Norm and Individuation in Decasyllable Tunes from the Region of Sla Vonia

Within Croalian ethnomusicology there is all ilbsertce of a research approach which loob 10 individllals for ils b;lse, or which eJldeavours to explain phenomena by individuals. For authors, the relevant faclor is the parliClilar village or micro-region to which a specific phenomenon In music is restricted, However, this paper shows that a song never stops being the.work of iln individual, lilitt tradillolwl musie can never be cOll1pletelv e~plalJled as an organisation of norms in a particular social ~oll1ll1unity, but that what IS in question is a crealive struggle betwccn norlll alld illdividllalio/!, between cullural conventions and the 1J1(hviduill musical inclinations of n pilrticular ~illger, together with his/her perSOJlill rules Oil the mwmer of stllletliring a perfOrmilnCe. Cultural concepts ahout music in the Slavonian region do no\ enter into musical strlleture III the slntements of Informers, in the mllslcally nOIl-specwlised tcxts on thc trildltional culture of Slilvonia, music phenomena are detcrmlned priml1rily by their manner of usage (by lhe normative conlext of performance), from which the idea of music geNre is derived, )\,'lusic is concoived to be a composite part of a particular cuslom, a me~ns of enriching everyday life, and as 11 medillm of communieiltion betwecn lhc mcmbers of a specil'ic social community. On the other hand, thc use and manner of performance is ignored ill collections of trachtional music. Thcy (lre based 011 the idca of a specific mllsical form (of a ttlnc or song), i. c, on a grollp of e,~amples Ivhich share the same