Natalija Majsova
Biographic Data
| ID | 816572 |
|---|---|
| NAME | Natalija Majsova |
| GIVEN NAMES | Natalija |
| FAMILY NAME | Majsova |
| SIGNATURE | MAJSOVA N |
| AFFILIATIONS | University of Ljubljana |
| ORCID | 0000-0002-3198-1142 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 8 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Peripheral Visions of Alternative Futures
Editorial: Peripheral Visions of Alternative Futures: Feminist Techno-imaginaries
Slovenian folk-pop music as a place and nation making strategy between heritage and popular culture
Cultural heritage tourism partly depends on authorized heritage definitions, and partly on complex bottom-up processes of heritage identification, interpretation, and communication. This paper addresses the ways in which music, when understood as intangible heritage, may be used for place making and nation branding purposes, and the dynamic between these two processes, as seen from the perspective of cultural and heritage tourism workers. To anal…
Slovenska narodnozabavna glasba kot nesnovna kulturna dediščina
Avtorici v članku na podlagi analize trinajstih intervjujev s tujimi, nacionalnimi, regionalnimi in lokalnimi predstavniki muzejev in festivalov narodnozabavne glasbe (NZG) predstavita, na kakšne načine ti dediščinski vratarji razumejo NZG kot dediščino. Pri tem analizirata tudi, v kolikšni meri definicije popularnoglasbenih žanrov kot kulturne dediščine v diasporah sovpadajo oz. se razlikujejo od tistih, ki jih uporabljajo deležniki iz matične d…
Opomenjanje povezav med glasbo, identitetami in vrednotami
Družbenokulturno učinkovanje sodobne popularne glasbe je večplastno in večsmerno. Po eni strani je sodobna popularna glasba v veliki meri deteritorializirana; produkcijsko, distribucijsko in recepcijsko namreč ni enoznačno prostorsko usidrana, temveč je vpeta v izrazito transnacionalen kontekst. Po drugi strani je ravno popularna glasba pomemben izrazni medij, ki lahko na ravni zvoka, besedil in uprizoritveno-recepcijskih praks ter z njimi poveza…
Popular music as living heritage
Produced, distributed, and consumed in a de-territorialised way, modern popular music presents a set of challenges to cultural heritage policies which largely rely on spatial frameworks, as needs for the preservation of local, regional, or national cultural heritage are typically highlighted. Moreover, certain popular music genres dating back to the mid-20th century are both representations and re-inventions of local and ‘folk’ or ‘traditional’ m…
Welcome to the desert of post-socialism
The Aesthetics of Slovene Popular Music for Different Generations of Slovene Listeners
What is popular music to Slovene listeners? How is it conceived of in terms of vocabulary, and what can be said of the political potential of its aesthetic instance? In the field of Slovene popular music and audience research, these issues have thus far remained un(der)explored. Nevertheless, they need to be addressed: if carefully contextualized, looking into the questions of what popular music signifies, and is connected with, for different Slo…
The Aesthetics of Slovene Popular Music for Different Generations of Slovene Listeners
What is popular music to Slovene listeners? How is it conceived of in terms of vocabulary, and what can be said of the political potential of its aesthetic instance? In the field of Slovene popular music and audience research, these issues have thus far remained un(der)explored. Nevertheless, they need to be addressed: if carefully contextualized, looking into the questions of what popular music signifies, and is connected with, for different Slo…
Peripheral Visions of Alternative Futures
Editorial: Peripheral Visions of Alternative Futures: Feminist Techno-imaginaries
Slovenian folk-pop music as a place and nation making strategy between heritage and popular culture
Cultural heritage tourism partly depends on authorized heritage definitions, and partly on complex bottom-up processes of heritage identification, interpretation, and communication. This paper addresses the ways in which music, when understood as intangible heritage, may be used for place making and nation branding purposes, and the dynamic between these two processes, as seen from the perspective of cultural and heritage tourism workers. To anal…
Slovenska narodnozabavna glasba kot nesnovna kulturna dediščina
Avtorici v članku na podlagi analize trinajstih intervjujev s tujimi, nacionalnimi, regionalnimi in lokalnimi predstavniki muzejev in festivalov narodnozabavne glasbe (NZG) predstavita, na kakšne načine ti dediščinski vratarji razumejo NZG kot dediščino. Pri tem analizirata tudi, v kolikšni meri definicije popularnoglasbenih žanrov kot kulturne dediščine v diasporah sovpadajo oz. se razlikujejo od tistih, ki jih uporabljajo deležniki iz matične d…
The Aesthetics of Slovene Popular Music for Different Generations of Slovene Listeners
What is popular music to Slovene listeners? How is it conceived of in terms of vocabulary, and what can be said of the political potential of its aesthetic instance? In the field of Slovene popular music and audience research, these issues have thus far remained un(der)explored. Nevertheless, they need to be addressed: if carefully contextualized, looking into the questions of what popular music signifies, and is connected with, for different Slo…
Welcome to the desert of post-socialism
Slovenian folk-pop music as a place and nation making strategy between heritage and popular culture
Cultural heritage tourism partly depends on authorized heritage definitions, and partly on complex bottom-up processes of heritage identification, interpretation, and communication. This paper addresses the ways in which music, when understood as intangible heritage, may be used for place making and nation branding purposes, and the dynamic between these two processes, as seen from the perspective of cultural and heritage tourism workers. To anal…
Slovenska narodnozabavna glasba kot nesnovna kulturna dediščina
Avtorici v članku na podlagi analize trinajstih intervjujev s tujimi, nacionalnimi, regionalnimi in lokalnimi predstavniki muzejev in festivalov narodnozabavne glasbe (NZG) predstavita, na kakšne načine ti dediščinski vratarji razumejo NZG kot dediščino. Pri tem analizirata tudi, v kolikšni meri definicije popularnoglasbenih žanrov kot kulturne dediščine v diasporah sovpadajo oz. se razlikujejo od tistih, ki jih uporabljajo deležniki iz matične d…
Opomenjanje povezav med glasbo, identitetami in vrednotami
Družbenokulturno učinkovanje sodobne popularne glasbe je večplastno in večsmerno. Po eni strani je sodobna popularna glasba v veliki meri deteritorializirana; produkcijsko, distribucijsko in recepcijsko namreč ni enoznačno prostorsko usidrana, temveč je vpeta v izrazito transnacionalen kontekst. Po drugi strani je ravno popularna glasba pomemben izrazni medij, ki lahko na ravni zvoka, besedil in uprizoritveno-recepcijskih praks ter z njimi poveza…
Popular music as living heritage
Produced, distributed, and consumed in a de-territorialised way, modern popular music presents a set of challenges to cultural heritage policies which largely rely on spatial frameworks, as needs for the preservation of local, regional, or national cultural heritage are typically highlighted. Moreover, certain popular music genres dating back to the mid-20th century are both representations and re-inventions of local and ‘folk’ or ‘traditional’ m…
Peripheral Visions of Alternative Futures
Editorial: Peripheral Visions of Alternative Futures: Feminist Techno-imaginaries
Art (6 works) · Aesthetics (4 works) · Diverse Musicological Studies (4 works) · Sociology (4 works) · Anthropology (3 works) · History (3 works) · Law (3 works) · Law (3 works) · Political science (3 works) · Popular music (3 works)