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Introduction Music and Ethnomusicology – Encounters in the Balkans
INTRODUCTION MUSIC AND ETHNOMUSICOLOGY – ENCOUNTERS IN THE BALKANS DANKA LAJIĆ-MIHAJLOVIĆ, JELENA JOVANOVIĆ Abstract: This paper presents an overview of the latest experiences in ethnomusicological research based on the texts incorporated in this col- lection of works. These experiences emanate primarily from the local re- searchers’ works on music of the Balkans, with a heightened theoretical and methodological dimension. The distinctive Balkan musical practices, created through the amalgamation of elements from different cultures, ethnicities, and religions, made this geo-cultural space intriguing not only to researchers from this very region but also to those from other cultural communities. A theoretical framework for interpreting these practices to- gether with the contemporary research methods stem from interactions of local scientific communities’ experiences, sources and practices they deal with, circumstances, ideologies and politics, including the influences of the world’s dominant ethnomusicological communities as well as re- searchers’ individual affinities and choices. A comparison with the re- search strategies applied in similar, transitory geo-cultural spaces contrib- utes to a more complex exploration of the Balkan ethnomusicologists’ experiences. Keywords: the musics of the Balkans, methodologies in ethnomusico- logy, Balkan national ethnomusicologies, fieldwork, interdisciplinarity. Balkan musical practices, as sound images of a geo-cultural space whose distinct identity has been recognized both ‘inside’ and ‘outside’ are incorporated in the perpetual fascination and inspiration of the folklore researchers and eth- nomusicologists. The recognizability that the region has acquired (not only) in ethnomusicology under the term the Balkans,1 along with the motivation of the Balkan scientists to look into its ontology rather than its metaphoric meanings This study appears as an outcome of a research project Identities of Serbian music from a local to global framework: traditions, transitions, challenges, no. -
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. -
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. -
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. -
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. -
Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists. -
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. -
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). -
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. -
!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). -
MUSIC and DANCE in SOUTHEASTERN EUROPE: NEW SCOPES of RESEARCH and ACTION
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Serbian Academy of Science and Arts Digital Archive (DAIS) MUSIC and DANCE in SOUTHEASTERN EUROPE: NEW SCOPES of RESEARCH and ACTION Fourth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe Held at Petnica Science Center, Republic of Serbia 24 September – 1 October 2014 Editors: Liz Mellish, Nick Green and Mirjana Zaki ć Editorial assistance: Gonca Girgin Ivana Katarin čić Eno Koço Belma Kurti şoğlu Dunja Naradi Ivanka Vlaeva Sonja Zdravkova-Djeparoska ICTM Study Group on Music and Dance in Southeastern Europe Faculty of Music, University of Arts, Belgrade Belgrade, Serbia 2016 Symposium 24 September – 1 October 2014 International Council for Traditional Music (ICTM) (Proceedings of the Fourth Symposium of the Study Group on Music and Dance in Southeastern Europe) The Fourth Symposium was hosted by the Faculty of Music, University of Arts, Belgrade Programme committee: Naila Ceribaši ć (Croatia) – Chair Anca Giurchescu (Denmark/Romania) Belma Kurti şoğlu (Turkey) Sonia Tamar Seeman (USA) Velika Stojkova Serafimovska (Macedonia) Mirjana Zaki ć (Serbia) Organisation committee: Selena Rako čevic – Chair Iva Neni ć Ana Živ čić Cover graphic design: Nemanja Vuji ć Printers: Belgrade: Colografx Printed copies: 300 © 2016, International Council for Traditional Music (ICTM) Study Group on Music and Dance in Southeastern Europe ISBN: 978-86-88619-71-4 CIP - Каталогизација у публикацији Народна библиотека Србије , Београд 781.7(497-12)(082) 793.3(497-12)(082) INTERNATIONAL Council for Traditional Music. Study group on music and dance in Southeastern Europe. -
New Folk: the Phenomenon of Chalga in Modern Bulgarian Folk
New Folk: The phenomenon of chalga in modern Bulgarian folk “Edno ferari s zviat cherven, edno za teb, edno za men…” Slavi Trifonov, chalga (One red Ferrari, one for me, one for you) ©2004 Milena Droumeva Milena Droumeva Term Paper, page 1 They were silly, kitsch, synthesized tunes, which started appearing in Bulgarian media, and in the general Bulgarian cultural life in the early 1990s. Now, chalga has successfully found a niche in the Bulgarian music scene with a new image and a new name: pop folk. Initially characterized by simplistic lyrics and ‘oriental’ street sound, chalga tunes have become more popular in a few short years than any other developing music genre in Bulgaria. It is no coincidence that some of the first and most popular chalga singers and musicians were Roma 1 or ethnic Turks. These two minority groups have distinct musical roots, very different from Bulgarian folk, which were suppressed by the state for over 45 years during the communist regime. Today, in a seemingly democratic environment, music styles in Bulgaria are thriving and folk music is reclaiming new ground after years of state control. I have to admit, I, too, was one of the skeptic connoisseurs of classical and Western popular music, who thought chalga was a low-culture Gypsy genre unworthy of attention. Having now been away from Bulgaria for four years and being immersed in Vancouver’s diverse music scene, I have gained a more rounded cosmopolitan perspective on music. I don’t see chalga or even Bulgarian folk as sporadic unrelated music genres anymore , but as interdependent events, richly influenced by each other, as well as by the music of Turkey, Greece and the rest of the Balkans.