BSTRACT
Music has been an essential part of different cultures and their expressions around the world, becoming a carrier of the cultural heritage of specific countries and regions. In this research we are going to focus on a typical for a nation genre of music. The focus is on Bulgaria and pop folk, which represents a revived form of traditional Bulgarian folk music. This research focuses on Bulgarian pop folk music, with the purpose to explore the genre as a representative combination of local culture and global sounds. The interesting part in examining the transformation of pop folk music is the fact that the genre has created a very strong industry around it. The music genre is trying to relate more to a modern global culture, rather to the typical culture of the region. We are going to examine this process from two perspectives – the audiences of the genre and pop folk music companies. Our motivation for taking the perspective of the audience as our main standpoint is, the possibility of the consumers to be objective in their comments towards the music genre. Moreover, it will be interesting to observe the dynamics of the process of folk revival from the side of the music industry and how they have they picked it up more as a commercial venture in a traditionally less commercial genre.
Key words: pop folk music; audiences; music company; globalization; commercialism ;

1.
Introduction of the music genres folk and pop folk, development over the years……………………………………………………………………………………..p.1
2.
The music industry in Bulgaria………………………………….…………………...….p.8
3.
Theoretical framework………………………………..………………………………..p.13
3.1.The revival of folk music…………………………………………………….…….p.14
3.2.Cultural globalization process and influence and effect upon cultural products......p.17

Cultural imperialism…………………………………..……………….......p.18

Glocalization…………………………………………………………...…..p.20
3.3.The music industry……………………………………………………………........p.23
 Cultural industries………………………………………………………….p.24

From music to an industry………………………………………………....p.25
3.4.Concluding marks and main hypothesis……………………………………..…….p.29
4.
Research methodology…………………………………………………………………p.32
4.1.Online survey ……………..………………………………………………….……p.34
4.2.Qualitative interview …………………………………………………………..….p.36
4.3.Sample selection ………………………………………………………..……...….p.38
4.4.Overview of fieldwork……………………………………………………………..p.39
4.5.Data analysis…………………………………………………………………...…..p.40
5.
Results………………….………………………………………………………………p.42
5.1.Internal factors………………………………………………………………….….p.51
5.2.External factors…………………………………………………………….………p.55
6.
Discussion chapter……..…………………………………………………………..…..p.60
6.1.Cultural globalization process…………………………………………………......p.63
6.2.Global music at a local level……………………………………………………....p.65
6.3.The control over music by the music companies…………………………………..p.66
6.4.Transformation due to commercialization of the genre………………………..…..p.69
7.
Conclusion and recommendations…………………………………………………….p.72
8.
Bibliography…………………………………………………………….……………..p.78
9.
Appendices…………………………………………………………………………….p.82

Music has been an essential part of different cultures and their expression around the world, becoming a carrier of cultural heritage of specific countries and regions. As a carrier of cultural heritage the creation, performance, significance of music varies according to culture and social context. As the musicologist Jean-Jack Nattiez (1990) stated : “ The border between music and noise is always culturally defined- which implies that, even within a single society, this border does not always pass through the same place; in short there is rarely a consensus…By all accounts there is no single and intercultural universal concept defining what music might be.” To display a clear definition of the nature of music is hard, and this is not the focus of this research. The concentration will be upon the cultural and social aspect of the music, exploring their influence upon music as a cultural product.
In particular this research focuses on Bulgarian pop folk music, with the purpose to explore the genre as a representative combination of local culture and global sounds. In order to define the genre pop folk, useful to this research will be the observation of Vencislav Dimov who described the genre in his “Ethnopop Nomenclature”, a miscellaneous collection of different local and Balkan styles. He displayed the genre as a mixture of “music of wedding orchestras; Balkan drinking songs sung in Bulgarian; newly composed songs based on folklore, new-wave pop music that borrows the means of expression from folklore.” (Dimov, 1995:10)
As we can see from this definition, pop folk combines the vernacular and traditional, the modern and the old. Moreover this research will observe the mediation by the music industry as a factor which is influencing the transformation of pop folk in recent years.
Next, we turn to an exploration of Bulgarian folk music and its evolution into pop folk.
The exploration of the topic will continue with observing the role of music industry at a local level, concerning music as a cultural product.
After the presentation of the development of folk music in Bulgaria and an overview of the current pop folk music scene, our research will continue with a theoretical approach, which will present the diversity of theories implied for an exploration of factors influencing the transformation process of pop folk music. With a better understanding of the theoretical approach, we formulated our main hypothesis, which will be discussed at a later stage in this
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Figure 1: The Balkan region research. Our research will continue with a presentation of the research methods which were implied, followed by the gained data. In the last chapters of the research we are discussing our main findings in relation to our main hypothesis and conclusion.
Music as a carrier of the cultural heritage of a nation is bringing the attention on a particular genre and type of music – folk music. Situated in Southeastern Europe,
Bulgaria is part of the Balkan region and music tradition, possessing its own distinctive sound
( Figure 1 ). Bulgarian folk was described by the famous Hungarian composer and ethnomusicologist Bela Bartok as unique for its ‘asymmetrical’ rhythms, where the musical time is not split in even beats, but in the uniqueness of longer and shorter beats (Bartok, 1981).
The specific sound of Bulgarian folk music is a result of the implication of five main music instruments which are used for its composition: bagpipe (гайда), flute (кавал), fiddle (гадулка), tambourine (тамбура), and drum (тъпан). It is interesting that different music instruments are specific for different regions in the country. Bulgaria is divided into seven folklore regions
(Northern Bulgaria; Trakia; Shopluk; Dobrudza; Macedonian; Strandja and Rodopi) and every region is being considered different in terms of sounds which are implied in the songs. Even possessing this extraordinary rhythm and historical data for its early existence, folk music was considered as a pagan ideology from the Orthodox church in the middle ages, and for that reason a number of songs have been lost over the centuries (Kolev, 1987). Folk music relates to the traditions and customs of a nation. In the case of Bulgaria, folk music and its cultural and social aspect were an important part of the Byzantine and Ottoman power in the country and of their continuing influence over time (Kolev, 1987). The Bulgarian folk music presents a combination of traditional for the region music and traditional dances, named horo (хоро),
( Figure 2 ). Bulgarian folk music and dance were linked to ceremonies (wedding, funeral, etc.) or celebrations (national holidays, private events, etc.) which the Bulgarians were organizing.
With the celebration of different occasions they kept the folklore of the country alive, and although it was influenced in some aspects from the Byzantines and Ottoman rule, the
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Bulgarian folk managed to preserve its uniqueness and originality, and serve as a protector of the Bulgarian culture throughout those 500 years (Kolev, 1987).
Figure 2: Traditional Bulgarian dance -horo
In the country the interest towards the development (recording and distribution) of folk music grew tremendously in the beginning of XIX century (Vekilova & Minkova, 2008). The first steps to enrich the nation’s culture started with the development of new lyrics and dances
(horo). It was at this time when some of the most famous Bulgarian poets and writers for the time were composing new folk songs. Moreover during the 1930s the first collections of folk music were published, which were including thousands of old and new songs : ‘ Folk songs from Timok till Vita’ (1928), ‘Folk songs from North and Central Bulgaria’ (1931), ‘ Rodopiski
Folk songs’ (1934) etc. (Vekilova & Minkova, 2008). Bulgarian folk music represented the spirit and deep history of the Balkans region. The lyrics of these folk songs were related to the history of Bulgaria, to the daily rural life, the dances which were performed with the songs were also representing the topics of concern in the folk lyrics.
Throughout the years, however, the popularity of the traditional folk music decreased.
The Bulgarian musicologists were still researching the Bulgarian folklore, but the production and distribution of folk music in the country was discontinued (Vekilova & Minkova, 2008).
Under Communism in particular the popularity of folk music declined through the generations as little new folk music was produced, and as well there was a lack of popularization following the rules of the Communist party (Kurkela, 1997) and the influence of the Soviet Union, which
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was mainly propagandizing Russian culture (Silverman, 2007). With the decline in production and distribution of folk music, a new genre started to develop in the country, so called ‘wedding music’, representing a mixture between the traditional folk music with Roma rhythms (Kurkela,
1997). The name of the genre is formulated in regards to the occasions on which it was performed, mainly weddings and traditional Bulgarian holidays. It is visible that through such celebrations the Bulgarians are preserving and developing their national music, the same occurrence was seen with Bulgarian folk music. The distribution and popularization of the
‘wedding music’ genre was controlled by the state and there were serious consequences for the musicians who were working for the development and distribution of this type of music.
Attempts to create a new cultural product can be displayed as an opposition to the political situation of the time.
With the fall of Communism in 1989, and with the rise of democracy, opportunities for new businesses in the private sector developed, the music business in the country also developed in that direction, the political change influenced not only the business sector but also national music (Kurkela, 1997). With the years of development of the private sector in the music business, a few companies managed to establish themselves as monopolistic in this sector. The new formed genre started to gain its popularity during the last years of the
Communist regime, when even it became a kind of symbol of freedom and political resistance
(Kurkela, 1997). During the years of political and economic liberalization, the local music producers were able to react to the demand for this type of music, coming from the society, and the pop folk popularization was a reality in the country (Kurkela, 1997). The decline of folk music was observed as unavoidable by Kurkela (1997) and as factors for that process she points out the market based on free competition, and as well the notion that folk music was no longer popular among the mass audiences. The transformation from folk to pop folk music was suitable and easy for the music professionals. Many of those music professionals like producers, orchestra leaders and virtuosi players in the Bulgarian pop folk scene had a state folklore background on which they started building the new genre (Rice 1994:280-6; Dobreva, A.
Raichev, interview 1996). Music labels started to become not only producers of music, but also an industry, an industry which possesses the control to change and transform music by itself.
In the recent years we are observing the changes in the produced music in relation to folk and ‘wedding’ music and moreover it can be noticed that folk music is produced in a more
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modern, commercial and global manner. A manner which developed a new type of music, music which followed the track of folk and ‘wedding music’, but developed even further with a more modern and global sound. Having all of that in mind, attention is being brought to the concerns of the transformation of folk music and in particular for the revival of this typical for every country genre but in a new modern manner in Bulgaria.
On a global scale we can observe that revivals of folk music have been an ongoing process of transformation of music in different countries.
During the last years before the collapse of the Soviet Union, pop folk in Bulgaria even became a kind of symbol of freedom and political resistance (Kurkela, 1997). The popularity of the genre grew, with almost all the hits were belonging to this genre — the best-sellers having sales numbers well over 100,000, even as high as 150,000, which could be seen as a vast numbers considering the relatively small Bulgarian market (Kostadinova 1995; G. Georgiev, interview 1996). These numbers are representing the popularity of the genre almost 10 years ago, nowadays the expectations for the popularity of the genre are even higher due to the big amount of music which is being produced and distributed. As it is visible the genre extended its popularity, becoming mainstream in the country and developing a number of activities working for its maintenance as mainstream (music festivals, competitions, performances etc.).
The interesting part examining the transformation of pop folk music is the fact that the genre has created a very strong industry around. The music genre is trying to relate more to the modern global culture, rather to the typical culture of the region. This notion could be observed with the usage of more electronic instruments and less traditional ones by the music professionals in the industry, as well the image of the performers is mixed with images of a new market economy (western cars, western fashion).(Kurkela,1997). Moreover it will be interesting to observe the dynamics of the process of a folk revival from the side of the music industry and how they have picked it up more as a commercial venture in a traditionally less commercial genre. Also we turn to the perspective of audiences and their opinion and attitude on changes in the genre and on pop folk music companies.
The main focus of the research examines the reasons for the transformation of pop folk.
As it was observed earlier the transformation of the genre is concerning not only the sound and rhythm of the music, but moreover it could be related to incorporation of global trends as well.
Having in mind the development of the genre through the years and its more global manner in
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the recent years, the following research question was formulated: What are the dynamic factors which are influencing the transformation process of pop folk music over the years from audience`s perspective?
With the formulation of this concrete research question, the purpose of the research is to explore a number of local and global factors, which are influencing the transformation process of the music genre and to explore the audience`s perception of these factors.
To explore the dynamic factors which are influencing the genre, two perspectives will be taken into consideration for the research. The first one is related to the social perspective – the audiences of the produced and distributed pop folk music. We have chosen this perspective as our main resource for information related to the transformation process of music, because we are keeping in mind the development of the genre. As it was observed earlier in this chapter the main factor which was preserving, developing and transforming the Bulgarian folk music was coming from the society and from the people who were consumers of this genre. Keeping that notion in mind, we are taking the perspective of the audiences of pop folk which are also directly concerning the creation, production and distribution of music. The focus on audiences is being done in order to view and understand their point of view towards the transformation process of music.
But nevertheless, an additional research was done towards the pop folk music industry, this side is taken into consideration because the majority of cultural products are being produced and distributed from the pop folk music industry and in particular a few music companies.
Moreover, historically folk music was kept alive by people and their cultural practices. Pop folk music companies nowadays play a significant role in preserving Bulgarian folk music, as they are producing and distributing it along with pop folk. It would be essential for the research to explore the extent of their participation and control over the production and distribution process of music.
In order to explore the factors influencing the music genre coming from the side of the pop folk music industry in the country, the Bulgarian pop folk music industry will be introduced.
The illustration and explanation upon the specific industry will provide the research with a better understanding of the current situation in the music business in the country. This research will focus on two of the main companies in Bulgaria – Payner Music and Ara Music; the concentration will be on their development over the years, the business models which they are
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applying and exploration of the level of their control over the produced cultural products. The purpose is to examine on a later stage of this research the level on which they are influencing the transformation of the genre over the years.
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In this chapter we are going to illustrate the pop folk music industry in Bulgaria. We are focusing particularly on two major music companies which are producers and distributors of pop folk music – Payner Music and Ara Music. We are particularly looking at these two companies, because both of them are considered to be the leading music companies in the country. Moreover both are Bulgarian, in meaning that they are not part of global music conglomerates. Having in mind the local manner of the researched companies we would like to examine them in relation to their suggested influence in the transformation process of the pop folk music genre. In that order here we are going to present the main activities of the companies, the business models applied, and on their development over the years. Firstly we are going to start with Payner Music, which is considered to be one of the biggest producer and distributor of this style of music.
The company Payner Music
1
started as a record label founded in 1990s by its current owner Dimitar Dimitrov. The company was founded right after the fall of the Communist regime; Mr. Dimitrov was influenced to create the company because of his experience of Serbian pop folk music. Already in the last years of communism, Bulgarian pop folk music was becoming popular but it was not considered successful because of the communism authorities which were considering pop folk as a genre detrimental to the population. With the fall of communism, bans on the artistic level of the genre were raised and this led to the emergence of a whole musical and cultural movement that was carried out in the 90s.
The company started as a record label and the only activities were production of audio and video cassettes for the local and regional market. The distribution activities of the company started to grow and expand in the direction of music production. For a short period of 3 years, the company reached the extent to which they closed the production cycle of the offered products – from producing to distributing. From the year 1995, the activities of the company developed even further as they founded their own video studio. The company has stated that they are working with the best technological improvements over the years, and they are not hiding the
1 The information related to Payner Music is based on the company`s website- www.payner.bg
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contribution of Apple to their technological video development. Moreover the company is responsible for the audio and video duplication, prepress and graphic design of the final product.
The publishing department of the company has its own printing base, built with the most advanced technological solutions in this area. From November 2002, the company started broadcasting their own music television channel ‘Planeta’ (Planet). From the same year till now, the company started to organize annual awards for artists only from the label. Last year 2011, they started broadcasting another television channel as well, named ‘Planeta HD’ (Planet high definition), with the purpose to present the new technologies in the video development. The company is further stating that advertisement with the label ‘Payner’ has its own original style, establishing for almost 22 years and which is seeking for minimizing the distance between artists and their audiences.
Having that as a media strategy, the company has developed impresario activity in organizing live performance of the artists, not only in the country but abroad as well. Besides the weekly performances of the artists in different clubs and bars, the company is organizing live concerts in the country, the first one was an organized tour in Bulgaria in the year 2004, it reached 15 cities and it was visited by more than 200 000 people. From the company are stating that in the next years, more and more people visited the tour. In order to close the whole process of distribution, the company has created their own chain of music stores, where physical carriers of the albums could be found. To establish an even closer relationship with their audiences, the company started a chain of pop folk night clubs called ‘Planeta Payner’ (Planet Payner), the clubs are situated in different cities around the country.
Besides all the main activities of the company which are directed to the production and distribution of pop folk music, the company was always thinking of the traditional folk music and its preservation. From 1994 till now the company is the initiator and main organizer of the festival for a new folk based song, called ‘Trakia Folk’. In the year 1995 during the festival there was a new category for a pop folk song. From March 2007, they started broadcasting a television channel called ‘Planeta Folk’ (Planet Folk) which is concentrated on traditional Bulgarian folk music.
As it can be seen a record label which started with producing cassettes has become a major music company in the country, having the full control over the produced cultural products and its production chain. The company is not only concentrating on the main activities of the
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record label like acquiring and contracting artists; recording and packaging music; reaching an interested audience. They are also extending and focusing on the other part of the music industry which is connected to live concerts, artist management, concert promotion and booking, and nevertheless broadcasting music on radio and television. Payner music has clearly concentrated on the three main money flows and consumption methods which are presented by Cusic (1996): performances in electronic media, personal appearances and sales of recordings (1996:21). It is visible that Payner music is representing a powerful music company working in different but all connected areas, in Fig.3 (Production and distribution cycle in Payner Music) illustrates the typical process of producing pop folk music at Payner Music.
Payner music contracts an artist
Live performances in a diversity of nighclubs including as well
'Planeta Payner'; Live concerts and tours
Sell the final product in the music stores of
Payner
The songwriter writes a song/ the songwriter signs a contract with
Payner for the copyrights
Planeta Payner televison channels
Nomination and award for the song in the annual Payner music awards
Payner music produce the recording of the song
Payner music promotes and distributes this recording in several channels: benefits for the artist and the company
Fig.3:
Production and distribution cycle in Payner Music
As it can be seen from Fig.3 (Production and distribution cycle in Payner Music) , Payner
Music has full control of the production and distribution process. Having that full control of the products which are being distributed is raising questions concerning the influence from company side towards the transformation of the music genre over the years.
An introduction and familiarization was done with one of the main music companies in the country. The second company which is going to be introduced is already the mentioned
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above Ara Music
2
. The purpose of introducing two companies is in line with the topic of the research, which is considering the influence from the music industry and not the influence of one music company, which might be not objective enough.
Nevertheless, Ara Music has established itself as one of the leaders in the music business in Bulgaria also in every aspect of the value chain - publishing, distribution, management and producing. The company was founded in 1997 by Mr. Viktor Kasamov, and till now he is still on the leadership position of the company.
Similar to Payner is the business model which is being used by Ara Music. They have full control and are in charge of the decisions making process on every stage of the producing and distributing of musical content. As well they are broadcasting two television channels, Fen
TV which is concentrated on pop folk music and Folklor TV which is focusing on traditional
Bulgarian folk music. It is visible that the company is not relating their company name with their other activities in comparison with Payner music. Another difference between the two companies is the number of promotions and distributing activities. Ara Music is not organizing tours and awards in the country, but they are still organizing live performances in a diversity of nightclubs, except for those which are possessed by Payner Music.
From the company`s website it is noticeable that their interest is not only in the local market but as well on the regional Balkan’s market, as they are participants and hosts of the
Balkanika Music Awards. They are seeing themselves as successful in relation to the recognition of their performers on domestic and international music events, where often their performers are recipients of awards. Moreover, they are representing one of the most prominent song writers, composers and musicians from Bulgaria, Macedonia, Serbia, Albania and Romania, who were involved in creating one of the greatest hits in the Balkans. It is visible by the involvement of foreign artists that one of the main interests in the company is the popularity of their products not only in the local market but in the regional market as well. This fact brings a notion to an influence from the region upon the produced music.
With the attention of the company not to promote to a large extent their products in the local market, their strategy could be related to the observation made by Negus (1996:56) and
Frith (1990:105). They are stating that nowadays there is no need to sell music products to the
2 The information was taken from the official website of the company – www.ara.bg
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audience, because the exploitation of various rights by the circulation of music within different media channels is more profitable and important for the music company.
From music companies to the exploration of the industry
In the previous lines, two of the main producers and distributors of pop folk music were introduced. As it was seen both music companies are in charge of the whole creative, producing, distributing, and promotion process. When the company is powerful enough to be in charge of all of those activities, a notion about the extent of influence upon the produced cultural goods is being considered.
Moreover, having in mind the technological developments over the last years, the cultural globalization process are all dynamic factors which may influence the transformation of pop folk music. In order to explore in depth the reasons which are influencing the transformation of pop folk music as a cultural product in the next chapter a literature overview will follow. The main hypothesis will be introduced as well as the methodology of research attributes in order to explore in the pop folk music transformation in Bulgaria.
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In this research we are focusing on a country and on a music genre typical for the nation.
In particular we focus on pop folk music, which from the beginning of the 90s has emerged as one of the mainstream genres in Bulgaria. Taking a deeper look into this style of music, the genre could be described as a revived form of traditional Bulgarian folk music. The revived genre encountered under the influence of the music industry which managed to develop it in a more commercial manner and to superimpose it as a trend in mainstream music. In the recent years it has been visible that the influence of the global music scene, with the adaptation of local music instruments and sounds has affected the pop folk genre.
In order to explore the transformation of the genre over the years, several approaches will be taken into consideration. Firstly, we explore the development of pop folk as a genre and its revived form of traditional Bulgarian folk music. An exploration of Bulgarian folk music will be discussed in its relation to pop folk. More generally, we contextualize the discussion in the framework of past research on folk revival, comparing the trajectory of pop folk to earlier research on revivals. In order to explore the genre, the revival approach will provide the research with valuable understanding for the creation and development of the genre over the years. From this approach we are able to understand factors and reasons which are seen as influential for a revival of this type of music.
With a better understanding of the historical perspective of the genre and its creation, we move further to contextualize the transformation of the genre against the background of the cultural globalization process. Different perspectives upon cultural globalization will be discussed as the cultural imperialism theory, globalization of the global cultural products and an exploration of the dynamic and complex relationship between global and local content. Theories of cultural globalization allow us to understand the transformation of the genre over the years and to explore the transformation of cultural products more generally but as well on the dynamics of production and consumption in the cultural industries. The cultural globalization process is taken as a theoretical approach in order to examine the complex relationship between local and global cultural content, moreover we want to examine the extent of influence coming from the global cultural scene.
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A third approach for exploring the transformation of pop folk music over the years is going to present the role of the cultural industries and in particular the music industry. Having full control over the production and distribution process of a cultural product, it is important for the research to observe the extent to which the music industry is influencing the music in the two manners. For these reasons we are considering the music industry approach as important for the research. Here the focus will be on the factors influencing the industry such as technological development, social factor and effect of the globalization process.
We start our theoretical overview with a discussion on folk music and the revival of folk music on a general scale and in Bulgaria in particular.
The revival of folk music
The focus of the planned research is going to concentrate on the general process of revival of folk music and the processes behind it. The aim is to develop a clear understanding of the revival of folk music in general aspect and moreover particularly observe the revival process in the case of Bulgarian folk music. The concept of revival is useful because it helps us to look at what remains the same and what changes from folk to pop folk.
As it was observed earlier in the research, folk music could be seen as a representation of traditions, history, culture and customs of a nation. Although folk music has a history that goes back for decades, it gained its characteristics and elements through out the years of its existence.
On a global scale the diversity of folk music is multifaceted, but moreover folk music possesses some uniform qualities. Folk music along the years was seen as an expression of something both general and universal, and restricted- reflecting the history, landscape, and unique national features of the country from which they came (Volkslider, 1774; 1778-1779). Moreover, folk music, both sung and played, is traditionally learned by ear and has to be closely associated with work, tradition and ceremony (Ling, 1997:2). In the beginning of the 20 th century folk music was perceived as one of the most popular genres in Bulgaria, as could be observed by the number of activities towards the popularization of the music. What is more is that folk music was epitomizing the traditions and folklore of a particular nation; it was strongly connected to customs and traditions, as it was seen as a connection to the past. This optimization could be observed with exploration of the lyrics implied in different Bulgarian folk songs; they concerned
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topics from daily life of the nation, explaining problems of the society, implication of traditions and as well taking a perspective from the victorious history of the country (Vekilova and
Minkova, 2008).
An intriguing observation on music revivals has been made by several authors (Miller,
2004; Kurkela, 1997) that some of the mainstream music nowadays can be considered more as a revived music genre than an original and different from everything what was produced till now.
The concept of revival gives the impression that folk music can be brought back to life, even still brought to the audience`s attention, it cannot be performed exactly as it was, originally, at a particular time in history, as the music is transformed and influenced by a diversity of factors
(Fujie,1996). Cohen (1991) enriched the notion of revival by concentrating more on the reasons and factors that can be portrayed as a driving force for revival of folk music on a general scale.
The revival of folk music seen by Cohen (1991) is motivated by factors which are embedded in the nation and originate within, interact with, and are inevitably affected by the political environment, economic situation in the country and physical factors which surround them.
The revival movement of music is seen by the researchers (Kurkela, 1997; Cohen, 1991) as a cultural opposition and alternative, attempting to improve the current culture, through historical values and authenticity, which are brought by folk music, such as restoring and preserving the national culture. Keeping in mind the notion of a revival movement, which is clearly connected to people`s involvement in the process, society as well could be seen as an important factor for the revival of music on a global scale (Livingston, 1999). Concentrating on the social factor as one of the major factors for the revival of folk music, Livingston concludes that the motivations that are driving people to revivals cannot be strongly categorized. Issues like class, gender, level of education, ethnicity and national or political sentiments are all variables and decision and extent of participation and engagement with development and popularization of any revival of music from the perspective of the society depends on those variables (Livingston,
1999:33). The importance of social factor can be illustrated by the fact that most revivals start primarily as social movements (Livingston, 1999).
Revivals also suggest an opposition to the current scene, against the distorting power of modernity supporting the concept of tradition and notions of history, stability and continuity
(Kurkela, 1997). From the perspective of revival movements, modernity has been displayed as something cold, individualistic whereas tradition is warm, collective and emotional (Miller,
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2004).
While a number of dominant factors for the revival of folk music are noted, revival is a process (Livingston, 1999;
Narváez, 1999) and not an abrupt phenomenon. It is stated that the music revival is a process to restore a musical genre which is believed to be disappearing
(Livingston, 1999). Narvaez (1999) has further developed a list of ‘ideal prerequisites’ of a revival process, which also can be applied to the case of folk revival in Bulgaria. According to
Narvaez (1999) the process of revival evolves in four stages: the recognized need for cultural alternatives from contemporary culture, a defined body of culture belonging to the past, an authentic source to base the revival on and suitability for fusion with other styles.
Livingston
(1999) has also described in her study a six-phase model of the revival process, supplementing the Narvaez model. According to Livingston (1999) for a successful revival, it is essential to have a group of followers of the revived music, so they can form the core of the revivalist community. Moreover she is stating that on a later stage of the revival process, social activities like music festivals, organizations and competitions are needed to form a sustainable community around the music genre. Another point mentioned by Livingston is the role of the commercial enterprises. In the revival models applied by Narvaez and Livingston, they are presenting a list of ideal prerequisites, influencing the process of folk revival on a general scale. On a later stage in this research we are applying the same ideal prerequisites to the revival process of Bulgarian folk music, with the attention to discover and explore the factors and reasons which have influenced the process.
The case of revival process of Bulgarian folk music through pop folk is clearly not a unique phenomenon, but nevertheless it will be important to examine the concrete factors which influenced the process. Moreover we want to focus on the development of the revived genre in relation to its development over the years. Having that in mind out theoretical review will continue with the exploration of factors which are seen as influential on cultural products on a global scale.
In the following part, as a factor which is influencing the production and distribution of music products is considered the globalization process. An exploration will follow on cultural globalization and the effect upon cultural products.
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Cultural Globalization process and its influence and effect upon cultural products
Globalization is usually considered as a process influencing economic processes, the growth of global capital and mass-produced goods (Van de Kamp, 2009). The process of globalization is concerning topics as economic integration, the transfer of policies across borders, the transmission of knowledge, cultural stability, the reproduction, relations and discourses of power, it is representing “an establishment of the global market free from sociopolitical control”
(Nikitin & Elliott, 2000). The Oxford Concise Dictionary of Sociology (1994) posses an entry on the globalization process, which is observed as the emergence of a global cultural system, suggesting that global culture is brought about by a variety of social and cultural developments as economic, cultural, technological, and political manners.
Here we are going to focus our attention towards the influence and effect from the globalization process upon cultural products, produced and distributed by cultural industries. In particular we can point to the music industry as influenced by the cultural globalization process.
Most of the companies are or trying to operate on a global scale, or they distribute the produced cultural content in a diversity of local, regional and global markets. With the entrance of international cultural products upon the local music markets around the world a discussion occurs concerning the effect upon domestic cultural products. To categorize this process, a focus will be made upon cultural globalization process regarding cultural imperialism theories, which stresses on a one - way relationship in favor of powerful countries among the other nations
(Crane, 2002; Wallerstein, 1974). Moreover a discussion will follow upon the concern for the effect of cultural globalization on domestic cultural products. The discussion will try to explore the operation of international companies, and how it affects and interacts with production and consumption processes at a local manner.
In order to explore the revival of folk music in relation to the globalization, the discussion will start with observations made upon the cultural imperialism theories. This approach is being considered in order to examine the dominant role of the powerful countries and the effect upon domestic cultural products.
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Cultural imperialism
The cultural imperialism approach has been taken into consideration because it suggests that the power relations from the era of colonialism (the fact that Western countries controlled and directed the activities in non-Western countries) can still by applied today to the worldwide mass media system (Van de Kamp, 2009). Countries like the U.S. and Britain have dominated over the years the production of popular music in the world market (Negus, 1992). In particular entertainment companies that originate from the U.S. are usually perceived as companies which are controlling the mass media and which are dictating what should people from the rest of the world read, watch and listen (Van de Kamp, 2009). It was observed that the world market is open for the products offered by dominant countries (the U.S. and Britain), and for them the other countries are seen as small markets in terms of size but still some of those countries were seen as the most fast growing markets for the music products of dominant countries (Longhurst,2007).
The cultural imperialism approach considers the process of globalization mainly as a oneway relationship between the countries, in favor of more powerful ones. Crane (2002) makes the observation that cultural imperialism is directed by the powerful countries and in particular western nations such as the U.S., and moreover that the mass media also are dominated by global content. According to Crane (2002:3) media conglomerates are key actors in the global industry because a big part of the cultural products have been produced by them, they control the major markets, and the dissemination of products. She sees the cultural imperialism more as media imperialism, as the majors are distributing most of the content which is presented by the media in different regions and countries. The result of this kind of an imperialistic approach is a homogenization of cultural goods worldwide, coming from several or even one Western country which imposes its values and practices on countries whose own cultural values are fading away
(Wallerstein, 1974).
Keeping in mind the fact that international companies and entertainment companies in
Bulgaria are developing domestic products calls into question cultural imperialism and would seem to demonstrate that the worldwide cultural system is more complicated than the cultural imperialism theory suggests. Different approaches have been taken by other countries to counter the homogenization of cultural products predicted by Wallerstein (1974). Some countries like
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France and Germany protected the content presented in their national media, by introducing quotas on national products (Crane, 2002:7). It is clear that some countries which have strong production of domestic cultural products and strong restrictions upon their distribution have managed to resist at some level media imperialism (Crane, 2002; Wallerstein, 1974). However not every country has developed restricting rules for the media content, and still in those countries, and one of them is particularly Bulgaria, we can observe that the content which is reaching the audience is mainly from the West ( the U.S. and Britain ) and the observation upon that fact will follow in the next lines.
If a deeper look is taken upon the origin of the most popular music which is being distributed over the media in Bulgaria, we can observe that actually not all of the popular music is distributed by the West global conglomerates. In the music chart of Radio Vitosha (one of the most popular radio stations in Bulgaria), it can be observed that although most of the songs are in
English language, they originate from countries like Romania, Spain, Brazil, Turkey, along with the U.S. and Britain. This observation led to the argumentation that global industries indeed have affected the popular music, and nowadays it is not so easy to recognize the origin of a song, because of the massive usage of English language and the usage of the same commercial music styles and genres.
The relationship between the countries on a global scale as it was observed in the case of
Bulgarian media is more complex than a one way influence, moreover the complexity is also shaped by the ways in which markets, states, and movements organize cultural flows (Hannerz,
1992:6). The development of technologies tends to affect the cultural flows and increases the complexity brought by them, in particular media developments relate to cultural flows by making them less dependant on face-to-face interaction, which allows flexible communication through a diversity of media channels (Hannerz, 1992:9). This argument brings attention to another approach concerning the cultural globalization process and its influence and effect, in particular the approach of glocalized cultural products. In the next lines the focus will be directed to globalization and the relationship between global and local cultures, in the way they give rise to more hybrid forms of cultural production and consumption.
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Globalization and the Dynamic Relation between global and local cultural products
The relationship between global and local cultures as it was observed by the researcher is dynamic and complex; keeping that in mind here we are going to overview it in relation to different theoretical approaches considering glocalization, multiculturalism and cosmopolitanism. Hannerz (1992) stated that the process of globalization was more complex than it had been presented by cultural imperialism theories. Robertson (1995) introduced the term glocalization, highlighting a more dynamic influence from globalization upon local cultural products. Now we will look into the interaction between local and global cultures from the perspective of glocalization. The focus of these lines will be on the impact of global trends on the activities of local companies and individuals.
The term glocalization has its origins from Japanese business, and it was used to describe the practices of adaptation of global goods to Japanese consumption values and styles
(Khondker, 2004). In the period 1980 to 1990 glocalization was used to highlight the fact that local markets are different and that global goods are needed to be adapted before being successfully marketed locally (Khondker, 2004). Robertson (1995) expands the usage of the term to cover all local adapting processes and he uses a number of arguments which focus on the dynamic social, cultural and political processes at a local level. The attention was to illustrate the fact that globalization does not equal homogenization of cultural products which is previously assumed by the cultural imperialism theories.
The notion of one global dominant culture overruling and erasing other cultures is too simplistic, as it was observed in previous research (Hannerz, 1992). Taking a historical approach
Robertson (1995) emphasizes that contemporary local cultures are often a result of a blend of different cultures in the past. Keeping that in mind as an example of a temporary local culture,
Robertson is contemplating the assumption that local cultures are not counterpart of global cultures but a part of it. As he states: ‘The compression of the world as a whole, involves the linking of localities.’ (Robertson, 1995), which can be observed that every nation and its local culture is influencing the global content to some extent, but still every local culture could be understood as part of the global culture as a whole.
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The assumption made earlier concerning the cultural imperialistic theories and the dominant role of the powerful western countries, such as the U.S. and Britain, needs to be defined along with the approach of glocalization. While Robertson (1995) accepts the fact that
American culture is distributed on a global scale, he focuses on local audience’s consumption and interpretation. The consumption and interpretation of local publics could be correlated to their different cultures and orientations. American media conglomerates are seen as key factors in the media global world (Crane, 2002) but furthermore they customize their media products for different markets. As a result local cultural products are becoming increasingly part of global cultural streams (Robertson, 1995). Therefore, it appears the affiliation between global and local cultures is more complex than a one-way relationship (Crane,2002; Robertson, 1995;
Wallerstein,1974), it presents a dynamic field where the main question stands whether global and local culture influence each other but rather how they influence each other (Robertson, 1995).
An approach concerning the influence of global and local cultures and the relationship in between is elaborated more by Tomlinson (1999) who is suggesting that in the recent years we are observing more multiculturalism rather than cultural imperialism. Hence local audiences are relating themselves to the local cultural products more than they can relate to global content as seen in the usage of the local language (Tomlinson, 1999). Although still in the case of Bulgaria, it can observed that the pop folk music is becoming more with a global sound but still the language of the songs is Bulgarian, which could be supporting the argument by Tomlinson that we are observing multiculturalism in the nation, as a kind of relationship between global and local culture.
Moreover, the relationship between global and local cultural content can be discussed within the observations made by Wallis and Malm (1987) and also by Featherstone (1993). They focus on cultural industries and show that the relation between global and local can be observed more as a two-way process in which both sides are influencing each other and according to them the result of this process is local music with a transnational flavor or transnational music with a local flavor. As we observe the suggested notion as well in pop folk genre which has risen as a revival of folk music, but in the recent years it has adapted a transnational flavor, having in mind the more global melodies in the recorded music.
Deliberating on the two-way of process of transmission of cultural products, it can be noted that local and global cultures are clearly not into opposition against each other as
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Robertson (1995) is also specifying. It can be seen that both sides are influencing each other in the creation of new cultural products with a diversity of flavors. The influence from both sides is driven by the combination of different subcultures; clearly people are not part of one main culture (Robertson, 1995). Different cultures continuously mix and overlap. Moreover the interaction between the diversity of cultures is seen as the essence of creation of new cultural products (Hannerz, 1992).
In particular, new cultural products can be seen in popular culture, emerging from complex social and cultural flows (Hannerz, 1992). The flow of popular culture is directed by a few global companies, and the cultural content is reaching a large worldwide audience. It is essential to mention that the impact of international cultural products depends on the reaction of the audience towards these products. Moreover, it is important to indicate that local entrepreneurs can give the flow of international cultural products a bend by assaying their potentialities by integrating them with local assets (Hannerz, 1992). Their clear strength as
Hannerz (1992) points comes from their natural knowledge of the local market, which provides entrepreneurs with the possibility to be more competent and sensible in integrating the flow of international cultural products.
The integration and globalization of local popular music cannot be as complete as it is, for instance in more northern eastern European countries, where part of the produced cultural products are in English language (Kurkela, 1997). As Kurkela is observing the case of popular music in Bulgaria and Romania, she is stating that by the adaption of electronic instruments and other new technologies, popular and folk music in the Balkans have been more modern, but nevertheless possesses domestic characteristics which can survive at the margins of cultural arena. One of the main factors for the occurrence could be the growing interest of the audience of domestic cultural products (Kurkela, 1997).
Moreover imported music can be seen as a new resource for the local musicians (new sounds, new instruments for example) for creating local music with a transnational flavor (Hatch,
1989). In that way we can observe that local musicians, local producers, who are including global sounds in local music, are trying in one or another way to engage with the Other. This is one of the main principles of banal cosmopolitanism (Beck, 2002). The concept refers to principles of everyday nationalism which is circumvented and undermined, and increasingly experienced as integrated into global processes and phenomena (Beck, 2002). Banal
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cosmopolitanism has become even more visible in regards to media and communication. The global content which is brought by the media to the audience is providing the opportunity for the audience to engage with the world (Corpus Ong, 2009). As Tomlinson (1999:200) stated that
“the awareness of the wider world is significant for us in our locality”. It can be noticed in the attempt of local musicians to engage more with the global cultural industries and to deliver to local audiences cultural products with more global content.
The relationship between global and local cultural products is defined as a complex and a dynamic one, depending on various factors coming together from local and global manner. The extent to which global content is influencing the produced local product is more or less dependent on the nature of local culture and the extent to which this culture is open to engage with the world. Culture is being shaped through the interactions between different organizational frameworks at various levels and that the role of the market and form of life are especially important (Hannerz, 1992).
In the next lines, the focus will be on cultural industries and in particular the music industry. The purpose of this focus is our willingness to examine how music is being shaped in regards to interactions between different organizational frameworks. An approach will be taken regarding the influence in production and distribution of cultural products.
The music industry – influencing cultural products
We have seen how culture is shaped and interacted by the dynamic and complex relationship between global and local cultures. In these lines the approach will be taken from the side of cultural industries and will examine their influence on cultural products. The approach from the perception of the music industry is taken into contemplation, due to the necessitate to explore the transformation of pop folk music, and to find the role of the music industry in that process.
First a focus will be made upon cultural industries, their differences and similarities with other industries for a better understanding of the character of these specific industries.
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Cultural industries
The term ‘cultural industries’ was firstly used by Adorno and Horkheimer (1944) in order to stress about the way in which mass culture produces uniform and predictable cultural products
(Adorno and Horkheimer, 1944). The term ‘cultural industries’ is seen by other researchers as a combination of two different fields – culture and industry, both of which are related to the influence of fundamental transformation of economy, society and culture over the years
(O`Connor, 2000; Hesmondhalgh, 2007).
The deviation from other businesses is coming from the production of cultural goods and services which are valued for their meaning (Lawrence and Phillips, 2002). The difference stands from the consumption of the final product, where the cultural product is consumed in an act of interpretation by the individual rather than being used in a practical material way (Lawrence and
Phillips, 2002). The final cultural products were observed by Hesmondhalgh (2007) as semi- public goods, where the act of consumption from the individual does not reduce the possibility of consumption by others. Based on the consumption from the ways audiences tend to use cultural products stands another difference concerning the higher percentage of risk and unpredictability in cultural industries (Hesmondhalgh, 2007). Moreover the involvement of cultural industries in the making and circulating of products is influential through the media distribution on the audiences perceptive of the world (Hesmondhalgh, 2007). This particular type of industries has been seen by researchers and academia as complex and dynamic, nevertheless dependant and influenced also by technological developments and changes in society (Towse, 2003; Garnham,
1987; Segers and Huijd, 2007; Hesmondhalgh, 2002).
Possessing a clearer understanding about the specific characteristics of cultural industries, next we are going to concentrate on the cultural products, which are influenced by the dynamic and complex nature of these industries. Cultural products which are produced and distributed from cultural industries are broadcasted media, film, publishing, recorded music, design, architecture, visual art, crafts, theatre, music theatre, concerts and performance, literature, museums and galleries, all the number of activities which have been eligible for public funding as ‘art’ (O`Connor, 2000). For the purpose of this research the focus will be on a specific cultural
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product – music. In the next lines, an exploration will be made from the specific cultural product, to the music industry.
From music to an industry
Music nowadays has become more than cultural; more than a form of art, a major cultural industry has been created around the cultural form of music. The change in the music sector began in the U.S. in the 1930s, as a result of the new technologies that enabled mass production of cultural goods (Bennett, 2001). Music was now being produced within a commercial context, and moreover a great deal of it is being produced from within an industry which is attempting to generate and maximalize profits (Negus, 1995). With the growth of the music industry the produced cultural products became more and more widely available and generating more benefits for the companies involved.
Having full control of the production process provides the music industry`s larger companies with the possibility to shape music by their own views, the commercial views generating more profits. Possessing capability for creation, production and distribution of music products, calls for an understanding of the decision making processes in the industry. In the particular case of Bulgaria, where pop folk music companies are in control of the entire production line of the cultural product
3
, it is stimulating and necessary for the purpose of the research to explore the decision making process in the music business. The final choice which is made from the music industry can depend on a diversity of factors, and it can reveal the tension between commerce and creativity. In the following lines, the argument between the two will be discussed.
The acquisition of creative content could be considered as the first activity in the business process of a company in the cultural industries; moreover for the music industry, creative products are essential for the success of a company, as they are assumed to gain more popularity among audiences. The final product, beside its economic value, possesses a cultural value as well. The cultural value is defined not by the physical carriers of the product, but from the
3 For Addition information about the music industry in Bulgaria, and the music companies see chapter 2 ,p.8.
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creative content implied. This can be seen as symbolic, because its value and attractiveness is coming from their social and cultural meaning (Lawrence and Phillips, 2002). The evaluation from the side of the consumers is coming after they have already experienced the product
(Hesmondhalgh, 2007). For a cultural product such as music, it is important for the company to produce and distribute it in a right commercial manner, to find the way to generate more profits.
The complex relation between creativity and commerce was explored by researchers such as Adorno and Horkheimer (1979), which observed the music industry and the creative part as an
‘assembly line’. In their opinion there are no performers or artists, all of the final products are being created from a mechanical operation, with the only motivation for commercial gain and social manipulation for the music industry. Adorno and Horkheimer`s argument is standing on the opinion that songwriters were advised by the music companies to compose songs which are clearly fitting the rigid formulas and patterns of the corporate culture of the company. Adorno and Horkheimer (1979) expanded their observation and suggested that the music industry is commodifying and standardizing music in two ways. In the first way they are proposing that music companies are providing the context within which hit songs were produced and also that forms of music which do not have their origins from the modern culture industry are subjected to its industrial commercial logic (Adorno and Horkheimer, 1979).
Another approach concerning the question about creativity and commercial is made by
Negus (1995) who is pointing out that the music industry needs to be understood as a commercial business, driven by the search of profit but moreover, there is a site of creative human activity from which some great popular music has come. Elaborating on the topic further
Hesmondhalgh (2002) states that the conflict is related to a romantic notion of the artist. Both authors stress that creativity and commercial are interwoven in activities in the cultural industries; they are discussing that in relation to the obstacle that the production of cultural goods for the market and the use of rationalized production and distribution methods imply that creative and commercial are necessary conditions for each other. The creativity in the music industry has been essential for the popularity of different artists and songs. The diverse level of creativity is what is making the performers vary from one other.
The discussion between creativity and commercial is going to be explored in relation to the pop folk music industry in Bulgaria. For the purpose of the research the opinion of the music companies towards their corporate culture, their commercial and creative manners will be
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explored, and moreover the research will present the influence of the music companies in
Bulgaria in the producing and distribution of music.
As Negus (1995) is observing in corporate companies even the creative possibilities which might arise during production are being absorbed by the commercial system. The music industry in Bulgaria compared to the global music industry is representing a relatively small industry with a restricted market, but still they are a few major music companies which are controlling the access to the means of recording, reproducing and distributing pop folk music
4
.
Authors like Chapple, Garofalo (1980:111) and Manuel (1991:160) are suggesting in their studies that the music industry and the decisions made within it are responsible for the dominant appearance of some genres compared to other music styles. In their opinion the popularity and trend of a particular type of music is in direct relation to decisions made from the side of the music company. As examples to this notion they are pointing out the music performed by black musicians, as well as the popularity of Spanish-language music. The authors are arguing the fact that forms of music are losing their potential when they have been confronted by the music business and they are becoming more commercial. In the case of Bulgaria, pop folk music is a genre of music and it has become a trend and modern genre to listen
5
, a notion rises here concerning that the popularity is due to the commercial views of the music companies which are producing and distributing this type of music.
A discussion has risen here upon the relation between creativity and commerce and the influence from the side of the music industry. As influence from the side of the music company is assumed to be at the level of decision-making, which the company is taking on every step of the creation and distribution of a cultural product. It is hard to distinguish creative from commercial. An argument made by Negus (1995) is pointing out that artists are selling themselves to the system, and from there they are told what to perform, what to sing, according to the views, beliefs and corporate culture of the music company.
The decisions about the commerce and creativity are made inside the music industry.
Managers of the companies, producers are making the decisions about what is going to be commercial and creative and in which distinct form the final product will reach the audience
(Hirsch, 1970). Hirsch (1970) is providing a detailed explanation about the decisions and views
4 For Additional information about the music companies and music industry in Bulgaria, see chapters 2, p.8.
5 Concerning the popularity of the genre in Bulgaria, please see p. 47
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from the side of a music company when they are producing a song. In his study he is stating that the process is starting with selection of ‘raw materials’ which are drawn from potential recordings. The chosen ones are being admitted to a ‘creative subsystem’ where they are being filtered by the producers and record company policy makers to the ‘business sectors’ of the company and through regional promoters and media until they finally reach the audience. Having in mind this process described by Hirsch (1970), it can be observed that it is a general concept of the work process of the production of a cultural product, but also it has to be noticed the involvement of the company at every step of the process. From that observation it can be argued that the music company has the possibility and power to control and restrict the creation of the cultural product and to narrow it to its own views and beliefs for creativity and/or commercial as it is assumed by the researcher. In Hirsch`s argument the choice of the audience is not actually a choice, they are provided with the ability to choose from what is available from the industry.
Negus (1995) is also observing the influence of the music industry, and he is discussing the model of their organizational behavior as a one-way transmission, which portrays the industry as bureaucratic administrators which are ordering a vast quantity of completed items which can flow through the system towards the public. The music industry over the years has created a working business model for generating large profits from cultural goods. Based on the
‘assumption that culture-producing organizations behave as any other type of organization’
(Ryan, 1985:5), these organizations are treating the ‘systems’ of production and consumption as
‘mainly separate’ (Burnett, 1990:75). The organization are still based on ‘a transmission model of communication’, which is approaching ‘the culture as a product that is created, disseminated and consumed’ (Jensen, 1984:104).
Negus (1995) is reflecting on the current situation in the music industry by presenting it as ‘culture of production’, in which the culture has to be understood not only as a product, that has been created through technical processes and routine practices. Culture needs to be understood more broadly, according to Negus (1995) as the constitutive context within and out of which the sounds, words and images of music are made and given meaning. The position of the music company and the industry has to come in between the artist and the audience (Negus,
1995). The mediation from the side of the music industry upon cultural products is doubtless, as they are the driving force for making decisions on every stage of the production process of the
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product. The decisions which are made are not only in regards to the argument between commercial and creative, but as well for the products which are reaching the final consumers.
The music companies are mediating the cultural products which are reaching the audience and in doing so, they are transforming music as a cultural product. It is essential for the current research to explore the reasons behind which the companies are changing the music and the music styles over the years. And moreover to understand and explore in which direction the pop folk music industry in Bulgaria is influencing the production of music – is it commercial or creative or in between. Another aim considering the observation made earlier by the researchers is to explore the field of popularized commercialism of pop folk music in Bulgaria.
Concluding marks and main hypotheses
Deliberating on the revival of folk music, the influence of music companies upon music as a cultural product and the cultural globalization process it has become obvious that music as a cultural product is directly connected to the society and its values and traditions. However, music and the music industry have transformed during the years, music has become more than an artistic form it has become a profitable business. An industry has been built over the artistic form of music, an industry which nowadays has the power to cross boundaries and control the music which is being created.
In regards to the case of Bulgarian pop folk revived genre from folk music, the same processes are occurring but on a relatively small local market, which are making the transformations even more visible. Keeping that in mind we investigate whether pop folk is influenced by two types of factors – internal and external. As internal factors which are influencing the transformation process of pop folk music we are focusing on the music industry, in particularly music companies which are producers and distributers of cultural products. The other factors which we have defined as external are related to the consumers of the music and their preferences. As another influential external factor we are seeing the globalization process and the dynamic relations between global and local cultures. The formulation of our main hypothesis is related to the two different types of factors which we have defined; moreover the
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distinction between the factors will help us to analyze our findings from the research.
In the next chapter the research methodology will follow in order to define the research methods which were used for the investigation of the reasons and factors for the transformation of the pop folk genre over the last few years and which will help to answer the main research question - What are the dynamic factors which are influencing the transformation process of pop folk music over the years, from audience`s perspective?
The main hypotheses in this research are related to the observations and analysis which were mentioned and discussed in this chapter, their role is to enable the research to develop an answer to the research question.
Hypotheses:

Hypothesis 1 – Cultural globalization process is affecting externally the production and distribution of cultural products.
This hypothesis is suggesting that the main external factor for the occurred changes in the music genre pop folk, are related to the cultural globalization process. With this hypothesis we want to research the influence upon the production and distribution of local cultural products.

Hypothesis 2 – The combination of local and global sounds in pop folk reflects the music industry`s transnational ambition.
The second hypothesis is directed to the role of the music industry in the transformation of the genre. Here we are taking a look at the music industry as an internal factor influencing the production of pop folk music. Moreover we are considering the willingness of the industry to become international and global as main motivation for the production of music with a global sound.

Hypothesis 3- Pop folk music companies in Bulgaria have full control of the producing and distributing process then they are influencing the transformation of the pop folk genre.
This third hypothesis is directed to the level of control which is implied by the music companies, we are observing their influence as an internal factor related to the transformation process of pop folk music. It was observed that the extent of control from
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the side of the industry possesses the possibility to transform music in relation to the corporate culture of the company.

Hypothesis 4 – Audiences perceive the genre as becoming more commercial and profit driven.
The fourth hypothesis is suggesting that the transformation of the genre is coming from the side of the music industry as an internal factor. The main motive we are displaying here is the willingness of the companies to generate more profit by the producing and distribution of more commercial orientated cultural products.
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In this chapter the research methodology which was used for conducting the research will be presented. The choice of methods is linked to the research aims, namely to empirically explore the factors behind the revival of folk through pop folk and to examine audiences perceptions of the suggested transformation. Firstly, a discussion will be made upon the operationalization of our main theoretical concepts, which will provide the research strategy a clear focus on the reasons and factors seen as influential on the transformation process of pop folk music. Followed by a description of the research design and our research methods.
Operationalization of concepts and Research strategy
This research is aiming to explore reasons and factors influential on the transformation process of pop folk music over the years. Firstly and most importantly we have to take into consideration the fact that transformation of a cultural product is a process and not an abrupt phenomenon, it is an abstract concept. The abstract nature of the concept is bringing a limitation to this study, as the process does not contain a specific time period, it is an ongoing process and it cannot be complete. These characteristics of the transformation process are making it complex and hard to measure, as it was observed in the theoretical framework. In order to examine reasons and factors which are influencing the process of transformation based on our theoretical framework we have considered a number of factors which were seen by previous research as influential on cultural products. Defining specific influential factors will help us to develop our research strategy on this abstract topic.
As main influential factor on pop folk music we are considering the cultural globalization process, mainly understood as influence of global trends on local music production. Moreover we will focus on the glocalization process in regards to the adaptation of global content to the consumption of local values and styles (Khondker, 2004). In particular how pop folk music is adapting more global sounds, arrangements and lyrics with the purpose to engage with global
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culture (one of the main principals of banal cosmopolitanism),(Beck, 2002). We are looking at audiences as our main perspective because the process of adaptation of a cultural product depends on the consumption and interpretation on a local level, regarding culture and orientation of the society (Robertson, 1995). We are willing to observe the changes provoked by glocalization on production of cultural products by music companies, in particular the way they are transforming music according to the influence of global trends. Moreover, with our second perspective coming from the side of pop folk music companies we want to observe their attitude towards global music trends. We want to examine their engagement with global culture in relation to the notion that transnational music was seen by previous research (Hatch, 1989) as influential, perceived more as a new resource of sounds. In order to measure cultural glocalization we will examine the perception of the final products from the perspective of pop folk audiences.
Based on our theoretical framework, we consider the music industry also as a factor influencing the process of transformation. We are looking at the role and extent of participation of the pop folk music companies in the production and distribution of music. As Negus (1995) suggests that the control over the production and distribution could relate to decisions made by the music companies which eventually are affecting the transformation of music. We want to examine this suggestion in relation to the desicions which are made inside pop folk music companies, which as we observed earlier have created a closed production and distribution chain of their products. This notion brought our attention to their extent of control over the produced music, as we want to observe if the final products are developed according to the views and beliefs of the companies, as coming from the ‘assembly line’ (Adorno and Horkheimer, 1979).
We are willing to explore the pop folk music companies during the research, and their activities such as massive production and distribution of pop folk, their future goals and corporate culture, as activities which are influencing the transformation process of pop folk.
Our third concept, seen as influential on the transformation process is the commercial manner of the genre. Our theoretical framework suggests that commercialization of music is developed by the music companies in order to generate higher profits (Negus, 1995). As it was observed the decisions made inside the company are related to what will be commercial and creative (Hirsch, 1970) and these decisions are nevertheless influencing the transformation of music. We want to examine the relation between creative and commercial in pop folk companies
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and how the decisions which are made inside the company are affecting pop folk music. The role of the commercial system, absorbing creative possibilities (Negus, 1995) will be examined from the perspective of pop folk audiences and music companies. This will be done in order to be objective and observe how creativity and commercial are interwoven and necessary conditions in relation to production and distribution activities (Negus, 1995; Hesmondhalgh, 2002). In order to measure the complex relation between commercial and creative we are going to focus our research on the preferences of audiences, their opinion on the genre and their perception of pop folk music companies. With this concept we want to examine if the main orientation of pop folk music companies is profit orientated and if they are in control to narrow the search in the market to pop folk style by commercializing it.
Having in mind our defined concepts a research strategy was required to measure and explore in depth the topic of research and to provide an answer for the main research question.
The strategy of the researcher was to apply a combination of research methods, in particular with the use of the quantitative online survey and the qualitative interview. Opting for a combination of research methods is due to fact that they will provide the topic with two different perspectives upon the influential factors for the transformation of pop folk music genre, which will help the research to prove or contradict the suggested hypotheses and answer the main research question.
The perspectives from audiences and music industry will be taken into consideration and observed in the discussion chapter of the study.
Online survey
In the next lines, the focus will be on the first research method which was applied in order to explore the topic of transformation of pop folk genre - the online survey. The survey is providing the possibility to gather information from a sample of individuals (Scheuren, 2004).
With that possibility we selected the quantitative online survey as a research method, because we wanted to gain insights into audience perspectives on the genre. With the usage of the survey we were able to understand the perspective and attitude of the consumers towards the genre. Surveys are particularly useful for gathering factual data; they could be applied as well to gather people’s
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opinion, ideas, attitudes, knowledge and experiences (Matthews & Ross, 2010). With the carried survey we were also able to explore the profile of consumers of the genre; the factual data which was gathered provided that possibility. The main purpose of the used online survey was nevertheless the exploration of the experiences and attitudes of final consumers of the genre pop folk; hence the focus was on open questions where respondents could express their view freely.
The overall strategy of the online survey was to provide the researched topic a sample of
100 people, who are listening mainly to pop folk music, who are familiar with the genre for at least 3 to 5 years and could provide valuable information upon the process of transformation of the genre. It was important for the research to reach people who are not only followers of the genre but as well are familiar with it. In order to obtain reliable information these factors were taken into consideration as factual data. The first two items of the questionnaire cover basic demographic variables (age; residence). The range of topics covered in the remaining items includes the following: familiarity and listening habits of pop folk (items 3 to 6), personal attitude towards the genre (items 7 to 10), observations upon the genre (items 11 to 12), opinion on the music industry in the country and views upon future development of the music scene
(items 13 to 14). The questions which were developed in relation to the topics discussed by the items were mainly open- ended. The questions were developed in that manner in order to explore the attitude, experience and opinion of the consumer without placing categories in their answers.
A number of closed questions were used in order to collect the demographic data from the survey and as well to explore the listening habits of the consumers. With the implication of closed type questions the respondents tend to confine their answers to the choices which are offered, even if the researcher does not wish them to do so (Bishop et al 1988, Presser 1990). People generally ignore the opportunity to volunteer a response and simply select among those listed, even if the best suitable answer is not included. Therefore, closed-ended questions can only be used effectively if its answer choices are comprehensive, and this is difficult to assure. Having in mind the characteristics of the closed-ended questions, we developed a questionnaire which included mainly open-ended questions, where the respondents were able to point out the best suitable answer themselves. For the development of the online survey the Qualtrics Survey
Software was used, the survey was developed in Bulgarian language.
The online survey provided the possibility to research a topic from a local manner remotely, which was considered essential for this study. The survey was distributed among
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Facebook groups which were followers and fans of pop folk music. Facebook was chosen for the distribution because of the popularity of the social network in the recent years among all generations. The following Bulgarian Facebook groups were targeted for the online survey: ‘Pop folk’, ‘Retro pop folk’, and ‘Our live is pop folk’. All responses were treated anonymously, so it was not necessary for respondents to leave a name or any other identifying feature.
Furthermore, additional respondents were encouraged to take part in the survey by the posting of the link towards the survey on the public news field on Facebook. In the text which was introducing the survey link, it was explained that the respondents should be familiar with the genre and that the survey is being made for academic reasons.
The usage of the social media network Facebook provided the research with information on the audience practices in relation to their consumption of pop folk, which supplemented the research in order to discuss the topic in relation to our main hypothesizes.
Qualitative interview
In the next lines, the focus will be on the second research method which was implied in order to supplement the exploration of the topic considering the transformation of pop folk genre
- the qualitative interview. Firstly, the qualitative interview was chosen because it provides the opportunity to explore the experience of individuals in relation to a phenomenon such as the change of pop folk from the side of pop folk music industry in Bulgaria. Another reason for the use of this research method is the fact analytical methods are evolving, which is moreover taking account of personal data (Olsen, 2004). The qualitative interviews are a representation of grounded theory research, allowing us to generate theory acknowledgements in the research process.
This research method is as well suited for the purpose of the required information for the research, because with it the researcher is exploring the reasons which are influencing the transformation of music through time from the perspective of the actors involved in this transformation. The qualitative interview provides the possibility for the researcher to be more constructionist than positivist (Olsen, 2004). The constructionist approach provides the
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possibility for the researcher to explore the topic from the side of experiential learning (Cakir,
2008), meaning that the respondents have gained their experience in the field of music industry and they can provide the research with actual information from the industry which could be as well negative. Moreover the qualitative interview was selected because it observes the participants more as meaning makers and not passive conduits for retrieving information
(Holstein & Gubrium, 1995). The purpose of the qualitative interviews is to derive interpretation on a particular topic, not to find facts or laws. With the qualitative interview a full range of individual experiences with pop folk music style were gathered. The different experiences of the participants provided the research with a diversity of opinions upon the discussed topic and that is due to the fact that the interview is more than a research technique, it is presenting broader social, institutional and representational contours (Holstein & Gubrium, 2001:11).
Semi-structured interviews were the preferred approach because they provide the opportunity for more discussions on the involved in the interview topics. Some of the questions were left open in order to stimulate the respondents to describe a process or an event in their own words and as well to have room to elaborate on the topic of discussion. Moreover in the exploration for the relation between the music company and the music as a cultural product, respondents were encouraged to illustrate their experiences with examples of music products or artists. The main goal of the interviews was to achieve a defined answer to a defined question
(factors influencing the transformation of Bulgarian pop folk music), but as well this model is providing the possibility to elaborate more on the topic and it is providing the possibility for an open- ended questions. It was essential for this to provide the respondent with the possibility to elaborate more on certain topics without being guided to a certain direction.
For the exploration of the topic the questionnaires had to be planned ahead and as well they had to be focused on the fact that the people who were interviewed were coming from a different sector in the music business. Having that obstacle as a fact, several interview guides were constructed and they were adjusted according to every single interview. In every questionnaire a diversity of questions were asked, the purpose of the diversity was due to the attention of the researcher to explore more widely the suggested influence from the side of the music industry. Most of the questions which were a point of discussion at the interviews could be find in the Appendix section of this research in Table 1 (p.82).
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Sample selection
The respondents who participated in the interviews, were people who are directly involved at a corporate level in the pop folk music industry in Bulgaria. They were considered as a source of information which will provide the research with opinions and views upon the music industry, and the genre pop folk. Their experience was essential because it provided the research with direct and concrete information from the side of the pop folk music industry in Bulgaria.
Having that in mind with the qualitative interview, opinions and attitudes on the topic of transformation of the genre are essential in order on a later stage to confirm or not the hypothesis concerning the influence upon cultural products from the side of the pop folk music industry.
The diversity of opinions is being considered because besides one of the main hypothesis, considering the influence and control towards music from the side of the music industry, other opinions and factors concerning the transformation of the music as a cultural product were considered with the qualitative interviews.
For the purpose of the research the focus of the people who were interviewed was diverse. The main goal of the interviews was to gather as much as possible information from a diversity of angles. The interviews were conducted to gain more insight of the music business in the country. The interviews were an attempt to understand the basic relation between the music as a cultural product, the music company and the artist. The goal was to explore the extent to which the music companies are taking part of the decision making process concerning the producing and distributing the cultural products.
Essential for this research was to explore the influence from the side of the music companies, for that purpose the focus was on the main music companies – Payner Music and Ara
Music. For this reason, these two companies were approached with the attention to conduct interviews with professionals who are working in the two companies. The process of reaching those professionals firstly started with indirect communication via email, at the second stage of the process when the respondents were willing to cooperate with the research the sample questionnaires were sent and discussed. On the third stage of the communication process via emails the exact dates and hours were planned for conducting the interviews. It has to be noted that the researcher contacted more than 30 people who are currently working at Payner Music
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and Ara Music, unfortunately most of the contacts were not willing to participate in the interviews and even they did not respond to the first email. For that reason a number of other people who are also working in the pop folk music industry but are not part of two companies were contacted with the attention to conduct an interview.
As mentioned earlier for the exploration of the factors which are to be tested by the main hypothesis as influencing the transformation of pop folk people who are directly connected to the music industry and are particularly working for one of the main music companies were targeted
(“Payner Music” & “Ara Music”). Although the research is focusing on two of the major music companies in Bulgaria, one interview was collected with a director and producer of music videos and music products, who is working currently on a freelance practice, he used to work with one of the companies exclusively with a contract, now he is working part-time for different music companies for different not contract based projects. The confidential manner was discussed with the participants as all of them permit the usage of their names in this research.
Access to contacts within the music companies proved to be difficult and it became obvious during the course of the study that a good sample of contacts can only be developed given sufficient time. A difficulty was as well the local manner of the topic and the unwillingness of people working in the music industry to cooperate for this research. Although the difficulties during the research period, the gathered interviews provided discussion points included the opinion of the interviewees on the pop folk music as a genre being transformed throughout the years and as well the beneficial and commercial side of this business in the country were discussed. Moreover topics upon the relationship between company and artist were as well discussed in order to explore the extent of influence from the side of the music industry.
Overview of fieldwork
Four face-to-face interviews were carried out over a period of two weeks in the capital of
Bulgaria, Sofia between the 17 th of April till the 23 rd of April 2012. Two more interviews were done at a later stage via the usage of real time communication devices (Skype), because the people who were supposed to be interviewed were not available at the time when the researcher
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was in the country. The interviews involved the participation of performing artist of pop folk music (2), PR coordinators of the two major companies (2), media planning manager and editor, manager of a pop folk club, and a freelance producer and distributor.
The majority of the interviews were taken face-to-face. Hotel lobby bar, or restaurants proved to be a more convenient location for processing the interviews. All interviews were recorded, translated and transcribed at a later stage of the research and transcripts can be found in
Appendix 3 (p.83-95).
The online survey was active for the period of two weeks from Thursday the 10 th of May till Thursday the 24 th
of May, and after this period it closed itself automatically, so the results could be gathered and analyzed. The overall number of participants in the survey was 115, which is above the expectations of the researcher in the beginning of the distribution of the survey. In the Appendix in table 3 a translation of the survey which was distributed is presented.
Data analysis
The obtained from the survey data was analyzed according to the themes concerned in the question list. This research and the nature of the questionnaire are seen as suitable to analyze the data, according to themes. The factual data – age groups, residence – were illustrated as well with the usage of charts, which were provided by the Qualtrics Survey Software. The open questions in the survey allowed sample the respondent to provide an answer according to his or her own opinion and attitude were presented and analyzed by the implication of inductive coding. These codes were designed according to the main hypothesis of the research and they were supplemented by the answers of the respondents which were not overlapping with the inductive codes.
The data collected from the qualitative interviews was analyzed by observing the emerging categories in the data, consisting of the elements of transformation which were proposed by the main hypotheses upon the topic. The thematic coding was developed according to the main topics of discussion and refined through grounded theory research – and themes emerging concerned: the cultural globalization process and the role of the music industry. Each
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theme sheet possessed a list of aspects that were related to a certain topic. The themes represented firstly the internal and external factors which were observed as influential upon the process of transformation of pop folk music over the years. The internal factors were considered to be the organizational practices of pop folk music companies and moreover their corporate culture and goals, and their willingness to transform music in favor of profits for the company.
The external factors were the cultural globalization process, the dynamic relationship between global and local cultural industries and the influence upon domestic cultural products. The observations made by the respondents were discussed in relation to the external and internal factors influencing the transformation of the genre.
The analysis of the online survey started with a presentation of the consumers of the genre and their ability to provide reliable information and opinion upon the topic of discussion.
In the next lines of the analysis the main questions concerning the transformation of the music genre were reviewed. The online survey provided and enriched the gathered data from the qualitative interviews, the usage of the two methods are supplementing each other in order to define the reason and factors which are responsible for the transformation of the genre.
In the next chapter, a presentation of the collected data from both methods will be done, according to the research design which was discussed in this chapter.
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The research concerning the exploration of the factors behind the transformation of pop folk music in Bulgaria was conducted in two stages. In the first stage of the research, an online survey was distributed among audiences of the genre. The purpose of the survey was to illustrate the opinion of the direct consumers of the produced and distributed products by the music companies. At the second stage of the research the qualitative interview was used as a method to observe the current opinion and perception towards this genre of music from people who are directly involved in the pop folk music industry in Bulgaria. Moreover the views of representatives of the music industry were taken into consideration in order to explore the factors influencing the transformation of the genre from two different perspectives – audiences and music companies.
To begin the presentation of the gained data, it is important to note that the main research question is concerning to provide a definition of the dynamic factors which are influencing the revival of folk though pop folk over the years. In order to define the factors first we have to focus our attention towards the type of transformation and which aspects are involved in the process.
Factors which could affect the process of transformation could be internal and external to the genre and related to its production and consumption. The main hypotheses in the research are concerning both as influential to the transformation, particularly from the perspective of cultural globalization process, commercialization of the genre, the full control of the music industry over the produced and distributed products, and the audiences of the genre. Moreover changes in the rhythm, arrangements, changes in audience preference, and changes in the production and distribution methods applied by the music companies are also considered.
We now turn to the results which were obtained through the survey, which was distributed online. The purpose of the survey was to gather the opinion and attitude towards the transformation from the perspective of the audiences of the genre.
Firstly we are going to observe the information from the data which was gathered on the respondents of the online survey. This data is seen as important for the research because it is providing valuable information about the audiences of the genre.
The sociodemographic data, which was collected, is in regards to the age, residence, and
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gender of the respondents. Taking into consideration the age group of the respondents in the survey, this approach was considered as important as we want to observe in our discussion chapter the popularity of the genre in the different age groups as factor for the popularity of the genre. The results from the survey developed in the following manner, showing that the genre is mostly popular among young generation 20 to 25 years old, which could be related to the notion of the year of popularization and establishment of the genre – 1989 -1990 ( Table 1 ). When the genre pop folk started to develop and became mainstream those respondents were children, they grew up surrounded by this style of music, which could be related to the notion that they are more familiar with the transformation process of the genre nowadays.
The majority of the respondents were women – 69.64 % (78 respondents), men who took participation are 26.79 % (30 respondents) and more than a half of the respondents were residents of a big city in Bulgaria – Sofia (1 291 591,inhabitans), Plovdiv (683 027 inhabitants),
Varna (475 074 inhabitants) or Burgas (415 817 inhabitants) (NIS
6
), ( Table 1 ). The place of residence of the respondents was used to illustrate the commercialization of the genre in different parts in the country.
These factual data are not perceived as directly influential upon the transformation process of the music genre, but they are presenting the common profile of the audiences of pop folk music, which are the main consumers of the products produced by the music companies and as such they as well have an important opinion upon the occurred changes in their preferred genre. The opinion and attitude from the side of the consumers is moreover considered as well as influential on the transformation process of the genre as the music companies are producing music products which are in regards to the demands of the consumers.
6 NIS (National Institute of Statistics), According to data from the last population census (February, 2011) of
Republic of Bulgaria – censusresults.nsi.bg/Census/
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50
40
30
20
10
0
80
70
60
11
74
12
4
Age group
15-20 years old
Age group
20-25 years old
Age group
26-30 years old
Age group
30-40 years old
Table 1: Age group of respondents
Number of respondents
70
60
50
40
30
20
10
0
64
30
Big city (Sofia,
Plovdiv, Varna,
Burgas)
Small city (
Blagoevgrad, Pernik,
Radomir, Goce
Delchev etc.)
Table 2: Residence of the respondents
3
Village
Residence of the respondents
The listening habits ( Table 2 ) of the respondents were researched this approach was taken into consideration in order to explore their knowledge of and appreciation of the genre, in relation to their ability to elaborate more on the changes in this particular style of music. More than a half of the respondents (56.25 %) in the survey stated that they are listening to the genre
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“sometimes”, as this was considered more than 3 to 4 times a week. The heavy consumers of the genre, which are listening to it on a daily basis, were 35.71 % of the respondents. Having in mind the percentages which are representing the listening habits of the respondents it could be stated that they are knowledgeable to observe any changes which occurred in the music genre over the years. That statement is additionally supported with the collected information that 81 % (87 respondents) have been listening to the genre for more than 5 years. As consumers of the genre who are listening to the genre for at least 5 or more years on a daily basis we can illustrate 43 respondents, which were observed as the core long-term followers of the genre. The listening habits of the audiences are presented in the following below table 3.
90
80
70
60
50
40
30
20
10
0
Less than a year From 1 to 5 years More than 5 years
Table 3: Listening habits of audiences of pop folk
Listening habits of audiences of pop folk
As additional information concerning the listening habits of the consumers we wanted to research the main channels through which the respondents are experiencing pop folk. This approach was taken into consideration with the attention to discuss on a later stage of the research the commercialization of the genre from the music companies by possessing a closed production and distribution circle which is also concerning their media exposure in the country.
It was observed from the data that more than a half of the respondents – 64.86 % are listening to the genre in pop folk night clubs, followed by 40.54 % who are listening and watching the genre on television ( Table 4 ). The question was formulated on the multiple choice model, where the
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70
60
50
40
30
20
10
0 respondents were also able to answer independently if their ways of listening to the genre were different from the available choices. It is visible that the most common ways for the music to reach consumers is part of the corporate culture of the music companies, which is pointed out as an internal influential factor for the transformation of the genre over the years (pop folk night clubs and television channels).
Table 4: Ways of listening to pop folk music
With the factual data collected from the respondents we have understood that the sample is representative of consumers who are familiar with the genre pop folk and who are able to state their opinion upon the genre and on its transformation process over the years.
To be familiar with a music genre is nevertheless providing the person with an opinion towards it. With the survey we wanted to observe not only opinions but also the attitudes and personal view on the music and to illustrate which parts of pop folk are seen as important and preferred for the consumers of the genre. Having that in mind we questioned the respondents about their opinion of pop folk music and what is the meaning of this type of music to them. It was understood that for most of the respondents pop folk was not just a type of music which they are listening occasionally as it was described as
“part of my life”
and as well as a
“a connection to Bulgaria”.
It was observed that it is a representation of Bulgarian culture nowadays. Pop folk music was described as an essential part of their life, which is providing them with more positive thoughts and with making them feel “amused” and “happy” . It is visible that the consumers of
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the genre perceive pop folk as more than just music, from the collected data we can observe that for them pop folk music is relating to their emotional state and it is strongly influencing it in a positive way. Although most of the respondents identified their interpretation and perception of pop folk music in a positive manner, a couple of the consumer were observing changes in the genre over the years and pointing out “a lack of creativity” . According to them these were seen as phenomenons which are influencing their attitude towards the produced music in a more negative way.
The respondents in the survey were questioned about their specific preferences about the genre. In the questionnaire they were requested to describe the genre to a person who is not yet familiar with it. The attention of the researcher was to observe if the consumers are giving a description of the genre with characteristics which they like or they are providing a different description. The diversity of respondents answered differently on the question concerning their specific preferences on pop folk, but nevertheless the different opinions we were able to distinguish two categories of preferences. The first category we defined “ music”, in this category were included answers which were concerning the music as a cultural product, such as rhythm, lyrics, melodies, dynamics of the music, tones, being specific for the country. As specific for the nation we distinguish regional rhythms, way of singing, and the used instruments in the songs. The second category which we used we defined as “emotional side of the music product”, in this category we included answers which were connected to the emotions which are brought by the music towards the audiences. As emotions which were pointed out from the respondents were “ it makes me enjoy myself”, “it is bringing happiness to me”, “being happy” and
“music for the soul”
. These categories accommodated the research by defining the elements which are seen by the audiences as important for them to have a preference for the genre.
The same two categories were applied for collecting the data from the following up question. In the collected data the deviation between the two questions was registered as minimal, most of the respondents used descriptive adjectives for the genre, which could take place in the “music” and in the “emotional side of the products” categories. The minimal deviation between the two questions is presented by a number of negative opinions towards the performers and the music companies and the products which they are producing and distributing, and not towards the genre by itself.
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With the perception from the consumer’s perspective for the importance of the music to them it was interesting to explore their preferences regarding the performers of the genre. As it was observed earlier most of the performers of the genre are working exclusively with a record company. This notion was included in the survey with the purpose to understand the reason for the popularity of certain performers compared to others and to illustrate the reasons which are seen as essential for audiences for liking a certain musical product. In the collected data different names of performers where mentioned but it was seen that the most common factors influencing the choice made by the consumers was directed to the talent of the performers, their attractiveness and their strong live appearance and performance. The last two mentioned factors
– attractiveness and strong live appearance are reflected in the music companies’ comments on building a certain image of their performers. Nevertheless, a few respondents (10) pointed out that the performer is irrelevant, the songs are more important to them, which as well could be relevant to the will of the music companies to control every step of the production process of a song or an album and the consumers are not distinguishing the different artists of the genre.
With the collected data till now we are able to define the most common profile among the audiences of pop folk, and as well we know which characteristics of the final product are important for the consumer. In the next lines we will examine the opinion of the consumers of pop folk upon the process of transformation of the genre over the years.
The different themes which were considered to be influential upon the process of transformation of the genre were represented by three main topics, from which the respondents were able to choose, they were developed as follows: commercial manner of the genre
(developed by the pop folk music industry); influence of other countries (regional and global) and traditionality of the genre (its relation to local culture). Additionally they were provided with an option to describe the change in their own perspective, not connected to the presented main topics.
From the perspective of the audience, they are observing as most influential upon the process of transformation of pop folk the commercial manner of the genre – 38 % of the respondents, and the influence upon the music from other countries – 40 % of the respondents and 10 % are seeing the traditional manner of the genre as influential reason for the change and
11% have pointed out different from the available choices influential factors, the most common are presented in table below ( Table 5 ).
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45
40
35
30
25
20
15
10
5
0
Commercial manner of pop folk
Influence of other countries
Tradionality of the genre
Change in the market/ Change in the preferences of the audiences/ All of the discussed are influnetial.
Table 5: Influential factors for the transformation of pop folk music genre
Other observations upon the factors which could be affecting the genre are considered to be the change in the music market in the country:
“The quality and the creativity of the music are left behind. The gained profit is leading the market. The benefit is gain from actual sells, the actual sells – from the search of certain type of music; the search is defined from the market. Having that in mind, the change is in the product pop folk and it is due to the change in the market.”
(Anonymous respondent)
Considering the different themes which are influential for the changes in the music genre it was essential for the research to understand the aspect of the change in the music genre from the perspective of the audiences. The respondents were able to point out the direction in which they are observing a change, for that purpose the question did not provide the respondents with defined changes, they were provided with the ability to point them out by themselves. We did that with the purpose to illustrate on a later stage of this research their objective opinion on the occurred changes in the music genre. Although the diversity of opinions which were collected
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with the survey, two main changes in the music genre were seen most often by the respondents.
The first change which was observed by the consumers of pop folk was in relation to the style of music. According to the respondents the change in the music genre is affecting the melody and sound of the genre as it was observed as
“more commercial, dance music motives but still pop folk” and as well the audiences are seeing a shift of their preferable genre to “closer to pop music” . Moreover the respondents pointed out that the variety in the melodies is much bigger nowadays in comparison to a few years ago, particularly as a result of the blending with more global sounds: “different elements of other genres are visible”. The respondents of the survey were defining a change in the style of the music. From the perspective of the audiences they are observing not only a blend with more global sounds, they are stating clearly that there is a decrease of the typical Bulgarian sounds and that the “folk element is not that visible anymore” .
The second change which was observed in the collected data was in relation to the improved quality of music products, which was connected to the usage of more modern technologies for the production and distribution of the products. The respondents in the online survey noted that the video clips and the quality of the songs nowadays is improved: “ technology improved and the quality of the products along” . Respondents are observing the technological development not in relation to the way the music sounds, but moreover in the way it is distributed among the media channels. They are describing that the media coverage which is taken by pop folk music on printed and digital media is too
“visible”
and
“massive”.
Considering the fact that the respondents are observing changes in the music genre, we wanted to explore their attitude and opinion on the future development of the style. Respondents pointed that the genre is in a state of flux and that change is likely to occur in the future. In particular, the style of the music is expected to continue to change, evolving even more in the pop and dance music genres with more modern sounds: “ more pop, less folk ”, and also transform in different genres like “ house music with Bulgarian lyrics ”. As well they are observing that the genre will extend its popularity not only in the borders of the country but also on a regional and global level: “ outside the borders of Bulgaria”, “mainstream in the region, popular on a global scale ”. The development of the genre is perceived from the consumers with the growth of the pop folk music business in the country. They are stating that in the next few years more companies will establish themselves as major ones, which will lead to even further popularization of the music genre and more qualify music products. The respondents from the
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survey are seeing development not only in relation the music genre. Their observations are also related to a change of the scenery in the music business in the country. But nevertheless the future changes in the genre and the pop folk music business they still perceive the popularity of the genre as “still the mainstream music in the country”, and moreover they are clarifying that it will become “even more commercial” in relation to the massive production and distribution coming from the pop folk music companies.
Having in mind one of the main hypothesis of the research considering the influence of the music companies upon the transformation process of the music genre, it was essential to discover the opinion and attitude of the consumers upon the pop folk music industry in Bulgaria.
This notion is providing the research with additional information upon the suggested influence from the side of the music companies coming from the side of the final consumers of the product. It was observed from the collected data that the audiences of pop folk music are viewing the music industry as a massive phenomenon, which is concentrated in making a single genre more mainstream and commercial. The pop folk music industry was seen as the only music industry and the strongest one in the country, the two main companies – Payner Music and Ara
Music were illustrated as controlling the market and monopolistic in the survey. According to the respondents of the survey the music companies are developed in a closed production circle, which is considered successful and beneficial for them.
In order to confirm or reject the main hypotheses of this research; the analysis of the six conducted interviews will follow. First the main themes concerning the transformation will be presented, which were formulated according to the different factors which were pointed out as main reasons for the change in the music genre from the theoretical framework. Moreover the results concerning the changes are grouped in two categories; we are considering internal and external factors as main two type of influence on music. The diversity of factors which were pointed out as main themes from the interviews will be illustrated using the collected data.
Internal factors
The first topic concerns the influential factors from an internal perspective. As internal we are referring to factors which are developed inside the music industry and which are connected to a record company`s organizational structure and corporate culture. The structure of
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an organization and its corporate culture usually are developed according to the goals, beliefs and opinion of the enterprise. It was observed during the interviews that the corporate culture of the company is developed as a model of work which is considered to be a leading goal for the successful development of the enterprise. We take here the examples of Payner and Ara Music, illustrating their aims:
“The products with the brand “Payner” possess their own original style, established more than
15 years and seeking for the shortest distance between performers and audiences.”
(source – the official website of Payner Music)
“Since the creation of the company, it has established itself as one of the leaders in the music business in Bulgaria in every aspect of the value chain – publishing, distribution, management and producing”
(source – the official website of Ara Music)
The main goal of one the music companies – Payner Music is perceived as mostly directed to the development and attainment of a high international level of the products, working practice and behavior. The representatives of Payner Music are observing the need to follow international trends in order for the company to develop further to reach their corporate goals:
“Payner Music is striving to hold the absolute best quality of the produced products in the local and international market, always following the mainstream global trends. Payner as a company is an open system for talent, established business partner for many companies in Bulgaria and abroad.”
(source – the official website of Payner Music)
With their opinion upon the corporate culture of the music company, and its main activities we are able to explore the factors influencing the transformation of the genre from the side of the music industry and in particular the two main music companies in Bulgaria. The music companies are observed from their will to be a leader in this sector, by possessing a closed production circle as they describe “ …from composition of a song, producing, adjusting the song, making it popular, the video shooting and its broadcasting.” (Hubena Mihailova, PR at
Payner music ).
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The strong appearance of the organizational structure of the companies is visible in the production and distribution process of the music products. The role of the company is considered important and essential at every step during the career of a performer. In the gathered opinion on the topic, the companies are present and active at supporting and directing the careers of the contracted performers, due to the latter`s lack of knowledge of the music business.
The role of the music companies is observed more as guidance and help for the artists. The guidance and help is perceived from the music companies as follows:
“I will give you a simple example: years ago we had two new female performers – a blonde and a brunette. Moreover in our catalogue we had a male performer, who was in need for additional support and blast in his career. The decision was made that all of them should become a trio and as a trio they were performing and they were successful for almost 2 years.”
(Valentina Nenova, PR expert at Ara music)
The relationship which a performer and a company have was analyzed as individual, contract-based and depending on the company for the producing and developing the music content of an artist. The artists are observing their music as their personal creation, yet they identify the role of the others in making things happen:
“I hire people who are also working in the company to do the lyrics, the music and the arrangement of my music.”
(Poli, performer)
It can be noted the appearance of the companies at every level among the production and distribution process of a song or album. The music companies were also perceived as too limited concerning the contracts which they are using. The corporate culture was seen as full of obligations and responsibilities, which are influencing the level of creativity for producers, video directors and managers of pop folk night clubs. As a manager of a pop folk night club is discussing the business relationship with the music companies is complex and difficult:
“…nowadays the clubs which could work exclusively with a contract with a music company are really a few, there are too many responsibilities and obligations towards the music company.”
(Ivailo Bliznakov, manager)
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Exploring the topic of the role of the music companies in the decision making process and use of contracts, it is important to note that there was one more conducted interview with a male performer, who was working with one of major pop folk music companies. Although the interview was done during the interview session in April, at the last moment it was forbidden to be used in this research from the side of the manager of the performer, who is also working in the same music company. It is visible for the research that the decisions in this industry are mainly done from the music companies and as well are related to the contract which they are using.
More generally, respondents reflected on the importance of media broadcasting for the distribution of the music in order to reach broader audiences. The role of the music companies was observed and discussed by people who are directly involved in the pop folk music business.
Taking a different perspective from the side of performers the role of the company during the career of an artist was pointed out as essential as well:
“……if she/he doesn`t have a stable music company and media partner behind his/hers back, the songs of the performer could not reach the audiences.”
(Poli, performer)
Payner has developed its own broadcasting television channels, which could be reached by consumers without restraint (Planet TV was founded 2002; Planet HD was founded 2011 and
Planet Folk- 2007). Payner works exclusively with these channels, stating that they are part of the corporate culture of the company for future development and reaching international level:
“The symbol of our production is represented by the high video quality of Planet TV, which is building on its own video products: video clips, television programs and has the purpose to broadcast our products in Bulgaria and abroad.”
(source – the official website of Payner Music)
The channels are as well developed to reflect the corporate culture of the company as they are perceived as “ the face” of Payner Music, and it was observed the company is directly involved in every decision related to the channels:
“Payner is the owner of television channels and as one it has the power to develop them on their own view.”
(Margarita Toshkova, PR and media expert in Payner music)
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The adoption of the international trends and the orientation of the music companies to reach audiences outside of the country could be clearly seen in the practices of the television channels. The channels started to broadcast shows on their schedule and following the trend by
MTV network in a way to satisfy and keep the interest of their audiences.
Moreover, the producers of pop folk are also adapting to the tastes and standards of wider target markets, beyond Bulgaria. The representatives of Payner Music are clearly stating that one of the goals of the company is to reach an international level of production and distribution of music, applying higher European standards:
“…the company started its development with the heavy task ahead to satisfy not only the taste of the Bulgarian society, but as well to meet the European standards of work.”
(Hubena Mihailova, PR of Payner music)
The willingness to cross international borders could be observed as one of the main interest of the music company Ara which is being researched. “Building bridges in the Balkans.” is stated to be the leading motto of Ara Music and it is reflected in its corporate culture, as
V.Nenova (PR expert at Ara Music) stated when discussing the work of her company.
This section showed the dominance of the music companies on music as a cultural product. It was observed earlier in the theoretical framework that the extent of control from the side of the music companies over the produced and distributed cultural products is influential upon the process of transformation of the music over the years. We now turn to external factors influencing the transformation of pop folk.
External factors
An important factor influencing the process of transformation of the music genre pop folk is the cultural globalization process. As observed earlier the process is seen as dynamic and analyzed as a complex relationship between the influential patterns between global and local culture. In the following lines we are going to examine this relationship from the perspective of the local music companies and their disposition towards the global cultural content as an external
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factor influencing the transformation of pop folk music.
“Globalization is taking over even pop folk”, stated a freelance producer and distributer of pop folk.
It was observed that the influence of the global content is understood, accepted and considered positive from the side of the music companies. Moreover respondents are observing that not only global content has influenced the transformation of the genre, it is also influential upon the production of domestic product the regional music industry as well.
The influence from the cultural globalization process was observed in a more complex manner, concerning the desire of the music industry to produce songs with a more global twist.
This translated in a perception of the genre’s loss of its folk roots, transforming into a form of global pop. In the words of a respondent:
“…pop folk nowadays is so changed and it has to do more now with pop music…”
(Tsvetomir Matev, a freelance producer and distributer)
This was directly related to the influence of the U.S. upon cultural domestic products on a general scale and moreover the willingness coming from the side of the music industry to create their products in relation to the American standards. The influence of the global content was more perceived as a mainstream culture, which is followed and emulated by the local Bulgarian music companies.
“Our music companies are just trying to copy what has already been produced, in relation to
American videos, style, and image. The video clips are becoming more American.”
(Tsvetomir Matev, a freelance producer and distributer)
This emulation of the American standards is perceived as a necessary one, due to the dynamic aspects of the music business, where the changes are evolving very fast and there is just a need of the genre pop folk to embrace the globalization process. This was observed with the production of pop folk music with different mixtures like chill out music, house music, electronic music, ethno rhythms, and R & B music but still preserving an element of folk music:
“…a modern house build up on the basics of folk music.”
(Poli, performer)
From the perspective of the music industry the genre is providing the possibility for a diverse sound, but more intriguing to the research is the desire to create such new and diverse pop folk products. It was observed that as a reason for that is the objective to reach wider
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audiences, which is gained through this more global sound.
In order to expand further the exploration of the complex influential relationship between global, regional and local content we are going to focus in the next lines upon the regional and local level. Bulgaria is part of the Balkans region, surrounded by countries like Greece, Turkey,
Serbia, Romania, Macedonia, Albania, Croatia and Bosnia and Herzegovina. The genre pop folk is as well being produced and distributed at a local level from each one of the countries mentioned above. It was observed during the research before the interviews were contributed that the two Bulgarian music companies are working together with producers and distributers from the Balkans region. During the interviews that information was evident and confirmed as well, the companies were not hiding their willingness to work even more with foreign regional companies, relating to their international development.
The more international manner and co-work with producers from the Balkans region was perceived as a process of co-learning in regards to which more experience is gained and the result from this process is better quality of the produced and distributed music at a local level.
Distinguished from the gained experience, the co-working process was seen as well as beneficial and popularizing pop folk music through a mixture of different languages and traditions, depending on the companies which are working together:
“…most of the biggest music hits at our company are produced by the Romanian composer
Costi, from the Macedonian composer Ocko and from the Albanian composer Flori Mumaeizi. “
(Valentina Nenova, PR of Ara Music)
The dynamic relationship between regional and local cultural content was observed moreover as a factor, behind the transformation of Bulgarian pop folk music. It was observed that the driving force for is the recognized need for something new and different in relation to pop folk music, and the need is fulfilled with projects and collaborations with producers from the wider region. Even though it was considered that this relationship is influencing the way pop folk music sounds.
Another reason concerning the willingness of the music companies to produce and distribute pop folk with a modern regional sound was directed towards the highly competitive nature of this sector. Seen as a driving factor for the Bulgarian music companies to work with foreign composers and producers is coming from the competitiveness in the music market in
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Bulgaria. Pop folk songs which are collaboration between a Bulgarian performer and a foreign composer will be considered more successful, and more beneficial for both sides in comparison of the products which are produced independently from the Bulgarian music companies.
This observation brings the attention to another notion. The popularity and the commercial value of the product were observed as beneficial for the music companies. It was acknowledged that a driving force for the performers to choose this genre as their career is the significant commercial potential of the genre. It was observed that the pop folk music business in
Bulgaria is a very profitable business and profits are the standing point from which artists in the country are choosing their development in a music career:
“…where there is pop folk, there is money...” stated a manager of a pop folk club
(Ivailo Bliznakov, manager at Orient 33)
It emerged that the commercial manner of the genre and a large amount of produced and distributed products fits into the music companies aim to offer the audiences the product which they are searching for. The production of pop folk music is due to the demand of people, the demand of followers of this style of music:
“… the idea is to make profit from live performances and when people are visiting those live performances they want to see something new every time. And for the performers and for the companies to cover that demand they have to be dynamic and produce new products often.”
(Ivailo Bliznakov, manager at Orient 33)
Having in mind the closed production and distribution value chain of the companies, it can be noted that they have developed in a manner to maximize the generated profits at every level of the value chain, excluding additional expenses to third enterprises. This could be illustrated by the fact that both companies are in possession of recording studios, video duplication, photo studio, graphic design, printing services, advertising, promotional activities, impresario services and media broadcasting. Possessing control over that amount of activities is nevertheless bringing our attention to the extent of control from the side of the companies, which we are trying to examine in order to discuss the influential factors upon the transformation process of pop folk.
The collected opinion and attitudes from the people who are directly involved in the
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music business in Bulgaria, brought to the attention of the researcher valuable information upon the transformation process of the music genre from the insight of the business.
This chapter presented the data which is exploring the dynamic field of pop folk music business in Bulgaria. The collected data is providing the research with essential insights, opinions and attitudes towards the transformation process of the genre pop folk over the years. In the next chapter we are going to discuss our findings according to our main hypothesis and theories, in a search for an answer for our main research question.
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In the previous chapters of this study on exploration of the dynamic internal and external factors which are influencing the transformation of the revived folk through pop folk music, essential and reliable information was accumulated. With the implication of the combined research methods which are supplementing each other, insights on the topic were discovered from the side of the final consumers of pop folk and also from the side of the pop folk music companies. In this chapter we are going back to our main theories and discuss them in relation to our main key findings and discuss them as key factors and reasons influencing the transformation of pop folk music over the years.
Our discussion will begin with providing a definition on the occurred changes which were explored by the research. With the understood changes in the music genre, the discussion will continue with the exploration on factors and reasons which led to the dynamic change of this style of music. The exploration will be structured in relation to the main hypotheses on the topic, on each one will be elaborated in order to define clear dynamic factors influencing the revival of folk through pop folk in Bulgaria, and how the transformation is perceived by its audiences.
A broad observation was made during the research that music as a cultural product is transforming and developing over time due to internal and external factors. Pop folk music has developed over the years, due to the influence of those two categories of factors; as it was contemplated in the study the genre adverted as a revived form of traditional Bulgarian folk music (Kurkela, 1997). As the revival process is seen as a natural development of the folklore
(Fujie, 1996), in this research we focused to explore the reasons which are influencing the genre to develop and transform even further in the last years. The perspective of its audiences was taken into main consideration on the exploration of the transformation process of pop folk music.
This approach on the topic was considered as main because the theory pointed out the importance of the social factor on music formation and development. Having that in mind we wanted to explore the extent and directions in which audiences of pop folk music are recognizing changes in the genre. Pop folk music was seen as dissimilar in comparison to the way it sounded in the beginning in 1990s, when it first became popular. From the research it was observed that
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the main occurred and visible changes in the style are related to the melodies, arrangements, the lyrics, and the sound of pop folk. The varieties of melodies which are used today in the genre are more pop and dance music related. It was understood during the research that music as any other cultural product is changing over time. In our case respondents pointed to the genre is losing the folk element which was considered to be specific for the nation.
In order to define the reasons and factors influencing these changes in the genre, we are going to return to the main theoretical approaches concerning the revival process of the genre. In the table the revival process of Bulgarian folk music will be illustrated, according to the stages of the revival process identified by Livingson (1999) and Narvaez (1999). The purpose of this table
( Table 6 ) is to present clearly all factors and reasons for the revival of folk music. The factors direct and indirect, suggesting a different level of involvement with the production and consumption of pop folk. In some of the ideal prerequisites the involvement from society is direct, as the factors are directly influencing the sound of music, by the production and distribution of new cultural products. In the table we can also distinguish the indirect influence upon music coming from culture, political influences, economy, and government. The indirect social factors have as well extent of influence upon pop folk music. Although their main purpose is not directed towards music, still their activities are influencing indirectly the music scene.
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Table 6: the revival process of Bulgarian Folk Music
№ Ideal
Prerequisites for a revival process
The factors influencing the process of revival of traditional Bulgarian folk music
1.
5.
6.
7.
8.
9.
Need for cultural alternatives
2. Defined body of culture belonging to the past
3. Authentic source
4.
Suitable for fusion with other styles
Group of followers
Music festivals
Organizations
Competitions
Commercial enterprises
Communism
Restriction on the content in the media- Russian influence
Suppressed economy
Government –owned organizations; no private sector
Restriction on cultural products
Traditional Folk music
National Folklore
Specific music instruments
Folk songs
Collections of traditional folk songs (music and lyrics)
“Wedding music”
Turkish music
Greek music
Roma music
Transnational collaborations with Balkans region
People from villages
Turkish minority
Roma minority
Residents of larger urban areas
Annual Payner Summer Tour
“Pirin sings”
All year round performances round the country
“EuroFolk Academia “
Eurovision
Music companies
Record labels
Media channels
Press Magazines
Radio stations
Annual Payner music Awards
Balkanika Awards
Payner music
Ara Audio
Diapazon records
With the exploration of the revival of folk music in regards to the ideal prerequisites
(Narvaez, 1999; Livingston, 1999) we have observed that all the elements which are needed for a successful revival of folk music are there and the genre has revived from its original form to a new type of music. This new style has managed to become mainstream in the country and develop a powerful music industry around it, as this is visible by the number of activities in the
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pop folk scene, which are working for popularization of pop folk music. In the next lines we focus our attention to factors which are seen as influential for the new revived genre, we are going to examine them from the perspective of external and internal factors influencing the transformation process of pop folk music.
Cultural globalization process
Our first hypothesis is suggesting that one of the main external factors which is influencing the occurred changes in the production and distribution of pop folk music is recognized to be the cultural globalization process understood as the influence of global trends on local music production. Moreover we wanted to observe as well the dynamic relationship between global and local cultural products and the development of the glocalized music products. This approach was taken in order to explore the production of local products and to observe to which extent they are being influenced by the global culture. The glocalization is perceived more as an adaptation of global content to the consumption of local values and styles
(Khondker, 2004). The process of adaptation of different cultural products is nevertheless depending on the consumption and interpretation on a local level, relying on culture and orientation of the society (Robertson, 1995). Taking these factors into consideration, it was observed that the glocalization process is perceived as a significant factor influencing the changes in the music genre pop folk. It has to be taken into account that even though the accepted influence from global cultural industries upon local cultural products by the massive dominance of distribution of global cultural products, we are not observing a uni-directional influence of globalized music products in the case of Bulgaria. The influence from the globalization process is more complex than a one way control from the side of the major global cultural industries, as it will be illustrated in the next lines, and we are assuming that we are not observing a cultural imperialism (Crane, 2002) in the case of Bulgaria.
From that perspective we can state that in the case study we can display more a glocalization process rather than globalization. It is visible that the changes in the music genre are influenced by the global content, but still it was observed that the style is adapting the new modern sounds to local cultural traditions. As an example we can point out that even though the
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pop folk songs are carrying global sounds, the language which is used in the lyrics is Bulgarian.
From the example we can observe the influence of glocalization, moreover how a cultural product is adapting locally. Even with this recognized influence, they are perceived as domestic products which are carriers of the culture of the nation and the region. Having that notion in mind it was interesting for the study to observe from the audiences’ perspective that the usage of global sounds in the local music was seen as a desire from the local music industry to relate more to the global cultural content. It was monitored during the research that the desire was predominated by the dynamics of the music industry in general, as supported by theory (Towse,
2003; Garnham, 1987; Segers and Huijd, 2007; Hesmondhalgh, 2002).
In order to follow the dynamic nature of the music industry, the Bulgarian pop folk music industry is producing more products with a transnational twist in order to follow international trends and to satisfy and keep the interest of its audiences. We can observe that local musicians, local producers are trying in one or another way to engage with the global culture or The Other
(as banal cosmopolitanism theory is suggesting), (Beck, 2002). We understand this from their attempts to include in the traditional melodies more global sounds like pop elements, dance and house rhythms. The transnational music was seen as influential upon the local production, perceived more as a new resource of sounds for the local musicians (see Hatch, 1989). We noted the attempt of local music companies to engage more with the global cultural industries in order to become more cosmopolitan and to deliver to the audience cultural products with more international content. A main factor influencing the local music industry to produce more transnational products was the accessibility of the global sounds of music for consumers. In order to understand the role of the local market in the globalization process an interesting notion rises. It has to be taken into consideration, the desire and willingness of the music industry to import global sounds and global musical culture to domestic products. On one hand this notion, could relate to the glocalization process and the influence of cultural globalization, but moreover it could be related to the desire of the local music industry to become international with transforming the music by the international trends (Beck, 2002).
These observations upon the influence of glocalization and cultural globalization process and the stated desire coming from the side of the music industry to produce and distribute the adapted cultural products is bringing our attention to the second hypothesis of this research,
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which regards the ambition of the music industry to transform pop folk music in order for them to access more transnational markets and audiences.
Global music at a local level
This hypothesis is related to the role of the music industry in the transformation process, as it is suggested that the general process of transformation of cultural products, such as music is influenced strongly by the internal factor coming from the side of the music industry.
Taking a look into the ambition of the music companies to produce local music with a modern international sound, first we have to take into consideration the organizational structure and corporate culture of the company. Usually every company possesses a culture which is representative of the future goals, their relations with international and local companies and their business plan. The peculiarity of record companies is like the others in the cultural industries, they combine defined goals and business plans for development, with the cultural aspect of the products (Ryan, 1985).
When a local music company possesses a corporate goal to reach international level of work and international market, the activities towards the realization of the corporate goal are related to the transformation of the produced products, as it was observed during the research upon the topic. It was observed in the audience survey that the local Bulgarian music companies are developing their products in order to relate them more to American standards, meaning with changes in the sound, lyrics and used music instruments. This process of transforming music was seen as a way to follow the global mainstream culture by the local music companies. The ambition to produce and distribute local cultural products with a more global manner arose from the competitiveness of the local music market, and the objective to keep the consumers’ interest in the local pop folk music.
Taking the side from the music companies in Bulgaria it was observed that the process of working with foreign companies is reflecting on the final product but as well the process was observed more as co-learning. The exchange of different perspectives and diversity of local sounds were perceived as beneficial for both Payner and Ara Music. The beneficial side was seen
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not only from the actual material profit but as well from learning and gaining more experience in the development of future products. To illustrate the connection and co-working process between local and global culture we can present one music product by Jason Derulo – ‘Breathing’, in this particular song we can recognize the mainstream pop music, but also we can recognize typical
Bulgarian type of singing in some parts of the song, the combination of ‘asymmetrical’ rhythms
(Bartok, 1981). This is a single example which illustrates that the relation between global and local culture could be surmounted and each one can supplement the other for the creation of a transnational cultural product.
It was observed how the organizational structure and the corporate culture of a music company could affect the way the music sounds in order to become more transnational. The decisions to work together with foreign music companies nevertheless are dictated by the views and opinion of a certain company. It was visible that decisions inside of the company are influencing the music as a cultural product. In the next lines we are going to focus the discussions towards the music companies as an internal factor concerning the transformation process of the local pop folk music over the years.
The control over music by the music companies
The pop folk music companies in Bulgaria are producers and distributers of the genre.
Their role is undoubtedly essential for the music products in order for them to reach their audiences. As we observed earlier the corporate culture of a music company could play a significant role in the production of the music. Here we are going to discuss a different angle of the corporate culture of a music company. The point of discussion is related to the extent of control which the company has over the produced cultural products, the distribution process and even performers. It was observed earlier in this research that the control over the process of production and distribution could be related to the decisions made by the music companies, eventually affecting the transformation of the music (Negus, 1995). As we discussed the decision of the local music companies to work with foreign companies is internal, coming from their side, now we are going to discuss their decisions concerning the value chain for producing and
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distributing music.
In the case of the two Bulgarian pop folk music companies which are in possess of a closed production and distribution circle, it is interesting to observe the extent of control over the process of production of the music products. It was observed that the role of the company in the local market is perceived as essential for the performers. The music companies are distinguishing themselves as guidance and help for their contracted performers during their careers. From the results of the online survey it was illustrated that the reasons for the consumers to prefer some artists among others is their attractiveness, strong appearances and talent. Nevertheless the first two characteristics of the preferred performers are heavily managed by the music company in particular the Public Relations department, which is bringing the attention to the extent of control over the performers. With the interviews it was illustrated that the role of the PR specialist is essential for the development of a successful career for the performer. The amount of activities of this department is concentrated on developing successful products, maturing Adorno and
Horkheimer`s (1979) image of ‘an assembly line’, because they are developed according to the views and beliefs of the corporate culture of the company.
It is visible that the career of a performer is influenced by the decision made inside of the company and which are related to their own corporate culture (Negus, 1995; Adorno and
Horkheimer, 1979). Moreover taking a look into the songs and albums which are produced by the music companies, we can recognize the role of the company in the music products as well.
When a decision is taken to release a new song, the process of its creation is inside the company which is guiding the process of the production and at a later stage the distribution of the product.
From the collected data we were unable to understand the exact extent of control directly from the side of the music industry as they are seeing themselves as help and guidance for the performers and the release of new products, but they do not specify on their particular activities which might be influential upon the products.
Considering the control of pop folk music companies over the process of production and distribution we shall observe their corporate culture in relation to the contract based relationships which they are applying. It was illustrated that the companies are working exclusively with contracts, which is part of their corporate culture. Moreover from people who are not directly working in the music companies these contracts were seen as too controlling, full with responsibilities and limitations for the individual. It was pointed out by the audiences that music
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companies limit the level of creativity which can be applied from the producers and video directors. In their opinion the products which are developed by the music companies are in relation only to their own corporate culture and very rare they are producing something different and creative which is not related to their own perspective. We can see the contract based relationship in the music companies as limitating of the creative process of the production of cultural products.
The control from the music companies in the production process is quite visible and important for the release of music products. Concerning the distribution process we observe that the role of the music company is even more visible from the side of the consumers. The music companies have developed their own distribution plan which is reaching their audiences through different channels. It became visible that the media channels and live performances, which they are using, are their main priorities in the distribution process of the music.
Distribution through media channels is perceived from the music companies as irreplaceable and considered very important. The media channels are one of the most popular and successful ways to reach a broader audience in and outside the country. Also from the side of the final consumers it was seen that the two main channels (television and live performances) which they are using to listen to the genre are as well the same. The importance of the media for the companies can be illustrated by the fact that both music companies (Payner Music and Ara
Music) have their own television channels on which they are distributing their own music. A question raised here upon the extent of control from the side of the companies on the channels concerned the programs which are broadcasted. It was understood during the research that for the companies their television channels are as “the face of the company”. The role of the company in the decision making process was perceived as major as every decision on the channels and programs is made in relation to the corporate culture of the music company.
Considering live performances as another popular way to reach broader audiences it was observed that they are used as a distribution strategy from the side of the music companies. They are working together with different night clubs, through contractual or non based relationships to distribute the music by the performers. It was observed that this is one of the best schemes to reach the actual consumers and to engage them even further with this type of music. It was examined during the research the relationship between the companies and the night clubs, and as for the companies a contract with a night club is providing the possibility to distribute more live
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performances at a particular place. For the night’s clubs the contract is perceived as setting too many obligations and responsibilities towards the music companies. From the audiences perspective the experience they get from this distribution strategy is perceived as positive, particularly as a chance to see their favorite artists, to experience a live performance. The extent of control from the music companies is reflecting not only on their own departments but as well on peripheral to them companies and people who are also involved in the process of production and distribution.
Possessing a high level of control over the produced cultural products is bringing the attention to the possibility for the music companies to shape and transform music by the line of their corporate culture. And the decisions which are made on the levels of the value chain of the process are just activities which are in general manner working for providing the music company with the possibility to reach their corporate goal.
In the next lines we will observe and discuss the commercial manner which the genre has reached by the massive distribution of pop folk music. Our hypothesis is suggesting that the genre has been developed in a commercial manner in order for the music companies to generate more profit by the producing and distribution of more cultural products (Negus, 1995). The commercialization of the genre is nevertheless connected to its transformation over the years; this hypothesis will test if the commercialization is a factor which is influencing the occurred changes in the genre.
Transformation due to commercialization of the genre pop folk
Here we discuss commercialization as an internal factor influencing the transformation of the genre. We are proposing the factor as internal, because the commercial manner of the genre we observe is driven from the side of the music industry. With their activities to popularize the genre and to make it mainstream in the country and outside they have established the genre as commercial, as this statement was confirmed from the results of the research. When a certain product is considered commercial, this product is as well accepted to be beneficial for the company who is producing the product. The decisions about the commercial and creative have
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been made inside the music industry; managers of the companies, producers from them are controlling the production of cultural products. They are making the decisions what is going to be commercial and creative and in which distinct the final product will reach the audience
(Hirsch, 1970). We want to examine the extent of which the beneficial side of the production is leading for the pop folk music companies.
It became visible during the research that most of the artists are willing to develop a career in pop folk industry not because this genre is their preferred type of music but because they are seeing benefits and popularity in it. Even performers which are specialized in Bulgarian folk music has chosen a pop folk career because the genre is established as commercial and is providing them with more benefits in comparison to the Bulgarian folk music. The music companies are not taking a clear statement upon the commercial manner of the genre; they are working more in the development and distribution of pop folk music because they are observing that this is the search in the market. They are relating the commercial manner of the genre to the typical culture of the Bulgarians and the region as well. Pop folk music possessing a mixture between pop and folk music is providing the audiences with a type of music to which they can relate to because of the usage of the typical sounds of the country but as well the music is providing modern global sounds which is also perceived as interesting for the consumers of the genre. And even though the music companies are stating that the nature of their products is in relation to the consumers choice it may be argued that the music companies have the possibility and power to control and restrict the creation of the cultural product and to narrow it to their own views and beliefs for creativity and/or commercial as it is assumed by the researcher. In Hirsch`s
(1970) argument the choice of the audience is not actually a choice, they are provided with the ability to choose from what is available from the industry.
The massive production of pop folk songs and albums is making the genre commercial but as well the live performances of the artists are perceived as a driving motive for this massive production. It was understood during the research that nowadays because of the massive usage of internet for downloading and online streaming of music, the actual benefits for the music companies are not obtained from the sell of the physical carriers of music. Moreover in Bulgaria, the law for copyrights does actually not exist, and this is seen as a limitation for the music companies to gain benefits from copyrights. For those two reasons the main channel for obtaining benefits for the music companies are the frequent live performances of the artists.
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Because of the frequency of the live performances and because of the demand from audiences side to see and to listen to a new music product every time they go to those live performances in night clubs is essential for the music companies to produce and release new products on a frequent base.
It became visible that the commercial manner of the genre is influenced not only from the music industry to generate profits; as well the commercial manner is dictated from the side of the audiences of the genre. But in order for the music companies to keep the interest of the audiences they are willing to make changes into the genre and to make the sound and lyrics more global.
In this section we have discussed the main hypothesis of this research which was focused in exploring and discovering the dynamic factors which are suggested to be influential upon the transformation process of pop folk music over the years. In the next section we are going to return to our main research question in order to present our key findings which will help us to give an answer to our research till now.
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This research had the ambition to observe and discuss the dynamic global and local factors which are influencing the transformation and revival of folk through pop folk music over the years. The theoretical framework which was developed provided the research with valuable information and theories upon the cultural globalization process, regarding as well the glocalization of cultural products. Moreover the theories were essential in order to understand the music industry as part of the cultural industries on a global scale. Even though the theories were not directly related to their implication on a local level they were discussed in order to explore the factors influencing the transformation process of the genre pop folk. The combination of two research methods provided the study with different perspectives upon the occurred changes in the local music genre and as well has been related to internal and external factors which are seen as influential upon music as a cultural product and upon music companies as part of cultural industries.
It was observed during the research that music as a cultural product is changing and transforming over time. The transformation of pop folk was noticed from both perspectives we took in this research – audiences and pop folk music industry. The changes which are occurring inside the cultural product pop folk are related to the melodies, arrangements, lyrics, and sound.
And in particular losing the traditional element in pop folk and implication of more global sounds in it. With these visible changes in the genre we wanted to explore the reasons and factors which are related to the process of transformation.
Now we turn to our research question which is investigating the factors influencing the transformation process of pop folk – What are the dynamic factors which are influencing the transformation process of pop folk music over the years from audience`s perspective?
With the collected data during this research we are able to define the reasons and factors which are seen as influential from the audiences on the transformation process of the genre.
From their perspective we are able to formulate and conclude the main reasons for the changes in pop folk. As influential upon pop folk music were pointed out the pop folk music industry in
Bulgaria, globalization of cultural products, commercialization of the genre and its audiences.
We are going to elaborate more on the factors which were pointed out as influential on pop folk
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from both of our researched perspectives, which will provide the study with objectiveness on the topic. In the next lines we are going to present our key findings which are going to examine the dynamic relationship between globalization, local music industry, and consumers.
Globalization is usually considered as a process which is observed as the emergence of a global cultural system, suggesting that global culture is brought by a variety of social and cultural developments. When we are considering influence of cultural globalization upon local products it has to be taken into consideration that the control is not coming from one side, as this was observed from pop folk music companies in Bulgaria. The relationship between global and local culture is more dynamic than a one way influence, both cultures are supplementing each other for the production of cultural products with a transnational flavor. In the case of Bulgaria we are witnessing a glocalization of the global culture. The glocalization is perceived by the local music companies as an adaptation of the global content to the consumption of local values and styles, but nevertheless depending on the consumption and interpretation at a local level.
This interpretation and consumption was observed from the side of the pop folk music industry in Bulgaria and also from the consumers of the transformed cultural products, who were observing that the genre is transforming due to the adaptation of global sounds to local music.
As we noted earlier glocalization process is affecting the produced cultural products on a local level but moreover theory has suggested that the extent of adaptation of the global culture in a local manner is dependant on the consumption on a local level. The pop folk music companies in Bulgaria are adapting global sounds in the last years, producing products which are presenting a combination between the local and global culture, but still defined as domestic cultural products. The ambition of music companies to produce more transnational products is explained in different aspects during the research. By the industry this transformation of pop folk music is due to their ambition to keep the interest of their audiences, which nowadays are consuming more global cultural products than local. With the production of transnational products they have found a way to keep the interest of local audiences in the production of
Bulgarian music, but as well to develop and cross the national borders and export pop folk music outside the Balkans region.
The pop folk music industry in Bulgaria was considered as a factor which is influencing the transformation process and different interpretations of music. As it was observed during the research in the local music market, pop folk music is perceived to be mainstream music
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nowadays in the country. Pop folk music companies which are mainly producing this type of music are seen from the audiences as monopolistic and the most active ones were pointed out to be Payner Music and Ara Music. The becoming of pop folk music mainstream in Bulgaria is also bringing the attention of the transformation of music into a more commercial manner. Where the commercial manner of the music is understood by the audiences in relation to the massive production, distribution and visible presence of the style in media and daily life of the society in the country.
Pop folk music companies in Bulgaria possess and control a closed circle of production and distribution process, as it was observed during the grounded research and interviews with people who worked or still are working in pop folk music companies. The closure of production and distribution is providing them with the opportunity to target their activities according to their defined goals for future development. Having full control over the production and distribution process is providing companies with the opportunity to shape and transform music by their own views and attitudes. And as it was understood from the interviews the views and attitudes of the pop folk music companies are directed regionally and internationally. This brought the attention of the researcher to the notion that music companies are not only adapting global sounds into the pop folk genre because of the audience preferences, but they are also transforming the music in order to reach their corporate goals. It was understood from the survey that even though the respondents were observing a change in the music, they were not positive that if they actually want this change in pop folk. The mediation from the side of the music industry upon cultural products is doubtless, as they are the driving force for making decisions on every stage of the production process of a product.
The music company has the possibility and power to control and restrict the creation of the cultural product and to narrow it to its own views and believes and the choice of the audience is not actually a choice, they are provided with the ability to choose from what is available from the music companies. As it is assumed the production and distribution of a single song is considered rather expensive. The two music companies have focused their activities to generate profits from a diversity of channels, as they are in possession of all the activities concerning the market. The establishment of pop folk as commercial has developed from the will of the companies to generate more profit from live performances and media distribution – electronic and printed. As it was observed during the research the number of activities coming from pop folk music companies which are directed in these profit making
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channels. It is visible that the role of the music companies has changed, they cannot be seen just as producers and distributers of music, and they are in position to decide what will be mainstream and commercial in the opinion of pop folk audiences.
The two pop folk music companies are relating the occurred changes in the genre on the music preference of the audiences which they are trying to satisfy. Taking a deeper observation upon the willingness of pop folk music companies to produce music which is with a more global sound we understood that one of the main reasons for their activities in this direction is related to their corporate culture. Observing the two major pop folk music companies in the country it was understood that both of them possess a corporate goal to develop internationally and to reach the international level of working process. Having that in mind we observed that the majority of the activities which they are undertaking are mainly developed in relation to reach the corporate goals of the company.
With the exploration of the dynamic field of music industry it was understood that as any other cultural industry it is changing due to internal and external factors. The reasons and factors are depending on the culture of a certain country. In the case of Bulgaria and the transformation process of pop folk music over the years we can conclude by stating that major Bulgarian companies have managed to develop themselves to the level of which they are able to control not only the production and distribution of their products but as well they have the clear opportunity to control the music market and to decide upon music which will be mainstream and commercial.
Possessing that power, being monopolists on the market they have the possibility to narrow, shape and transform the mainstream music to their own views and beliefs.
We have also presented the importance of the corporate culture of the music companies, thus the influence of corporate culture, structure and strategies is defined by local culture and local circumstances. It is important to be understood that the status of companies as a for-profit organizations is nevertheless affecting their business behavior in the local market.
With this research we have examined the dynamic relationship between global and local cultural industries in two different perspectives. We have taken deeper look upon the motives and reasons for the local companies to produce cultural products which are related more to the global culture. But nevertheless this research is presenting that globalization and the global cultural industries do not automatically result in cultural homogenization or cultural imperialism.
The global content has been distributed in the international market, and further adapted and
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developed by local companies. The international cultural industries are presenting a global scene where the relationship between global and local is dynamic and complex.
In this study we took a look on the transformation of cultural products over time due to a diversity of factors, during the research it was understood that among the majority of factors which are influential on music formation is the participation of the society. The societal relevance of this research is concerning to provide insights on the development and transformation of a music industry, the objective is to provide more valuable information on the reasons and factors which are influential. The topic is relevant to the society from a cultural perspective as we are discussing the production and distribution of cultural products. The research will contribute by providing clear statements concerning the occurred changes in the music scene; it will be useful for the music companies to understand the perspective of the audience about pop folk music. The scientific relevance of this study is related to the implied qualitative methods of research which defined answers to the main research question of this study.
It will be very valuable in future research to understand more the dynamic relationship between global and local cultural industries and to explore in depth the reasons which are making the local cultural industries produce products with a more global cultural content.
Moreover we encourage a deeper research taking the perspective of the music industry.
Particularly investigating the corporate culture of the music companies and their motives for relating the produced local products to global content. This is a notion which is considering their ambition to transform national culture rather than preserve it. This notion is not only visible in case of Bulgarian pop folk but also in other countries which are also trying to engage and relate more to global content.
We want to conclude this study expressing the limitation of the research which was done on the topic. The examination of cultural industries and cultural products is a broad and dynamic field which is transforming and developing fast, and still it is an ongoing process. The data which was collected on the topic is seen by the research as not objective enough for providing an accurate and profound answer to the research question. As for having that answer more profound research has to be done with more time. The main limitation of this research is seen the given time to conclude it accurately, concerning the broad an abstract nature of the transformation process of cultural products. We encourage researchers in the field to use this study as
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preliminary for future investigations on the topic, as the study is providing valuable and precise information upon the reasons and factors which are influencing the transformation process of a cultural product.
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Questionnaire for interviews
Questions used to conduct the interviews
Q1 Could you please tell me more about yourself and your career as a…..in the company? How long you have been working for the company?
Q2 How would you describe the company for which you are working? How would you describe the
focus of its main activities?
Q3 How would you describe the role of the media in broadcasting the produced from your
company music?
Q4 Is the company making decisions in regards to building a certain image of a performer?
Q5 As a company are you searching for your new performers or they are coming directly to you?
Q6 Having in mind your experience in the field, are you observing any change in the genre pop folk through out the years?
Q7 Could you point out the factors which are influencing this transformation?
Q8 Do you observe any influence from the performers and producers from the Balkans region with which your company is working upon the music which you are producing?
Q9 How would you describe your’contract - relationship’ with the company?
Q10 Could you describe the path for the creation of a song / an album?
Q11 What are the reasons which made you decide to develop yourself as a pop folk performer?
Q12 How can you describe the role of the involved media in the distribution process?
Q13 In the broadcasting program of the channels of Payner there are also thematically programs it is not only music. How can you describe the role of those programs?
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Q1
Q2
Q3
Q4
Q14 Planet TV is owned by Payner, does the company have any influence upon deciding what to be included or not in the broadcasting schedule of the television channel?
Q15 How do you observe pop folk music in the media world?
Q16 How do you observe the development of pop folk music as a genre and business in the next 5 years?
Q17 Can you elaborate on that decision you have made not to work on contract terms with a specific music company?
Q18 In your club, are you working with a specific company with a contract, or individual with the performers?
Q19 Are you focused only on Pop Folk, are you organizing different nights?
Q20 How would you describe the customers at the club? Is there any difference in the audience depending on the different nights?
Q21 Could you tell me more about your own opinion upon pop folk music? As a genre, and as a business?
Survey questions
Survey questions
Q5
How old are you?
Where do you live?
How often do you listen to pop folk? Every day Occasionally Never
How do you listen to pop folk? Radio Television At clubs I buy/download music
Other, please specify
When did you start listening to pop folk? Less than a year ago One to three years ago
More than five years ago
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Q6 Do you visit live performances of the artists (ex. Concerts, club performances)? Yes, often because Yes, but not very often because No, because
Q7 Do you have a favorite pop folk artist? Why do you like this artist?
Q8 What do you like about the pop folk genre?
Q9 How would you describe the genre to someone who is not familiar with it?
Q10 What does pop folk mean to you?
Q11 Do you observe any change in the music genre pop folk over the years? Yes, because
No, because
Q12 If you observe a change, which factors could you point out as driving the change? It has become more commercial It has more influence from other countries It has become more traditional Other, please specify
Q13 How would you describe the pop folk music industry in Bulgaria?
Q14 How do you see the development of the genre in the next five years?
Transcripts of interviews
Transcript of interview - Valentina Nenova –PR expert at Ara Music
TK: Could you please tell me more about yourself and your career as a PR in the company? How long you have been working for the company?
R (VN): My name is Valentina Nenova and I have graduated Public relations at the Sofia
University “Saint Kliment Ohridski”. I am working as a PR for the music company “Ara music” for almost 8 years. Besides working for the image and the public activities for the company with my colleagues, I am as well in charge for the personal image of a couple of the Pop Folk artists.
As their personal PR I am responsible for all of their media activities, performances in special occasions at beauty pageants or charity concerts for example, the advertising and PR campaign for their new album or single, promotion of their new video clips, organizing the media coverage of their promotional activities, daily monitoring of the printed and online publications, media training, communicating daily with the artist for which image I am responsible, personal meetings with journalist.
TK: How do you see the company for which you are working? How would you describe its main activity?
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VN: The main activity of “Ara music” is producing and managing performers in the music genres
Pop Folk, Folk and Pop, as with priority for the company is the first two mentioned.
TK: How would you describe the role of the media in broadcasting the produced from your company music?
VN: It is irreplaceable. Without media we cannot exist. And here I am including electronic as well as internet media. Although the internet is damaging the copyrights and the sells of licensed music are becoming lower and lower, the internet is one of the main channels with which our music is reaching the consumers. The others are the television programs and radio stations. We are working exclusive with the TV channels Fen TV, Balkanika MTv and Folklor TV. For almost every project we have a media partner in the face of radio stations with national coverage or a local radio station – it`s a matter of a decision for each case.
TK: Is the company making a decision in regards to building a certain image of a performer?
VN: For sure – yes. Especially in the beginning of their career. As “newbie’s” in the business most of the performers don`t have a clear understanding about themselves and their image. We are helping them, and we are driven by the personal inside and outside characteristics of the person, as well we are driven by the situation in the music business at that current moment. If you have a clear understanding about yourself, sometimes we are correcting or support- everything is strongly individual. I will give you a simple example: years ago we had two new female performers – a blonde and a brunette. Moreover in our catalogue we had a male performer, who was in need for additional support and blast in his career. The decision was made that all of them should become a trio and as a trio they were performing and they were successful for almost 2 years.
TK: As a company are you searching for your new performers or they are coming directly to you?
VN: Both I can say. Sometimes we are organizing castings for auditioning new talents. The last one was this January. There are some which are sending demo versions of their recording at our office, we audio them and if there is interest from our side we are inviting these performers for more detailed conversation and more audio. Of course there are some who are searching for our support from their acquaintances. All of the ways are okay with us. We have not said no to a performer who is talented. The question if we are going to work with him/her is from another matter, because talent nowadays is just not enough, there are more factors influencing that.
TK: Having in mind your experience in the field, are you observing any change in the genre Pop Folk through out the years?
VN: The change is very visible!!! At this moment Pop Folk for sure can be illustrated as the new mainstream Bulgarian music. This is the most popular music here.
TK: And are you observing a change through the years?
VN: Through out the years there are a lot of changes not only the lyrics, but as well the music, the arrangements, the outlook of the performers, the quality of the video clips and photo sessions.
And all of that for creating something better. And a proof for that: Sofi Marinova is going to represent us at this year`s contest of Eurovision, and she is a typical Pop Folk performer, a clear talent. This fact on it`s own is stating the evolution of the genre. Here I am excluding the scandals and speculations, which are always part of this contest.
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TK: Okay. Clearly you are observing a change and evolution in the genre. In your own opinion can you point out the factors which are influencing this transformation?
VN: I think this is due to the normal aim of a person for development, moreover the demanding of the audiences and nevertheless the influence of other cultures.
TK: Your company has productions with performers and producers from the Balkans region. Do you see any influence from their side for the music which you are producing?
VN: Yes, and there is nothing bad in that. Most of the biggest music hits at our company are produced by the Romanian composer Costi, from the Macedonian composer Ocko and from the
Albanian composer Flori Mumaeizi. Their talents for Bulgaria are discovered from the owner of
“Ara Music” – Mr. Viktor Kasamov. Most of them started working with our competitors at a later stage.
The motto is “A bridge at the Balkans”. And that is what we are aiming for in our company, because we think that the Bulgarian is carrying inside the temperamental Balkan rhythms. Of course we don`t want to minimize the work of our native authors with which we have worked for years and we are continuing to work with them nowadays as well.
TK: Okay. Your company is also using different media channels and activities to promote and distribute music. Can you elaborate on the reason for the usage of all of those channels?
VN: Hmm yes, without them we cannot exist!! Because our music was going to reach only the people who are visiting a certain club or bar where our performer is having a performance or only the audience on their concerts. And this is a very low percentage compared to all the people, which want and who listening Pop Folk music are with pleasure. And we are working as a company for them!!!
TK: Thank you Ms. Nenova for this interview .
VN: Thank you it was a pleasure.
Transcript of the interview with Hubena Mihailova
TK: Could you please tell me more about yourself and your career at the company?
R: I am working in “Planet” TV from 2004, and for those 8 years I have taken several different positions.
I started as a web editor, and my job was directed mainly with the development and updating the website of “Planet” TV and “Payner music”. Almost at the same time I started working as a reporter, and I was reflecting different events which were connected to the music company and the television. With time my work as a reporter of the annual summer tours, organized by Payner became my priority at work, which I was combining with my web editing job. From June 2011 till now I am working in the PR department.
TK: How would you describe the company for which you are working? Can you point out its main activity and its purpose?
R: According to me this is one of the most fast growing companies in the country. The company has a closed production circle- from composition of a song, producing, fixing the song, making it popular, the video shooting and its broadcasting. It is visible that our purpose it to be a leader in the sector. I think that the company has it`s own corporate culture which is definitely working and that could be seen by number of successful artists, songs, and albums coming from our company.
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TK: How would you describe the role of the media in the distribution process?
R: As I mentioned, one of the strongest segments in Payner is the closed production circle. For that matter, when a product is being produced it is easy for it to enter the media world via our 3 channels.
With the development of those 3 channels, the company is giving the desired will to its audiences to get familiar with their favorite artists with ease. Considering the ratings of the channels, one of them “Planet” is taking place in top 5 for 10 years as one of the most viewed television channels in Bulgaria. We are exclusively working only with our own media partners which are also part of the corporate culture of the company.
TK: Okay, you mentioned the tree channels, but besides music, they are also thematically programs which are included in the broadcasted program of the channels. Can you describe their role and meaning?
R: The programs which are broadcasted on Planet TV are introducing some difference in the television schedule of the media. Moreover they are enriching the basic knowledge of young people, who are also the main target group of the television channel. Also they are providing additional information about the life of the performers which are part of the family of Payner. I can say that our channel has these programs because they are playing an important role to engage even more the audiences with the performers and it is representing a perfect opportunity to introduce the perfumers to the audiences even more!
TK: Okay, but Planet TV is owned by Payner, does the company have any influence upon deciding what to be included or not in the broadcasting schedule of the television channel?
R: Well everything which is broadcasted on the channel is developed in relation to the corporate culture of the company. The channel is the face of the company, so the company has the power to make every decision.
TK: Having in mind your personal experience in the company, and as well in the pop folk music industry, do you observe a change in the genre through out the years?
R: Well for sure in the last years, pop folk as a genre has developed a lot. We all remember the first attempts in this genre where the lyrics and music were more let`s say simple and not very interesting, as well they were copying a lot from our neighbors like Serbia. It is a fact that from the early establishment of Payner as a music company, the company started with the heavy task to satisfy not only the taste of the
Bulgarian society, but as well to meet the European standards of work. Today, everything which is produced by the company is comparable to the quality of the international performers just the genre is different and typical for the region. I can say that Payner will continue to improve in the next years, because we really want to develop and reach the international level of work.
TK: Okay, clearly you are observing a change… Are you able to illustrate some of the factors which are influencing that change?
R: With the entrance of Bulgaria in European Union and the provided ability for Bulgarians to travel without visas, a lot of people have gained the possibility to study abroad, develop there and after that to bring their experience back to their home country. Moreover with the years, the invitations for performances abroad towards our performers have raised a lot. They are performing a lot in different
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European countries and as well on other continents. These performances abroad are also having influence on the music, they are getting familiar with new trends, new sounds, which after that they are including in their products. I can say that pop folk is strongly influenced by other countries, in my own opinion they are the main factor which is influencing the transformation of the music.
TK: Some of your performers have projects with producers and composers from the Balkans region… do you observe any influence from their side?
R: Coming from the same region, we are sharing almost the same type of music, culture and the way we see the world. For sure the projects with our colleagues from the Balkans have influenced the way that pop folk sounds. There is a need for something new and different, so our projects with them are bringing that not only to the music but to the audiences as well.
TK: And how do you observe pop folk in the media world?
R: Well I can say that the performers of the genre are becoming more and more wanted for different programs in the media. Other they are guests at television shows, also often they are giving interviews for the media, both, electronic and printed. Often they are on the covers on different magazines. It is clear that they are wanted in the media world, other wise no one will want to include them in their media program and magazine. The media campaigns are important for both sides, for the publishers and as well for the performers; everyone is having a benefit for example from one simple interview.
TK: Could you elaborate more on that?
R: Well for the publisher if he has an interview with a popular performer that is providing him with more audiences, which are paying to read this interview. This is a benefit for the publisher. On the other side, for the performer as well, with more publicity he is gaining more popularity.
TK:… And how do you see the development of pop folk in the next let`s say 5 years?
R: I believe that the pop folk music will continue to develop and we as a company will continue to develop and offer the best quality products to our audiences.
Transcript of interview with Margarita Toshkova
TK: Could you please tell me more about yourself and your career at the company?
R: After my graduation at the National Music Academy in Sofia, I started looking for a career in the music industry. Somehow I ended in Planet TV, where in the beginning I was an editor in the newest back then channel “Planet Folk”. There my job was mainly coordinating the activities with the program “This is Bulgaria”, which later on started to be broadcasted in tree channels of Payner. From June 2011 I am working in the PR department in Payner music, and my main responsibilities are directed towards the media activities of the performers. I am responsible for the press releases, their live performances as well.
TK: How would you describe the company for which you are working? Can you point out its main purpose?
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R: I think Payner is one of the most fast growing and successful companies in Bulgaria. We are working hard to produce a whole image of the performers. We are supporting and directing the career of a performer from his first steps in the industry to his or hers popularization in the music scene. We are there in every step, offering our services to the performer and guiding him through the whole process of becoming famous.
TK: How can you describe the involved media in the distribution process?
R: More or less, when a product is being visible in the media the number of people who are becoming its consumers it`s growing. For that purpose, I think that Payner has a really good strategy by developing its own broadcasting channels. For the moment they are 3 – “Planet TV”, “Planet HD” and “Planet Folk”.
Having our own channels it’s more or less easy for us to distribute our products and reach our potential consumers. Moreover with the high quality products which the channels are offering and with the growing popularity of the performers in Payner, the interest of other media in Bulgaria is growing and they want to include into their programs some of our performers.
TK: Can you tell me more about that, can you give an example?
R: Well, most of our performers are often guest at different programs. I am not going to say names of TV productions, but quite often they appear as guests, co-hosts, reality stars in other TV programs.
TK: You mentioned different programs, in the broadcasting program of the channels of Payner there are also thematically programs it is not only music. How can you describe the role of those programs?
R: As I said earlier, I have worked for a specific type of program and I must say that these kinds of programs which are included in the broadcasting schedule of the television channel are making a difference. First of all, the are presenting a cultural enrichment for the audiences, for example programs like “Father`s fireplace (Bashtino ognishte), and “This is Bulgaria” (Tova e Bulgaria). These two programs are educational and they are presenting interesting facts and news about the typical things of
Bulgarian`s music. Other television programs like “Together” (Zaedno) and “Folk marathon”
(Folkmaraton) are showing the latest news and facts about the star performers of Payner. Their purpose is to illustrate the daily life of the performers; the aim is to bring them closer to the audiences. Overall I can say that these kind of programs are desired by the audiences, it can be observed even on international level, music channels like MTV are also including thematically programs in their broadcasting schedule, I can say that we want to reach the high quality of international channels, in a way to satisfy the needs of our audiences and to keep their interest in us.
TK: Okay, but Planet TV is owned by Payner, does the company have any influence upon deciding what to be included or not in the broadcasting schedule of the television channel?
R: The whole video production which is broadcasted not only on Planet TV, but as well on Planet HD and
Planet Folk and that video production includes – video clips, thematically programs even the themes which are needed to be discussed in the programs is directed by the company. Payner is the owner of the television channel and as one it has the power to develop it on their own view.
TK: Having in mind your personal experience in the company, and as well in the pop folk music industry, do you observe a change in the genre through out the years?
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R: Yes for sure there is a change and it is quite visible, even for people who are not that interested in the music genre pop folk. Before the folk element was quite visible, it was carrying more the typical of the region culture. Nowadays, the folk element is still there but it is mixed with new genres like pop and dance and that mixture is transforming the genre. It is becoming music with a more international manner and that is part of the corporate culture of the company – to develop and reach the European standards of work. Also it is quite visible even with the video clips which are produced, before they were nothing special and they were not comparable with the videos made internationally. Nowadays our projects can be compared the songs and video clips produced by the company for sure are comparable with the European level. For example I can illustrate the video clips of Andrea, Tsvetelina Qneva, Maria, Galena and more of the leading names in Payner music company.
TK: Okay, clearly you are observing a change… Are you able to illustrate some of the factors which are influencing that change?
R: Well I think that the globalization has an effect on everything as well on music. And as well on pop folk. In this industry everything is very dynamic and everything is changing very fast. New sounds, new instruments are introduced every day and we as a company we want to develop and reach international levels, so we follow the trends also. If we want to reach their level we have to obey the modern culture and corporate with globalization.
TK: Some of your performers have projects with producers and composers from the Balkans region… do you observe any influence from their side?
R: I think these projects are good for both sides. Working together is bringing more experience for both sides and by that I can say that both sides are learning from each other and as well influencing each other.
And there is nothing bad to be influenced, especially having in mind the will of Payner to develop and be more successful in the future, transformations like these are bringing only benefits for that. With colearning the music, the quality, everything is getting better.
TK: And how do you observe pop folk in the media world?
R: Well I can say that some colleagues journalists are saying that when some of our performers are being guests at their television shows/magazines, their ratings and their circulation are getting really high. That means that the performers are being interesting for the audiences, so I can state that it is important to be present in the media world, it`s important because in that way you are getting more and more popular.
TK:… And how do you see the development of pop folk in the next let`s say 5 years?
R: I think that the transformation of the genre will continue and will develop more in an international manner. By that I mean that the influence from the side of the globalization. I believe that in the next years pop folk will be more pop but still it will maintain its typical sounds.
Transcript of interview with the performer Poli
TK: Can you tell me more about yourself for how long you have been working in the music business?
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R: For a long time actually I was a professional basketball player, I was taking music classes during my sports career, music was my hobby. But with time the roles changed and music became my work and sport my hobby. And yeah on the 10 th of May I`m releasing my 11 th album.
TK: That is a great achievement. Congratulations. And for how long you have been working with Payner music?
R: I have been working with Payner for 8 years. Every performer it doesn`t matter his singing possibilities, or good songs if he doesn`t have a stable music company and media partner behind his back, the songs of this performer could not reach the audiences. That is why music companies like Payner music are essential for the career of a performer.
TK: How did u start your partnership with the company? Did they discover you or …. ?
R: In most cases, there are auditions inside the music company in the search for new talents. In my case I gave them a whole album, which was approved and this was my 4 th album, which was distributed by the company.
TK: How would you describe your relationship with the company?
R: Every performer has strong individual relationship and contract with the company. And they are connected with the style the artist is going to perform, also who is going to produce the product and according to all of that the percentages of benefit are being determined. In my case the company is producing and distributing my songs and albums.
TK: Talking about your songs and albums, are you writing them on your own or …?
R: Well I`m making my own music, I hire people who are also working in the company to do the lyrics, the music and the arrangement of my music.
TK: And are you observing ant change in the style?
R: It is different; it sounded different before 10 years ago for example. Now it`s sounds completely different. Is way more modern, so it could be more accessible to the audiences. The instruments are as well transforming and developing. And the music it has to sound more commercial. It is like a modern house build up on the basics of the Folk music. The themes in the lyrics are more modern not as before the lyrics they have to come from the daily emotional life – love, friendship, broken hears. This is what I do.
TK: Clearly you see a change in the genre, have you ever though about the reasons standing behind those changes?
R: Well it is essential to change and transform. Everything has changed, everything nowadays sports, instruments it is changing very fast and if we as artists sound the same as before there will be no interest from the audience side.
TK: And why did you decide to develop yourself in this genre?
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R: Well it is commercial. Most of my colleagues have graduated music schools with Folklore, but Pop
Folk is more popular, more beneficial that is the true. For me I am also mixing it with chill out, ethno rhythms, house music at some point, I`m doing this kind of interpretations the genre is providing me with the possibility to do that but in the core of it there is always Folk music.
Transcript of interview with Ivailo Bliznakov
TK: Can you tell me more about you and your job at the club Orient 33?
R: I am one of the managers in the club. My sector is the entertainment, I am taking care for providing a nice and amusing atmosphere in the club and as well I`m responsible for the communication with different performers and I am in charge for their performance in the club.
TK: Okay. In your club how are you deciding which performer to invite, are you working with a specific company with a contract, or individual with the performers?
R: Usually, there are two types of the working process. The first one is to work exclusive with a company with a contract. This contract has some benefits but as well it has responsibilities. The contract is demanding for a certain period of time to invite a certain number of performers and for that we are receiving a percentage from their fee. Now we are not working with a contract because the responsibilities are way too much, the time is just not correct and nowadays the clubs which could work with a contract are really a few. As I said I am responsible for the arrangement for the performers to come and perform and the club. It is very easy to do that, I am contacting the public relation office of one of the companies and what I am doing is a program for the performances in the club for a few months ahead.
Because I like the personal contact, often I travel to Dimitrovgrad where I have meetings and I am arranging the performances with the artists we want to perform, in that way we are sure that they will be available on the date on which we want them to perform. It is good to make a plan ahead for a few months because those performers are extremely busy working with clubs around the country, and if we don`t have these arrangements the possibly for the performer to be busy on that specific date is quite huge.
TK: As one of the most famous and trendy clubs in Sofia is Orient 33 open the whole week or only during the weekend?
R: We are open the whole week, 7 nights!!! From Monday to Sunday. And it is
TK: Are you focused only on Pop Folk, are you organizing different nights?
R: Our club is a Pop Folk club. The music is only Pop Folk. On Mondays we have Retro Pop Folk. We have different preferences towards our customers. A few days of the week there are some promotions of drinks, which are with a special price. For example on Wednesday we have a very challenging promotion more as a game. To every customer we are giving a special coupon which is giving them 50 Euros off their bill, you can have a bottle of whiskey for 10 Euros ha-ha –ha. The demanding of people these days.
And on Friday we are giving away a laptop.
TK: Is there some kind of a game for that laptop?
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R: The rules are simple. For every small whiskey we are giving the customer a number, later at night all the numbers are in a bowl and we just pick one. We are famous that everything we do is very honest, so the people can rely on us.
TK: All of that is very good. How would you describe the customers at the club? Is there a different age; is there any difference in the audience depending on the different nights? Like the retro pop folk night, is it more for younger generation or older one?
R: Depending on the night there is no difference at our customers. What is amazing me is the fact that the
Retro Pop Folk party we are doing is one of our most popular, one of our strongest nights. And I am amazed that the music those nights are hits from 10 and more years ago and teenagers at age of 18, they are familiar with the lyrics, they recognize the songs. But as well as the teenagers there are older people who are also familiar with the songs. There is not an age difference on the different nights; you can see people from the age of 18 till 60 years old people in the club. There are all kinds of people.
TK: And could you tell me more about your own opinion upon Pop Folk music? As a genre, as a business?
R: Well let`s begin from there, that a lot of people are denying it. A lot of people are talking against Pop
Folk. In my opinion those people have their own personal reasons for that. There is one marketing strategy that the search is determining the market. There is search for that music, the fact that we are part of the Balkans. I remember from my childhood, Pop Folk was not yet a genre in Bulgaria, and then it was popular to listen to Greek music, Serbian music, so I think that this genre is exactly where it is supposed to be. I think that a lot of the produced music is valuable, there is some trash but that is everywhere. And what I can say from my own experience that particular in this sector, and I will say it in slang – where is pop folk, there are money.
TK: And it is visible your observation in the country?
R: Looking at statistics, every second bar or club is directed to Pop Folk music, because if the owner decides to ignore this genre he is ignoring his customers. This is a fact; this is what is going on.
TK: In your own opinion does u observe a change in the music genre through out the years?
R: For me the change is drastic. On a first place I can say, that nowadays the work is done way more professional, there is more professional development in the sector with which the companies are working.
I am in this business from 1996; I can say that round 1998 the Pop Folk became such mainstream genre.
Before the lyrics were how I can say, more from daily life, there was not so much attention to the making of a nice video clip and also the outlooks of the performers but the times are different. What is brought to my attention is that maybe now everything is way more competitive in this sector. It was understood, that if you want to have a successful product you must invest money. It is visible that the companies started working with foreign composers which are very well paid. From their side, there are established professionals in the music sector and it is well known that if the foreign composer makes a song for a certain Pop Folk performer that song would be a hit. The change in the lyrics is quite visible, there are more valuable today and that is due to several factors. What appeared mostly to me is that the Bulgarian is listening with his eyes, and for that reason in the beginning everything was more sexual, nowadays there is more style but still the sexual element is visible. There is a change in a positive direction.
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TK: And after 5 years how do you see the development of the Pop Folk music?
R: Well what is brought to my attention is that 60 to 70 % of the songs which are produced have a more
Pop music sound. The folk from the Pop Folk is disappearing. More dance, more modern music is being produced. I think that in that direction will be the development of the Pop Folk music and I think that with this modern sound it can grow outside of the country and the Balkans. Moreover when the work is done by professionals and it has a good quality it can become global why not? But for now their work is not that highly evaluated and as well from the side of the copyrights laws in the country but that is a different topic I don`t want to jump in it. But it is important because on a global scale most of the benefits are made by the copyrights. Unfortunately we live in the age of the internet, in Bulgaria we cannot talk about making profit from copyrights; it is just not right to download music free from the web. And I know what kind of an investment is being made to produce a song; it is a product in which a lot of money is invested.
And this is all covered by the company; the good thing here is that they have ways of collecting the invested money mostly by weekly performances in different locations in the country and abroad. I really wish that in the next 5 years laws about the copyrights will be established, like in every normal country.
Because without laws, the performers are also producing 2-3 albums a year which compared to the global scale is just funny and this happens because the idea is to make profit from live performances and when people are visiting those performances they want to see something new every time. And for the performers and the companies to cover that demand they have to be dynamic and produce new products often. I think as a positive person that things will develop in a good way and I think that Pop Folk will be developing and still it will be popular as now and even abroad it will be. The fact is that Sofi Marinova will represent Bulgaria on Eurovision is not a little thing; it is visible that the genre is developing fast.
TK: Thank you.
R: It was my pleasure.
Transcript of interview with Tsvetomir Matev
TK: Could you tell me more about yourself and your activity?
R: My name is Tsvetomir Matev, I`m 28. And I am freelance producer and distributer, I have my own studio in which as well I`m dealing with publishing. I have been working in the music business for almost
7 years.
TK: Were you always been on freelance, or you have worked before for a music company?
R: I started my career in one of the major pop folk music companies in the country, but at some point I decided to start my own business in the sector.
TK: Can you elaborate more on that decision you have made?
R: Well, me and the company we wanted different things. I know how things are working around here and I was not pleased with the conditions. For me the contract had too much obligations and responsibilities towards the company and as a video director I was not able to do what I wanted to do.
There were too many limitations for my creativity, so we just stopped working together.
TK: And now you are a freelance publisher. Can you tell me more about that?
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R: I have decided to start producing Folk DVDs for self learning the traditional Bulgarian dances. I know it is something totally different from what I have been doing before. But I think that is the shortest way for keeping the Bulgarian spirit and traditions. Nowadays without a big company on your side it is very hard to produce and distribute music, especially folk music, which is not popular at all. I am pleased with what I do now, because I can be creative and make happy the people who are really carrying about Folk music.
TK: Ok, so you have changed your field from Pop Folk to Folk, what are the reasons for that?
R: Producing and distributing Folk music, I want to show and prove that Pop Folk nowadays is so changed and it has to do more now with Pop music and sexualization. And that is quite a change. It is loosing the folk element, by becoming something cheesy.
TK: And that change you mentioned, what reasons are you seeing driving it?
R: Well hmm I think the influences of the U.S. Things are becoming more commercialized, and I don`t admire that. Globalization is taking over even Pop Folk. Our companies are just trying to copy what has been already produced, in relation to American videos, style, and image. The video clips are becoming more American.
TK: As a freelance distributor and producer, are you planning to work with a company or??
R: Well Bulgaria is not that big of a market, so I think I am good with doing the distribution on my own.
We are doing well. I would think of working with a company but only if it was international.
TK: Why do you prefer an international company, are you seeking for a broader international audience?
R: I want to popularize Folk music round the world. That is my big dream. Also I think that an international company will provide me with the opportunity to develop what I want and what I am pensioned about and will not put boundaries on my work.
TK: I see that you have a clear interest in Folk music, what is your opinion for Pop Folk music?
R: It is negative, because of the changes in the genres and because of the major companies which are controlling every step of the process.
TK: How do you see the development of Pop Folk music let`s say in 5 years?
R: It will be still here after 5 and after 15 years. I just hope that it will return to do way it was before, and the Folk element will be still there!! Call me nostalgic, but I`m not okay with all the changes that are made in the music nowadays.
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