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Journal articles on the topic '"balkan music"'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Hofman, Ana. "Balkan Music Industries Between Europeanisation and Regionalisation: Balkan Music Awards." Musicological Annual 50, no. 1 (July 15, 2014): 157–74. http://dx.doi.org/10.4312/mz.50.1.157-174.

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Taking the regional music event “Balkan Music Awards” – presented as the Eurovision of the Balkans – as a case study, the article explores the ways in which the assumed exotic value of Balkan music and the existing sonic image of the Balkans are employed with the aim of invigorating the regional music market as a process of reorganizing “post–national” musical productions.

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Dumnić Vilotijević, Marija. "The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music." Arts 9, no. 2 (June 16, 2020): 70. http://dx.doi.org/10.3390/arts9020070.

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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 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).

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Medić, Ivana. "Making a Case for Balkan Music Studies." Arts 9, no. 4 (September 25, 2020): 99. http://dx.doi.org/10.3390/arts9040099.

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In his seminal comprehensive history of music(s) in the Balkan region, Jim Samson avoided the term “Balkan music” in favor of the less-binding title Music in the Balkans (Leiden: Brill, 2013). This, however, should not hinder us from probing the term “Balkan music” and its many connotations. In this editorial article for the Special Issue Balkan Music: Past, Present, Future, I aim to dissect the umbrella term “Balkan music” and its actual and presumed meanings and implications, while overviewing many different music traditions and styles that this term encompasses. I will also make a case for the establishment of Balkan Music Studies as a discipline and attempt to outline its scope and outreach.

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Dumnic-Vilotijevic, Marija. "Contemporary urban folk music in the Balkans: Possibilities for regional music history." Muzikologija, no. 25 (2018): 91–101. http://dx.doi.org/10.2298/muz1825091d.

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Starting with Maria Todorova?s landmark study Imagining the Balkans (Todorova 1997), numerous authors have raised their voices against stereotypical images of the Balkans. Over twenty years after the publication of this book, the term ?the Balkans? seems to have lost some of its negative connotations related to wars in favour of characteristics with positive overtones, such as the Balkan peoples? joie-de-vivre and entertainment strongly related to music. The areal ethnomusicology drawing from fieldwork throughout the Balkan peninsula has been a fruitful topic for numerous local and foreign ethnomusicologists and the very term ?the Balkans? has raised a special interest in the ethnomusicological research of ?outsiders?, as well as in the music industry. This paper is written from the perspective of an ?insider? ethnomusicologist from the Balkans. I raise the question of the definition of the ?Balkan? popular music label and discuss its main structural characteristics. I offer a new possibility of (re)considering a specific musical genre of the region based on the research of urban folk music practices. I present characteristics of urban folk music practices from the second half of the nineteenth and the first half of the twentieth century in the countries of the Balkans, with special attention paid to their common aspects. Also, contemporary urban folk music, which is often criticized as a specific popular music form, is considered.

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Lawford, Roderick. "“Perverting the Taste of the People”: Lăutari and the Balkan Question in Romania." Muzikologija, no. 29 (2020): 85–120. http://dx.doi.org/10.2298/muz2029085l.

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??Perverting the Taste of the People?: L?utari and the Balkan Question in Romania? considers the term ?Balkan? in the context of Romanian Romani music-making. The expression can be used pejoratively to describe something ?bar-baric? or fractured. In the ?world music? era, ?gypsy-inspired? music from the Balkans has become highly regarded. From this perspective ?Balkan? is seen as something desirable. The article uses the case of the Romanian ?gypsy? band Taraf de Ha?douks in illustration. Romania?s cultural and physical position with- in Europe can be difficult to locate, a discourse reflected in Romanian society itself, where many reject the description of Romania as a ?Balkan? country. This conflict has been contested through manele, a Romanian popular musical genre. In contrast, manele is seen by its detractors as too ?eastern? in character, an unwelcome reminder of earlier Balkan and Ottoman influences on Romanian culture.

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Moody, Ivan. "The Idea of Byzantium in the Construction of the Musical Cultures of the Balkans." Arts 9, no. 3 (July 26, 2020): 83. http://dx.doi.org/10.3390/arts9030083.

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In this article, I discuss the persistence of Byzantium as a cultural model in the arts, and in music in particular, in the countries of the Balkans after the fall of Constantinople. By examining ways in which the idea of Byzantium persisted in Balkan artistic cultures (and especially in music) after the fall of Byzantium, and the way in which this relates to the advent of modernism during the later construction of the Balkan nation-states, I illustrate not only the pervasiveness but also the strength of Byzantinism as a pan-Balkan characteristic.

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Pennanen, Risto. "Lost in scales: Balkan folk music research and the ottoman legacy." Muzikologija, no. 8 (2008): 127–47. http://dx.doi.org/10.2298/muz0808127p.

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Balkan folk music researchers have articulated various views on what they have considered Oriental or Turkish musical legacy. The discourses the article analyses are nationalism, Orientalism, Occidentalism and Balkanism. Scholars have handled the awkward Ottoman issue in several manners: They have represented 'Oriental' musical characteristics as domestic, claimed that Ottoman Turks merely imitated Arab and Persian culture, and viewed Indian classical raga scales as sources for Oriental scales in the Balkans. In addition, some scholars have viewed the 'Oriental' characteristics as stemming from ancient Greece. The treatment of the Seg?h family of Ottoman makams in theories and analyses reveals several features of folk music research in the Balkans, the most important of which are the use of Western concepts and the exclusive dependence on printed sources. The strategies for handling the Orient within have meandered between Occidentalism and Orientalism, creating an ambiguity which is called Balkanism.

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8

Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.

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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I consider other Yugoslav musical styles which predate turbofolk and make reference to pop-folk musical controversies in other Balkan states to help inform upon the issues at stake with regard to turbofolk. I argue that rather than being understood as a singular phenomena specific to Serbia under Milošević, turbofolk can be understood as a Serbian manifestation of a Balkan-wide post-socialist trend. Balkan pop-folk styles can be understood as occupying a liminal space – an Ottoman cultural legacy – located between (and often in conflict with) the imagined political poles of liberal pro-European and conservative nationalist orientations. Understanding turbofolk as a value category imbued with symbolic meaning rather than a clear cut musical genre, I link discussions of it to the wider discourse of Balkanism. Turbofolk and other pop-folk styles are commonly imagined and articulated in terms of violence, eroticism, barbarity and otherness the Balkan stereotype promises. These pop-folk styles form a frame of reference often used as a discursive means of marginalisation or exclusion. An eastern “other” is represented locally by pop-folk performers due to oriental stylistics in their music and/or ethnic minority origins. For detractors, pop-folk styles pose a danger to the autochthonous national culture as well as the possibility of a “European” and cosmopolitan future. Correspondingly I demonstrate that such Balkan stereotypes are invoked and subverted by many turbofolk performers who positively mark alleged Balkan characteristics and negotiate and invert the meaning of “Balkan” in lyrical texts.

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Samson, Jim. "Borders and bridges: Preliminary thoughts on Balkan music." Muzikologija, no. 5 (2005): 37–55. http://dx.doi.org/10.2298/muz0505037s.

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The author discusses methodological questions concerning his broad research project on music in the Balkans. He raises a number of questions related to defining national, cultural, and other identities in this region. The text is organized into four sections: 1. An ecumene, 2. Culture as appropriation 3. Centers and peripheries, and 4. Music gets its own back.

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Zdravkova Djeparoska, Sonja. "Macedonian Cultural Plurality at the Crossroads of the Balkans: Drama, Music and Dance." Arts 9, no. 3 (July 30, 2020): 85. http://dx.doi.org/10.3390/arts9030085.

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Defining the Balkans as a geographic, cultural and semantic entity triggers an interpretation of them as some idea, concept, oftentimes even a stereotype. The Balkans are usually interpreted as a singular entity, generalized and set in a single framework. That generalized view is often ambivalent. The Balkans are often interpreted and presented as a ‘powder keg’, a ‘bridge between the East and the West’, a part of Europe that is simply different, a place of strong emotions and attractive forms of music and dance, etc. However, the Balkans represent a set of cultural units that are in constant interaction, with each of the cultures of the Balkans being specific and authentic. Macedonia, as one of the pages of the ‘Balkan story’, will be presented at three levels—regarding its drama, music and dance. The specific characteristics of the music and the dance fields will be presented through their most significant features and examples, and the treatment of the topic of the Balkans in Macedonian drama will be covered as well. The analysis confirms that generalization is impossible even within a single culture, as each artist and medium of performance has its own unique expression. The cultural forms of Macedonian culture are only part of the wider pluralistic representation of the Balkans. It may be offered under the Balkans as the common denominator, but the truth is that this/representation/concept is polyvalent, multicultural, polysemic and extremely rich.

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Milanovic, Biljana. "Balkans as a cultural symbol in the Serbian music of the first half of the twentieth century." Muzikologija, no. 8 (2008): 17–26. http://dx.doi.org/10.2298/muz0808017m.

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Focus on the internalization of Western images in the Balkans has special significance in researching Serbian art. The functioning of Balkanism as it overlapped and intersected with Orientalism is indicated in the text by an examination of the cases of Petar Konjovic, Miloje Milojevic and Josip Slavenski, the three significant composers working in Serbia during the first half of the twentieth century. Their modernistic projects present different metaphors of the Balkans. Nevertheless each of them is marked by desire to change the Balkan image into a 'positive' one and thus stands as a special voice for Serbian and regional placing in European competition for musical spaces.

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Schenker, Frederick J. "Jazz Freedoms: Balkan Rhythm, Race, and World Music." Jazz Perspectives 9, no. 3 (September 2, 2015): 217–39. http://dx.doi.org/10.1080/17494060.2016.1253493.

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Goldman, Jonathan. "‘HOW I BECAME A COMPOSER’: AN INTERVIEW WITH VINKO GLOBOKAR." Tempo 68, no. 267 (January 2014): 22–28. http://dx.doi.org/10.1017/s0040298213001307.

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AbstractThis article is an interview with the Franco-Slovenian composer, conductor and trombonist Vinko Globokar, translated, edited and introduced by the author. It offers an overview of Globokar's musical development and a consideration of his artistic position, which straddles the worlds of composition and improvisation. Globokar's music combines complex organisation with an interest in non-hierarchical and improvisatory elements. He has always refused to pit the avant-garde claims of contemporary music against those of free jazz, his music embracing aspects of both, as well as of traditional Balkan musics. His genre-defying approach remains better known in continental Europe than in the UK or North America, and the present text is a contribution to the limited bibliography on Globokar in English.

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Howard, Karen. "Variations on a Dance of the Roma." General Music Today 34, no. 1 (July 29, 2020): 53–55. http://dx.doi.org/10.1177/1048371320942278.

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Explore a music and dance tradition known as čoček in Macedonia, and by other names in Bulgaria. Albania, Serbia, and throughout the Balkan Peninsula. This tradition is long associated with the Roma people who carry a reputation of music virtuosity. Suggestions for using the dance and music in elementary and secondary general music classes are offered as well as options for listening.

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Vasiliu, Alex. "The Balkan tradition in contemporary jazz. Anatoly Vapirov." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 256–64. http://dx.doi.org/10.2478/ajm-2019-0015.

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Abstract The folkloric character of the beginnings of jazz has been established by all researchers of American classical music. The African-Americans brought as slaves onto the territory of North America, the European émigrés tied to their own folkloric repertoire, the songs in the musical revues on Broadway turned national successes – can be considered the first three waves to have fundamentally influenced the history of jazz music. Preserving the classical and modern manner of improvisation and arrangement has not been a solution for authentic jazz musicians, permanently preoccupied with renewing their mode of expression. As it happened in the academic genres, the effect of experiments was mostly to draw the public away, as its capacity of understanding and empathizing with the new musical “products” (especially those in the “free” stylistic area) were discouraging. The areas which also had something original to say in the field of jazz remained the traditional, archaic cultures in Eastern Europe, Asia, the Orient. Compared to folkloric works from very distant areas, the musical culture of the Balkans bears the advantage of diversity, the ease of reception of melodies, rhythms and instrumental sonority. One of the most important architects of ethno-jazz is Anatoly Vapirov. A classically-trained musician, an author of concerts, stage music and soundtracks, a consummate connoisseur of the classical mode of improvisation as a saxophone and clarinet player, Anatoly Vapirov has dedicated decades of his life to researching the archaic musical culture of the Balkans, which he translated into the dual academic-jazz language, in the hypostases of predetermined scored works and of improvised works – either as a soloist, in combos or big bands. This study focuses on highlighting the language techniques, emphasizing the aesthetic-artistic qualities of the music signed Anatoly Vapirov.

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Bomberger, E. Douglas, and Adrienne Fried Block. "On Beach's Variations on Balkan Themes, op. 60." American Music 11, no. 3 (1993): 368. http://dx.doi.org/10.2307/3052509.

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Seeman, Sonia Tamar. "Romani Routes. Cultural Politics and Balkan Music in Diaspora." Ethnomusicology Forum 23, no. 1 (January 2, 2014): 143–46. http://dx.doi.org/10.1080/17411912.2014.882242.

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Medic, Ivana. "Arhai’s Balkan folktronica: Serbian ethno music reimagined for British market." Muzikologija, no. 16 (2014): 105–27. http://dx.doi.org/10.2298/muz1416105m.

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This article focuses on Serbian composer Jovana Backovic 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 Backovic 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.

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Milin, Melita. "Sounds of lament, melancholy and wilderness: The Zenithist revolt and music." Muzikologija, no. 5 (2005): 131–44. http://dx.doi.org/10.2298/muz0505131m.

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The aim of writing this article is to analyze how the articles published by Zenith magazine (1921-1926) reflected the role of modern music within the framework of Zenithism - a movement relating to Dadaism and Futurism. The founder of the movement Ljubomir Micic and the Croatian composer Josip Slavenski both settled in Serbia and shared similar views concerning the Zenithist role of art. They sought to create a novel artistic expression free from Western influence, rooted in primitive and intrinsic creative forces of Eastern, and more specifically, Balkan peoples. Nevertheless, the intellectual sophistication and radicalism of their ideas differed somewhat whereas Micic was inclined towards experiment and provocation (i.e. his announcement of a Balkan "Barbarogenius"), Slavenski's aim was to revise and transform the archaisms preserved in old layers of folk music (primarily that of the Balkans), thus yielding an original modernist language. When in 1924 Micic moved from Zagreb to Belgrade, Slavenski was already there, only to leave for Paris in winter of the same year and remain there until the following summer. This may explain Slavenski's single contribution to Zenith, a piece composed before he met Micic. Zenith's articles on music included a positive account of Prokofiev, whose works were seen as representative of the movement's intentions. The article was an abridged translation of Igor Glebov's (pseudonym of Boris Asafiev) text printed in V'esc (in German). Micic himself was the author of another contribution - a concert review, which served as an opportunity to express his views on contemporary music, one being an appraisal of Stravinsky whose music was felt to correspond to Zenithist aesthetics. He was labeled a musical 'Cubist', who composed music of 'paradox and simultaneity'. In the same article Antun Dobronic (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micic, who obviously had little or no musical education, was unable to find any musical critics who would adhere to his views. Several other articles in Zenith, such as concert reviews and literary texts with reference to both old and new composers, shed more light on the spirit of the movement and contribute to our understanding of it.

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Jovicevic, Jasna. "Gender perspectives of instrumental jazz performers in southeastern Europe." Muzikologija, no. 30 (2021): 149–64. http://dx.doi.org/10.2298/muz2130149j.

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I investigate constructed social platforms for female jazz instrumentalist, with a particular emphasis on the Balkan cultural space of Southeastern Europe (former Yugoslav countries). In this region, female jazz instrumentalists are confronted with multiple systems of rejection, facing double standards of the Balkan social-ideological patterns, typical for the patriarchal tradition, reproduced and incorporated within a micro context of the already gendered music genre. I analyze the image of female jazz instrumentalist in the public cultural space where jazz is created and consumed. This study presents autoethnographic testimonies as a subjective point of view.

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Bomberger, E. Douglas. "Motivic Development in Amy Beach's Variations on Balkan Themes, op. 60." American Music 10, no. 3 (1992): 326. http://dx.doi.org/10.2307/3051598.

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Wilson, Dave. "Not Different Enough: Avoiding Representation as “Balkan” and the Constrained Appeal of Macedonian Ethno Music." Arts 9, no. 2 (March 30, 2020): 45. http://dx.doi.org/10.3390/arts9020045.

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Since the early 1990s, interest in various forms of traditional music among middle-class urban ethnic Macedonians has grown. Known by some as the “Ethno Renaissance”, this trend initially grew in the context of educational ensembles in Skopje and gained momentum due to the soundtrack of the internationally acclaimed Macedonian film Before the Rain (1994) and the formation of the group DD Synthesis by musician and pedagogue Dragan Dautovski. This article traces the development of this multifaceted musical practice, which became known as “ethno music” (etno muzika) and now typically features combinations of various traditional music styles with one another and with other musical styles. Ethno music articulates dynamic changes in Macedonian politics and wider global trends in the “world music” market, which valorizes musical hybridity as “authentic” and continues to prioritize performers perceived as exotic and different. This article discusses the rhetoric, representation, and musical styles of ethno music in the 1990s and in a second wave of “ethno bands” (etno bendovi) that began around 2005. Drawing on ethnography conducted between 2011 and 2018 and on experience as a musician performing and recording in Macedonia periodically since 2003, I argue that, while these bands and their multi-layered musical projects resonate with middle-class, cosmopolitan audiences in Macedonia and its diaspora, their avoidance of the term “Balkan” and associated stereotypes constrains their popularity to Macedonian audiences and prevents them from participating widely in world music festival networks and related markets.

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Velimirović. "BALKAN MUSIC HISTORY IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES. INTRODUCTORY REMARKS." Revista de Musicología 16, no. 3 (1993): 1703. http://dx.doi.org/10.2307/20796031.

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Rice, Timothy. "Nova Domovina/A New Homeland: Balkan Slavic Music from the Industrial Midwest." Yearbook for Traditional Music 21 (1989): 160. http://dx.doi.org/10.2307/767797.

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Fracile, Nice. "The Aksak Rhythm, a Distinctive Feature of the Balkan Folklore." Studia Musicologica Academiae Scientiarum Hungaricae 44, no. 1 (February 1, 2003): 191–204. http://dx.doi.org/10.1556/smus.44.2003.1-2.18.

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Jovanovic, Jelena. "The correspondence between Miodrag Vasiljevic and Bulgarian Musicians." Muzikologija, no. 2 (2002): 201–20. http://dx.doi.org/10.2298/muz0202201j.

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The Serbian ethnomusicologist and music pedagogue Miodrag A. Vasiljevic corresponded with colleagues from neighboring Bulgaria between 1934 and 1962. This exchange of letters went through three phases. The first phase was linked with his stay in Skopje until the breakout of World War II; during the second phase - in the course of the 1940's - he was active in the Department for Folk Music at Radio Belgrade and he founded his method of music teaching on traditional Serbian music; in the third phase (the 1950's and beginning of 1960's) Vasiljevic aimed at a closer cooperation with Bulgarian musicians. All the phases are characterized by his pronounced interest in the folk music heritage of Balkan peoples. At the beginning that interest was focused on popularizing art music that was based on folk music. Later, he enthusiastically carried out his reforms of music teaching in Serbia, as well as improvements of methods in Serbian ethnomusicology.

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Goldberg, Daniel. "Timing Variations in Two Balkan Percussion Performances." Empirical Musicology Review 10, no. 4 (January 28, 2016): 305. http://dx.doi.org/10.18061/emr.v10i4.4884.

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<p>Many songs and dance pieces from the Balkan Peninsula employ <em>aksak </em>meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of <em>aksak </em>beats and measures in two recorded percussion performances that use a particular <em>aksak </em>beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a performing ensemble and audience. Timing variation linked to melodic groups occurs on a solo recording of a Macedonian Romani folk song. The performer, Muzafer Bizlim, taps an ostinato while singing, and the timing of his taps seems to mark some local and large-scale group boundaries. Melodic organization also seems relevant to the timing of beats and measures on a recording of Bulgarian percussionist Mitko Popov playing the <em>tŭpan</em>, a double-headed bass drum, in a small folk music ensemble. In Popov’s performance, however, timing differences might be related to characteristics of the ensemble dynamic, such as the coordination of multiple musical participants. These interpretations generate possibilities for future study of timing variations in relation to rhythm and meter.</p><p> </p><p>Supplemental files for this article can be downloaded <a href="https://library.osu.edu/documents/ojs/">here.</a> </p>

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Stanić, Inja, and Inja Stanic. "The Influences of Yugoslav Folklore on Two Contemporary Balkan Composers: Vojin Komadina and Ivan Jevtić." Perspectives of New Music 35, no. 2 (1997): 137. http://dx.doi.org/10.2307/833648.

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Hemetek, Ursula, Dick Blau, Charles Keil, Angeliki Vellou Keil, and Steven Feld. "Bright Balkan Morning. Romani Lives & the Power of Music in Greek Macedonia." Lied und populäre Kultur / Song and Popular Culture 47 (2002): 215. http://dx.doi.org/10.2307/3595196.

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Stiga, Kalliopi, and Evangelia Kopsalidou. "Music and traditions of Thrace (Greece): a trans-cultural teaching tool." DEDiCA Revista de Educação e Humanidades (dreh), no. 3 (March 1, 2012): 145–64. http://dx.doi.org/10.30827/dreh.v0i3.7094.

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The geopolitical location as well as the historical itinerary of Greece into time turned the country into a meeting place of the European, the Northern African and the Middle-Eastern cultures. Fables, beliefs and religious ceremonies, linguistic elements, traditional dances and music of different regions of Hellenic space testify this cultural convergence. One of these regions is Thrace. The aim of this paper is firstly, to deal with the music and the dances of Thrace and to highlight through them both the Balkan and the middle-eastern influence. Secondly, through a listing of music lessons that we have realized over the last years, in schools and universities of modern Thrace, we are going to prove if music is or not a useful communication tool – an international language – for pupils and students in Thrace. Finally, we will study the influence of these different “traditions” on pupils and students’ behavior.

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Snyder, Joel S., Erin E. Hannon, Edward W. Large, and Morten H. Christiansen. "Synchronization and Continuation Tapping to Complex Meters." Music Perception 24, no. 2 (December 1, 2006): 135–46. http://dx.doi.org/10.1525/mp.2006.24.2.135.

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The goal of this study was to assess the ability of North American adults to synchronize and continue their tapping to complex meter patterns in the presence and absence of musical cues to meter.We asked participants to tap to drum patterns structured according to two different 7/8 meters common in Balkan music. Each meter contained three nonisochronous drumbeats per measure, forming intervals in a short-short-long (SSL) or a long-short-short (LSS) pattern. In the synchronization phase of each trial, participants were asked to tap in synchrony with a drum pattern that was accompanied by either a matching or a mismatching Balkan folk melody. In the continuation phase of the trial, the drum pattern was turned off and participants continued tapping the drum pattern accompanied by the same melody or by silence. Participants produced ratios of long to short inter-tap intervals during synchronization that were between the target ratio of 3:2 and a simple-meter ratio of 2:1. During continuation, participants maintained a similar ratio as long as the melody was present but when the melody was absent the ratios were stretched even more toward 2:1. Tapping variability and tapping position relative to the target locations during synchronization and ratio production during both synchronization and continuation showed that the temporal grouping of tones in the drum pattern was more influential on tapping performance than the particular meter (i.e., SSL vs. LSS). These findings demonstrate that people raised in North America find it difficult to produce complex metrical patterns, especially in the absence of exogenous cues and even when provided with musical stimuli to aid them in tapping accurately.

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Weber, Édith. "Jim Samson,Music in the Balkans [Balkan Studies Library 8]. Brill, Leiden/Boston 2013, 729 pp. isbn 9789004250376. €157; us$218." Church History and Religious Culture 94, no. 2 (2014): 289–90. http://dx.doi.org/10.1163/18712428-09402015.

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Mikić, Vesna. "Recycled/remediated/reformatted: Goran Bregović's appropriation of the music industry strategies in pop song (post)production." New Sound, no. 50-2 (2017): 258–67. http://dx.doi.org/10.5937/newso1750258m.

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This paper is based on the assumption that Goran Bregović's transition from Yugoslav rock star to contemporary Balkan composer, as he defines himself today, has unfolded via the appropriation of the different strategies the music industry (M I) devised in its own, bumpy and often contested, but undeniably technologically constituted transition and transformation during the last decades of the 20th and at the beginning of 21st centuries. Notable for his usage of existing (mainly traditional) music even in his rock years, Bregović actually developed some peculiar modes of production that almost neatly matched the MI strategies not only of production but of distribution and consumption as well. Hence, I shall address the possibilities of interpreting Bregović's creative/production procedures, here defined as recycling, remediation, and reformatting as appropriated music industry production, distribution and, naturally consumption strategies, show-casing his music for Emir Kusturica's Underground and the pop song(s) emerging from it.

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Wallace, Dickie. "Hyperrealizing “Borat” with the Map of the European “Other”." Slavic Review 67, no. 1 (2008): 35–49. http://dx.doi.org/10.2307/27652765.

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Sacha Baron Cohen maps a cultural background for his “Borat” character by creating a hyperreal Kazakhstan that is based, nonetheless, on gradations of a “real,” yet Orientalized, eastern Europe and Balkan region. Having no cultural connections to its actual Central Asian namesake, “Borat's Kazakhstan” is a Baudrillardian simulacrum because, for a western filmgoer, it essentially replaces the original. Scratching beneath the surface, however, we see that Baron Cohen composes his clown-journalist using exotic, yet familiar, “realities” from the “Other” in Europe's backyard. Using Edward Said's Orientalism (along with Milica Bakić-Hayden's and Maria Todorova's modifications of the idea), Dickie Wallace describes how this discursive bricolage of eastern European and Balkan music, language, folkloristic rituals, and archetypes, as well as continual tabu violations and commonsensical acceptance of violence, gives the character the sharp parodic elements that have had western audiences laughing even while wincing as they recognize themselves in this “Other.“

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Holst-Warhaft, Gail. "Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia (review)." Journal of Modern Greek Studies 22, no. 2 (2004): 210–12. http://dx.doi.org/10.1353/mgs.2004.0011.

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Levy, Mark. "Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia (review)." Notes 61, no. 1 (2004): 142–45. http://dx.doi.org/10.1353/not.2004.0106.

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Novaković, Monika. "Zoran simjanović's Balkan Ekspres mix: The status of a song between the archival and the original film music." Zbornik Akademije umetnosti, no. 7 (2019): 120–32. http://dx.doi.org/10.5937/zbakum1907120n.

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Levy, Kenneth. "On Gregorian Orality." Journal of the American Musicological Society 43, no. 2 (1990): 185–227. http://dx.doi.org/10.2307/831614.

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The study considers various means of approach to the Gregorian melos during its oral transmission, before the conversion to neumes. Among these are intuitive analysis, based on the Carolingian received text; analogy with Balkan oral epic ("Homer and Gregory"); and "multiples" or parallel readings. An approach by way of a rare case of "close multiples" is explored in depth. The Gallo-Gregorian Offertory Elegerunt apostoli survives in parallel readings that are close in their musical substance but may be independent in their neumation. It suggests that during a later oral stage this particular chant, and perhaps a good deal of its cognate "idiomelic" repertory as well, had become melodically stable and memorized, and was no longer freely improvised. There have been common-sense reasons for supposing this, but nothing else takes it so near to proof.

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Perunović-Ražnatović, Ana. "Opera Balkanska Carica - From Creation to Contemporary Performance." English version, no. 10 (October 22, 2018): 332–41. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.332.

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The following article is about the significance of the first Montenegro’s opera Balkanska carica (The Balkan Empress) composed by Dionisie de Sarno San Giorgio, based on the drama of the same name – the piece by Montenegrin prince Nikola I Petrović, its importance for the given time (the end of the 19th century) and the territory (Montenegro), namely for when and where it has been created. Also, it is about the role of music and its connection with dramatic text, the contemporary adaptation of the opera and its performance.

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Linemburg, Jorge. "Resenha do livro Romani routes: cultural politics and Balkan music in diaspora, de Carol Silverman." Per Musi, no. 32 (December 2015): 444–56. http://dx.doi.org/10.1590/permusi2015b3218.

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Lange, Barbara Rose. "Romani Routes: Cultural Politics and Balkan Music in Diaspora by Carol Silverman (review)." Notes 69, no. 4 (2013): 748–50. http://dx.doi.org/10.1353/not.2013.0065.

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MANOS, IOANNIS. "Review: Bright Balkan Morning: Romani Lives and the Power of Music in Greek Macedonia by Charles Keil, Angeliki Vellou Keil." Journal of the American Musicological Society 59, no. 2 (2006): 513–18. http://dx.doi.org/10.1525/jams.2006.59.2.513.

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MacMillen. "Fascination, Musical Tourism, and the Loss of the Balkan Village (Notes on Bulgaria's Koprivshtitsa Festival)." Ethnomusicology 59, no. 2 (2015): 227. http://dx.doi.org/10.5406/ethnomusicology.59.2.0227.

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Ferraguto, Mark. "Haydn as ‘minimalist’: Rethinking exoticism in the trios of the 1760s and 1770s." Studia Musicologica 51, no. 1-2 (March 1, 2010): 61–77. http://dx.doi.org/10.1556/smus.51.2010.1-2.5.

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A number of Haydn’s minuet movements from the 1760s and 1770s contain sparsely scored trio sections in which a single musical idea is repeated continuously, even obsessively. In these trios — of which the most distinctive are in Symphonies Nos. 21, 28, 29, 30, 43, 46, and 58 — Haydn developed and cultivated an aesthetic of the minimal. While they conjure a range of moods, these trios share several features that mark them as a distinct type. These include circular harmonic motion, schematic melodies, and the use of certain characteristic intervals. Although modern critics consistently ascribe ‘Balkan’, ‘Gypsy’, ‘Slavonic’, or ‘Eastern European’ qualities to these trios, the evidence for these claims is scanty. The exotic quality of the trios is best viewed in light of Haydn’s minimization of particular compositional parameters, such as dynamics, scoring, and motivic and textural variance. At the same time, it is precisely the minimal quality of these trios that allows Haydn to explore in dramatic fashion the mechanics of contrast in the da capo form. While Haydn’s minimal style appears most consistently in trios of the 1760s and 1770s, it also informs his later trio writing.

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Smyrnova, Tetyana. "MUSIC AND CHOIR EDUCATION IN UKRAINE XVI–XVIII СЕNTURIES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 28–32. http://dx.doi.org/10.36550/2415-7988-2021-1-195-28-32.

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The article analyzes the development of music and choral education during the Slavic Renaissance and Ukrainian Baroque. The special significance of the ideas of spirituality and the revival of Ukrainian-Slavic values of religious and folk singing is revealed in view of the absence of statehood, the decline of Orthodox musical traditions. The significance of the reformist ideas of «purification of the church» and the culture of the Enlightenment is highlighted. Positive results of the development of music and choral education on the basis of Renaissance-Baroque (Cossack) Ukrainian culture were revealed. The value of Cossack-kobzar music and choral education, regional music and choral schools, the phenomenon of Kyiv-Mohyla Academy is emphasized. The analysis of scientific sources testifies to the intensive development of music and choral education in Ukraine during the sixteenth and eighteenth centuries, which took place in difficult conditions of the liberation struggle of Ukrainians for national culture, spirituality and consciousness. The achievements of the national music and choral education of the Slavic Renaissance include the preservation of ideas and traditions of the post-Byzantine Balkan-Slavic culture of Orthodox singing (monasteries, parish schools); appeal to Roman Catholic music and choral education (Jesuit, Latin, Protestant, Uniate secondary and higher institutions); a bright revival of humanistic and educational slogans, traditions of national music and choral education, which took place taking into account European achievements (Ostroh Academy, fraternal schools). Musical and choral education of the Hetmanate (Ukrainian Baroque), despite the gradual destruction of statehood, was marked by the revival of Ukrainian culture of the Renaissance-Baroque (Cossack) type. Centers of kobzar-Cossack music and choral education and culture, regional singing schools, spiritual and singing Orthodox culture flourished (Kyiv-Mohyla Academy, monastic, hierarchical, secular city centers) flourished. Ukrainian music and choral education was glorified by the geniuses of the Ukrainian people M. Diletsky, D. Rostovsky, D. Bortnyansky, M. Berezovsky, A. Wedel, G. Skovoroda. The prospects for further research include a systematic analysis of trends in music and choral education in Ukraine in the populist period.

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Rasmussen, Ljerka V. "Music in the Balkans. By Jim Samson. Balkan Studies Library, vol. 8. Leiden: Brill, 2013. xiv, 729 pp. Notes. Bibliography. Index. Photographs. Maps. $218.00, hard bound." Slavic Review 73, no. 4 (2014): 934–36. http://dx.doi.org/10.5612/slavicreview.73.4.934.

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Kujumdžieva. "BULGARIAN CHURCH MUSIC IN THE CONTEXT OF THE DEVELOPMENT OF BALKAN MUSIC FROM THE END OF THE SEVENTEENTH TO THE BEGINNING OF THE NINETEENTH CENTURY." Revista de Musicología 16, no. 3 (1993): 1729. http://dx.doi.org/10.2307/20796035.

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Pompe, Gregor. "Sacral Rituality and Mysticism in the Service of the Awakening of National Identity. Baltic-Balkan Parallels in the Works of B. Kutavičius, L. Lebič and V. Tormis." Musicological Annual 50, no. 2 (April 3, 2015): 111–25. http://dx.doi.org/10.4312/mz.50.2.111-125.

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In the works of all B. Kutavičius, L. Lebič and V. Tormis, one can find a pronounced inclination towards the ritual, the use of folk instruments, the idea of the circulation of life, and some sort of simulation of folk music of unidentifiable prehistoric times. These parallels raise the questions about the causes for such similarities which are connected to the socio-political situations of countries in which the composers lived and created. Therefore, it is not possible to disconnect the stylistic changes of the seventies and eighties from the desire for political and ideological liberation. All three composers responded to those trends with similar artistic solutions: they searched for mystical and sacral music of prehistoric tribes which functioned as trigger for the awakening of strong national feelings.

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Badovinac, Zdenka. "Future from the Balkans." October 159 (January 2017): 103–18. http://dx.doi.org/10.1162/octo_a_00284.

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Drawing on the practices of several Eastern European artists, this essay explores ways in which the European refugee crisis has the potential to transform ideas of community. The author highlights artists whose direct commentary on the crisis confronts a loss of the type of collectivity that socialism used to maintain. Given the fact that the Balkan refugee route has, until recently, run mainly through former Yugoslav countries, it seems critical to reconsider notions of collectivity in light of the effect of the war in the region in the 1990s. On the one hand, collectivity in the socialist era served as an official ideology that meant, among other things, that responsibility was held by everyone and no one; on the other hand, there was a genuine spirit of collectivism among the people. In Yugoslavia, founded as it was on communist notions and on the ideology of brotherhood and unity, the collective habitus has become strongly rooted among artists. Indeed, it is still operative in the current environment of razor-wire fences, and as one result, artists in the region have paid relatively little attention to how contemporary crises affect the individual and have focused instead on how those crises challenge us to reexamine the concept of community.

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Merenik, Lidija. "Epics, popular culture and politics in a modern work of art." Issues in Ethnology and Anthropology 9, no. 1 (February 25, 2016): 159. http://dx.doi.org/10.21301/eap.v9i1.9.

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“Death in Dallas” is a video-installation by Zoran Naskovski comprised of a) visual documentary material connected to the assassination of John Fitzgerald Kennedy, the president of the USA and materials about his public and private life; b) a soundtrack comprised of a poem accompanied by gusle by Jozo Karamatić with decasyllabic lyrics “Death in Dallas” by Božo Lasić. The unexpected and strange combo birthed a work of art which contains different layers of meaning and one of the most complete postmodern works of art in Serbian modern art. Naskovski had combined the seemingly incompatible codes of popular culture into a specific artistic method of its own genre – “Balkan noise”. Using the method of “noise” music, in which every noise, soundscape or voice has equal meaning and value; he included epics, tradition, politics, popular and folk culture. Finally, by doing so he had completely shifted the paradigm from modern to postmodern, from the substance of myth to a demystification of this type of representation.

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