Pregled bibliografske jedinice broj: 1158573
The Role of Early Domestic Record Industry in Creating the Croatian Popular Music Canons
The Role of Early Domestic Record Industry in Creating the Croatian Popular Music Canons // "Heroes, Canons, Cults. Critical Inquiries". isaScience Conference 2021.
Reichenau an der Rax, Austrija, 2021. (predavanje, recenziran, neobjavljeni rad, ostalo)
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Naslov
The Role of Early Domestic Record Industry in Creating the Croatian Popular Music Canons
Autori
Vukobratović, Jelka
Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, ostalo
Skup
"Heroes, Canons, Cults. Critical Inquiries". isaScience Conference 2021.
Mjesto i datum
Reichenau an der Rax, Austrija, 11.08.2021. - 15.08.2021
Vrsta sudjelovanja
Predavanje
Vrsta recenzije
Recenziran
Ključne riječi
Early recordings, music industry, Yugoslavia, Croatian popular music
Sažetak
Taking into consideration that “the history of popular music is intimately connected with the technologies of mass distribution” (Middleton 2001), the formation of the national record industry could be understood as a mark of the beginning of national popular music in a narrower sense of the word. The first domestic record factories in both the Kingdom of Yugoslavia in the 1920s and in the socialist Yugoslavia after 1945 were located in Zagreb, Croatia. As these Zagreb record factories aimed at representing not only Croatian production, but the whole Yugoslavia, music from Serbia, Slovenia, Bosnia, Montenegro and Macedonia was also present. The parallel presence of various music traditions of the six nations certainly enhanced the emergence of commonly shared Yugoslavian popular music. However, part of the pool of popular music in Yugoslavia continued to exhibit differences. Although the existence of any recognizable stylistic characteristics of Croatian popular music has been a matter of debate, there have been identifiable differences in comparison with the rest of Yugoslavia, in particular with Serbian popular music, which served as the building blocks for the formation of Croatian popular music. I argue that the (later often apostrophized) opposition between the Croatian and Serbian popular music had its roots already in the beginnings of Yugoslavian music industry and intensified towards the end of the 20th century. This paper will offer some of the results of the research project dedicated to early record industry in Croatia (1927-1960) illuminating the processes of the creation of Croatian popular music canons.
Izvorni jezik
Engleski
Znanstvena područja
Znanost o umjetnosti
POVEZANOST RADA
Projekti:
HRZZ-IP-2019-04-4175 - Diskografska industrija u Hrvatskoj od 1927. do kraja 1950-ih (DISKOGRAF) (Ceribašić, Naila, HRZZ - 2019-04) ( CroRIS)
Ustanove:
Muzička akademija, Zagreb
Profili:
Jelka Vukobratović
(autor)