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Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumnić Vilotijević Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly‐composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post‐ Yugoslav market in the twenty‐first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
Domaće Pesme
SPISAK KARAOKE PESAMA Domaće pesme Sanja - Sindy 064 / 11 55 735 www.facebook.com/SindyKaraoke www.sindykaraoke.com [email protected] DOMAĆE PESME SINDY KARAOKE Sanja 064/11-55-735 najveći izbor domaćih i stranih karaoke pesama (engleskih, italijanskih, francuskih, španskih, ruskih) IZVOĐAČ PESMA IZVOĐAČ PESMA 187 Nikada nećeš znati Aleksandra Radović Ako nikada Aca i Mira Vrati nam se, druže Aleksandra Radović Čuvaj moje srce * Aca Ilić Lepe oči zelene Aleksandra Radović Jesam te pustila Aca Lukas Bele ruže Aleksandra Radović Još danas Aca Lukas Burbon Aleksandra Radović Kao so u moru Aca Lukas Čaše moje polomljene Aleksandra Radović Karta za jug Aca Lukas Dijabolik Aleksandra Radović Nisi moj Aca Lukas Hiljadu puta Aleksandra Radović Zažmuri Aca Lukas Imate li dušu tamburaši Aleksandra Ristanović Dočekaj me sa osmehom Aca Lukas Ista kao ja Alen Islamović Ispod kaputa Aca Lukas Ja živim sam Alen Slavica Dao sam ti dušu Aca Lukas Jagnje moje Alen Vitasović Bura Aca Lukas Koma Alisa Sanja Aca Lukas Kuda idu ljudi kao ja Alka i Džej Da si sada tu Aca Lukas Lična karta Alka i Stavros Zrak, zemlja, zrak Aca Lukas Na žalost Alka i Vuco Kad bi opet Aca Lukas Ne pitaj Alka Vuica Bolje bi ti bilo Aca Lukas Nešto protiv bolova Alka Vuica Ej, šta mi radiš Aca Lukas Niko jedan, dva i tri Alka Vuica Kriva Aca Lukas Otrov sipala Alka Vuica Laži me Aca Lukas Pao sam na dno Alka Vuica Nek’ ti jutro miriše na mene Aca Lukas Pesma od bola Alka Vuica Od kad te nema Aca Lukas Poljem se širi miris tamjana Alka Vuica Profesionalka Aca Lukas Pustinja -
Kafana Singers: Popular Music, Gender and Subjectivity in the Cultural Space of Socialist Yugoslavia
Nar. umjet. 47/1, 2010, pp. 141161, A. Hofman, Kafana Singers: Popular Music, Gender Original scienti c paper Received: Dec. 31, 2009 Accepted: March 5, 2010 UDK 78.036 POP:316](497.1)"195/196"(091) 78.036 POP:39](497.1)"195/196"(091) ANA HOFMAN Department for Interdisciplinary Research in Humanities, SRC SASA, Ljubljana KAFANA SINGERS: POPULAR MUSIC, GENDER AND SUBJECTIVITY IN THE CULTURAL SPACE OF SOCIALIST YUGOSLAVIA This article explores the phenomenon of kafana singers in the light of the of cial socialist discourses on popular music and gender during the late 1950s and 1960s in the former Yugoslavia. It seeks to understand how/did the process of estradization along with the socialist gender policy in uence the shift in (self)representation of the female performers in the public realm. By focusing on the dynamic of controversial discourses on folk female singers, the article aims to show how the changes in the of cial discourse helped their profession to become an important resource of their subject actualizations, implicated in the creation of a new sense of social agency. As controversial musical personas, kafana singers personal and professional lives show nuanced interplay between socialist culture policy and its representational strategies. Key words: kafana singers, popular music, socialist culture policy, estradization, gender politics Petar Lukoviþ, a journalist, writes about the folk singer Lepa Lukiþ in his book Bolja prolost: prizori iz muziĀkog ivota Jugoslavije 19401989 [A Better Past: Scenes from Yugoslav Music Life 19401989], making the following observation: In the future feminist debates, Lepa Lukiþ will occupy a special place: before her, women in estrada were more or less objecti ed, primarily treated like disreputable persons. -
Turbofolk Reconsidered
Alexander Praetz und Matthias Thaden – Turbofolk reconsidered Matthias Thaden und Alexander Praetz Turbofolk reconsidered Some thoughts on migration and the appropriation of music in early 1990s Berlin Abstract This paper’s aim is to shed a light on the emergence, meanings and contexts of early 1990s turbofolk. While this music-style has been exhaustively investigated with regard to Yugoslavia and Serbia, its appropriation by Yugoslav labour migrants has hitherto been no subject of particular interest. Departing from this research gap this paper focuses on “Ex-Yugoslav” evening entertainment and music venues in Berlin and the role turbofolk possessed. We hope to contribute to the ongoing research on this music relying on insights we gained from our fieldwork and the interviews conducted in early and mid-2013. After criticizing some suggestions that have been made regarding the construction of group belongings by applying a dichotomous logic with turbofolk representing the supposedly “inferior”, this approach could serve to investigate the interplay between music and the making of everyday social boundaries. Drawing on the gathered interview material we, beyond merely confirming ethnic and national segmentations, suggest the emergence of new actors and the increase of private initiatives and regional solidarity to be of major importance for negotiating belongings. In that regard, turbofolk events – far from being an unambiguous signifier of group loyalty – were indeed capable to serve as a context that bridged both national as well as social cleavages. Introduction The cultural life of migrants from the former Yugoslavia is a subject area that so far has remained to be widely under-researched. -
The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
Zar Ne Jelena Karleusa Mp3 Download
Zar ne jelena karleusa mp3 download Buy Zar ne: Read Digital Music Reviews - jelena karleusa zar ne, beznadezan slucaj, nije ona, istina je da te lazem teatro size: MB - Duration: - Bitrate: Kbps - FileType: mp3. Watch the video, get the download or listen to Jelena Karleusa – Zar Ne for free. Zar Ne appears on the album JK Diamond Collection. Discover more music, gig. Jelena Karleusa - Zar Ne tekst lyrics: Zar ne, a rekao siodmah sutra zvaces mei dvesta puta ako trebasto da ne, sto da neRef. 2xSvi me zovu, mama, non stop. Streaming Jelena Karleusa - Zar Ne (Official Song Release - HQ) mp3 and download new album of Jelena Karleusa - Zar Ne (Official Song Release - HQ) for. Streaming Jelena Kareuša - Zar Ne TEKST mp3 and download new album of Jelena Kareuša download mp3 Jelena Karleuša - - Nisi U Pravu TEKST. Listen & Download jelena karleusa zar ne Mp3. Bitrate: kbps - File Type: MP3 - Source: Chords for Jelena Karleuša Zar Ne / Јелена Карлеуша Зар Не. Play along with guitar, ukulele, or piano with interactive chords and diagrams. Includes. Jelena Karleusa Lazes Bijelo Dugme LIVE AmiG Show. Jelena Karleusa The Diamond Collection 7 Downloads. 3 29 Karleusa Zar Ne kbps Mp3. Milena Ceranic - Devojke vole dijamante, Zar ne (Jelena Karleusa) UZIVO Ja se ne mogu. Artist: Jelena Karleusa, Song: So ft Nesh, Duration: , Size: MB, Download Jelena Karleusa - So ft Nesh № Jelena Karleusa Zar ne. JK - Zar ne - Duration: JKtheDIVA 3,, views · · Jelena Karleusa - Nije ona. Zar ne Lyrics: Zar ne, a rekao si / Odmah sutra zvaćeš me / I puta ako treba / Što da ne, što da ne / (x2) / Svi me zovu, mama, non-stop traže me / Svima reci. -
The Death of Serbian Music by Bogdan Cikic
REGIONALNI CENTAR ZA TALENTE VRANJE ---------------------------------------------------------------------------- THE DEATH OF SERBIAN MUSIC SMRT SRPSKE MUZIKE Author: BOGDAN ČIKI Ć, III/1, Gimnazija ,,Stevan Jakovljevi ć’’ Mentor: BILJANA PIPOVI Ć, English teacher Vlasotince 2014. Content Abstract ..................................................................................................... 3 Introduction ............................................................................................... 4 Pre-romanticism ....................................................................................... 4-5 Romanticism ............................................................................................. 5-7 Post romanticism ...................................................................................... 7-8 Serbian music in the second half of 20 th century .................................... 9-14 An Interview with a teacher of music, Mr. Igor Ran ñelovi ć ................. 14-15 Conclusion ................................................................................................ 16 Appendix .................................................................................................. 16 Literature .................................................................................................. 16 THE DEATH OF SERBIAN MUSIC SMRT SRPSKE MUZIKE Author: BOGDAN ČIKI Ć, III/1, Gimnazija ,,Stevan Jakovljevi ć’’ Mentor: BILJANA PIPOVI Ć, English teacher ABSTRACT With this essay, I want to present music styles -
Pesma Izvođač a Tebe Nema Zorica
PESMA IZVOĐAČ A TEBE NEMA ZORICA BRUNCLIK A U MEĐUVREMENU OK BEND A AJ IMAM TEBE ROĐA RAIČEVIĆ AFRIKA SLAĐA ALLEGRO AJDE JANO NARODNA IZ SRBIJE ALAJ MI JE VEČERAS PO VOLJI NARODNA IZ SRBIJE ALI PAMTIM JOŠ HANKA PALDUM ANDROVERA CIGANSKA ASPIRIN SEKA ALEKSIĆ AUTOGRAM CECA AVLIJE AVLIJE ZORICA BRUNCLIK BATO BRE INDY BY PASS ACA LUKAS BEKRIJA ANA BEKUTA BELE RUŽE ACA LUKAS BELI SE BISERU LEPA BRENA BELLA CIAO GORAN BREGOVIĆ BELO LICE LJUBAM JAS MAKEDONSKA BEOGRAD CECA BIO MI JE DOBAR DRUG MAJA MARIJANA BISENIJA, KĆERI NAJMILIJA CUNE GOJKOVIĆ BITOLA MAKEDONSKA BIO SI MI DRAG INDIRA RADIĆ BLAGUJNO DEJČE SNEŽANA ĐURIŠIC BOGOVI ZEMLJOM HODE LJUBA ALIČIĆ BOŽANSTVENA ŽENO MIROSLAV ILIĆ BUDI BUDI UVIJEK SREĆNA HALID BEŠLIĆ CIGANI LJUBLJAT PESNI CIGANSKA CIGANIMA SRCE DAĆU BOBAN ZDRAVKOVIĆ CIGANINE SVIRAJ SVIRAJ SILVANA ARMENULIĆ CIGANKA SAM MALA STAROGRADSKA CRNE KOSE HANKA PALDUM CRVEN KONAC ANA BEKUTA CRVEN FESIĆ HANKA PALDUM ČAČAK KOLO KOLO ČARŠIJA AL DINO ČIK POGODI LEPA BRENA ČISTO DA ZNAŠ PEĐA MEDENICA ČOKOLADA JAMI ČUVALA ME MAMA LEPA BRENA ČUDNA JADA OD MOSTARA GRADA MEHO PUZIĆ ČUJEŠ SEKO STAROGRADSKA ĆIRIBU ĆIRIBA GARAVI SOKAK DA BUDEMO NOĆAS ZAJEDNO VESNA ZMIJANAC DA MI JE A NIJE DARKO RADOVANOVIĆ DA RASKINEM SA NJOM CECA DA SE NAĐEMO NA POLA PUTA NEDA UKRADEN DA SE OPET RODIM MIRZA I IVANA SELAKOV DA ZNA ZORA STAROGRADSKA DAJTE VINA HOĆU LOM HARIS DŽINOVIĆ DALEKO NEGDE KO ZNA GDE SLAVKO BANJAC DALEKO SI ACA LUKAS I IVANA SELAKOV DANČE TOZOVAC DELIJA MOMAK SINAN SAKIĆ DOBRO JUTRO LEPI MOJ ANA BEKUTA DODIR NEBA NEDELJKO BAJIĆ BAJA DOĐEŠ -
Besplatan Primerak FORSPILKA
Ako želite da naučite ili da se podsetite foršpila poznatih izvođača narodne i folk muzike onda ste na pravom mestu jer tu je FORŠPILKO !! Šta je FORŠPILKO ? FORŠPILKO je priručnik za početnike kao i za profesionalne muzičare u kome se nalaze notirani foršpili (sa trilerima i harmonijom) poznatih izvođača narodne i folk muzike. Zašto morate da imate FORŠPILKA ? Imate sve foršpile na jednom mestu ! Uvek možete da se podsetite neke pesme koju niste dugo svirali ! Ne morate da provodite vreme pored CD-plejera skidajući neku pesmu jer mi smo je već skinuli i notirali za vas ! Što više pesama znate Više ćete i da zaradite na svirkama.Oni koji se profesionalno bave muzikom to dobro znaju ! FORŠPILKA možete da odštampate tako da ga uvek možete nositi sa sobom na svirke ! Sve pesme su po naslovima klasifikovane po abecednom redu radi bržeg snalaženja ! (Sspisak pesama koje se nalaze u FORŠPILKU br. 1 i br. 2) Kupovinom FORŠPILKA postajete član Foršpilko kluba i automatski stičete pravo na raznorazne poklone (naravno u vidu notnih zapisa) FORŠPILA i NOTIRANIH KOLA ! Pogledaj Demo Verziju FORŠPILKA ! FORŠPILKO A F Anđelija - (Milanče Radosavljević) . 1 Fato mori dušmanke - (Aca Matić) . 3 B I Bekrija - (Ana Bekuta) . 1 Ispod palme - (Toma Zdravković) . 3 C J Ciganine ti što sviraš - (Silvana Armenulić) . 2 Ja znam - (Zorica Brunclik) . 4 Č K Čovek sa srca dva - (Šeki Turković) . 2 Ko ostavlja ruže - (Jelena Broćić) . 4 D M Da zna zora - (Safet Isović) . 3 Miljacka - (Halid Bešlić) . 4 1 FORŠPILKO 2 FORŠPILKO 3 4 Spisak pesama koje se nalaze u FORŠPILKU br. 1 (300 Notiranih Foršpila) 1. -
Dolina Naseg Djetinjstva 4
4 ASA - 24 SATA DNEVNO ALEN NIZETIC - NOCAS SE RASTAJU PRIJATELJI 4 ASA - ANA ALEN NIZETIC - OSTANI TU 4 ASA - DA TE NE VOLIM ALEN SLAVICA - DAO SAM TI DUSU 4 ASA - DIGNI ME VISOKO ALEN VITASOVIC - BURA 4 ASA - DOLINA NASEG DJETINJSTVA ALEN VITASOVIC - GUSTI SU GUSTI 4 ASA - EVO NOCI EVO LUDILA ALEN VITASOVIC - JENU NOC 4 ASA - FRATELLO ALEN VITASOVIC - NE MOREN BEZ NJE 4 ASA - HAJDEMO U PLANINE ALISA - SANJA 4 ASA - JA NISAM KOCKAR ALKA VUICA - EJ STA MI RADIS 4 ASA - LEINA ALKA VUICA - LAZI ME 4 ASA - LIPE CVATU ALKA VUICA - NEK TI JUTRO MIRISE NA MENE 4 ASA - NA ZADNJEM SJEDISTU MOGA AUTA ALKA VUICA - OLA OLA E 4 ASA - NAKON SVIH OVIH GODINA ALKA VUICA - OTKAD TE NEMA 4 ASA - NIKOGA NISAM VOLIO TAKO ALKA VUICA - PROFESIONALKA 4 ASA - OTKAZANI LET ALKA VUICA - VARALICA 4 ASA - RUZICA SI BILA AMADEUS - CIJA SI NISI 4 ASA - STA SI U KAVU STAVILA AMADEUS - TAKO MALO 4 ASA - STAVI PRAVU STVAR NA PRAVO AMADEUS BAND - CIJA SI NISI MJESTO AMADEUS BAND - CRNA VATRENA 4 ASA - SVE OVE GODINE AMADEUS BAND - IZNAD KOLENA 4 ASA - TRI ZELJE AMADEUS BAND - KADA ZASPIS 4 ASA - ZA DOBRA STARA VREMENA AMADEUS BAND - LAZU TE ACA LUKAS - BAY PAS AMADEUS BAND - NJU NE ZABORAVLJAM ACA LUKAS - ZAPISITE MI BROJ AMADEUS BAND - RUSKI RULET ACO PEJOVIC - JELENA AMADEUS BAND - SKINI TU HALJINU ACO PEJOVIC - NE DIRAJ MI NOCI AMADEUS BAND - SVE SAM SUZE ACO PEJOVIC - NEMA TE NEMA AMADEUS BAND - TAKVI KAO JA ACO PEJOVIC - NEVERNA AMADEUS BAND - VECERAS ACO PEJOVIC - OPUSTENO AMADEUS BAND - VOLIM JE ACO PEJOVIC - PET MINUTA AMBASADORI - DODJI U 5 DO 5 ACO PEJOVIC - -
Relocating Popular Music
Relocating Popular Music Edited by Ewa Mazierska and Georgina Gregory Pop Music, Culture and Identity Pop Music, Culture and Identity Series Editors: Steve ("lark, University of Tokyo, Japan, Tristanne Connolly, St Jerome's, University of Waterloo, Canada and Jason Whittakcr, f-'alinouth University, UK Advisory Hoard: Chris Be.st, University College Falmouth, UK, Audrey l;aine, Vice President of Marketing, CBS Records, Gavin Hayes, Musician, USA, John Ilutnyk, Goldsmiths, University of London, UK, Allan F;. Moore, University of Surrey, UK, Ryan Moore, l-'lorida Atlantic University, USA, Jennifer Otter, University of East London, UK, John Phillips, National University of Singapore, Singapore, Cristina Kuotolo, San Francisco, USA, Karl Simm.s, University of Liverpool, UK. Will Straw, Mc(iill University, Canada and Steve Waksman, Smith College, USA Pop music lasts. A form all too often assumed to be transient, commercial and mass-cultural has proven itself durable, tenacious and continually evolving. As such, it has become a crucial component in defining various forms of identity (individual and collective) as influenced hy factors such as nation, class, gender, ethnicity, location/situation, and historical period. Pop Music, Culture and Identity investigates the implications of this greatly enhanced status. Particular attention will he paid to issues such as the iconog- raphy of celebrity, the ever-expanding archive, the nature of the performance- event, the parameters of generational memory, and the impact of new technologies on global -
Preventeen 47
PREVENTIVE YOUTH MAGAZINE / ISSN 1840 -2461 | DECEMBER 2019 | YEAR XIII | ISSUE 47 Words in the Movement Photography by Denis Smajić | Title of the photography: Autumn Dance of River Una My name is Denis Smajić. I was born on April 1st in 1994 in Bihać where I also live nowadays. For the past eight years I have been periodically doing a photography work, mostly landscape photography. My initial and basic motivation for the photography work is river Una, which is presented in this photo. I took this photo on the river Una canyon somewhere between Bihać and Bosanska Krupa, and in my opinion, that is one of the most beautiful parts of the Una. The river Una is famous for its frequent, bigger or less big, whirlpools, or water vortex, and this year the autumn leaves decided to play with it. The natural, primordial playground filled with countless movements and hidden from curious eyes. Impressum & Table of Contents Jasmila Talić-Kujundžić, MA in Psychology, Saraje vo From Mayakovsky ....................................................................................................31 Tarik Kovač, MA in construction engineering , Vareš Bait ............................................................................................................................... ............3 Amina Mašić, MA in Communicology, Sarajevo You are the father in front of the shop-window ....................33 Jovana Đurić, graduated psychologist , Belgrade Book Fair in Belgrade – the Culture or Kitsch? ..............................4 Emina Sarajlić, BA in English