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Balkan music is a type of music found in the region of southeastern . In its broadest sense, it encompasses a variety of music styles across the countries of , Bosnia and Herzegovina, , , , , , , , , , and ,

(1997). 9780195087505, Oxford University Press.
as well as in . The music is characterised by complex rhythm. Famous bands in Balkan music include Taraf de Haïdouks, Fanfare Ciocărlia, and No Smoking Orchestra.

Historical musical influences
Byzantine medieval music
(Greek: Βυζαντινή Μουσική) is associated with the medieval sacred chant of Christian Churches following the Constantinopolitan rite. Its modal system is based on the ancient Greek models. The development of large scale hymnographic forms begins in the fifth century with the rise of the kontakion, a long and elaborate metrical sermon, which finds its acme in the work of Romanos the Melodist (sixth century). Heirmoi in syllabic style are gathered in the , a bulky volume which first appeared in the middle of the tenth century and contains over a thousand model troparia arranged into an (the eight-mode musical system) and the whole system of Byzantine music which is closely related to the music of ancient Greece.

Greek music
Greek folk music includes Demotika, Cretan and , Pontian, and . Greek music developed around the Balkans as a synthesis of elements of the music of the various areas of the Greek mainland and the Greek islands, with Greek Orthodox ecclesiastical chant, and a reference to music of Crete and Byzantine music. The music of the Aegean Islands, are known for Nisiótika songs; Greek characteristics vary widely. Crete has a well known folk dance tradition; it includes swift dances like . Most of the Greek folk songs are accompanied by Greek musical instruments like: , , , and sometimes . Greek folk dances include , and .

Ottoman music
Dimitrie Cantemir was a composer of . Many musical instruments were introduced to the Balkans during the time of Ottoman control, but many Ottoman instruments were borrowed by the locals.

"Balkan" is a Turkish word which means sharp mountains. As this the influence of and Turkish rhythms and melodies can be seen in Balkan Music. In the 19th century in imitation of the Turkish military bands which replaced the mehterhâne formations of Janissary Turks beginning in 1828. Apparently, as in Turkey, they dethroned the ancient traditional oboe (zurna, zurla, or mizmar) and double-membraned drum ensembles.

Pre-modern Balkan music
Traditional Bulgarian music
Traditional folk instruments in include various kinds of ( and ); (tapan); ; bells; ; clapper; ; . : ; ; ; ; ; . String instruments: ; ; ; ; and .

Traditional Serbian music
During the Nemanjic dynasty, musicians played an important role in the royal court, and were known as sviralnici, glumci and praskavnici. Other rulers known for the musical patronage included Stefan Dušan, Stefan Lazarević, and Đurađ Branković. Medieval musical instruments included , , , and .

Derivatives and world music
Romanian and Romani brass band
Fanfare Ciocărlia got many fans in Europe with their powerful brass sound appealing to and fans as well as the audience. In 1997 Ernst and Neumann took Fanfare Ciocărlia into 's Studio to record their debut album. The album, , was released on the record label Piranha Musik in 1998 and proved an instant success. Another popular band in Romania was Taraf de Haïdouks.

Progressive Balkan folk
Progressive Balkan folk has seen rise in many western countries, particularly the United States. It has had its greatest success with progressive communities across the country. Younger American generations are discovering the possibilities of this genre and are bringing it to small clubs and festivals across the US.

The upbeat, dramatic tone of the music has also attracted a following in the Tribal Fusion bellydance community. Tribal Fusion does not claim to emulate traditional dances, costume or music styles strictly, but it does draw inspiration from Balkan traditions.

Balkan soul and funk
Bay Area, CA band Inspector Gadje plays mainly traditional and contemporary balkan dance tunes, but because of the varied background of its musicians, elements of jazz and experimental music can be heard.

Brooklyn-based Slavic Soul Party! is a virtuoso ensemble of brass musicians that infuse traditional balkan rhythms and beats with jazz, soul, funk and the energy of dance pop.

British based band Sam and the Womp have rooted their music in the Balkan funk style to create a modern feel along with catchy and energetic rhythm.

Oakland, CA based artist mixes Eastern European diasporic music with Electronic Music and Hip Hop.

Flamenco-Balkan crossover
Another popular exploration has been between Balkan music and other styles around the Mediterranean like , and Middle-Eastern music. Vancouver-based act Ivan Tucakov and Tambura Rasa explores this style and beyond.

Balkan beats
Traditional Balkan music mixed with modern, electronic beats: this genre first appeared in the Berlin underground scene in the mid-1990s. The term was coined by Berlin DJ Robert Soko, whose BalkanBeats monthly parties still continue nowadays. It then spread to the European and world scene, to become an established genre nowadays.

Music per country and ethnicity
  • Music of Albania
  • Music of Bosnia and Herzegovina
  • Music of Bulgaria
  • Music of Greece
  • Music of Hungary
  • Music of Kosovo
  • Music of Moldova
  • Music of Montenegro
  • Music of North Macedonia
  • Music of Romania
  • Music of Serbia
  • Music of Slovenia
  • Music of Turkey

Notable artists

  • Adnan Babajić
  • Al' Dino (Aldin Kurić)
  • Alen Islamović
  • Alma Čardžić
  • Amir Kazić Leo
  • Azra Kolaković
  • Baja Mali Knindža
  • Beba Selimović
  • Boris Novković
  • Dado Džihan
  • Fuad Backović
  • Dejan Matić
  • Dina Bajraktarević
  • Disciplinska komisija
  • Duško Kuliš
  • Edo Mulahalilović
  • Eldin Huseinbegović
  • Elvir Laković Laka
  • Enes Begović
  • Erato
  • Goran Bregović
  • Halid Bešlić
  • Halid Muslimović
  • Hamdija Čustović
  • Haris Džinović
  • Hari Mata Hari
  • Indira Radić
  • Jasmin Muharemovic
  • Kemal Malovčić
  • Maja Sarihodžić
  • Marinko Rokvić
  • Marta Savić
  • Mate Bulić
  • Maya Berović
  • Meho Puzić
  • Mile Kitić
  • Milena Plavšić
  • Miloš Bojanić
  • Mirjana Bajraktarević
  • Mitar Mirić
  • Mladen Vojičić Tifa
  • Mostar Sevdah Reunion
  • Nada Topčagić
  • Nikola/Amir "Nino" Rešić
  • Nedeljko Bajić Baja
  • Nervozni poštar
  • Nihad Alibegović
  • Nihad Kantić - Šike
  • Osman Hadžić
  • Romana (singer)
  • Safet Isović
  • Sanela Sijerčić
  • Sanja Maletić
  • Saša Matić
  • Seid Memić
  • Sejo Boy
  • Seka Aleksić
  • Šemsa Suljaković
  • Šerif Konjević
  • Silvana Armenulić
  • Tomo Miličević – Thirty Seconds to Mars
  • Vukašin Brajić
  • Zaim Imamović
  • Zdravko Čolić
  • Zehra Deović
  • Željko Bebek
  • Željko Samardžić
  • Sinan Sakić

  • Andrea Demirović
  • Bojan Marović
  • Boban Rajović
  • Daniel (Montenegrin singer)
  • Ekrem Jevrić
  • Goga Sekulić
  • Goran Vukošić
  • Jadranka Barjaktarović
  • Kaja (singer)
  • Knez (singer)
  • Milomir Miljanić
  • Sanja Đorđević
  • Šako Polumenta
  • Sergej Ćetković
  • Vanja Radovanović
  • Zoran Kalezić

  • Aco Pejović
  • Ana Nikolić
  • Bajaga i Instruktori
  • Beogradski Sindikat
  • Bilja Krstić
  • Boban Marković
  • Bora Drljača
  • Ceca
  • Dalibor Andonov Gru
  • Danijel Pavlović
  • Darko Lazić (singer)
  • Dragan Kojić Keba
  • Dragana Mirković
  • Džej Ramadanovski
  • Dženan Lončarević
  • Đani
  • Đogani
  • Đorđe Balašević
  • Đorđe Novković
  • Emina Jahović
  • Era Ojdanić
  • Félix Lajkó
  • Goca Tržan
  • Hasan Dudić
  • Jana (singer)
  • Janika Balázs
  • Jelena Karleuša
  • Jelena Tomašević
  • Katarina Zivkovic
  • Lepa Lukić
  • Maya Berović
  • Marija Šerifović
  • Mia Borisavljević
  • Milan Stanković
  • Milica Pavlović
  • Milica Todorović
  • Mina Kostić
  • Mira Škorić
  • Miroslav Ilić
  • Nataša Bekvalac
  • Nataša Đorđević
  • Nemanja Nikolić (singer)
  • No Smoking Orchestra
  • Novica Urošević
  • Novica Zdravković
  • Olja Karleuša
  • Predrag Cune Gojković
  • Predrag Živković Tozovac
  • Rada Manojlović
  • Šaban Bajramović
  • Šaban Šaulić
  • Sanja Ilić
  • Saša Kovačević
  • Sejo Kalač
  • Seka Aleksić
  • Šeki Bihorac
  • Šeki Turković
  • Sinan Alimanović
  • Sinan Sakić
  • Snežana Babić
  • Suzana Jovanović
  • Svetlana Spajić
  • Svetlana Tanasić
  • Tanja Savić
  • Toma Zdravković
  • (Folk)
  • Vera Matović
  • Verica Šerifović
  • Viki Miljković
  • Željko Joksimović
  • Željko Šašić
  • Zlata Petrović

Musical groups elsewhere
  • Corvus Corax
  • Beirut
  • A Hawk And A Hacksaw
  • Balkan Ethno Orchestra
  • Petrojvic Blasting Company

See also

Further reading
  • Mhlongo, Zinaida. «'Hopa!': exploring Balkanology in South African popular culture». Diss. 2014.
  • Lauseviâc, Mirjana. ''A Different Village: international folk dance and Balkan music and dance in the United States. UMI, 1999.
  • Marković, Aleksandra. "Goran Bregović, the Balkan Music Composer." Ethnologia Balkanica; 12 (2008): 9–23.
  • Dawe, Kevin. Regional Voices in a National Soundscape: Balkan music and dance in Greece. (2007): 175–192.
  • Buchanan, Donna A., ed. Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse. Scarecrow Press, 2007.
  • Kremenliev, Boris. "Social and Cultural Changes in Balkan Music." Western Folklore; 34.2 (1975): 117–136.
  • Samson, Jim. "Borders and bridges: Preliminary thoughts on Balkan music." Musicology (497)(5) (2005): 37–55.
  • Rice, Timothy. "Bulgaria or Chalgaria: the attenuation of Bulgarian nationalism in a mass-mediated popular music." Yearbook for Traditional Music; 34 (2002): 25–46.
  • Samson, Jim. Music in the Balkans. Brill, 2013.
  • Kurkela, Vesa. "Music media in the Eastern Balkans: Privatised, deregulated, and neo-traditional." International Journal of Cultural Policy; 3.2 (1997): 177–205.
  • Archer, Rory. "Assessing turbofolk controversies: Popular music between the nation and the Balkans." Southeastern Europe; 36.2 (2012): 178–207.
  • Pennanen, Risto Pekka. "Lost in scales: Balkan folk music research and the Ottoman legacy." Muzikologija; 8 (2008): 127–147.
  • Kovaćić, Mojca. "The Music of the Other or the Music of Ours: Balkan Music among Slovenians." First Symposium of ICTM Study Group for Music and Dance in Southeastern Europe. 2008.
  • Jakovljević, R. "The Fearless Vernacular: Reassessment of the Balkan Music Between Tradition and Dissolution." Muzičke prakse Balkana: etnomuzikološke perspektive : zbornik radova sa naučnog skupa održanog od 23. do 25. novembra 2011 : primljeno na X skupu Odeljenja likovne i muzičke umetnosti od 14.12.2-12, na osnovu referata akademika Dejana Despića i Aleksandra Lome = Musical practices in the Balkans : ethnomusicological perspectives : proceedings of the International Conference held November 23 to 25, 2011 : accepted at the X meeting of the Department of Fine Arts and Music of 14.12. 2012., on the basis of the review presented by Academicians Dejan Despić and Aleksandar Loma; eds.: Dejan Despić, Jelena Jovanović, Danka Lajić-Mihajlović. Beograd: Muzikološki institut SANU,2012.
  • Pennanen, Risto Pekka. "Balkan Music Between East and West—Some Problems in Analysis." Research paper, University of Tampere (1994).
  • Shehan, Patricia K. "Balkan women as preservers of traditional music and culture." Women and Music in Cross-Cultural Perspective (1987): 45–53.
  • Blom, Jan-Petter. "Principles of rhythmic structures in Balkan folk music." Antropologiska Studier 25.26 (1978): 2–11.
  • Volcic, Zala, and Karmen Erjavec. "Constructing transnational divas: Gendered production of Balkan Turbo-folk music." (2011): 35–52.
  • Muršič, Rajko. The Balkans and Ambivalence of its Perception in Slovenia: the Horror of “Balkanism” and Enthusiasm for its Music. na, 2007.
  • Pettan, Svanibor. "Balkan Popular Music? No, Thanks: The View from Croatia." Balkan Popular Music. 1996.
  • Baker, Catherine. "The politics of performance: Transnationalism and its limits in former Yugoslav popular music, 1999–2004." Ethnopolitics 5.3 (2006): 275–293.
  • Friedman, Victor A. "Codeswitching in Balkan Urban Music." Urban Music in the Balkans: Drop-out Ethnic Identities or a Historical Case of Tolerance and Global Thinking (2006): 40–54.
  • Kolar, Walter W. An Introduction to Meter and Rhythm in Balkan Folk Music. Duquesne University Tamburitzans Institute of Folk Arts, 1974.
  • Irwin, Frances Mary. A comparison of two methods for teaching irregular meter to elementary school students using Balkan folk music. Diss. Washington University, 1984.
  • Burton, Kim. "Balkan beats: Music and nationalism in the former Yugoslavia." World music: The rough guide (1994): 83–94.
  • Archer, R. "Western, eastern and modern: Balkan pop-folk music and (trans) nationalism." C. Leccardi et al.(eds.) (1989): 187–204.
  • Petrovic, Ankica. "The Eastern Roots of Ancient Yugoslav Music." Music\= Cultures in Contact: Convergences and Collisions (2014): 13.
  • Rasmussen, Ljerka Vidić. Bosnian and Serbian popular music in the 1990s: Divergent paths, conflicting meanings, and shared sentiments. na, 2007.

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