The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music
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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 situa...ted; 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 / autobalkanismSource:
Arts, 2020, 9, 2, 70-Publisher:
- Basel: MDPI
Funding / projects:
- Serbian musical identities within local and global frameworks: traditions, changes, challenges (RS-177004)
Note:
- Special Issue "Balkan Music: Past, Present, Future"
Institution/Community
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Dumnić Vilotijević, Marija PY - 2020 UR - https://www.mdpi.com/2076-0752/9/2/70 UR - https://dais.sanu.ac.rs/123456789/8858 AB - 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). PB - Basel: MDPI T2 - Arts T1 - The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music SP - 70 VL - 9 IS - 2 DO - 10.3390/arts9020070 UR - https://hdl.handle.net/21.15107/rcub_dais_8858 ER -
@article{ author = "Dumnić Vilotijević, Marija", year = "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).", publisher = "Basel: MDPI", journal = "Arts", title = "The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music", pages = "70", volume = "9", number = "2", doi = "10.3390/arts9020070", url = "https://hdl.handle.net/21.15107/rcub_dais_8858" }
Dumnić Vilotijević, M.. (2020). The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music. in Arts Basel: MDPI., 9(2), 70. https://doi.org/10.3390/arts9020070 https://hdl.handle.net/21.15107/rcub_dais_8858
Dumnić Vilotijević M. The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music. in Arts. 2020;9(2):70. doi:10.3390/arts9020070 https://hdl.handle.net/21.15107/rcub_dais_8858 .
Dumnić Vilotijević, Marija, "The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music" in Arts, 9, no. 2 (2020):70, https://doi.org/10.3390/arts9020070 ., https://hdl.handle.net/21.15107/rcub_dais_8858 .