Balkan as a Metaphore

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BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC

by Nela Trifkovic (Nela Trifković)

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	TABLE OF CONTENTS ..... page1




	INTRODUCTION ..... page 2 BALKAN MUSIC IN SOUNDTRACK COMPOSITION: a metaphor of theatrical conflict. Definition of terms: cultural approaches to theory and established research terminology Ethnic Music and its creative application in soundtracks – models for the developed research framework




CHAPTER I ..... page 3 CREATIVE EXPRESSION IN PLURALISTIC SOCIETIES: Relevant history of the Balkans and the future of the Yugoslav States Nationalism in music: pluralist and dialectic styles YUGOSLAV MUSIC OR MUSIC IN YUGOSLAVIA ? THE LAND OF SOUTHERN SLAVS CREATIVE SOURCES AND INFLUENCES IN THE YUGOSLAVIA-TO-BE SARAJEVO – BOSNIAN VERSION OF BORGES’ ALEPH THE TWENTIETH CENTURY YUGOSLAV MUSICAL “PATRIOTISM” AS “NATIONALISM” DURING THE SOCIALIST REGIME




	CHAPTER II ..... page 4 MUSIC AND POLITICS IN COMMUNIST AND WAR-TORN YUGOSLAVIA: Provocative and successful Genres through the ethno-rock of “White Button” and the musical endem called the “Newly Composed Folk” “WHITE BUTTON” – THE MOST EFFORTLESSLY PRO-YUGOSLAV ROCK BAND OF ALL TIMES “WHITE BUTTON” – RELATED BAND HISTORY AND ITS CONNECTIONS TO BREGOVIC’S FUTURE MUSICAL CONCEPTS WHITE BUTTON” – THE FAVOURITE MUSICAL BUTTON ON EVERY YUGOSLAV’S COAT “WHITE BUTTON” AND THE POLITICS OF POP AND ROCK MUSIC IN THE COMMUNIST YUGOSLAVIA DURING THE 1970s AND 1980s SUBCULTURE – THE THIRD OPTION POPULAR FOLK- AN ENDEMIC MUSICAL VIRUS OF YUGOSLAVIA DIFFERENT GENRES AND THEIR MUSICAL INTENTION: ISSUES OF MUSICAL PURPOSE AND MUSICAL ESSENCE – “THE PSYCHOLOGY OF HYBRIDITY”

CHAPTER III ..... page 5

GYPSY FILMS AND RELATED SOUNDTRACKS:
culture specific genres as bases for further conceptual frameworks

GYPSY FILMS IN YUGOSLAVIA

EMIR KUSTURICA – GADJO DILO OF THE YUGOSLAV FILM SCENE

GATLIF AND KUSTURICA – A ROMA AND A GADJE DIRECTOR

MUSIC FOR KUSTURICA’S AND OTHER YUGOSLAV FILMS ABOUT THE GYPSIES

CONCEPTUAL CONDITIONING AND ANALYSIS OUTLINE

DOM ZA VESANJE (TIME OF THE GYPSIES) - Synopsis

ROMA AND GADJE PRINCIPLES IN BREGOVIC’S SOUNDTRACK FOR TIME OF THE GYPSIES

Other functions of traditional music in the Time of the Gypsies

Music as a tool of establishing setting

Ethnic music and traditional elements as a composer’s sources of inspiration

Alo mange liloro (Ederlezi Avela) the second important theme

Source and Background Music

Internal-external cultural perspective




CHAPTER IV ..... page 6 CHAPTER IV - RECONTEXTUALISATION: Bregovic’s soundtrack conceptualisation for Kusturica’s Balkanised American debut KUSTURICA’S NON-GYPSY FILMS AND BREGOVIC’S RELEVANT SOUNDTRACKS: THE GYPSY CONCEPTUALISATION AND THE “INWARD SARAJEVAN PRINCIPLE” Introduction Visual recontextualisation – Balkan and Gypsies as a metaphor Arizona Dream – the complex ingredients of a doubly ethnic soundtrack Arizona Dream – the complex ingredients of a doubly ethnic soundtrack Kusturica’s dramatic topics – inside the edges of the society Traditional elements and folk music Source and Background Music DIFFERENT FUNCTIONS OF TRADITIONAL MUSIC AND FOLK ELEMENTS Function I – Ethnic music as the composer’s source of inspiration Function II – traditional music as a tool of for establishing setting Function III – conceptual principles of the theatrical conflict expressed through the metaphoric use of traditional music and folk elements in soundtrack writing Kusturica’s Balkanised American conceptualisation Metaphorical duplicity – Balkanisation of both “Orientalism” and “Occidentalism” “Orientalism” according to the “fantasy principle” The “Oriental fantasy” portrayed through the traditional Balkan sound Thematic Connections between Kusturica’s Film Topics and Bregovic’s Traditional Musical Choices – Jana’s House as Grace’s House Internal-external conflict perspective




CHAPTER V ..... page 7 CHAPTER V - METAPHOR: Bregovic’s Soundtrack Conceptualisation for a foreign production QUEEN MARGOT - Synopsis Introduction Traditional elements and traditional music Source and background music Function I – traditional music as the composer’s source of inspiration Function II –traditional music as a tool of establishing setting Function III – conceptual principles of the theatrical conflict expressed through the metaphorical use of traditional music and folk elements in soundtrack writing Hypothesis Analysis application and process discussion Musical and dramatic symbolism of Rondinella Rere and Ganga Symbolic Qualities of Rondinella – Two Circles and Mandorla The symbolism and importance of Canto Nero – “Orientalism” as the Cult of Black Madonna Compositional Techniques as Unifying Audio Conceptual Elements Margot’s conceptual conversion – the visual and factual verses the audio-conceptual Queen Margot – a French production that follows the “inward Sarajevan principle” Bregovic’s musical portrayal of character duplicity – Margot as a representative example Internal-external cultural and conflict perspectives




CHAPTER VI ..... page 8 CHAPTER VI CONCLUSION: Metaphoric use of Balkan Music as Bregovic Compositional Formulae; loss of mother-tongue and development of recycling and collage techniques RECONTEXTUALISATION OF KUSTURICA’S THEATRICAL DEVICES AS CONCEPTUAL FRAMEWORKS FOR BREGOVIC’S SOUNDTRACK COMPOSITION THE PSYCHOLOGY OF BREGOVIC’S MUSIC –SOUND SYNTHESIS OF THE BALKANS Brutal Realism and Explicit Emotionalism Bregovic – the contraversial cultural ambassador and his metaphoric recontextualisation




CHAPTER VII ..... page 9 CHAPTER VII DOCUMENTATION OF THE PRACTICAL ACTIVITIES AND THE OUTLINE OF THE LINKS BETWEEN THEORETICAL RESEARCH AND CREATIVE APPLICATIONS THE LARGE-SCALE PROJECT: ITS NATURE AND ASSOCIATED ISSUES On the poet Vasko Popa, his work and its ideology Give Me Back My Rags The Musical Adaptation of the Work – Songs and Narratives The Architecture of the Musical Setting THE ENSEMBLE Weddings and Funerals Band Ash Randomly MINOR PROJECTS Valhalla Give Me Back My Rags in Valhalla Si la muerte (If Death) Spanish version of Koren ti i krv i krunu (Damn Your Root and Blood and Crown) Spanish Song in Scandinavian Mythology Sybil in a Suitcase [a cabaret odyssey] Sybil/Sibelline/Sibilochka and Machka/La Gata (Sybil and the Cat) Supplica a mia madre (Plea to My Mother) - tonglen-[Equinox jam session] VARIOUS PERFORMANCE CONDITIONS AND DIFFERENT PERFORMANCE OUTCOMES OF THE LARGE-SCALE PROJECT Song-cycles – traditional large-scale journey works The interactive qualities between the project and the thesis: questions that developed from compositions and music that was written as a result of research “Orientalism” and “Occidentalism” in Vasko Popa’s poetry “Damn Your Root and Blood and Crown” as an exemplar Epilogue

Table 1. TIME OF THE GYPSIES ..... page 10

Table 2. ARIZONA DREAM ..... page 11

Table 3. FUNCTIONS OF ETHNIC MUSIC/ETHNIC MUSICAL ELEMENTS
IN THE SOUNDTRACK COMPOSITION FOR “ARIZONA DREAM”..... page 12




	Goran Bregovc and Nela Trifkovic

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	page 1 of 12

[Articles] [Balkan as a Metaphore table of contents] [Balkan as a Metaphore intro] [Balkan as a Metaphore CHAPTER I] [Balkan as a Metaphore CHAPTER II] [Balkan as a Metaphore CHAPTER III] [Balkan as a Metaphore CHAPTER4] [Balkan as a Metaphore CHAPTER5] [Balkan as a Metaphore CHAPTER6] [Balkan as a Metaphore CHAPTER7] [Balkan as a Metaphore Table 1] [Balkan as a Metaphore Table 2] [Balkan as a Metaphore Table 3] [Research]

BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC - by Nela Trifkovic (Nela Trifković)


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TABLE OF CONTENTS ..... page1

INTRODUCTION ..... page 2

CHAPTER I ..... page 3

CHAPTER II ..... page 4

CHAPTER III ..... page 5

CHAPTER IV ..... page 6

CHAPTER V ..... page 7

CHAPTER VI ..... page 8

CHAPTER VII ..... page 9

Table 1. TIME OF THE GYPSIES ..... page 10

Table 2. ARIZONA DREAM ..... page 11

Table 3. FUNCTIONS OF ETHNIC MUSIC/ETHNIC MUSICAL ELEMENTSIN THE SOUNDTRACK COMPOSITION FOR “ARIZONA DREAM”..... page 12

Alexandria - Acting on the brighter future for the professional arts in Australia

Table 3. FUNCTIONS OF ETHNIC MUSIC/ETHNIC MUSICAL ELEMENTS
IN THE SOUNDTRACK COMPOSITION FOR “ARIZONA DREAM”..... page 12