The Vision of the Balkans in Musical Culture: Between Viennese Operetta and Eurovision
This article addresses the representation and conceptualization of the Balkans in musical culture since the nineteenth century. It argues that typical strategies of (self-)exoticizing and the approximation of dominant musical tendencies promoted Balkan musical uniqueness by underlining its naturalne...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2019
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| In: |
Journal of religion & society. Supplement
Year: 2019, Volume: 19, Pages: 124-135 |
| Online Access: |
Volltext (kostenfrei) |
| Summary: | This article addresses the representation and conceptualization of the Balkans in musical culture since the nineteenth century. It argues that typical strategies of (self-)exoticizing and the approximation of dominant musical tendencies promoted Balkan musical uniqueness by underlining its naturalness and authenticity and are part of the legacy of nineteenth-century ideological and musicological theories. A few carefully selected examples, namely, Viennese operettas, popular films by Emir Kusturica, and Balkan performances in the Eurovision Song Contest (specifically the 2007 winner Marija Šerović’s “Molitva” [“Prayer”] which transcended religious and ethnic boundaries in its appeal), will demonstrate the primary types of narratives used to depict Balkan music to the outside world. |
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| ISSN: | 1941-8450 |
| Contains: | Enthalten in: Journal of religion & society. Supplement
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