Newly Composed Folk Music of Yugoslavia
In Western political discourse, Yugoslavia was frequently referred to as a “buffer zone,” its independence from the Soviet bloc being the single most salient factor making it politically atypical. Another enduring metaphor, that of a crossroads between East and West, was often invoked to describe Yugoslavia’s heterogeneous culture, owing as much to its geographic position in central/southeast Europe as to its multinational makeup. Yet, if not solely for its socialist brand of communism, the Balkan-Slavic identity of Yugoslavia’s traditional culture shaped the perception of the country as a part of the east European cultural bloc.

Like other cultures on the map of Slavic traditions, Yugoslavia presented the casual observer with a colorful variety of village music, ethnic customs and a proliferating national folklore engendered in festival re-enactments of rural life. Rapid social changes following World War II profoundly affected the country’s largely rural-based culture. Despite enormous evidence of vanishing historic practices, the music rooted in the socioeconomic milieu of peasant society remained the main focus of ethnomusico-logical research interest. Yugoslavia’s contemporary culture, originating in such modem institutions as mass media and the market place, did not receive comparable attention.

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Newly Composed Folk Music of Yugoslavia
In Western political discourse, Yugoslavia was frequently referred to as a “buffer zone,” its independence from the Soviet bloc being the single most salient factor making it politically atypical. Another enduring metaphor, that of a crossroads between East and West, was often invoked to describe Yugoslavia’s heterogeneous culture, owing as much to its geographic position in central/southeast Europe as to its multinational makeup. Yet, if not solely for its socialist brand of communism, the Balkan-Slavic identity of Yugoslavia’s traditional culture shaped the perception of the country as a part of the east European cultural bloc.

Like other cultures on the map of Slavic traditions, Yugoslavia presented the casual observer with a colorful variety of village music, ethnic customs and a proliferating national folklore engendered in festival re-enactments of rural life. Rapid social changes following World War II profoundly affected the country’s largely rural-based culture. Despite enormous evidence of vanishing historic practices, the music rooted in the socioeconomic milieu of peasant society remained the main focus of ethnomusico-logical research interest. Yugoslavia’s contemporary culture, originating in such modem institutions as mass media and the market place, did not receive comparable attention.

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Newly Composed Folk Music of Yugoslavia

Newly Composed Folk Music of Yugoslavia

by Ljerka V. Rasmussen
Newly Composed Folk Music of Yugoslavia
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Newly Composed Folk Music of Yugoslavia

Newly Composed Folk Music of Yugoslavia

by Ljerka V. Rasmussen

Overview

In Western political discourse, Yugoslavia was frequently referred to as a “buffer zone,” its independence from the Soviet bloc being the single most salient factor making it politically atypical. Another enduring metaphor, that of a crossroads between East and West, was often invoked to describe Yugoslavia’s heterogeneous culture, owing as much to its geographic position in central/southeast Europe as to its multinational makeup. Yet, if not solely for its socialist brand of communism, the Balkan-Slavic identity of Yugoslavia’s traditional culture shaped the perception of the country as a part of the east European cultural bloc.

Like other cultures on the map of Slavic traditions, Yugoslavia presented the casual observer with a colorful variety of village music, ethnic customs and a proliferating national folklore engendered in festival re-enactments of rural life. Rapid social changes following World War II profoundly affected the country’s largely rural-based culture. Despite enormous evidence of vanishing historic practices, the music rooted in the socioeconomic milieu of peasant society remained the main focus of ethnomusico-logical research interest. Yugoslavia’s contemporary culture, originating in such modem institutions as mass media and the market place, did not receive comparable attention.

Product Details

ISBN-13: 9780415939669
Publisher: Taylor & Francis
Publication date: 11/08/2002
Series: Current Research in Ethnomusicology: Outstanding Dissertations
Pages: 254
Product dimensions: 6.00(w) x 9.00(h) x (d)

Table of Contents

Musical Examples on the Compact Disc, Note on Language and Pronunciation, Acknowledgments, Introduction, Chapter I: The Emergence of Newly Composed Folk Music, Chapter II: Laying the Foundations: The Practice of Arrangement, Chapter III: The Market Breakthrough, Chapter IV: The Folk Estrada: Products and Activities, Chapter V: Style and Regionalism, Chapter VI: Newly Composed Folk Music on Radio, Chapter VII: The Power of the Market: Production, Chapter VIII: The Power of the Market: Patterns of Reception, Bibliography, Selected Discography, Index
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