The creative work of Nikola Borota - Radovan (musician, composer, lyricist,
arranger and record producer, based in New Zealand - formerly from
Yugoslavia) held a specific place in development of world music (poly)genre
in his native homeland in the early 1970s. This study focuses on his creative
principles, applied to works published between the years 1970 and 1975 (while
the role of these works in social, cultural and political context of the time
and place will be elaborated in another study, see Jovanovic 2014). The
platform established to present this unique musical approach authenticaly was
called kamen na kamen (a studio and stage outfit that has included number of
collaborations over many years). Based on the musical models and aethetics of
the folk revival and created under influence of The Beatles?, in adition to
many other popular music production directions of the era, Borota?s works
reveal significant musical, performance and production qualities, innovative
expression and musical solutions, that need to be percieved from the
contemporary (ethno)musicological point of view. Despite the fact that many
prominent creative Yugoslav musicians of the time also worked within a
similar framework I would argue that Mr. Borota?s creative outcome was
signifficantly different from other Yugoslav popular music creative efforts.
This is particularly noticeable in the author?s unique treatment of
South-European and other folklore motives, which is the main topic of this
study. Folk (ethnic) idioms exploited by Mr. Borota in his compositions
originate from the rural traditions of western Dinaric regions. This is
especially true for the rhythmic formations of deaf or silent dance; for the
semi-urban and urban tradition of the Balkans and the Mediterranean; Middle
European traditions; traditions from non-European peoples; elements of
Italian Renaissance; and international (mostly Anglo-American) musical
models. Compositions are analysed partly in accordance with the principles
presented by Philip Tagg (1982), and following the principles of the ?Finnish
method? in ethnomusicology. According to my best knowledge, there was no
previous comparable (ethno) musicological ellaboration of folk revival,
Beatlesque influences and early forrays into world music within Yugoslav
popular music culture. I therefore consider this study to be the first
contribution to the research in this subject.