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The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music

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2020
bitstream_33779.pdf (376.6Kb)
Authors
Dumnić Vilotijević, Marija
Contributors
Medić, Ivana
Article (Published version)
Metadata
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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 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 / autobalkanism
Source:
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"

DOI: 10.3390/arts9020070

ISSN: 2076-0752

WoS: 000551220000005

[ Google Scholar ]
1
Handle
https://hdl.handle.net/21.15107/rcub_dais_8858
URI
https://www.mdpi.com/2076-0752/9/2/70
https://dais.sanu.ac.rs/123456789/8858
Collections
  • МИ САНУ - Радови истраживача / MI SASA - Researchers' publications
Institution/Community
Музиколошки институт САНУ / Institute of Musicology SASA
TY  - 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 .

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