Music of Yugoslavia

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The article Music of Yugoslavia deals with the topic of music in Yugoslavia in the period from 1918 to 1992 and is arranged according to musical styles. For the period after 1992 and regional folk music see the articles on the successor states of Yugoslavia (so far only the article on Serbia contains a section on music) and especially the article on the music of Croatia .

Classical music

The most important classical composers of Yugoslavia include Antun Dobronić (1878–1955), Petar Konjović (1883–1970), Stevan Hristić (1885–1958), Jakov Gotovac (1895–1982), Josip Štolcer-Slavenski (1896–1955), Mihovil Logar (1902–1998), Dragutin Čolić (1907–1987), Milan Ristić (1908–1982), Ljubica Marić (1909–2003), Vojislav Vučković (1910–1942) and Stanojlo Rajičić (1910–2000). Lorenc Antoni (1909–1991) is considered the most important Albanian-speaking composer of Yugoslavia . Many of these composers process influences from folk music in their works.

Electronic music

The Elektronski studio Radio Beograda (Electronic Studio of Radio Belgrade ), which has existed since 1972, under the direction of Vladan Radovanović (* 1932) promoted the development of avant-garde electronic music. Other composers who have dealt with electronic music are Aleksandar Obradović (1927–2001), Srđan Hofman (* 1944) and Zoran Erić (* 1950).

Ivo Malec (1925–2019) is a representative of musique concrète .

Folk music / folk music

Musician

Slavko Avsenik (1929–2015) was probably the most commercially successful Yugoslav musician. His Oberkrainer music is particularly popular in German-speaking countries and Slovenia , but little known in southern Yugoslavia.

Esma Redžepova (1943–2016) was one of the most popular representatives of folk music in southern Yugoslavia, which has clear Turkish influences (including 7-note rhythms).

Janika Balázs (1925–1988) was a famous tamburica player.

Festivals

Pleh muzika ("brass music", also known as Balkan Brass ) is particularly popular in southern Serbia and Macedonia (as well as in parts of Romania and Bulgaria ) . The trumpet festival, held annually in the small Serbian village of Guča since the 1960s, attracts tens of thousands of fans. In the 1960s and 1970s, the annual “Smotra Folklora” took place in Zagreb , where authentic folk music from all parts of Yugoslavia was mostly performed by musical amateurs.

Popular music (hits, rock etc.)

The German word " Schlager " has been adopted as a foreign word in Serbo-Croatian (šlager, in Cyrillic script шлагер).

1918-1945

Vlaho Paljetak (1893–1944) was a famous singer of the 1930s who also composed and wrote the lyrics himself.

1945–1968

Ivo Robić (1926-2000) was one of the most famous Yugoslavian pop singers. A classic is “Tata, kupi mi auto” (Dad, buy me a car), which he sang in a duet with Zdenka Vučković (* 1942) around 1958 . In the 1960s he sang pieces by the German composers Bert Kaempfert and Peter Moesser in various languages. B. “Red is the wine”, “Thank you” and “Tomorrow” (Yugoslav version: “Sutra”). The Yugoslav composer Nikica Kalogjera (1930-2006) wrote numerous hits for Ivo Robić, Ivica Šerfezi (see below) and many others.

Cover versions of western music

Karlo Metikoš (1940-1991), who appeared under the name Matt Collins, sang a cover version of Buddy Holly's "Peggy Sue" in 1964 .

Đorđe Marjanović (* 1931) sang Serbo-Croatian versions of "Natalie" (Natali) by Gilbert Bécaud and "Milord" by Édith Piaf , "Let's twist again" (Igramo tvist) by Chubby Checker and "Ya Ya" by Lee Dorsey (these Recording can be heard in the film " Underground "), as well as numerous hits written by Yugoslav authors. Zlatko Golubović (* 1940) sang cover versions of various French-language chansons, which are hardly known in Germany and originate from Salvatore Adamo , among others .

By Nini Rosso's trumpet instrumental " Il Silenzio " (Silence) was a version written in Serbo-Croatian text (Tišina) and Lola Novaković sung (* 1935).

Miki Jevremović (* 1941) covered, among other things, “House of the rising sun” (Kuća izlazećeg sunca), “California dreaming” (Zbog Kaliforniju) by Mamas and Papas , and “Mama” (originally an Italian hit song, sung in German by Heintje ).

Bijele Strijele (White Arrows) sang some early Beatles pieces with Serbo-Croatian lyrics; They also wrote an unusual version of " Sealed with a Kiss " (Rastanak) with a church organ intro.

Tomislav Ivčić also recorded many French and Italian titles. (Tu t'en vas, Monia, L'été Indian, Unica Donna Per Me), but also translated some into Serbo-Croatian, such as Manuela, which originally came from Julio Iglesias . Together with Meri Cetinić he sang Gorka Rijeka (bitter river, cf. Fiume amaro), which is known in German mainly through Vicky Leandros (I have seen love). His title Pjesma Medjugorja also exists in an Italian and an English version

German pieces of music have also been translated into Serbo-Croatian: The band Roboti (The Robots) covered “Marmor, Stein und Eisen breaks” (Mramor came i željezo) by Drafi Deutscher , and Ivica Šerfezi (1935-2004), who later also worked in the GDR ( including “Sea blue eyes like the Adriatic”) and was successful in the USSR, covered “Schwarze Rose, Rosemarie” (originally sung by Peter Kraus ).

The band Žeteoci (The Harvesters) consisted of theology students from the University of Zagreb who covered the New Spiritual Song with guitar, organ, bass and drums, mostly from France ; only one piece on their only LP, namely “Prazan život”, was an original composition.

Other cover versions or hits known abroad are:
Beti Jurković: Ja-Pa Te-Pe Vo-Po Lim-Pi ( Aba-N-IBI )
Helena Blagne: Santa Lucija Santa Lucia
Darko Domijan: Ruže u snijegu ( Goombay Dance Band - Sun of Jamaica )
Doris Dragović - Kako ti je sada (Seed Gaan We Verder)
Ivo Robić: Sedamnaestogodišnjoj or 17 ti je godina tek (Ders. - At 17 life only begins or Save the Last Dance for Me )
Ivo Robić : Sutra (Ders. - Morgen)
Ivica Šerfezi: Ruže su crvene (Bobby Vinton - Roses are red, diamonds are blue)
Ivica Šerfezi: Mendozino
Ivica Serfezi: Zelja (Viktor Lazlo - Ansiedad)
Ivica Šerfezi: Ximeroni (Nana Mouskouri - Ximeroni)
Ivica Šerfezi: Za sve su krive crne oči (Ders., Because She Didn't
See Me) Ljiljana Petrović: Bikini sa žutim tačkicama ( Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini )
Ljupka Dimitrovska: Čibu-Čiba (Tchibou Tchiba)
Pepel in kri : Mississippi (Slovenian)
various interpreters: Djelem djelem
various interpreters: Zora je (Piet Veermann - Sailin home)
various artists: Mila znaj (cover by Bella ciao )

1968-1992

The year 1968 represented a turning point when, with Grupa 220 , a band released an entire LP - “Naši dani” (Our Days) - with self-composed beat music for the first time. Among other things, it featured “Osmijeh” (smile), the band's most famous track. The custom of covering Western pieces of music in Serbo-Croatian, which had been common up to now, died down almost completely in 1968/1969.

Also in 1968 the Kameleoni (chameleons) had a hit with "Sjaj izgubljene ljubavi" (The shine of past love); The band played in Boštjan Hladnik's film "Sončni Krik". Although the band came from Koper ( Slovenia ), the lyrics of their songs were Serbo-Croatian, sometimes English. In addition to the original compositions, there were also some cover versions.

Josipa Lisac (* 1950) was the singer in the band Zlatni Akordi (Golden Chords) in the late 1960s . From 1973 she was in a relationship with Karlo Metikoš (see above), who now composed and produced for her solo albums.

The band Bijelo dugme (White Button) began in the early 1970s with pieces such as “Selma”, which showed influences from Pink Floyd , but in the 1980s they increasingly began to integrate elements of Yugoslav folk music (e.g. . in “Đurđev dan” (St. George's Day) and “Lipe cvatu” (The linden trees are in bloom), which has a 7-note rhythm that is particularly typical of Serbian and Macedonian folk music, and in “Hajdemo u planine” (Let's go in the mountains) with the spoken chant typical of Croatian folk music). The band's guitarist and composer of most of their pieces was Goran Bregović (* 1950), who also wrote the film music for some of Emir Kusturica's films and used many of Bijelo Dugme's motifs in his later solo career.

With “Bacila je sve niz rijeku” (She threw everything in the river), the Indexi group created one of the most successful titles of the 1970s, which was also recorded by several other bands.

Other popular bands in the 1970s and 1980s were YU Grupa , Crvena Jabuka (red apple), Leb i Sol (bread and salt), Riblja čorba (fish soup), Teška industrija (heavy industry), the heavy metal band Divlje Jagode (Wilde Strawberries) and azra . The guitarist of Riblja čorba , Momčilo Bajagić , founded the band Bajaga i Instruktori, which is still successful today, in 1984 . Arsen Dedić (* 1938) is one of the successful pop singers of the 1970s, but worked z. B. also together with Grupa 220 (see above).

In the 1970s and 1980s there were numerous bands in Yugoslavia that were assigned to the New Wave (Serbo-Croatian: Novi talas , Slovenian Novi val , Macedonian: Nov bran ), e.g. B. Sarlo akrobata ( "Charles the acrobat", i. E. Charlie Chaplin ), Laboratorija zvuka (sound lab), film , front door and Lacni Franz (Hungry Franz). The progressive rock band Buldožer (bulldozer) is considered to be the pioneer of the Yugoslav New Wave . The band Šarlo akrobata only existed in 1980/81, from it the bands Ekatarina Velika (Katharina the Great) and Disciplina kičme (discipline of the spine) emerged, but musically they moved away from the New Wave towards rock.

The most famous punk bands in Yugoslavia were the Pankrti (bastards), Pekinška patka (Peking duck) and KUD Idijoti (GKK- Idijoti , the abbreviation stands for Society for Culture and Art , the word Idijoti is intentionally misspelled). The band Električni orgazam (electric orgasm) moved between punk and new wave .

In the wider punk environment, a style of music known as Novi primitivizam (New Primitivism) developed, the most important representative of which is the band Zabranjeno pušenje (No smoking), in which the film director Emir Kusturica played at times . The band members “Dr. Nele Karajlić ”(* 1962, actually Nenad Janković) and his brother Dražen Janković played in the comedy series“ Top lista nadrealista ”(hit parade of surrealists) on TV Sarajevo from 1984 .

The band Laibach (Austrian name of the Slovenian capital Ljubljana ) is part of the total art project, which - actually in German words - is called " New Slovenian Art ". Many of her pieces combine rock music and marching music at a slow pace and with a pounding monotonous rhythm. With German-language, literally translated cover versions z. For example, the Austrian beer tent hit “Life is Life” by the group Opus or “One Vison” (Birth of a Nation) by Queen draw Laibach's attention to the fascist phrases hidden in the English texts.

Mizar was a dark wave band from the 1980s.

Zdravko Čolić (* 1951) sang numerous hits in the 1970s and represented Yugoslavia at the 1973 Grand Prix with “Gori vatra” (fire burns) (see below). He also sang patriotic folk songs like “Yugoslavijo” (Yugoslavia) and “Druže Tito, mi ti se kunemo” (Comrade Tito, we vow you).

The most famous Yugoslav songwriter is Đorđe Balašević (* 1953).

From the end of the 1970s, cover versions of international hits were recorded again in Serbo-Croatian. B. Tereza Kesovija (* 1938) hits from ABBA , including "The winner takes it all" (Tko gubi, gubi sve).

Fahreta Jahić (* 1960), who performed under her stage name Lepa Brena (The Beautiful Brena), was Yugoslavia's most successful singer in the 1980s with her mixture of pop and Balkan folklore. Turbo-Folk , a fast, aggressive variant of folklore pop, developed from her musical style without her doing anything, the popularity of which is seen by many authors in connection with the then emerging nationalism.

The division of Yugoslavia in 1991/1992 also resulted in the division of some bands, with both parts often continuing to use the previous name (the best-known example of this is Zabranjeno pušenje , see above).

The development of Albanian-language music in Kosovo and in the Albanian-speaking parts of Macedonia was largely cut off from the development of music in Albania as well as in the rest of Yugoslavia, from which artists such as Nexhmije Pagarusha (* 1933), however, took over influences without even affecting Serbo-Croatian music to work significantly. The chansonist Gazmend Pallaska (* 1955) was an exception . An Albanian post-punk band from the 1980s is Gjurmët , which combined international musical influences with the context of nationalist Albanian aspirations in Kosovo.

Yugoslavia as a participant in the Eurovision Song Contest

Thanks to the popularity of this music event in the former Yugoslavia, the local preliminary decision Jugovizija was able to come up with popular performers again and again, for example Bebi Dol , Lepa Brena , Neda Ukraden , Tereza Kesovija or Oliver Dragojević . In 1967 the Dubrovački Trubaduri (Troubadure from Dubrovnik ) performed with Jedan dan (One Day) only with two of their members, because at that time groups of more than two people were not allowed. Despite the poor placement of his contribution Gori vatra (The fire is blazing) in 1973, the title is one of the most popular of the singer Zdravko Čolić . While the Yugoslav contributions mostly took lower places in the first decades, the 1980s were more successful: In 1989 the band Riva even won the Grand Prix with the title Rock me , so that the following competition was held in Zagreb on May 5, 1990 . Paradoxically, Rock me was not very successful in Yugoslavia itself.

Musicals

Some internationally known musicals were performed in Belgrade in Serbo-Croatian, including "Kosa" ( Hair ) in 1969 and a few years later "Isus Krist Superstar" ( Jesus Christ Superstar ), where Zlatko Golubović (see above) took part.

From Milan Grgić (1939-1997) and Alfonso Kabiljo (* 1935) several musicals, including the first Yugoslav Musical originate Velika trka (1969) and Yalta, Yalta (1971, a German version was established in 2004 Vienna listed).

In 1975 the Yugoslav rock opera Gubec-beg by Karlo Metikoš (see above) and Ivica Krajač (* 1938), in which Josipa Lisac (see above) participated.

Record label

In the period before the Second World War, there were the record labels Edison-Bell-Penkala and Elektroton in Yugoslavia.

The two most important record labels in the SFR Yugoslavia were Jugoton (in Zagreb) and PGP-RTB (Produkcija Gramofonskih Ploča Radiotelevizije Beograd, record production of the Belgrade Radio). The radio station Ljubljana also ran its own record label called ZKP RTLJ (Založba Kaset in Plošč Radio-Televizije Ljubljana). Other labels were Diskos, Studio B, bd (beograd disk), Suzy, diskoton, Helidon, JugoDisk and Sarajevo Disk.

Yugoslav musicians who are mostly known abroad

Dunja Rajter (* 1941) began her career as an actress and singer in Yugoslavia, but is probably much better known in Germany, where she has lived for a long time, than there. Their first LP produced for the German market was called “Songs from Yugoslavia”.

Bata Illic (* 1939), who was successful in the FRG in the 1970s with hits like "Michaela", is completely unknown in Yugoslavia. The LP “Slavic Dreams” (1975) is related to the Balkans, on which, in addition to “Einsamer Sonntag”, a German cover version of the Hungarian hit “Szomoru Vasarnap” (known in the US version “ Gloomy SundayBillie Holiday ), also a crash course in the Yugoslav [sic!] Language in the form of the hit "Da Da Da" is included.

Ibo (1961-2000) had success with German-language hits in the 1980s.

Petar "Radi" Radenković (* 1934), who was the goalkeeper of the soccer club TSV 1860 Munich in the 1960s , recorded some pieces of music, of which " Bin i Radi, bin i König " was the most successful.

Gojko Mitić (* 1940) worked as an actor in numerous DEFA films in the GDR (he played mostly Indians in westerns). Music recordings such as B. "Put out the fire!" Ljupka Dimitrovska (* 1946, the wife of Nikica Kalogjera, see above) and Ivica Šerfezi (see above) were successful in both Yugoslavia and the GDR (initially independently of one another, later they often sang in duets in both countries). Šerfezi also recorded records in the Soviet Union .

The jazz trumpeter Duško Gojković (* 1931), who has lived in Germany since the 1950s, has worked with many German and American jazz musicians and composed numerous pieces.

The aforementioned Ivo Robić and Slavko Avsenik were successful both in Yugoslavia and abroad . The Laibach group has a small fan base in German-speaking countries. Ivo Malec worked in France for a long time, Tereza Kesovija also lived in France and recorded records there.

Foreign music in Yugoslavia

The German hit " Lili Marleen " became world famous after the German soldier broadcaster Belgrade played it daily during the war years 1941-1944.

In contrast to the states of the Eastern Bloc, western music in non-aligned Yugoslavia was often heard on the radio since the 1950s and was easily available on vinyl. In the 1960s, numerous Yugoslav interpreters recorded Serbo-Croatian cover versions of Western rock music pieces (see above).

Music magazines

The magazine Zvuk (sound) had been in existence since 1955 for classical and folk music, and Džuboks (jukebox, 1966–1985) and Ritam (rhythm, from 1989) for popular music .

literature

  • Petar Janjatović, Ilustrovana ex YU rock enciklopedija: 1960 - 2000 , 2001
  • Zdravko Blažeković, Yugoslavia , in: The Music in Past and Present (MGG), 2. neubearb. Edition, ed. v. Ludwig Finscher, Sachteil, Volume 4, Column 1590–1596
  • Leksikon jugoslavenske muzike , Zagreb 1984 (2 volumes)
  • Kim Burton, Balkan Beat - The musical diversity in the former Yugoslavia , in: Weltmusik, ed. v. Simon Broughton et al., Stuttgart 2000, pp. 139-150
  • Rüdiger Rossig , How rock music and with it western pop culture and youth cultures came to Yugoslavia , in ders .: (Ex-) Yugoslavia: young migrants from Yugoslavia and its successor states in Germany , 2008 (978-3-940213-46-4), p 41-55
  • Gëzim Krasniqi, Socialism, National Utopia, and Rock Music: Inside the Albanian Rock Scene of Yugoslavia, 1970–1989 , in: East Central Europe , vol. 38.2011, pp. 336–354 (also online )

See also

Related articles

Categories

Web links

Individual evidence

  1. cf. Toter Stern Belgrade ( NZZ Folio 03/05): “These young people grew up with turbo folk, a music that connoisseurs of the good old Belgrade rock scene simply describe as a“ monument to a social and cultural catastrophe ”. It's the music of the Milosevic era, the soundtrack of war, nationalism and the gangster lifestyle. The cheap glamor of fur, diamonds and fat cars was supposed to distract from the poverty and misery of this time and feed crude dreams. The recipe is simple: Take an old folk melody, edit it unrestrainedly on the computer, give it a silly, slippery text as possible and have the result performed by a «silicone singer». "; similar to John Burt Foster and Wayne Jeffrey Froman in “Thresholds of western culture: identity, postcoloniality, transnationalism”, 2002, p. 157: “Turbo folk fit perfectly into the emergent nationalist culture of the late eighties and the war culture of the early nineties "; on the connotation with nationalism and mafia: “From turbo folk of the mafia to political rap of the underground” (NZZ of April 13, 2004); “Porn and Mafia. The Turbo Folk Success Story ” (Der Standard, June 28, 2010); "Ceca stands for potency, wealth, heterosexuality" (Die Welt, October 5, 2010) - characterization as "aggressive" in Ivana Kronja, among others : "Turbo Folk and Dance Music in 1990s Serbia", in: The Anthropology of East Europe Review, Volume 22.1 (Spring 2004) ( Memento of the original from June 21, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / condor.depaul.edu