Фолклорни мотиви у раним композицијама Николе Бороте Радована
Folklore Motives in the Early Compositions of Nikola Borota – Radovan
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Стваралаштво Николе Бороте Радована заузима посебно место у развоју југословенске гране (поли)жанра world music у првој половини седамдесетих
година XX века. Оно је карактеристично по фузији фолклорних мотива јужнословенске, средњoевропске и медитеранске музичке баштине, прилагођених захтевима најзначајнијих савремених светских трендова у популарној
музици. Елаборација Боротиног ауторског рада из периода од 1970. до 1975.
заснована је, пре свега, на анализи његовог односа према музичко-фолклорним предлошцима, чему је посвећена ова студија.
The creative work of Nikola Borota – Radovan (musician, composer, lyricist,
arranger and record producer, based in New Zealand – formerly from Yugoslavia)
held a specifc place in development of world music (poly)genre in his native
homeland in the early 1970s. This study focuses on his creative principles, applied
to works published between the years 1970 and 1975 (while the role of these works
in social, cultural and political context of the time and place will be elaborated in
another study, see Јовановић 2014). The platform established to present this unique
musical approach authenticaly was called Kamen Na Kamen (a studio and stage
outft that has included number of collaborations over many years). Based on the
musical models and aethetics of the folk revival and created under influence of The
Beatles’, in adition to many other popular music production directions of the era,
Borota’s works reveal signifcant musical, performance and production qualities,
innovative express...ion and musical solutions, that need to be percieved from the
contemporary (ethno)musicological point of view. Despite the fact that many
prominent creative Yugoslav musicians of the time also worked within a similar
framework I would argue that Mr. Borota’s creative outcome was signiffcantly
different from other Yugoslav popular music creative efforts. This is particularly
noticeable in the author’s unique treatment of South-European and other folklore
motives, which is the main topic of this study.
Folk (ethnic) idioms exploited by Mr. Borota in his compositions originate from
the rural traditions of western Dinaric regions. This is especially true for the
rhythmic formations of deaf or silent dance; for the semi-urban and urban tradition
of the Balkans and the Mediterranean; Middle European traditions; traditions from
non-European peoples; elements of Italian Renaissance; and international (mostlyAnglo-American) musical models. Compositions are analysed partly in accordance
with the principles presented by Philip Tagg (1982), and following the principles of
the “Finnish method” in ethnomusicology.
According to my best knowledge, there was no previous comparable (ethno)
musicological ellaboration of folk revival, Beatlesque influences and early forrays
into world music within Yugoslav popular music culture. I therefore consider this
study to be the frst contribution to the research in this subject.
Кључне речи:
Југословенска популарна музика / folk revival / Никола Борота Радован / Камен на камен / фолклорни мотиви / музички идиоми Балкана / гламочко глухо коло / world music / музички идиоми Медитерана / музички идиоми Средње ЕвропеИзвор:
Музикологија / Musicology, 2014, 16, 174-192Издавач:
- Београд : Музиколошки институт Српске академије наука и уметности
Финансирање / пројекти:
- Идентитети српске музике од локалних до глобалних оквира: традиције, промене, изазови (RS-MESTD-Basic Research (BR or ON)-177004)
URI
http://www.doiserbia.nb.rs/img/doi/1450-9814/2014/1450-98141416173J.pdfhttps://dais.sanu.ac.rs/123456789/3892
Колекције
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Јовановић, Јелена PY - 2014 UR - http://www.doiserbia.nb.rs/img/doi/1450-9814/2014/1450-98141416173J.pdf UR - https://dais.sanu.ac.rs/123456789/3892 AB - Стваралаштво Николе Бороте Радована заузима посебно место у развоју југословенске гране (поли)жанра world music у првој половини седамдесетих година XX века. Оно је карактеристично по фузији фолклорних мотива јужнословенске, средњoевропске и медитеранске музичке баштине, прилагођених захтевима најзначајнијих савремених светских трендова у популарној музици. Елаборација Боротиног ауторског рада из периода од 1970. до 1975. заснована је, пре свега, на анализи његовог односа према музичко-фолклорним предлошцима, чему је посвећена ова студија. AB - The creative work of Nikola Borota – Radovan (musician, composer, lyricist, arranger and record producer, based in New Zealand – formerly from Yugoslavia) held a specifc place in development of world music (poly)genre in his native homeland in the early 1970s. This study focuses on his creative principles, applied to works published between the years 1970 and 1975 (while the role of these works in social, cultural and political context of the time and place will be elaborated in another study, see Јовановић 2014). The platform established to present this unique musical approach authenticaly was called Kamen Na Kamen (a studio and stage outft that has included number of collaborations over many years). Based on the musical models and aethetics of the folk revival and created under influence of The Beatles’, in adition to many other popular music production directions of the era, Borota’s works reveal signifcant musical, performance and production qualities, innovative expression and musical solutions, that need to be percieved from the contemporary (ethno)musicological point of view. Despite the fact that many prominent creative Yugoslav musicians of the time also worked within a similar framework I would argue that Mr. Borota’s creative outcome was signiffcantly different from other Yugoslav popular music creative efforts. This is particularly noticeable in the author’s unique treatment of South-European and other folklore motives, which is the main topic of this study. Folk (ethnic) idioms exploited by Mr. Borota in his compositions originate from the rural traditions of western Dinaric regions. This is especially true for the rhythmic formations of deaf or silent dance; for the semi-urban and urban tradition of the Balkans and the Mediterranean; Middle European traditions; traditions from non-European peoples; elements of Italian Renaissance; and international (mostlyAnglo-American) musical models. Compositions are analysed partly in accordance with the principles presented by Philip Tagg (1982), and following the principles of the “Finnish method” in ethnomusicology. According to my best knowledge, there was no previous comparable (ethno) musicological ellaboration of folk revival, Beatlesque influences and early forrays into world music within Yugoslav popular music culture. I therefore consider this study to be the frst contribution to the research in this subject. PB - Београд : Музиколошки институт Српске академије наука и уметности T2 - Музикологија / Musicology T1 - Фолклорни мотиви у раним композицијама Николе Бороте Радована T1 - Folklore Motives in the Early Compositions of Nikola Borota – Radovan SP - 174 EP - 192 IS - 16 DO - 10.2298/MUZ1416173J UR - https://hdl.handle.net/21.15107/rcub_dais_3892 ER -
@article{ author = "Јовановић, Јелена", year = "2014", abstract = "Стваралаштво Николе Бороте Радована заузима посебно место у развоју југословенске гране (поли)жанра world music у првој половини седамдесетих година XX века. Оно је карактеристично по фузији фолклорних мотива јужнословенске, средњoевропске и медитеранске музичке баштине, прилагођених захтевима најзначајнијих савремених светских трендова у популарној музици. Елаборација Боротиног ауторског рада из периода од 1970. до 1975. заснована је, пре свега, на анализи његовог односа према музичко-фолклорним предлошцима, чему је посвећена ова студија., The creative work of Nikola Borota – Radovan (musician, composer, lyricist, arranger and record producer, based in New Zealand – formerly from Yugoslavia) held a specifc place in development of world music (poly)genre in his native homeland in the early 1970s. This study focuses on his creative principles, applied to works published between the years 1970 and 1975 (while the role of these works in social, cultural and political context of the time and place will be elaborated in another study, see Јовановић 2014). The platform established to present this unique musical approach authenticaly was called Kamen Na Kamen (a studio and stage outft that has included number of collaborations over many years). Based on the musical models and aethetics of the folk revival and created under influence of The Beatles’, in adition to many other popular music production directions of the era, Borota’s works reveal signifcant musical, performance and production qualities, innovative expression and musical solutions, that need to be percieved from the contemporary (ethno)musicological point of view. Despite the fact that many prominent creative Yugoslav musicians of the time also worked within a similar framework I would argue that Mr. Borota’s creative outcome was signiffcantly different from other Yugoslav popular music creative efforts. This is particularly noticeable in the author’s unique treatment of South-European and other folklore motives, which is the main topic of this study. Folk (ethnic) idioms exploited by Mr. Borota in his compositions originate from the rural traditions of western Dinaric regions. This is especially true for the rhythmic formations of deaf or silent dance; for the semi-urban and urban tradition of the Balkans and the Mediterranean; Middle European traditions; traditions from non-European peoples; elements of Italian Renaissance; and international (mostlyAnglo-American) musical models. Compositions are analysed partly in accordance with the principles presented by Philip Tagg (1982), and following the principles of the “Finnish method” in ethnomusicology. According to my best knowledge, there was no previous comparable (ethno) musicological ellaboration of folk revival, Beatlesque influences and early forrays into world music within Yugoslav popular music culture. I therefore consider this study to be the frst contribution to the research in this subject.", publisher = "Београд : Музиколошки институт Српске академије наука и уметности", journal = "Музикологија / Musicology", title = "Фолклорни мотиви у раним композицијама Николе Бороте Радована, Folklore Motives in the Early Compositions of Nikola Borota – Radovan", pages = "174-192", number = "16", doi = "10.2298/MUZ1416173J", url = "https://hdl.handle.net/21.15107/rcub_dais_3892" }
Јовановић, Ј.. (2014). Фолклорни мотиви у раним композицијама Николе Бороте Радована. in Музикологија / Musicology Београд : Музиколошки институт Српске академије наука и уметности.(16), 174-192. https://doi.org/10.2298/MUZ1416173J https://hdl.handle.net/21.15107/rcub_dais_3892
Јовановић Ј. Фолклорни мотиви у раним композицијама Николе Бороте Радована. in Музикологија / Musicology. 2014;(16):174-192. doi:10.2298/MUZ1416173J https://hdl.handle.net/21.15107/rcub_dais_3892 .
Јовановић, Јелена, "Фолклорни мотиви у раним композицијама Николе Бороте Радована" in Музикологија / Musicology, no. 16 (2014):174-192, https://doi.org/10.2298/MUZ1416173J ., https://hdl.handle.net/21.15107/rcub_dais_3892 .