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BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC

 by Nela Trifkovic (Nela Trifković)

page 1 of  12

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 Bregovic i Nela Trifkovic - Jun 2005, Singapore

Goran Bregovc and Nela Trifkovic

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[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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