Center for Popular Music Research and Popular Music Studies in Serbia: Institutionalization on the Musicological Margins
Keywords:
Musicology, Research, Popular Music, Organization, TheoryAbstract
The subject of this article is the Center for Popular Music Research in Belgrade, Serbia, founded in 2013. More precisely, this paper deals with the context of the foundation of the Center on the “margins” of musicology, its initial ideas, struggles, realized projects, and some plans for the future. Likewise, it recognizes the pioneering role of the Center’s founder, Vesna Mikić (1967–2019), in establishing a platform for popular music studies in Serbian musicology.References
Bibliography
Baker, C. 2008. When Seve met Bregović: Folklore, turbofolk and the boundaries of Croatian musical identity. Nationalities Papers 36 (4): 741–764. https://doi.org/10.1080/00905990802230514
Dowd, T., Liddle K. and Nelson J. 2004. Music Festivals as Scenes: Examples from Serious Music, Womyn’s Music, and SkatePunk. In A. Bennet and R. A. Peterson Eds. Music scenes: Local, Translocal and Virtual. Nashville: Vanderbilt University Press: 149–167.
Dumnić Vilotijević, M. 2019. Urban folk music and cultural influences: Labels for narodna muzika (folk music) in Serbia in the twentieth century. In M. Dumnić Vilotijević and I. Medić Eds. Contemporary Popular Music Studies. Proceedings of the International Association for the Study of Popular Music 2017. Wiesbaden: Springer VS: 39-50.
Hemming, J. 2019. Popular music studies in Kassel and the Germanies. In M. Dumnić Vilotijević and I. Medić Eds. Contemporary Popular Music Studies. Proceedings of the International Association for the Study of Popular Music 2017. Wiesbaden: Springer VS: 27–38.
Kassabian, A. 2013. You Say Invisible, I Say Ubiquitous: A (Formally Former) Student’s Response to Philip Tagg’s ‘Caught on the Back Foot: Epistemic Inertia and Visible Music’. IASPM Journal 3 (2): 86-95.
Kulenović, N. and Banić Grubić A. 2019. ‘Turbo-folk Rocks!’: New Readings of Turbo-folk. Issues in Ethnology and Anthropology, 14(1): 47–78. https://doi.org/10.21301/eap.v14i1.2
Leković, B. 2019. Steps and Traces of Vesna Mikić (1967–2019), INSAM Journal of Contemporary Music, Art and Theory, 2 (3): 10 – 13.
Medić, I. 2019. Rock music videos in Serbia since the 1990s: The curious case of Jarboli. In M. Dumnić Vilotijević and I. Medić Eds. Contemporary Popular Music Studies. Proceedings of the International Association for the Study of Popular Music 2017. Wiesbaden: Springer VS: 215-224.
Mikić, V. –
Muzika u tehnokulturi. Beograd: Univerzitet umetnosti u Beogradu.
a. Први и последњи – Здравко Чолић – „гуру“ поп баладе. Интернационални часопис за музику Нови Звук, 30, II: 105-113.
b. Eurovision Song Contest – Serbian Victory. Nutida Musik 3: 32-38.
a. Тhe Way We (Just Me, Myself and I) Were: Recycling (National) Identities in Recent Popular Music. In T. Marković and V. Mikić Eds. Musical Culture & Memory. Belgrade: Department of Musicology, Faculty of Music, University of Arts in Belgrade: 173-182.
b. Folklore as a Vehicle for (Re)Construction of ‘Unified Space’ or How to Turn a Fawn into a Wolf and Then into a Dove and not to end up with some kind of Mythological Creature? In M. Veselinović-Hofman Ed. Musical Folklore as a Vehicle?. Belgrade: Serbian Musicological Society, Department of Musicology and Department of Ethnomusicology, Faculty of Music in Belgrade: 69-77.
Институционализација жанра популарне музике у оквиру СОКОЈ-а. In V. Mikić and T. Popović-Mlađenović Eds. Тематски потенцијали лексикографских јединица о музичким институцијама. Београд: Катедра за музикологију ФМУ: 115-123.
Ex-Yu nostalgia, nExt-Yu Realities? Some popular music strategies in former Yugoslavia spaces. In V. Mikić et al. Eds. Between Nostalgia, Utopia, and Realities, Musicological Studies: Collection of Papers. Belgrade: Department of Musicology, Faculty of Music, University of Arts: 394-600.
Neither/Nor: Articulating Constant/Continuous Transition in Serbian Popular Music. In M. Veselinović-Hofman et al. Eds. Music: Transitions/Continuities. Belgrade: Department of Musicology, Faculty of Music, University of Arts in Belgrade: 269-276.
Zabavna muzika. In D. Horn, J. Shepherd and P. Prato Eds. Bloomsbury Encyclopedia of Popular Music of the World, Volume XI: Genres: Europe. London: Bloomsbury Academic: 828–832.
Nenić, I. 2009. Roze kiborzi i /de/centrirane ideološke mašine: Preobražaji muzičke culture (turbo)folka. Genero: Časopis za feminističku teoriju I studije culture 13: 63-80.
Radovanović, B. 2018. Festival srpskog podzemlja: "muzička scena u malom“. Etnoantropolo ki problemi 13 (2): 439–453. https://doi.org/10.21301/eap.v13i2.8
Tagg, P. 2011. 2011. Caught on the Back Foot: Epistemic Inertia and Visible Music. IASPMJournal 2 (1-2): 3–18.
http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.2en
Wicke, P. 1997. Research Center for Popular Music (Forschungszentrum Populäre Musik), Humboldt University, Berlin. The World of Music 39 (2): 153-155.
Web Sources
Center for Popular Music Research. CEPOM. 2013. http://www.cepom.org/ Accessed: 15 March 2020.
Popular Music of the Balkans Conference. 2019. http://www.popmusicbalkan.com/en/index.html Accessed: 20 January 2020.
Radovanović, Bojana i Marija Maglov. 2018. Muzičke scene u Srbiji – domaći izvođači na festivalima“. Centar za istraživanje popularne muzike, dostupno na: http:// www.cepom.org/doma263i-izvodja269i-na-festivalima.html
Downloads
Published
Issue
Section
License
Authors retain copyright, while licensing their work under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
