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<tr> <td height="37" background="//theme.webme.com/designs/red/images/cont_head_bg.gif" class="edit_content_header"> <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td class="Stil2_left" width="3%" height="37"> </td> <td class="edit_Stil2_right" width="97%"><span class="Stil2">O proučavanju popularne muzike<meta name="google-site-verification" content="E_EMTByud8j6gQsfrZArhUbB6LfnT-r9bYLu0KH081M" /></span></td> </tr> </table> </td> </tr> <tr> <td class="cont" style="padding-left:15px;" height=300 valign="TOP"> <div style="width: 510px; overflow: auto; "> <TABLE width="480" height="100%"> <TR> <TD><span style="font-size: small"><span style="font-family: 'Comic Sans MS'"><font face="Arial">A</font><strong>ko je popularna muzika uopšte dugo bila zanemarivana od akademskih krugova, naučno istraživanje muzičkih tradicija i njenih reinterpretacija izvan evropsko – američkog mejnstrima (mainstreame – glavni tok, matica) počelo je čak kasnije. Prvi značajniji radovi pojavili su se tek sedamdesetih, poput Eight Urban musical cultures Bruna Netla (Bruno Nettl, 1978). Tokom narednih godina pojavili su se brojniji žurnalistički radovi, poput onih Džona Storma Robertsa (John Storm Roberts, 1972, 1979). Broj naučnih radova iz ove oblasti veoma mnogo je narastao sa zakasnelim prepoznavanjem popularne muzike kao važnog sociološkog fenomena, u nastupajućim godinama. Razvoju nauke o popularnoj muzici takođe je doprinelo širenje multikulturalizma kao akademske paradigme i činjenica da je upravo tada stasala generacija naučnika, i sama bila uključena u popularnu muziku još od perioda sopstvene adolescencije (The New Grove Dictionary of music and musicians, 2002). Časopis Popular Music, osnovan 1981. i drugi slični časopisi posvećeni studijama kulture sada objavljuju značajne radove iz oblasti svetske popularne muzike.</strong></span></span> <h4 style="text-indent: 21.6pt"><span style="font-size: small"><span style="font-family: 'Comic Sans MS'"><span style="color: rgb(0,0,0)">Mada je broj naučnih radova iz oblasti svetske popularne muzike značajno narastao tokom poslednjih decenija, među njima je tek nekoliko koje tretiraju muzičko-formalne parametra popularne muzike, bilo Zapadne ili ne-Zapadne. Problemi koji se odnose na analiziranje popularne muzike su mešavina specifikovane i ezoterične, ili preciznije nejasne prirode analitičkih studija udaljenih od društava iz kojih muzika potiče. Možda najvažnija smetnja formalnoj analizi je činjenica da mnogo muzičkih stilova pokazuje izražajne karakteristike koje se protive standardnoj notaciji, ili u nekim slučajevima bilo kojoj postojećoj vrsti, ili čak zamišljenoj notaciji. Taj problem je doduše još uvek nerešen i u samoj transkripciji tradicionalnih melodija, jer mikro – ritmičke nijanse, specijalna izobličenja glasa (“kvocajući” tonovi u našem narodnom pevanju, na pimer), guturalno sviranje (poseban bordunski grleni glas, koji je pratnja glavnoj melodiji na duduku) “dramatična” interpretacija (kao u naricanju), mikro usporavanja i ubrzavanja, itd. još uvek ne mogu prezicno da se zabeleže.</span></span></span></h4> <h4 style="text-indent: 21.6pt"><span style="font-size: small"><span style="font-family: 'Comic Sans MS'"><span style="color: rgb(0,0,0)">Sa druge strane, jedno od važnih pitanja koje još uvek nema odgovor je kako ne-Zapadne kulture percipiraju zapadnjačka akordska sazvučja? Kada etnomuzikolozi budu uspeli da uspostave “konekstualizovanu formalnu analizu”, tj. kada njeni rezultati budu komplementrani sa sociološkim istraživanjima, onda će tek biti otvoren spektar “socio- muzičkih” pitanja, koji će davati meritorne odgovore o popularnoj muzici.</span></span></span></h4> <h4 style="text-indent: 21.6pt"> </h4> <h4 style="text-indent: 21.6pt; font-family: 'Comic Sans MS'; font-size: small; "><span style="color: rgb(0,0,0)">Treći problem u proučavanju svetske popularne muzike, osobito žanrova koji su nastali nakon osamdesetih godina prošlog veka, je pitanje “autentičnosti”. To je pitanje i odrednica koju etnomuzikolozi izbegavaju sa pravom, budući da je svaka narodna kultura dinamična kategorija koja se vekovima razvijala pod raznim uticajima. Ovde međutim, nije reč o toj “zamci”, već o tome da etnomuzikolog koji proučava neki fenomen mora biti upoznat koje karakteristike je neka muzika imala pre nego što je postala predmet reinterpretacije, ili fuzije sa nekim drugim žanrovima ili tradicijama. 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