Newly Composed Folk Music of Yugoslavia

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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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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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