Making a Case for Balkan Music Studies
2. Definition (of Sorts)
- Any kind of music created in the Balkans (with the notion of “the Balkans” understood both as a physical/geographical and symbolic/cultural space);
- Music created anywhere in the world by musicians who originate from the Balkans;
- Music created anywhere in the world using the recognizable features of the music of the Balkan countries as its model, influence, or source of inspiration;
- A cultural construct, which implies that there exists a common Balkan cultural space;
- A marketing label—usually as a subgenre of world music.
- Art music created in the Balkans, with or without folklore influence. This category could absorb everything—from the nineteenth century salon music and patriotic choral songs, to the present day post-avantgarde;
- Religious/sacred music from the Balkans, encompassing all major religions that have been present in this region throughout the centuries—mainly Orthodox Christianity and Islam, as well as Judaism and Catholicism, not to mention paganism and other indigenous practices;
- Folk music from the Balkans—this term has a very wide usage and it is the most frequent association when speaking about the Balkans, encompassing such diverse practices as rural folk music, urban folk music, various modern arrangements of rural folk music, new/authored songs utilizing folk music intonations, the so-called newly-composed folk music from the second half of the twentieth century, contemporary folk-pop hybrids, etc.;
- The so-called ethno music (an eclectic genre with folk and pop origins), popular in many Balkan countries since the 1990s;
- Music of the Roma people as a specific (meta)genre of folk music throughout the Balkans;
- Pop and rock music from the Balkans utilizing folk elements of various provenances, again in a variety of subgenres, from the Yugoslav pastirski rok [shepherds’ rock] of the 1970s to the present day trepfolk—a bastard child of turbo-folk and rap/hip-hop;
- Russophilia among the fellow members of the Orthodox mullet (especially Serbs and Bulgarians) (pp. 63–4);
- the genre of “Ottoman cafe music”, centered on the institution known as the kafe aman (music cafe) and performed all over the eastern Balkans and Anatolia in the late nineteenth and early twentieth century (p. 71);
- the importance of Roma musicians as agents of transculturation and their ability to adopt and then to personalize the idioms and genres associated with the majority nationality in a region (p. 88–9);
- the notion of Thracian regional identity in some parts of Bulgaria and Turkey (p. 92);
- a family of styles of oriental urban song in all Balkan countries (p. 102);
- the ancient genre of epic song accompanied by a gusle in which the famous deeds of heroes are recounted (p. 104);
Topics and Approaches
3. Balkan Music Studies—Mapping the Field
Conflicts of Interest
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As of Volume 28, the series is published by Verlag Ferdinand Schöningh.
“Balkan Studies Library”, Brill, https://brill.com/view/serial/BSL.
This designation is without prejudice to positions on status and is in line with UNSCR 1244 and the ICJ opinion on the Kosovo declaration of independence.
Kosovo is a partially-recognized state and disputed territory in Southeast Europe. The Assembly of Kosovo unilaterally declared independence from Serbia on 17 February 2008. Serbia continues to deny any statehood to Kosovo. As of September 2020, status-neutral talks between Serbia and Kosovo-Albanian authorities are held in Brussels, mediated by the EU.
In accordance with the Dayton Agreement signed in 1995 after the Bosnian War, the central government’s power is limited, as the country is largely decentralized and comprises two autonomous entities: the Federation of Bosnia and Herzegovina (consisting of 10 cantons) and Republika Srpska (with a third, much smaller unit, the Brčko District, governed under local government).
After its declaration of independence in 1991, the country became a member of the United Nations in April 1993, but as a result of a dispute with Greece over the name “Macedonia”, it was admitted under the provisional description “the former Yugoslav Republic of Macedonia” (FYROM). In June 2018, Macedonia and Greece resolved the dispute with an agreement that the country should rename itself “Republic of North Macedonia”. This renaming came into effect in February 2019.
“Music in the Balkans”, https://brill.com/view/title/23889?rskey=ytlm1L&result=1.
Marija Dumnić [Vilotijević] uses the term autobalkanism to denote this phenomenon of self-identifying with the Balkan ‘brand’ and related stereotypes (Cf. Dumnić 2012).
|Albania||Tirana||Albanian Institute for International Studies||Politics, international relations|
|Austria||Graz||Centre for Southeast European Studies, University of Graz||MA and PhD in Southeastern Europe studies, law and politics|
|Bosnia and Herzegovina||Sarajevo||Center for Balcanological Investigations, Academy of Sciences and Arts of Bosnia and Herzegovina||Archaeology, ethnology, history, linguistics, anthropology|
|Bulgaria||Sofia||The Institute of Balkan Studies, Bulgarian Academy of Sciences, with Centre for Thracology “Prof. Alexander Fol”||PhD in history and archaeology, philology, sociology, anthropology, and cultural Studies|
|Czech Republic||Brno||South Slavonic and Balkan Studies, Masaryk University||BA in languages (Bulgarian, Croatian, Slovenian, Serbian, North Macedonian); literature, ethnology, history, political science, journalism, geography|
|Czech Republic||Prague||Department of South Slavonic and Balkan Studies, Faculty of Arts, Charles University in Prague||Languages (Albanian, Bulgarian, Croatian, Romanian, Serbian and Slovenian), literature, history|
|Denmark||Aarhus||School of Culture and Society—Russian and Balkan Studies, Aarhus University||History, society, culture, languages|
|Denmark||Copenhagen||Department of Cross-Cultural and Regional Studies, Eastern European Studies (formerly Balkan, Polish and Russian Studies)||Identity politics, memory politics and uses of history, cultural history, languages|
|Finland||Helsinki||The Aleksanteri Institute East Central European, Balkan and Baltic Studies (ECEBB)||Politics, history, area and cultural studies|
|France||Paris||Center for Turkish, Ottoman, Balkan and Central Asian Studies (CETOBAC), The School for Advanced Studies in the Social Sciences (EHESS)||History, sociology, anthropology, linguistics, geography, politics|
|Greece||Athens||Arcadia Center for Hellenic, Mediterranean and Balkan Studies and Research, Vocational Schools Pagrati||Anthropology, politics, archaeology, languages, philosophy, ethnology|
|Greece||Athens||National and Kapodistrian University of Athens—MA in Southeast European Studies||Politics, history, economics|
|Greece||Athens||The Research Institute for European and American Studies (RIEAS)—Balkan and Mediterranean Studies||Politics and related disciplines|
|Greece||Thessaloniki||University of Macedonia, Department of Balkan, Slavic and Oriental Studies||BA in economy and law; policies and social sciences, including culture; Balkan, Slavic, and Eastern languages|
|Greece||Thessaloniki||Institute for Balkan Studies (IMXA)||History, archaeology, culture, international relations, economics; Balkan languages, Russian, Polish, Greek|
|North Macedonia||Skopje||International Balkan University Faculty of Humanities and Social Sciences||Psychology, political sciences, and religious studies|
|North Macedonia||Skopje||The Institute for Social Sciences and Humanities “Euro-Balkan”||Gender studies, cultural studies, social studies, Byzantine studies|
|Poland||Poznan||Central European and Balkan Studies, Faculty of Polish and Classical Philology, Adam Mickiewicz University Poznan||Languages, literature, culture|
|Serbia||Belgrade||Institute for Balkan Studies, Serbian Academy of Sciences and Arts||Archaeology, history, art, anthropology, literature, ethnography, culture, law|
|Serbia||Belgrade||Western Balkans Institute (WEBIN)||Socioeconomic policies and practice|
|Slovenia||Ljubljana||International Institute for Middle East and Balkan Studies (IFIMES)||Politics, economy, international relations|
|South Korea||Hankuk||East European and Balkan Institute, Hankuk University of Foreign Studies||Politics, economy, social issues, culture, languages|
|Turkey||Ankara, Istanbul||Balkan Communication Network, TASAM World, Academy and Innovation Group||History, politics|
|Turkey||Edirne||Balkan Research Institute, Republic of Turkey Trakya University||History, politics, international relations, languages, literature, music cultures|
|Ukraine||Kharkiv||M. Drynov Center for Bulgarian and Balkan Studies, V. N. Karazin Kharkiv National University||History, culture, Bulgarian and Greek languages|
|England, UK||London||Centre for the Study of the Balkans, Goldsmiths, University of London||History, politics, anthropology, sociology, theatre and performance, media, cultural studies|
|Scotland, UK||Glasgow||South European Studies (Erasmus Mundus Int Master) (EUROSUD/EMJMD)||Politics, international affairs, geography, history, classics, law, languages, economics, sociology, anthropology, psychology, cultural, and media studies|
|USA||New York City, New York||Harriman Institute, Russian, Eurasian and East European Studies/The East Central European Center, Columbia University||History, politics, culture|
|USA||Urbana-Champaign, Illinois||Balkan Studies Graduate Minor, REEEC (Russian, East European, and Eurasian Center), University of Illinois at Urbana-Champaign||Language and area studies|
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Medić, I. Making a Case for Balkan Music Studies. Arts 2020, 9, 99. https://doi.org/10.3390/arts9040099
Medić I. Making a Case for Balkan Music Studies. Arts. 2020; 9(4):99. https://doi.org/10.3390/arts9040099Chicago/Turabian Style
Medić, Ivana. 2020. "Making a Case for Balkan Music Studies" Arts 9, no. 4: 99. https://doi.org/10.3390/arts9040099