BALKAN AS A METAPHORE IN THE FILM COMPOSITION OF
GORAN BREGOVIC
by Nela Trifkovic (Nela Trifković)
page 1 of 12
CHAPTER I ..... page 3
Nationalism in music: pluralist and dialectic styles
YUGOSLAV MUSIC OR MUSIC IN YUGOSLAVIA ?
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
“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
CHAPTER III ..... page 5
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
CHAPTER IV ..... page 6
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
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
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
CHAPTER V ..... page 7
CHAPTER V - METAPHOR: Bregovic’s Soundtrack Conceptualisation for a foreign production
Traditional elements and traditional music
Function I – traditional music as the composer’s source of inspiration
Function II –traditional music as a tool of establishing setting
Analysis application and process discussion
Musical and dramatic symbolism of Rondinella
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
CHAPTER VII ..... page 9
THE LARGE-SCALE PROJECT: ITS NATURE AND ASSOCIATED ISSUES
On the poet Vasko Popa, his work and its ideology
The Musical Adaptation of the Work – Songs and Narratives
The Architecture of the Musical Setting
Give Me Back My Rags in Valhalla
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
BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC - by Nela Trifkovic (Nela Trifković)
