ABSTRACT
by the early 1980s, NCFM had come to account for 58% of the total output of the Yugoslav music industry. For the first time in the music’s relatively short market history, its national reach was statistically confirmed. Two distinct trends crystallized in a complementary fashion around the market peak: regional concentration of production and cross-regional patterns of consumption. To address the interplay between the national and the regional in the NCFM market, I draw on the most comprehensive statistical record on Yugoslav popular music, to date, by Darko Hudelist. 1 The value of this study is twofold: it provides a comparative insight into the structure of popular music production on a national level, and it illustrates the cultural significance of the genre-region statistical analogy in support of the dualist concept of Yugoslav music.
