Marija Dumnić Vilotijević

A Critical Interpretation of Ethnological and Ethnomusicological Narratives on Roma Music in Serbia

Introduction

A critical interpretation of ethnological and ethnomusicological narratives on roma music in serbia. Explore critical interpretations of Roma music in Serbia through ethnological & ethnomusicological narratives. Analyzes socio-historical contexts & key researchers' contributions.

Abstract

This study presents research on Roma music in Serbia, as well as the socio-historical contexts that have shaped it. Texts by Tihomir Đorđević, Andrijana Gojković, Tatomir Vukanović, Vesna Acković, Dimitrije Golemović, Svanibor Pettan, Ivana Ljubinković, Aleksandar Marković, Ana Banić Grubišić, and other researchers who have contributed to this field from the beginning of the twentieth century to the present day are analyzed. Chronologically arranged thematic and disciplinary nodes are also highlighted – from ethnological descriptions, classifications and the first discussions on representations of Roma identity, through (musical) folkloristics, non-Roma ethnomusicological analytical engagement with understandable text (i.e., instrumental music), to the shifting of the Serbian and American anthropologists’ focus toward socially engaged interpretations.

Review

This paper proposes a timely and ambitious critical interpretation of the scholarly discourse surrounding Roma music in Serbia. By meticulously examining a century's worth of ethnological and ethnomusicological narratives, the study promises to shed crucial light on how socio-historical contexts have shaped both the music itself and its academic representation. The endeavor to critically engage with established texts, rather than merely summarizing them, suggests a sophisticated and potentially field-redefining contribution that will be invaluable to scholars interested in Romani studies, ethnomusicology, and the anthropology of Eastern Europe. The methodology outlined involves an extensive literature review, encompassing key researchers from the early twentieth century to the present day, arranged chronologically. This historical depth is complemented by a clear identification of "thematic and disciplinary nodes," tracing the evolution of academic engagement. From initial ethnological descriptions and classifications to discussions on Roma identity representation, through folkloristics and ethnomusicological analysis of instrumental music, the abstract highlights a significant shift towards socially engaged interpretations by Serbian and American anthropologists. This systematic mapping of intellectual trends provides a robust framework for understanding the disciplinary shifts and evolving perspectives within the field. Ultimately, this study appears poised to offer a foundational resource and a critical reflection on the scholarship of Roma music in Serbia. By identifying and critically analyzing the various lenses through which this rich cultural expression has been viewed, the paper will not only consolidate existing knowledge but also expose underlying assumptions and biases in the scholarly tradition. This comprehensive meta-analysis is essential for understanding the current state of research and for guiding future inquiries, particularly those aimed at fostering more nuanced, equitable, and socially engaged understandings of Roma musical heritage.

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