Hostname: page-component-745bb68f8f-5r2nc Total loading time: 0 Render date: 2025-01-29T02:40:47.622Z Has data issue: false hasContentIssue false
  • English
  • Français

From source to commodity: newly-composed folk music of Yugoslavia1

Published online by Cambridge University Press:  11 November 2008

Ljerka Vidić Rasmussen
Get access Rights & Permissions [Opens in a new window]

Extract

There is a shared view among insiders that the release of the recording ‘Od izvora dva putića’ ([There are] ‘Two paths leading from the water spring’) by Serbian female singer Lepa Lukić in 1964, marked the beginning of the ‘market history’ of Yugoslav novokomponovana narodna muzika (newly-composed folk music; henceforth NCFM). The song's lyrics depict a young woman in a rustic village whose love is thwarted when her lover moves to the city. The music evokes a motif typical of the Central-Serbian region of Šumadija: a tuneful melody, steady 2/4 rhythm, and a caressing quality in the narration. The title of the song is highly symbolic of the divergence of Yugoslav folk music into a continuing narodna muzika (folk; literally, ‘people's’ music) and an emerging pop stream.

Type
Articles
Information
Popular Music , Volume 14 , Issue 2 , May 1995 , pp. 241 - 256
Copyright
Copyright © Cambridge University Press 1995

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Anastasijević, B. 1988. ‘O zloupotrebi narodne muzike’ (On the Misuse of Folk Music), Kultura, 80:81, pp. 147–56Google Scholar
Bourdieu, P. 1984. Distinction: A Social Critique of the Judgement of Taste (Cambridge, Massachusetts)Google Scholar
Čolović, I. 1984. Divlja književnost (Wild Literature) (Beograd)Google Scholar
Doliner, G. 1978. ‘Folklor i novokomponovana narodna muzika’ (Folklore and Newly-Composed Folk Music), Zvuk, 1, pp. 20–5.Google Scholar
Dragičevič-Šešić, M. 1992. ‘Novokompovana ratna kultura’ (The Newly-Composed War Culture), Vreme, 3 02Google Scholar
Fornäs, J. 1990. ‘Moving rock: youth and pop in late modernity’, Popular Music, 9/3, pp. 291–306CrossRefGoogle Scholar
Frith, S. 1989. ‘Towards an aesthetic of popular music’, in Music and Society (The Politics of Composition, Performance, and Reception), ed. Leppert, R. and McClary, S. (Cambridge), pp. 133–49Google Scholar
Jelovac, M. 1990. ‘Kunem se Zagrebe tebi!’ (I Swear to You, Zagreb!), Start, 3 02Google Scholar
Kos, K. 1972. ‘New dimensions in folk music: a contribution to the study of musical tastes in contemporary Yugoslav society’, International Review of the Aesthetics and Sociology of Music, 3:1, pp. 61–73CrossRefGoogle Scholar
Lukić, S., Dević, D., Đohorvić, V., Gosthški, D., Plavšić, P. 1970. ‘Argumenti: nova narodna muzika’ (Arguments: New Folk Music), Kultura, 8, pp. 90–130Google Scholar
Luković, P. 1989. Bolja Prošlost: Prizori iz muzičkog života Jugoslavije 1940–1989 (A Better Past: Images from the Musical Life of Yugoslavia 1940–1989) (Beograd)Google Scholar
Okey, R. 1986. Eastern Europe 1740–1985 (Minneapolis)Google Scholar
Petrović, R. 1974. ‘Folk music of Eastern Yugoslavia: a process of acculturation’, International Review of the Aesthetics and Sociology of Music, 5:2, pp. 217–24CrossRefGoogle Scholar
Povrzanović, M. 1982. ‘Društvene vrijednosti izražene u tekstovima “novokomponiranih narodnih pjesama” ’ (Social Values as Expressed in the Lyrics of ‘Newly-Composed Folk Music’), Seminar paper, University of ZagrebGoogle Scholar
Prica, I. 1988. ‘Mitsko poimanje naroda u kritici novokomponovane narodne muzike’ (Mythical Perception of the Folk in the Critique of Newly-Composed Folk Music), Kultura, 80:81, pp. 80–93Google Scholar
Samardžić, S. 1989. ‘Agresivni slušalac i Radio program’ (The Aggressive Listener and the Radio Programme), TypescriptGoogle Scholar
Senjković, R. 1993. ‘In the beginning there were a coat of arms, a flag and a “pleter” (…)’, in Fear, Death, and Resistance (An Ethnography of War: Croatia 1991–1992), ed. Feldman, L. C., Prica, I., Senjković, R. (Zagreb), pp. 24–43Google Scholar
Slobin, M. 1992. ‘Micromusics of the West: a comparative approach’, Ethnomusicology, 36:1, pp. 1–87CrossRefGoogle Scholar