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Novokompovana narodna muzika: Difference between revisions

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In the 90's when the civil war broke out, turbo-folk would emerge onto the music scene. While some academic papers state that the subgenre the successor to novokompovana, their musical directions are different. Turbo-folk incorporates elements of techno, hip-hop, rap, and dance music<ref>Nikola Đorđević. "[https://emerging-europe.com/after-hours/five-reasons-why-turbo-folk-is-actually-great/ Five reasons why turbo-folk is actually great]". Emerging Europe. 24 April 2024. Retrieved 5 April 2024.</ref><ref>Catherine Baker, et al. "The concept of turbofolk in Croatia: inclusion/exclusion in the construction of national musical identity". ''Nation in formation: inclusion and exclusion in central and eastern Europe''. UCL School of Slavonic and East European Studies. 2007. Retrieved 6 May 2024.</ref> in contrast to novokompovana which contains elements of pop, yet retains its traditional style. Based off of academic papers, there seems to be a misconception that all novokompovana simply disappeared and all songs created in the 90's onwards were turbo-folk. While turbo-folk became dominant in the industry and subsequently replaced it,<ref name=":2">Paul Hockenos. "[https://inthesetimes.com/issue/25/07/hockenos2507.html Serbia's New New Wave]". ''Inthesetimes.com''. 5 March 2001. Retrieved 5 May 2024. </ref> novokompovana would continue to exist albeit with no direct mention. Common subgenres that retain the style of novokompovana and are used instead are "tradicional", "krajiška muzika",<ref>"[https://www.tarzanija.com/krajiska-muzika-za-pocetnike/ Krajiška muzika za početnike]". tarzanija.com. 15 December 2012. Retrieved 5 May 2024.</ref> "izvorna muzika",<ref>"[https://vukajlija.com/krajiska-muzika Krajiška muzika]". vukajlija.com. 21 February 2013.</ref><ref>Marija Mara Jovičić. "[https://srbijuvolimo.rs/%C5%BEivot-i-stil/muzika/item/72-srpska-izvorna-muzika.html Srpska izvorna muzika]". ''srbijuvolimo.rs''. 25 February 2015. Retrieved 5 May 2024.</ref> or simply "narodna muzika".<ref>Marija Dehjanović. "[https://nova.rs/zabava/showbiz/zakleti-rokeri-tvorci-najpoznatijih-narodnjackih-hitova/ Zakleti rokeri tvorci najpoznatijih narodnjačkih hitova]". 20 July 2020. Retrieved 5 May 2024.</ref> While both genres had their fair share of raunchy music, novokompovana would be more covert whereas turbo-folk was more overt about it.
In the 90's when the civil war broke out, turbo-folk would emerge onto the music scene. While some academic papers state that the subgenre the successor to novokompovana, their musical directions are different. Turbo-folk incorporates elements of techno, hip-hop, rap, and dance music<ref>Nikola Đorđević. "[https://emerging-europe.com/after-hours/five-reasons-why-turbo-folk-is-actually-great/ Five reasons why turbo-folk is actually great]". Emerging Europe. 24 April 2024. Retrieved 5 April 2024.</ref><ref>Catherine Baker, et al. "The concept of turbofolk in Croatia: inclusion/exclusion in the construction of national musical identity". ''Nation in formation: inclusion and exclusion in central and eastern Europe''. UCL School of Slavonic and East European Studies. 2007. Retrieved 6 May 2024.</ref> in contrast to novokompovana which contains elements of pop, yet retains its traditional style. Based off of academic papers, there seems to be a misconception that all novokompovana simply disappeared and all songs created in the 90's onwards were turbo-folk. While turbo-folk became dominant in the industry and subsequently replaced it,<ref name=":2">Paul Hockenos. "[https://inthesetimes.com/issue/25/07/hockenos2507.html Serbia's New New Wave]". ''Inthesetimes.com''. 5 March 2001. Retrieved 5 May 2024. </ref> novokompovana would continue to exist albeit with no direct mention. Common subgenres that retain the style of novokompovana and are used instead are "tradicional", "krajiška muzika",<ref>"[https://www.tarzanija.com/krajiska-muzika-za-pocetnike/ Krajiška muzika za početnike]". tarzanija.com. 15 December 2012. Retrieved 5 May 2024.</ref> "izvorna muzika",<ref>"[https://vukajlija.com/krajiska-muzika Krajiška muzika]". vukajlija.com. 21 February 2013.</ref><ref>Marija Mara Jovičić. "[https://srbijuvolimo.rs/%C5%BEivot-i-stil/muzika/item/72-srpska-izvorna-muzika.html Srpska izvorna muzika]". ''srbijuvolimo.rs''. 25 February 2015. Retrieved 5 May 2024.</ref> or simply "narodna muzika".<ref>Marija Dehjanović. "[https://nova.rs/zabava/showbiz/zakleti-rokeri-tvorci-najpoznatijih-narodnjackih-hitova/ Zakleti rokeri tvorci najpoznatijih narodnjačkih hitova]". 20 July 2020. Retrieved 5 May 2024.</ref> While both genres had their fair share of raunchy music, novokompovana would be more covert whereas turbo-folk was more overt about it.


Two of the biggest independent companies established in the 90's during the war, SuperTon and Nina trejd, were created by prolific members in the folk genre with Cvetin Todorović of SuperTon being a prolific folk composer<ref>"[https://archive.vn/bqIq9 Cvetin Todorović, kompozitor prvog Kebinog hita: 'Došlo je vreme da mi Keba podigne spomenik]'". Telegraf.rs. 4 July 2021. Archived from [https://www.telegraf.rs/jetset/muzicka-apoteka/3359403-cvetin-todorovic-kompozitor-prvog-kebinog-hita-doslo-je-vreme-da-mi-keba-podigne-spomenik the original] on 30 September 2023. Retrieved 5 May 2024.</ref> and Željko Grujić of Nina Trejd being a part of the prominent folk group "Tomeđa". These independent companies do not fit in with the turbo folk label as it does not account for the traditional style heard from the works of Branko Markinković - Lalić, Slavko Mitrović Cale, and Ljubo Kešelj whose works tend to have a noticeable lack of pop and dance influence. While SuperTon would embrace the elements of techno, accordion will still accompany the syths in contrast to turbo-folk which would phase them out completely. Other independently created labels such as Bijeljina-based Renome, Tomi Ton, and Master Music Productions would also feature artists that incorporated elements of rock and pop within their work, but retained the style of novokompovana.
Two of the biggest independent companies established in the 90's during the war, SuperTon and Nina trejd, were created by prolific members in the folk genre with Cvetin Todorović of SuperTon being a prolific folk composer<ref>"[https://archive.vn/bqIq9 Cvetin Todorović, kompozitor prvog Kebinog hita: 'Došlo je vreme da mi Keba podigne spomenik]'". Telegraf.rs. 4 July 2021. Archived from [https://www.telegraf.rs/jetset/muzicka-apoteka/3359403-cvetin-todorovic-kompozitor-prvog-kebinog-hita-doslo-je-vreme-da-mi-keba-podigne-spomenik the original] on 30 September 2023. Retrieved 5 May 2024.</ref> and Željko Grujić of Nina Trejd being a part of the prominent folk group "Tromeđa". These independent companies do not fit in with the turbo folk label as it does not account for the traditional style heard from the works of Branko Markinković - Lalić, Slavko Mitrović Cale, and Ljubo Kešelj whose works tend to have a noticeable lack of pop and dance influence. While SuperTon would embrace the elements of techno, accordion will still accompany the syths in contrast to turbo-folk which would phase them out completely. Other independently created labels such as Bijeljina-based Renome, Tomi Ton, and Master Music Productions would also feature artists that incorporated elements of rock and pop within their work, but retained the style of novokompovana.


==== Misidentification of war music as "turbo-folk" ====
==== Misidentification of war music as "turbo-folk" ====
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