folk music” from the period of cology) is a contemporary nostalgic (histo- ricized or constructed) regional popular * Author contact information: practice based on the style of urban folk [email protected] music, in contrast to “newly composed folk 1 This review was written as part of the project music”. Both practices are vocal-instru- Serbian Musical Identities within Local and mental. The dissertation is focused on Bel- Global Frameworks: Traditions, Changes, Challenges (ON 177004), funded by the Minis- grade as the capital of former Yugoslavia, try of Education, Science, and Technological which made it the meeting place of musical Development of the Republic of Serbia. practices from both the south and north of 180 Defended Doctoral Theses Serbia and the crossroads between the East connected with live performances, where- and the West in the Balkans. It was the cen- from it took the material and fed it back tre of broadcasting, the place where presti- into the tradition. This system created the gious musicians of various origins came to industry of popular music, an important as- perform, and a wellspring of travelling mu- pect of which was the labelling of genres. sicians who both represented the local cul- This chapter provides data on Albanian and ture and adopted other repertoires and Bulgarian urban songs, the Greek rebetiko, styles. the Magyarnota, the Macedonian čalga, The analysis of the material (notated, Romanian Roma music, Slovenian old sound/recorded, documentary/administra- popular music, Turkish fasıl, Prague songs, tive, and journalistic) and literature was and Jewish, Romani, and Russian musical undertaken by combining theoretical and practices in the Balkans. The chapter also empiricist approaches. The material was discusses ethnomusicological texts about collected by means of archival work and urban music in the countries of former Yu- fieldwork. The chapter on theory and meth- goslavia (especially Croatia, Bosnia and odology establishes the coordinates of the Herzegovina, and Montenegro), as well as term “folk music” in ethnomusicology and certain parts of Serbia (Kosovo and Meto- popular music studies. The dynamics of the hija, Vojvodina, Vranje, Mačva, and Bel- concept of folk music can be classified as a grade). Finally, it addresses the emergence dichotomy of musical folklore and popular of the genre of old urban music in the music. The chapter discusses the method- 1970s, especially in the work of composers ological capacities of performance studies and arrangers Žarko Petrović and Đorđe and specific approaches deriving from the Karaklajić. That period was important for main discipline – historical and urban eth- Yugoslav popular music discography and nomusicology. sheet music market, especially for the pop- Chapter Three addresses the concep- ularization of zabavna muzika. tual, geographical, and chronological Chapter Four addresses the historical framework of old urban music. It provides aspects of old urban music performance in a deductive survey of the early develop- Belgrade, i.e. the performance of urban ment of global popular music (especially folk music between 1900 and 1941. The the French chanson, Italian canzona, Ger- chapter makes a special reference to the man Schlager, and Russian романс) and recollections used to form the discourse of deals with local ethnomusicological ap- the historization of old urban music. The proaches to urban folk music and old urban chapter reconstructs major performance music. An increase in cultural artefacts contexts – tavern (and salon) and radio per- used for entertainment in spare time led to formance, with all of the accompanying is- the emergence of today’s popular music. It sues, such as the professionalization of tav- stimulated the production of printed scores, ern musicians, official regulation of tavern later also recordings and broadcasting, thus music making, the institutionalization of enabling a wider urban audience to con- folk orchestras, the identification of vocal sume available music, with a folk signa- soloists, and repertoire regulation at Radio ture. That musical practice has been closely Belgrade. Bearing in mind the permeability 181 New Sound 49, I/2017 of borders between major categories of art, tural characteristics (melodic range and popular and folk music, the chapter prob- movement, harmony, tonality, tempo, lematizes “light” music, composed by Ser- metro-rhythm, form, arrangement, poetic bian composers of the time (in particular and verse structure, meaning of themes). Davorin Jenko, Stanislav Binički, Isidor The conclusion offers answers to the Bajić, Vasa Jovanović, Marko Nešić, Mita hypothesis and goals of the dissertation, as Orešković, and Vaclav Horejšek) and bour- well as a prediction regarding the future geois poetry, published popular music (the development of the genre of old urban sheet music editions of Jovan Frajt, avail- music. able 78 rpm gramophone records, and folk The dissertation contains 439 pages of music performed at Radio Belgrade), and text, 450 bibliographical units, 38 items of the repertoire performed in the taverns. The previously unpublished material, 43 illus- chapter provides a selection of repertoires trations (music scores, photographs, archi- and identifies songs that are still popular val documents), two appendices (a system- today. atic discography of starogradska muzika Chapter Five sheds light on contem- and a DVD with sound and video examples porary aspects of old urban music. The of representative contemporary perfor- concept of nostalgia (based mostly on mances), an abstract and keywords (in Ser- Svetlana Boym’s distinction between re- bian and English), a brief biography of the flective and restorative nostalgia) and two author, and acknowledgements. It was pub- different performance contexts are inter- licly defended at the Faculty of Music of preted by means of performance studies the University of Arts in Belgrade before a (emphasising the aspects of communica- committee comprising ethnomusicologists tion, affect, and commodification): perfor- and musicologists: Dr Mirjana Zakić (su- mances in the taverns of Skadarlija (Bel- pervisor), Dr Selena Rakočević, Dr Sanja grade’s “bohemian quarter”) and Zvonko Ranković, Dr Lozanka Peycheva, and Dr Bogdan’s concerts. The discourse of the Ivana Medić. It was recognized as the first genre of old urban music has been comple- scholarly study that intertwines theoretical mented with memories of old Belgrade, insights from musicology, ethnomusicol- Skadarlija, the taverns, rare records, distin- ogy, philosophy, sociology, culture, and guished musicians, and the repertoire of performance studies and skilfully and ef- urban folk music. The second subchapter fectively permeates historiography with deals with the repertoire of old urban music ethnography, seeking to clarify and demar- available in specialized discography and cate the folk and popular practices of urban sheet music. On the basis of an analysis of and old urban music, in diachronic and typical prescriptive notations and represen- synchronic terms alike. tative arrangements, the subchapter offers a discussion and classification of its struc- 182.
Recommended publications
  • Emotional Detachment: Delocalizing and Instrumentalizing Local Musical Practice in the Communist Regimes of Southeastern Europe Pistrick, Eckehard
    www.ssoar.info Spatial detachment - emotional detachment: delocalizing and instrumentalizing local musical practice in the communist regimes of Southeastern Europe Pistrick, Eckehard Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Pistrick, E. (2012). Spatial detachment - emotional detachment: delocalizing and instrumentalizing local musical practice in the communist regimes of Southeastern Europe. Südosteuropäische Hefte, 1(2), 77–87. https://nbn- resolving.org/urn:nbn:de:0168-ssoar-324616 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-SA Lizenz This document is made available under a CC BY-NC-SA Licence (Namensnennung-Nicht-kommerziell-Weitergebe unter gleichen (Attribution-NonCommercial-ShareAlike). For more Information Bedingungen) zur Verfügung gestellt. Nähere Auskünfte zu den see: CC-Lizenzen finden Sie hier: https://creativecommons.org/licenses/by-nc-sa/4.0 https://creativecommons.org/licenses/by-nc-sa/4.0/deed.de Eckehard Pistrick – Spatial Detachment – Emotional Detachment Eckehard Pistrick Spatial Detachment – Emotional Detachment Delocalizing and Instrumentalizing Local Musical Practice in the Communist Regimes of Southeastern Europe1 Abstract Cultural traditions in their local understanding are bound to particular places and to a particular social setting, possessing generally a high degree of interaction. The exercise of political power and the commercialization of traditional music have fundamentally shaken this interactive relation between sound, space and social action. Local identities and histories became confronted with constructed national identities and a homogenized national history. Musical practice witnessed a process of uprooting, the division of performers from their audience related to an emotional reconfiguration. The emotionally and spatially-bound cultural practice became redefined in terms of a static “cultural object” whose aesthetic properties were highlighted over its dynamic functional and interactional character.
    [Show full text]
  • Music Review: "Bosnia: Echoes of an Endangered World", "King Ferus
    Music Review: "Bosnia: Echoes of an Endangered World", "King Ferus: Ferus Mustafov, Macedonian Wedding Soul Cooking", and "Gaida Orchestra: Bagpipe Music from the Rhodope Mountains" Lynn Maners Pima Community College/University of Arizona "Bosnia: Echoes of an Endangered World" Music Track eight returns to the sevdalinka form for a and Chant of the Bosnian Muslims." Smithsonian lovely unaccompanied performance of "II' je vedro, Folkways CD SF 40407 il' oblacno" ("Is it clear or cloudy?") This CD is an excellent compilation of the musical Tracks nine through eleven represent the Muslim performance, both religious and vernacular of the religious experience in Bosnia and Herzegovina. Muslim population of Bosnia and Herzegovina. Track nine is the ezan, or call to prayer, while tracks Using both commercial sources and field recordings ten and eleven are chanted excerpts from zikrs, or (from 1984-5), Ted Levin and Ankica Petrovic (the Sufi religious rites, in Bosnian dervish orders. latter formerly of the University of Sarajevo's Music Faculty) illustrate a variety of Bosnian musical The final selections on this CD, tracks twelve through forms, both urban and rural. Field recordings (1989- fourteen return us once again to that musical form 90) by Mirjana Lausevic, (currently a graduate most associated with Bosnia and Herzegovina, the student at Wesleyan), also appear in this collection. sevdalinka. Track twelve, "Saraieveski Pocetak/Sarhos Aljo", is a remnant of an older urban Tracks one and two are sevdalinkas, or love songs, style in which the singer is accompanied on saz, a and represent an urban Muslim musical style, based larger version of the more rural oriented sargija.
    [Show full text]
  • Art Song in the South Slav Territories (1900-1930S): Femininity, Nation and Performance
    Creating Art Song in the South Slav Territories (1900-1930s): Femininity, Nation and Performance Verica Grmuša Department of Music Goldsmiths, University of London PhD Thesis The thesis includes a video recording of a full evening lecture-recital entitled ‘Performing the “National” Art Song Today – Songs by Miloje Milojević and Petar Konjović’ (November 22nd, 2017, Deptford Town Hall, Verica Grmuša, soprano, Mina Miletić, piano) 1 Declaration This unpublished thesis is copyright of the author. The thesis is written as a result of my own research work and includes nothing that is written in collaboration with other third party. Where contributions of others are involved, every effort is made to indicate this clearly with reference to the literature, interviews or other sources. The thesis is submitted for the degree of Doctor of Philosophy and I further state that no substantial part of my dissertation has been already submitted to another qualification or previously published. Signed: ____________________________ Date: __________________ Verica Grmuša 2 Acknowledgments I express my gratitude to Goldsmiths’ Music Department, the Postgraduate Research Committee and the Graduate School for their awards and support for my research. I express my gratitude to my supervisors, Dr Berta Joncus and Dr Dejan Djokić, for their specialist help which greatly shaped this thesis. I am indebted to Nan Christie for her indispensable vocal tuition and support during my studies. I am indebted to the late Professor Vlastimir Trajković for access to the Miloje Milojević Family Collection, and for his support and guidance. I would also like to thank a number of friends and colleagues for their support and advice at different stages during my studies: Richard Shaw, Aleksandar Vasić, Tijana Miletić, Melita Milin, Anthony Pryer, Stephen Smart, Nada Bezić, Davor Merkaš, Slobodan Varsaković, Sarah Collins.
    [Show full text]
  • Society for Ethnomusicology 58Th Annual Meeting Abstracts
    Society for Ethnomusicology 58th Annual Meeting Abstracts Sounding Against Nuclear Power in Post-Tsunami Japan examine the musical and cultural features that mark their music as both Marie Abe, Boston University distinctively Jewish and distinctively American. I relate this relatively new development in Jewish liturgical music to women’s entry into the cantorate, In April 2011-one month after the devastating M9.0 earthquake, tsunami, and and I argue that the opening of this clergy position and the explosion of new subsequent crises at the Fukushima nuclear power plant in northeast Japan, music for the female voice represent the choice of American Jews to engage an antinuclear demonstration took over the streets of Tokyo. The crowd was fully with their dual civic and religious identity. unprecedented in its size and diversity; its 15 000 participants-a number unseen since 1968-ranged from mothers concerned with radiation risks on Walking to Tsuglagkhang: Exploring the Function of a Tibetan their children's health to environmentalists and unemployed youths. Leading Soundscape in Northern India the protest was the raucous sound of chindon-ya, a Japanese practice of Danielle Adomaitis, independent scholar musical advertisement. Dating back to the late 1800s, chindon-ya are musical troupes that publicize an employer's business by marching through the From the main square in McLeod Ganj (upper Dharamsala, H.P., India), streets. How did this erstwhile commercial practice become a sonic marker of Temple Road leads to one main attraction: Tsuglagkhang, the home the 14th a mass social movement in spring 2011? When the public display of merriment Dalai Lama.
    [Show full text]
  • How Music Affects Soundscape: Musical Preferences in Skadarlija*
    DOI https://doi.org/10.2298/MUZ1722075D UDC 784.4.091(497.11) 316.74:784.4(497.11) How Music Affects Soundscape: Musical Preferences in Skadarlija* Marija Dumnić1 Institute of Musicology, Serbian Academy of Sciences and Arts, Belgrade Received: 15 February 2017 Accepted: 1 June 2017 Original scientific paper Abstract In this article I analyze musical preferences in the context of tavern performances in Skadarlija, a popular tourist quarter in Belgrade, Serbia, on the basis of ethnographic data collection. I argue that this specific musicscape relies on communicative and affective aspects of particular performances. I pay special attention to the repertoires performed and the way in which they interweave. The aim of this article is to demonstrate how musical preferences influence sound environment, especially in the context of the tourism industry. Keywords: musicscape, Skadarlija, Belgrade, musical preferences, folk music Skadarlija is a district in central Belgrade with a tradition more than a century old, characterized by famous restaurants and taverns where numerous folk orchestras perform; today it is one of the most prominent locations in the city. From the begin- ning of the 20th century until the end of World War II it was the main bohemian place in Belgrade. In 1966, the restoration of the street began as an architectural project with the idea to achieve today’s appearance of an “ambient nook in Belgrade,” in a rede- * This article was written for the project City Sonic Ecology: Urban Soundscapes of Bern, Ljubljana and Belgrade, financed by the Swiss National Science Foundation (SNSF) within its SCOPES programme (2013–2016).
    [Show full text]
  • Die Rezeption Der Türkischen Literatur Im Deutschen Sprachraum Unter Besonderer Berücksichtigung Aktueller Übersetzungsvorhaben
    T.C. SAKARYA ÜN VERS TES SOSYAL B LMLER ENST TÜSÜ DIE REZEPTION DER TÜRKISCHEN LITERATUR IM DEUTSCHEN SPRACHRAUM UNTER BESONDERER BERÜCKSICHTIGUNG AKTUELLER ÜBERSETZUNGSVORHABEN DOKTORA TEZ Christine D KC Enstitü Anabilim Dalı: Çeviribilim Tez Danı manı: Prof. Dr. eref ATE HAZ RAN – 2015 BEYAN Bu tezin yazılmasında bilimsel ahlak kurallarına uyuldu unu, ba kalarının eserlerinden yararlanılması durumunda bilimsel normlara uygularak atıfta bulunuldu unu, kullanılan verilerde herhangi bir tahrifat yapılmadı ını, tezin herhangi bir kısmının bu üniversite veya ba ka bir üniversite deki ba ka bir tez çalı ması olarak sunulmadı ını beyan ederim. Christine D KC 22.06.2015 ÖNSÖZ Her doktora tezinin oldu u gibi bu çalı manın da bir hikâyesi bulunmaktadır. Türk edebiyatının Alman dilinin hâkim oldu u ülkelerde alımlanma sürecini doktora tezi çerçevesinde ara tırma fikri 2005 yılının ba larında olu mu tur. Belirtilen tarihte Okan Üniversitesi Mütercim Tercümanlık bölümünde çalı makta ve doktora tezi için konu arayı ında bulunmaktaydım. O dönem bölüm ba kanımız olan Yrd. Doç. Dr. Elif Daldeniz, Zürih’teki Unionsverlag’ın Türkische Bibliothek (Türk Kitaplili i) isimli kitap serisine dikkatimi çekerek bu ve bunun dı ında Türk edebiyatından Almancaya yapılan çeviri projelerini inceleme fikrini zihnimde uyandırmı tır. O tarihte yabancı uyruklu olarak Türkiye’de doktora çalı maları yürütemezken, ara tıraca ım konuyu bir Alman üniversitesinde tanıtmam sonucunda programlarına alımım gerçekle mi tir. stanbul’da çalı ırken aynı zamanda Almanya’ da doktora çalı maları yürütmek uzun süreli mümkün olmamı , çalı ma yalnızca ara tırma ve okumayla, bir kısmının yazıyla dökülmesiyle sınırlı kalmı tır. 2011 yılının yazında Marmara Üniversitesi’ne geçi imle birlikte kazandı ım yeni bakı açıları çalı mamı yarıda bırakma fikrinden dönmemi sa lamı tır.
    [Show full text]
  • Popular Music and Narratives of Identity in Croatia Since 1991
    Popular music and narratives of identity in Croatia since 1991 Catherine Baker UCL I, Catherine Baker, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated / the thesis. UMI Number: U592565 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592565 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 Abstract This thesis employs historical, literary and anthropological methods to show how narratives of identity have been expressed in Croatia since 1991 (when Croatia declared independence from Yugoslavia) through popular music and through talking about popular music. Since the beginning of the war in Croatia (1991-95) when the state media stimulated the production of popular music conveying appropriate narratives of national identity, Croatian popular music has been a site for the articulation of explicit national narratives of identity. The practice has continued into the present day, reflecting political and social change in Croatia (e.g. the growth of the war veterans lobby and protests against the Hague Tribunal).
    [Show full text]
  • Sevdalinka As Perceived by Music Performers in Belgrade*1 Sevdalinka, Kot Jo Razumejo Glasbeni Izvajalci V Beogradu**2
    V. IVKOV • SEVDALINKA AS PERCEIVED BY MUSIC PERFORMERS ... UDK 784.4(497.6):78.072(497.11Beograd) DOI: 10.4312/mz.54.1.89-106 Vesna Ivkov Akademija umetnosti, Univerza v Novem Sadu Academy of Arts, University of Novi Sad Sevdalinka as Perceived by Music Performers in Belgrade*1 Sevdalinka, kot jo razumejo glasbeni izvajalci v Beogradu**2 Prejeto: 13. oktober 2017 Received: 13th October 2017 Sprejeto: 11. december 2017 Accepted: 11th December 2017 Ključne besede: sevdalinka, razumevanje glasbe, Keywords: Sevdalinka, perception, music perfor- glasbeni izvajalci, Beograd mers, Belgrade IZVLEČEK ABSTRACT S fenomenološkega vidika je sevdalinka – urbana From a phenomenological point of view, Sevdalin- pesem bosansko-hercegovskega prebivalstva – že ka – the urban song of the Bosnian-Herzegovinian od nekdaj privlačna raziskovalna tema. Prisotnost population, has always attracted scholarly interest. te glasbene oblike je mogoče opaziti tudi v Srbiji, The presence of this form is evident in Serbia as izvajajo pa jo bodisi samo vokalno/instrumentalno well, performed only vocally/instrumentally and bodisi kombinirano vokalno-instrumentalno. Pri vocally-instrumentally combined. In the context empiričnem raziskovanju smo v tej študiji uporab- of empirical research for this study, a scaling tech- ljali metodo ocenjevalnih lestvic. V raziskavi smo nique assessment scales were used. The study is poskušali izluščiti mnenja priznanih vokalnih in aimed at sublimating the opinions of renowned instrumentalnih glasbenih izvajalcev (N=16) iz Be- vocal and instrumental music performers (N=16) in ograda, da bi pridobili ne samo podroben vpogled Belgrade, in order to gain a detailed insight into the v posebnosti njihovih interpretacij, ampak tudi v particularities of the interpretations, as well as the glasbene in estetske značilnosti sevdalinke.
    [Show full text]
  • Bosnian Sevdalinka Music As an Orientalist and National Symbol
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Melancholic Airs of the Orient – Bosnian Sevdalinka Music as an Orientalist and National Symbol Risto Pekka Pennanen Helsinki Collegium for Advanced Studies, University of Helsinki The tunes they played were melancholy rather than martial, and had a weirdness truly Eastern; the music had the curious effect of bringing the Nile scenery, where I last heard such strains, vividly before me (Holbach 1910, 188). Western authors have often described “Oriental” music as melancholic and sad. Members of “Oriental” cultures, however, have considerably different views on their own musics, which not only have emotional content but are also often given further ritualistic expression as representative of the national culture. Basically, “Oriental” here refers to almost any sort of local music from the Balkans, North Africa, the Middle East or Asia, but I have chosen Ottoman Turkish and especially Bosnian- Herzegovinian Muslim non-religious urban songs called sevdalinke (sing. sevdalinka) and their interrelationship as examples of colonial discourse and the construction of Otherness in Orientalism. My research material comprises musical representations in travelogues on Bosnia-Herzegovina1 and the late Ottoman Empire on the one hand, and scholarly and popular texts related to music on the other. Some of the texts were produced by outsiders, others by Bosnian Muslims, or Bosniaks. In his influential work Orientalism (1978), Edward Said defines the term more generally as “a style of thought based upon an ontological and epistemological distinction made between ‘the Orient’ and (most of the time) ‘the Occident.’” Orientalism is also “a Western style for dominating, reconstructing, and having authority over the Orient” (Said 1978, 2–3).
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE POP-FOLK MUZIKA: THE PARADOXICAL COEXISTENCE OF ETHNONATIONALISM, GLOBALIZATION, AND QUEERNESS IN SERBIAN POPULAR MUSIC A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By ELIZABETH ASHLEY GREEN Norman, Oklahoma 2020 POP-FOLK MUZIKA: THE PARADOXICAL COEXISTENCE OF ETHNONATIONALISM, GLOBALIZATION, AND QUEERNESS IN SERBIAN POPULAR MUSIC A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Sanna Pederson, chair Dr. Misha Klein Dr. Suzanne Tirk © Copyright by Elizabeth Ashley Green 2020 All Rights Reserved. TABLE OF CONTENTS ACKNOWLEDGMENTS vi DEDICATION viii ABSTRACT ix INTRODUCTION 1 1.1. Background and Motivations for Research 1 1.2 Thesis 3 1.3. Other Theories and Research 7 1.3.1. Ambiguous Terminology 7 1.3.2. Ideology and Popular Culture 9 1.3.3. Queerness and Body Politics 11 1.4. Importance and Relevance: Nationalism, Gender, and Music 14 1.5. Research Methods and Limitations 16 1.7. Chapter Outlines 17 CHAPTER ONE: HISTORICAL ASPECTS 19 1. Ethno-National Identity 19 1.1 The Yugoslav Problem 21 2. Rural vs. Urban: Enter Neofolk 22 2.1. Gender and Neofolk 24 3. The Influence of Globalization: Novokomponovana Muzika 26 4. The 1990s: Enter Turbo-Folk 29 5. Late 90s and Early 2000s 33 6. The Emergence of Pop-Folk 36 CHAPTER TWO: THE MUSIC 40 1. Introduction 40 2. Influences 41 2.1 Orientalism, Globalization, Ethno-nationalism 42 3. Musical Elements of Turbo-folk and Pop-folk 45 3.1. Instrumentation 46 3.2.
    [Show full text]
  • Bulbul Pjeva – Bosnian Soul Echoes from the Old Gramophone
    Bulbul pjeva – Bosnian Soul echoes from the Old Gramophone Mr. Vesna Aleksandrović National Library of Serbia, Skerlićеva 1, 11000 Belgrade, Serbia E-mail: [email protected] Abstract - National Library of Serbia’s collection of old gramophone records includes some of Bosnian songs performed by Bosnian and Serbian performers. Precise determination of the date when these clips were made, in most cases is not possible, but there are some facts which indicate that the earliest were recorded in the first dec- ade of the twentieth century. The youngest ones date from the mid-fifties of last century. His Master's Voice, Odeon, Jumbola, Edison Bell Record, Homocord, Jugoton and Gramophone Concert Record, are some of the most famous publishing houses of the first half of the twentieth century whom published pearls of Bosnian Sev- dah. Launching the project Digitization of old gramophone records on 78 rpm five years ago, National Library of Serbia preserved and made accessible beautiful sounds of the old Bosnia. Some of them are already available on the website of the National Digital Library of Serbia, at http://digital.nb.rs/scc/muzikalije.php. We donate these recordings to Bosnian public and National and University Library of Bosnia and Herzegovina. Keywords - Digitization, Gramophone records, Sound Recordings, Sevdalinka Song 1. PROJECT DIGITIZATION OF OLD 78 Croatian musical performances and works. Profes- RPM GRAMOPHONE RECORDS sional and amateur artists, singers, newly founded vocal and instrumental groups, choirs and bands National Library of Serbia started project Digi- recorded music regardless on their origin. At that tization of Old 78 rpm Gramophone Records five time, through open windows of Belgrade, Sarajevo years ago, to save, preserve and present old, fragile or Zagreb apartments, one could hear sevdalinka and damaged gramophone records.
    [Show full text]
  • Balkan Folk Music Research and the Ottoman Legacy
    Risto Pekka Pennanen LOST IN SCALES... Risto Pekka Pennanen LOST IN SCALES: BALKAN FOLK MUSIC RESEARCH AND THE OTTOMAN LEGACY Abstract: Balkan folk music researchers have articulated various views on what they have considered Oriental or Turkish musical legacy. The discourses the article analyses are nationalism, Orientalism, Occidentalism and Balkanism. Scholars have handled the awkward Ottoman issue in several manners: They have represented ‘Oriental’ musical characteristics as domestic, claimed that Ottoman Turks merely imitated Arab and Persian culture, and viewed Indian classical raga scales as sources for Oriental scales in the Balkans. In addition, some scholars have viewed the ‘Oriental’ characteristics as stemming from ancient Greece. The treatment of the Segâh family of Ottoman makams in theories and analyses reveals several features of folk music research in the Balkans, the most important of which are the use of Western concepts and the exclusive dependence on printed sources. The strategies for handling the Orient within have meandered between Occidentalism and Orientalism, creating an ambiguity which is called Balkanism. Key words: The Balkans, the Orient, folk music research, scales. The centuries of Ottoman domination in the Balkans had a marked effect on the populations and cultures of the peninsula. After the intro- duction of nationalism in the area during the first half of the nineteenth century, ‘the Turkish yoke’, or the Ottoman political and cultural influ- ence, became a serious problem for the Western-oriented members of the educated classes. In their train of thought, national culture, including folk music, had to be free from foreign influences—including those of the Ottoman Turks.1 Consequently, in the early 1900s, the intelligentsia found itself in an awkward position between the Ottoman past and the semi-European present.
    [Show full text]