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Durham E-Theses Marginality and Cultural Identities: Locating the Bagpipe Music of Serbia JAKOVLJEVIC, RASTKO,STEVAN How to cite: JAKOVLJEVIC, RASTKO,STEVAN (2012) Marginality and Cultural Identities: Locating the Bagpipe Music of Serbia, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3544/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Marginality and Cultural Identities: Locating the Bagpipe Music of Serbia Rastko S. Jakovljević A Thesis presented for the degree of Doctor of Philosophy Department of Music University of Durham England 2012 Copyright © 2012 by Rastko S. Jakovljević. The copyright of this thesis rests with the author. No quotations from it should be published without the author’s prior written consent and information derived from it should be acknowledged. Table of Contents Preliminaries ........................................................................... i Abstract .................................................................................................................................................... iv Acknowledgement ................................................................................................................................... vi List of Figures .......................................................................................................................................... vii List of Plates ........................................................................................................................................... viii List of DVD Examples ................................................................................................................................ x Notes on Transliteration and Pronunciation .......................................................................................... xiv 1 Introduction: Research Pathways and the Location of Gajde .. 1 1.1 Research Pathways ............................................................................................................................ 1 Methodology: Three Approaches ........................................................................................................ 4 Survey of Literature ........................................................................................................................... 17 Structure ............................................................................................................................................ 21 1.2 The Location of the gajde ................................................................................................................ 22 2 Locating the Marginal ........................................................... 36 2. 1 The Gordian Knot: Conceptual Delineation ..................................................................................... 36 2.1.1 The Concept of Marginality ...................................................................................................... 36 2.1.2 The Nucleus of Theory .............................................................................................................. 37 2.1.3 Discursive Sequences: Convergence, and Criticism ................................................................. 44 i 2.2 Towards a Holistic Definition of Marginality .................................................................................... 57 2.2.1 Classical, Contemporary and Holistic Definitions .................................................................... 59 2.3 Enunciation Protocols: Analytical Delineation of the Concept ........................................................ 62 3 The Servant .......................................................................... 67 3.1 Pray to Nature, Play for Sun: Music as a Product of Divine Communication .................................. 67 3.1.1 The Location of Nature and Culture ......................................................................................... 67 3.1.2 Ritual Imagery as Nature ........................................................................................................... 71 3.1.3 Ritual Reality as a Temporal and Spatial Continuum ............................................................... 76 3.1.4 Mediation as Divine Marginality – A Cartesian Perspective ..................................................... 80 3.2 Modes of Identity Appropriation: Tune, Song and Noise as Sound Objects.................................... 83 3.2.1 Migrating into Tune (Have you seen my song?) ........................................................................ 86 3.2.2 Amplification of the Song (Play with the singer!) ...................................................................... 94 3.2.3 Hybrid as Noise (Maybe we could do it all together?) ............................................................. 97 3.3 Reflections of Ethnicity and the Marginal Culture ......................................................................... 101 3.3.1 The Cărabă and Negotiable Identity ....................................................................................... 105 3.4 The Woman’s Work: Centralising the Marginal ............................................................................. 115 4 The Craftsman .................................................................... 126 4.1 Craftwork Ligature: Music as a Condition of Experience and Knowledge ..................................... 126 4.2 The Apprentice: Origins of Representation ................................................................................... 136 4.2.1 Acquiring the Expressive Tools for the Craft .......................................................................... 147 4.3 The Journeyman: Deformed Time Representation ........................................................................ 155 4.4 The Master: Defined Structure Representation ............................................................................ 168 4.4 The Master: Defined Structure Representation ............................................................................ 168 ii 5 The Artisan ......................................................................... 193 5.1 The Location of the Modern Condition ........................................................................................... 193 5.2 The Reflection of Reality? Traditional Culture and Music Face Modernity ................................... 196 5.3 Progressive Villages: Festival Networks and their Anatomy .......................................................... 220 6 The Artist ........................................................................... 232 6.1 Okret: A Turn to the Media – Individuals and Their Projective Past .............................................. 232 6.2 The Use of Tradition: Music Knowledge and the Restitution of Nationalism ................................. 250 6.3 Symbolic Noise: The Status of the Instrumental Body in a Marginalising Context ........................ 257 6.4 The Paradox of Automarginalisation.............................................................................................. 263 6.5 Privatised Music as a Specific Marginal Condition ......................................................................... 270 6.6 The Artist Deprived of Art: Capturing Private Music as Public Commodity ................................... 274 7 Conclusion: Sustaining Traditional Music in the Modern World ..... 283 Appendix ............................................................................ 286 Bibliography and Sources ................................................... 290 Books and Articles ................................................................................................................................. 290 Sound and Video Recordings ................................................................................................................ 307 Fieldwork recordings ............................................................................................................................. 309 Audio Materials from the Institute of Musicology SASA Sound Archive .............................................. 309 iii Rastko Jakovljević Marginality and Cultural Identities: Locating the Bagpipe Music of Serbia Abstract This dissertation examines the gajde (bagpipe) music tradition of Serbia in the context of the increasing marginality of such cultural identities (i.e. musician, performer) over the period of rapid modernisation since 1945. It is argued that the process of marginalisation of gajde music in the second half of the twentieth century reached a critical point where social and ideological developments intertwined and resulted in radical changes to the cultural and musical identity of this tradition. The gradual decline in the number of the

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