Naslov
Political and economic record filters: the example of the three Zagreb-based record companies from the 1920s to the 1950s

Autori
Ceribašić, Naila

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni

Izvornik
55th Annual ARSC Conference / Brinegar, Terri - Online : Association for Recorded Sound Collections, 2021, 19-19

Skup
55th Annual Association for Recorded Sound Collections Conference (ARSC)

Mjesto i datum
Online, 12.05.2021. - 15.05.2021

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
record industry ; politics ; economy ; record filters ; from 1920s to 1950s ; Zagreb ; Croatia

Sažetak
It is internationally very poorly known that in Zagreb, starting from 1926–1927, a local record company had existed, Edison Bell Penkala, followed from 1938 by Elektroton, and from 1947 by Jugoton. At that time they were the only record companies in former Yugoslavia, with the production of several thousand electrically recorded shellac records up to the end of the 1950s. Within a research project concentrated on these three companies, the concept of record “filters” occupies a special place. It refers to technological, poetical, political and economic filters that enabled and/or restricted choice of musical repertoire and interpreters for record releases, production possibilities and aspirations, musicians’ working conditions and ways of market placement, affecting and reflecting thus also the overall dynamics, hierarchy and tendencies in musical life and society at large. This paper will consider a slice of political and economic filters, proceeding from the capitalist Kingdom of Yugoslavia, to a WW II-era puppet Nazi state, the Independent State of Croatia, to the socialist Yugoslavia. Based on the analysis of copyright legislative and the operational directives of the committees on radio and related media of the three states, I shall examine the following questions: What repertoires, musical fields, genres and types of ensembles were promoted in each of the three periods? What sorts of musicians were engaged? Did some sustain in the record business regardless of regime change? Which were the target groups of consumers, and which markets were these three companies oriented to?

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti, Etnologija i antropologija

POVEZANOST RADA