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Sevdalinka As Perceived by Music Performers in Belgrade*1 Sevdalinka, Kot Jo Razumejo Glasbeni Izvajalci V Beogradu**2

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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. musical and aesthetic characteristics of Sevdalinka. * This paper has been writed as part of the Project Musical and Dance Tradition of Multiethnical and Multicultural Serbia (No. 177024), which is realized at the Faculty of Music Art under the patronage of the Ministry of Science and Technological Development of the Republic of Serbia. ** Prispevek je bil napisan v okviru projekta Glasbena in plesna tradicija večetnične in večkulturne Srbije (Št. 177024), ki ga izvaja Fakulteta za glasbeno umetnost pod okriljem Ministrstva za znanost in tehnološki razvoj Republike Srbije. 89 MZ_2018_1_FINAL.indd 89 27.6.2018 7:28:07 MUZIKOLOŠKI ZBORNIK • MUSICOLOGICAL ANNUAL LIV/1 Introduction A unique musical phenomenon, Sevdalinka, appears as a poetic and musical genre, while in practice this term is related more to the vocal-melodic form that made it widely known.1 The Erlangen Manuscript, dating back to the early 18 th century, preserves the old- est textual record of Sevdalinka, whose existence was pointed out by Gerhard Gese- mann in 1925.2 The first musical notations of Sevdalinka were made by Franjo Kuhač and Ludvig Kuba in the late 18th century.3 Several decades later, more precisely in 1906 and 1907, the first sound recordings of Bosnian traditional singing were made on gramophone records, while Matija Murko made sound recordings of heroic songs and Sevdalinkas from the area of Western Bosnia in 1912 and 1913. 4 The Sevdalinka in Bosnia and Herzegovina was written about by Vlado Milošević, Hamza Humo, Munib Maglajlić, Tamara Karača Beljak, Miroslava Fulanović Šošić, Muhamed Žero and others. Etymologically, the consonant “h” was added to the Arabic word “sewda” – black bile –, one of the four bodily fluids, which causes the feelings of melancholy,5 and Sev- dalinka became established as a terminological designation in the 19th century.6 The experts who have studied Sevdalinka credit Roma people with spreading Sevdalinka over a wider area,7 (as they used to be the only “professional musicians” in Bosnia and Herzegovina).8 According to Davor Petrović, the development of Sevdalinka can be observed through three main periods: 1. Ottoman (1463–1878) 2. Austrian-Hungarian (1878–1918) 3. Yugoslav (1918–1992).9 According to some researchers, in the Ottoman period Sevdalinka was primarily a female song, sung by Muslim women and girls, but Sevdalinka soon became a song of everyday life of men and women performed to the accompaniment of the saz, a song of courtship of the young in cities and towns.10 The annexation of Bosnia and Herze- govina by the Austro-Hungarian monarchy caused part of the Muslim population to 1 Vlado Milošević, Sevdalinka (Banja Luka: Muzej Bosanske krajine, 1964), 3. 2 Tamara Karača-Beljak, “Može li sevdalinka biti bosanska solo pjesma?” Dani Vlade S. Miloševića (Banja Luka: Akademija umjetnosti, 2004), 55. 3 Miroslava Fulanović-Šošić, “O melodijskim karakteristikama bosanskohercegovačke sevdalinke,” Folklor i njegova umetnička transpozicija (Beograd: Fakultet muzičke umetnosti, 1991), 65. 4 Rašid Durić, “Sevdalinka i Himzo Polovina,” Behar, časopis za kulturu i društvena pitanja (2011): 44. 5 Miroslava Fulanović-Šošić, “O melodijskim karakteristikama bosanskohercegovačke sevdalinke,” Folklor i njegova umetnička transpozicija (Beograd: Fakultet muzičke umetnosti, 1991), 65. 6 Мирослава Фулановић-Шошић, “Традиционална музика у програмима Радио-Сарајева,” Зборник Матице српске за сценске уметности и музику 8–9 (1991): 195. 7 Davor Petrović, “Četiri okvira za jednu pesmu: kratka biografija sevdalinke,” Etnološko-antropološke sveske 19 (2012): 26. 8 Cvjetko Rihtman, “Orijentalni uticaji u tradicionalnoj muzici BiH,” Narodno stvaralaštvo – Folklor 82–84 (1982), 14. 9 Petrović, “Četiri okvira za jednu pesmu: kratka biografija sevdalinke,” 27. 10 Munib Maglajlić, 101 sevdalinka (Mostar: Prva književna komuna, 1977), 155. 90 MZ_2018_1_FINAL.indd 90 27.6.2018 7:28:07 V. IVKOV • SEVDALINKA AS PERCEIVED BY MUSIC PERFORMERS ... move from Bosnia and Herzegovina to the area of Sandžak, so Sevdalinka became an identifier of the Muslim population in their new environment.11 In the period between the two world wars, Sevdalinka was performed in taverns to the accompaniment of the accordion or a small instrumental ensemble.12 It was in this period that Sevdalinka was recorded on vinyl records performed by Sofka Nikolić, Bora Janjić and the brothers Cicvarić. According to Petrović, Sevdalinka moved from its “natural environment” to the radio, which enabled its wider, Yugoslav popularity. The development of arrange- ments for folk orchestras contributed to a more stylised performing of Sevdalinka and brought it to a higher professional level. 13 Especially revealing is the fact that a number of excellent vocal and instrumental performers, who were famous for the manner of their interpretation of this musical form, originated outside of the territory of Bosnia and Herzegovina, but came from the wider region of former Yugoslavia. Radio singers, after thorough preparations which included work on im- proving their diction, developing performing techniques and harmonisation with the ensemble/orchestra, had an opportunity to participate in programmes of tra- ditional music, so Sevdalinka received a professional treatment and became used commercially.14 During the 1970s and 1980s, Sevdalinka remained part of the musical tradition, but newly-composed and pop-rock music, which was more popular with the younger gen- eration of listeners, got more media presence.15 It is in this period that numerous songs composed in the spirit of Sevdalinka appeared, which are still present today, several decades later, while the names of their authors have moved to the background. Thus, in the sense of ensuring continuity as a factor in shaping musical tradition, the song as a creation outlives and, by importance, surpasses its creator. After being identified as a kind of patriotic song, or a song of the Muslim side in a certain sense during the war in B&H, Sevdalinka has slowly but surely returned to the territory of Serbia after the end of the Bosnian war, i.e. it has been reclaiming its former position held before the 1990s. “The Case of Sevdalinka is distinctive in the sense that during the time of Yugoslavia it was honed and recognized as a common, although mostly Bosnian-Herzegovinian song, only to become seen as Bosniak after the breakup of the common state, and upon the completion of the ethnic conflict in Yugoslavia it was transformed into the Yugo-nostalgic folklore creation”.16 However, the late 20th and early 21st century saw the appearance of individuals and music groups who (re)interpret Sevdalinka as a world music form, merging it with other music gen- res and giving it a new spirit. 11 Hamza Humo, “Muslimani Bosne i Hercegovine posmatrani kroz sevdalinku,” Gajret kalendar za godinu 1937. (1355–1366 po Hidžri) (Sarajevo: Glavni odbor društva Gajret, 1936), 177–180. 12 According to Vlado Milošević, Sevdalinka lost its true value by moving to taverns. Milošević, Sevdalinka, 20. 13 Davor Petrović, “Čovek peva posle rata: dva koncerta sevdalinke u beogradskom Sava centru kao jugonostalgični rituali pomirenja,” Antropologija 19/1 (2013): 113. 14 Petrović, “Četiri okvira za jednu pesmu: kratka biografija sevdalinke,” 32. 15 Vanja Muhović, “Sevdalinka i saz u kontekstu world musica,” Behar, časopis za kulturu i društvena pitanja 103 (2011): 85. 16 Petrović, “Čovek peva posle rata: dva koncerta sevdalinke u beogradskom Sava centru kao jugonostalgični rituali pomirenja,” 117. 91 MZ_2018_1_FINAL.indd 91 27.6.2018 7:28:07 MUZIKOLOŠKI ZBORNIK • MUSICOLOGICAL ANNUAL LIV/1 Methodology Sample The sample was formed during the month of January
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