Alternative/alternativity

, 23, 24, 70, 71, 79, 102, 103, 109, 116, 122, 133, 136, 157, 160, 173, 176, 177, 185, 186, 188, 191, 195

Articulation

, 4, 5, 11, 23, 25, 41, 44, 45, 46, 47, 50, 51, 53, 54, 61, 65, 68, 73, 89

Artistic autonomy

, 16

Balkanism

, 27, 139, 162–178, 191–193

Balkan music

, 22, 27

Balkan pathologisation

, 27

Balkanska, Valya

, 143

Balkan stereotypes

, 162–170, 172, 178

Balkan syndrome

, 163, 168

Balkantone

, 25, 32, 63, 105, 109

BAMP

, 90–91

Bay Ganyo

, 166

The Beatles

, 23, 119

BG Radio

, 78–79, 156–157

Bilingualism of Bulgarian popular music

, 152–162, 190–191

Boyadzhiev, Christian

, 64, 89, 101, 159–160

Bricolage

, 12, 25, 109, 120, 121, 129

Bristol trip-hop

, 23

British music industry

, 62

Bulgarian Communist Party (BCP)

, 115, 142

Bulgarian communist period

, 13, 22, 25–26, 29, 31–33, 64

Bulgarian copyright law and monetisation system

, 88–96

Bulgarian music

Cherveno i Cherno (Red and Black)

, 42

contexts and articulation, study. See Ethnographic study of Bulgarian music

contexts of post-communist transitions

, 62–68

female choirs

, 29

folklore influences

, 27–31

See also Folklore diversity in popular music

Le Mystère des Voix Bulgares

, 24

marginalisation of

, 77–82

musical expressions

, 26

musical instruments

, 28

obrabotena muzika

, 30

Ottoman influences

, 22

pop-folk genre

, 34–37, 82–88

popular music

, 14, 16, 18–19, 21–22, 25–27, 61, 115

rock music

, 31–34

See also Rock music

svatbarska muzika (wedding music)

, 30, 35

traditional media outlets

, 79–80

Bulgarian National Radio

, 81, 95

Bulgarian post-punk scenes

, 105, 108–114

Bulgarian Socialist Party

, 115

Canterbury Sound

, 23

Censorship

, 13, 64, 99, 101, 103, 136, 142, 185

Chalga

, 34–36, 123–124, 173–174, 177

Chalgaria

, 177–178

Commodification of music culture

, 130–136

Competitive TV music formats

, 73–74

Contemporary Centre for Cultural Studies (CCCS)

, 12

Copyright management

, 20–21, 88–96

Creation of popular music

, 3, 4, 7, 10, 11, 12, 13, 14, 21, 23, 25, 32, 40, 45, 63, 65, 68, 73–74, 77, 82, 86, 93, 94, 100, 115, 121, 122, 125, 131, 136, 139, 140, 141, 152, 159, 162, 167, 170, 178, 182, 184, 186, 188

Critique of popular music

, 14–18

‘Crossroads’, concept of

, 181–182, 194–195

Cultural field

, 1, 3, 7, 10, 17, 46, 50, 177, 191

Cultural industry

, 15–16, 18

Cultural translation

, 24

Culture

commodification of

, 16

target

, 24

Do-it-yourself philosophy

, 70, 108–109, 118, 121

Domuschiev, Nedelcho

, 156

Estrada style

, 33

Ethnographic legitimacy

, 45

Ethnographic mosaic

, 45, 53

Ethnographic observation

, 48

Ethnographic study of Bulgarian music

, 193–195

concept of thick description

, 53–54

data interpretation

, 52–59

ethnographic observations

, 41

ethnographic techniques

, 44–45

fieldwork relations and researcher positionality

, 51–52

grasping process

, 53–56

immersion

, 44, 49, 53, 58

interviews

, 40–41, 45–47

mapping of popular music field

, 40

observations

, 47–49

open-ended questionnaire

, 50

qualitative research

, 41–43

reflexivity

, 41–43

research design

, 40–41

research questions

, 40

snowball sampling

, 46

transcription and translation

, 56–58

Field of cultural production

, 17, 61, 64, 170–171, 182

financial investment in

, 73

Fluidity

, 1, 7, 12, 46, 54, 68, 76, 109, 181, 182, 183

Folklore diversity in popular music

, 140–152, 189–190

Bulgarian motifs

, 151

ethnic diversity and its cultural implications

, 142–143

influences in contemporary music

, 27–31, 149

interpretations of folklore heritage

, 145–148

notion of national ‘pride’ and identity

, 142

Ottoman and gypsy aspects

, 149–150

use of acoustic instruments

, 146

wedding music

, 145

Folklore music

, 27–31

Geertz, Clifford

, 53

Global music industries

, 18, 47

Gorbachev, Mikhail

, 32, 104, 113

Grounded theory

, 39, 41, 53–56

Gurov, Vaso

, 46, 71, 79–80, 85, 92–93, 105, 109, 114, 118

Independent Music Companies Association IMPALA

, 19

Inequalities in music

, 12

International Association for the Study of Popular Music (IASPM)

, 10

International Federation of the Phonographic Industry (IFPI)

, 90–91

Invented traditions, concept of

, 148

Kristeva, Julia

, 26–27, 158, 164

Labels

, 18–19, 25, 32, 40, 45–46, 64, 68–72, 90–92, 97, 126–127, 145

Lomax, Allan

, 30, 146

Marginalisation/marginal

, 7, 50, 51, 77–78, 80, 92, 112, 136, 166, 168, 176, 191

Marichkov, Kiril

, 93

Market censorship

, 64

Mass listeners

, 16

Mechanisation of music

, 16

Middleton, Richard

, 10

Milanov, Peter

, 104, 114

Milieu theory

, 17

Monte Music

, 67

Musical authenticity

, 16

Musical identities in popular music

, 139

Balkanism

, 162–170

folklore

, 140–152

language

, 152–162

Orientalism

, 170–178

visual aesthetics

, 171–172, 174–176

Musicauthor

, 78, 89–90, 92, 95–96

Music piracy in Bulgaria

, 93–94

Music production

amorphousness vs structure

, 61–76

competitive TV music formats

, 73–74

contemporary cultural entrepreneurship

, 73

DiY practice

, 70, 108–109

effect of technological changes

, 76

opportunities for autonomy

, 72–73

self-producing practices

, 70–71

technological changes and

, 76

Narodna muzika

, 141

National Radio and Television

, 63

Nedeva-Voeva, Neli

, 111, 114

Networked worlds

, 17

Nova Generatsia

, 111–113, 121

Orientalism

, 170–178, 195

Ownership of music

, 18

Papazov, Ivo

, 145

Payner

, 64, 69, 74, 78, 82–84, 86–88, 90–91, 97, 126–128, 130, 132–135, 171, 183

Periphery/peripheral music

, 2, 7, 11, 27, 50, 51, 73, 100, 139, 154, 166, 172, 190, 195

Petkov, Boyko

, 63, 75, 102, 110, 123, 125, 164

Place, relationship with music

, 22–37

Bulgaria

, 25–27

development of styles

, 24

examples

, 23

folklore influences

, 27–31

Pop-folk

, 2, 7, 34–37, 49, 78, 82–88, 99, 122–136, 149–151, 159, 161, 171–178, 183–184, 187–189

Pop-folk genre

, 34–37, 82–88, 99, 187–189

as apple of discord

, 122–125, 135

commodification of feminity and

, 130–136

dress, scenarios, and choreographies

, 127–128

evolution since 1990s

, 122–130

pevitsi

, 130–131

sexualised contents of

, 132–133, 135–136

Popular music industries

, 19–20

Popular music study

as academic field

, 9–14

Adorno’s critique

, 14–18

artists and creative freedoms

, 18–19

authenticity

, 16

books and ‘readers’

, 11

censorship and punitive practices

, 13

commercial value

, 10

commodification of

, 16

communicative quality of music

, 13–14

cosmopolitan

, 1, 25, 34, 36, 37, 145, 150, 170, 173, 178, 187, 190, 191

as cultural industry

, 14–22

cultural translation

, 24–25

distinction between popular and traditional

, 9

folklore diversity in

, 140–152

genesis of

, 10

interpretations

, 10

link between musicology and

, 10

link between youth and music

, 11

ownership

, 18

place, relationship with

, 22–37

repetitiveness

, 16

social and cultural implications

, 10

styles and cultures

, 11

subcultural practices, relationship with

, 12–13

Post-communist transitions of popular music

in Bulgaria

, 62–68

copyright management

, 88–96

crossroad fluidity

, 68–75, 182–183

East European ex-communist bloc countries

, 63

effect of technological changes

, 76

English-language music, popularity of

, 75–78, 82

powerful position of ‘major ‘music companies

, 76–96, 183–185

rock music. See Rock music

Post-punk

, 7, 32, 51, 59, 63, 85, 99, 100–114, 121, 134, 136, 185–186, 194

Prophon

, 78, 89–96

Protests

DANSwithMe protests

, 116–120

popular music and

, 114–122

protester’s use of ‘bricolage’

, 120–121

Punk ideology

, 108–109

Repetitiveness in popular music

, 16

Resistance

, 1, 3, 4, 7, 10, 12, 13, 14, 31, 33, 37, 41, 48, 100, 103, 104, 106, 108, 111, 112, 117, 118, 119, 120, 121, 144, 185–186, 187

Rituals of resistance

, 7, 99

Rock music

, 31–34, 185–186

in Bulgaria

, 100–108

communist regime and

, 31–32

contents of

, 101

contexts of protest and

, 114–122

as epitome of resistance

, 103

Estrada rock

, 102

July Morning tradition

, 106–108

Kavarna Rock

, 108

in pre-1989 communist Bulgaria

, 103–105

prohibition and censorship

, 103–104

punk and post-punk genres

, 105, 108–114

resistance

, 1, 7, 31, 33, 37, 99, 100, 103, 104, 106, 108, 115, 118, 119, 185, 187

under 1980s perestroika and glasnost

, 105

Western perspective

, 108

work and style of Bulgarian rock artists

, 104

‘Save Ruse’

, 113–114

Scenes

, 3, 7, 12–13, 33, 41, 46, 51, 63, 99, 100, 102, 104, 105, 106, 108, 109, 110–111, 114, 115, 121, 122, 130, 134, 161, 185–186, 188

Slavova, Milena

, 109, 118

Snowball sampling

, 46–47

Statelova, Rosemary

, 63, 116

Structuralism

, 12

Subcultural scenes

, 13, 33, 46, 99, 100, 104, 105, 108–114, 121, 130, 134, 185, 186

Subcultures

, 12–13, 26, 32, 33, 104, 112, 114

Tagg, Philip

, 10–11, 14

“Thin layer of oil” metaphor

, 68, 74

Thompson, E. P.

, 100

Todorova, Magdalina

, 78, 89, 95, 162–164

Todorova, Maria

, 26

Tonkova, Anna-Maria

, 156

Valdobrev, Stefan

, 71, 75

Vasko the Patch

, 103, 107, 115–118, 122, 154

Voev, Dimitar

, 110–111

The Voice of Bulgaria (BTV)

, 67

Wenham, Alison

, 62, 65–66, 69

Western popular music, popularisation of

, 75–78, 82

Western rock music

, 101–102

Xenomania

, 167, 192

YouTube

, 94

Zapodozreni, Obichainite

, 75

Žižek, Slavoj

, 26–27