Popular music in ex-Yugoslavia between global participation and provincial seclusion
Publikation: Beiträge in Sammelwerken › Kapitel › begutachtet
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Popular music in ex-Yugoslavia between global participation and provincial seclusion. / Barber-Kersovan, Alenka.
Global Repertoires: Popular Music Within and Beyond the Transnational Music Industry. Hrsg. / Andeas Gebesmair; Alfred Smudits. London : Taylor and Francis Inc., 2002. S. 73-88.Publikation: Beiträge in Sammelwerken › Kapitel › begutachtet
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TY - CHAP
T1 - Popular music in ex-Yugoslavia between global participation and provincial seclusion
AU - Barber-Kersovan, Alenka
PY - 2002/1/28
Y1 - 2002/1/28
N2 - Bijelo dugme, one of the most commercially successful as well as artistically refined groups of the late seventies, was known as the founder of a musical style called 'Yugo-Rock' with numerous references to Balkan 'melos'. Bijelo dugme was also known as a pro-Yugoslav group which correctly diagnosed the political situation during the mid eighties and put their opinions into numerous songs. Multinational groups fell apart and the federal music events lost their importance. The multicultural soundscape broke down into a number of monocultural soundscapes with stronger or weaker references to the global musical trends. Musicians had to adjust to the new situation. Some of them changed their profession, some chose exile, so that especially in London there is a strong community of musical emigrants from all parts of ex-Yugoslavia. The Yugoslav music industry was never centralized as in other socialistic countries.
AB - Bijelo dugme, one of the most commercially successful as well as artistically refined groups of the late seventies, was known as the founder of a musical style called 'Yugo-Rock' with numerous references to Balkan 'melos'. Bijelo dugme was also known as a pro-Yugoslav group which correctly diagnosed the political situation during the mid eighties and put their opinions into numerous songs. Multinational groups fell apart and the federal music events lost their importance. The multicultural soundscape broke down into a number of monocultural soundscapes with stronger or weaker references to the global musical trends. Musicians had to adjust to the new situation. Some of them changed their profession, some chose exile, so that especially in London there is a strong community of musical emigrants from all parts of ex-Yugoslavia. The Yugoslav music industry was never centralized as in other socialistic countries.
KW - Music education
UR - http://www.scopus.com/inward/record.url?scp=79953611442&partnerID=8YFLogxK
M3 - Chapter
AN - SCOPUS:79953611442
SN - 9780754605263
SN - 9781138275201
SP - 73
EP - 88
BT - Global Repertoires
A2 - Gebesmair, Andeas
A2 - Smudits, Alfred
PB - Taylor and Francis Inc.
CY - London
ER -