Despite the fact that tradition and heritage are a social construction, they can still independently exist after the abolition of the hegemonic structure that produces them. In these changing circumstances (the disintegration of Yugoslavia) the meaning of popular culture ceases to be linear and predictable, but rather becomes a more complex and intriguing phenomenon (for both research and interpretation). This thesis deals with the imaginary vortex of the reproduction of musical memories, with and emphasis on selectivity and correlation between the individual and collective memory. Taking into account the opinion of Rajko Muršič that a collective Yugoslav music never existed, this thesis highlights how cultural differentiation is adjusted and extended into the images of musical heritage. The common Yugoslav music heritage thus turns out to be virtual, under the influence of biased selectivity. It is emphasized that, just like tradition and heritage, popular music in today’s perspective is always tailored for the needs of the present time. Merging the past and the present is reflected in cultural identities, which is especially evident when comparing two cities: Maribor (Slovenia) and Rijeka (Croatia). The diversity of national perspectives on the once common music scene is also addressed from the point of view of those who (co)create the memory, as well as those to whom this memory is passed on. In the desire for a wider insight into the musical mosaic, we did not expose individual music genres, since the purpose is to encompass the diversity (and the singularity at the same time) of the perception of the musical ‘remains’ of Yugoslavia. The thesis thus rejects the position of "or-or" and changes it into "and-and" - it does not exclude, but include, thus offering a broader perspective and a more complex understanding of the remains of Yugoslav music production.
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