Baker - Sounds of the borderland: popular music, war and nationalism in Croatia since 1991

SOUNDS OF THE BORDERLAND

To Betty Baker, Joan Hornsey and Alice Wain

Popular Music, War and Nationalism in Croatia since 1991

CATHERINE BAKER
University of Southampton, UK

First published 2010 by Ashgate Publishing

Published 2016 by Routledge
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Copyright 2010 Catherine Baker

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Catherine Baker has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work.

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Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

British Library Cataloguing in Publication Data

Baker, Catherine.

Sounds of the borderland : popular music, war and nationalism in Croatia since 1991.

(Ashgate popular and folk music series)

1. Popular music Croatia History and criticism 2. Music Political aspects - Croatia. 3. Music Social aspects Croatia. 4. Nationalism in music. 5. Croatia History 1990- I. Title II. Series
306.4842094972dc22

Library of Congress Cataloging-in-Publication Data

Baker, Catherine, 1982

Sounds of the borderland : popular music, war, and nationalism in Croatia since 1991 / Catherine Baker.

p. cm.(Ashgate popular and folk music series)

Includes bibliographical references and index.

ISBN 978-1-4094-0337-1 (hardcover : alk. paper)ISBN 978-1-4094-0711-9 (ebook)

1. Popular musicPolitical aspectsCroatia. 2. Yugoslav War, 19911995Croatia Music and the war. I. Title.

ML3917.C76B35 2009

781.641599094972dc22

2009053575

ISBN 9781409403371 (hbk)
ISBN 9781315609973 (ebk)

The upheaval that occurred in musicology during the last two decades of the twentieth century has created a new urgency for the study of popular music alongside the development of new critical and theoretical models. A relativistic outlook has replaced the universal perspective of modernism (the international ambitions of the 12-note style); the grand narrative of the evolution and dissolution of tonality has been challenged, and emphasis has shifted to cultural context, reception and subject position. Together, these have conspired to eat away at the status of canonical composers and categories of high and low in music. A need has arisen, also, to recognize and address the emergence of crossovers, mixed and new genres, to engage in debates concerning the vexed problem of what constitutes authenticity in music and to offer a critique of musical practice as the product of free, individual expression.

Popular musicology is now a vital and exciting area of scholarship, and the Ashgate Popular and Folk Music Series presents some of the best research in the field. Authors are concerned with locating musical practices, values and meanings in cultural context, and draw upon methodologies and theories developed in cultural studies, semiotics, poststructuralism, psychology and sociology. The series focuses on popular musics of the twentieth and twenty-first centuries. It is designed to embrace the worlds popular musics from Acid Jazz to Zydeco, whether high tech or low tech, commercial or non-commercial, contemporary or traditional.

Professor Derek B. Scott
Professor of Critical Musicology
University of Leeds