Popular music in ex-Yugoslavia between global participation and provincial seclusion

Research output: Contributions to collected editions/worksChapterpeer-review

Standard

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. ed. / Andeas Gebesmair; Alfred Smudits. London: Taylor and Francis Inc., 2002. p. 73-88.

Research output: Contributions to collected editions/worksChapterpeer-review

Harvard

Barber-Kersovan, A 2002, Popular music in ex-Yugoslavia between global participation and provincial seclusion. in A Gebesmair & A Smudits (eds), Global Repertoires: Popular Music Within and Beyond the Transnational Music Industry. Taylor and Francis Inc., London, pp. 73-88. <https://www.taylorfrancis.com/chapters/edit/10.4324/9781315093543-7>

APA

Barber-Kersovan, A. (2002). Popular music in ex-Yugoslavia between global participation and provincial seclusion. In A. Gebesmair, & A. Smudits (Eds.), Global Repertoires: Popular Music Within and Beyond the Transnational Music Industry (pp. 73-88). Taylor and Francis Inc.. https://www.taylorfrancis.com/chapters/edit/10.4324/9781315093543-7

Vancouver

Barber-Kersovan A. Popular music in ex-Yugoslavia between global participation and provincial seclusion. In Gebesmair A, Smudits A, editors, Global Repertoires: Popular Music Within and Beyond the Transnational Music Industry. London: Taylor and Francis Inc. 2002. p. 73-88

Bibtex

@inbook{178ebe0361fb4e29a7188997b7f9a383,
title = "Popular music in ex-Yugoslavia between global participation and provincial seclusion",
abstract = "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.",
keywords = "Music education",
author = "Alenka Barber-Kersovan",
year = "2002",
month = jan,
day = "28",
language = "English",
isbn = "9780754605263",
pages = "73--88",
editor = "Andeas Gebesmair and Alfred Smudits",
booktitle = "Global Repertoires",
publisher = "Taylor and Francis Inc.",
address = "United States",

}

RIS

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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

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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 -