A secondary goal of this study is to examine the musical features of Bregović’s "Balkanised" sound, music purposefully arranged so as to sound like authentic Balkan music. This is accomplished by comparing multiple versions of his tunes which were targeted at different inter- and transregional markets. In later chapters the delicate dynamics between Bregović’s image as a traditional musician on the one hand, and a postmodern creator of a commercial commodity on the other, is discussed. He presents himself as an exponent of traditionalism and authenticity in one context, and an empowered (rule-breaking) voice of the postcolonial margin in another. His active engagement with the Balkan image creates a feedback loop with his international listeners, which importantly extends beyond his music and applies to all musics labelled as Balkan.
Research conducted at: Universiteit van Amsterdam
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