In his seminal comprehensive history of music(s) in the Balkan region, Jim Samson avoided the term “Balkan music” in favor of the less-binding title Music in the Balkans (Leiden: Brill, 2013). This, however, should not hinder us from probing the term “Balkan music” and its many connotations. In this editorial article for the Special Issue Balkan Music: Past, Present, Future, I aim to dissect the umbrella term “Balkan music” and its actual and presumed meanings and implications, while overviewing many different music traditions and styles that this term encompasses. I will also make a case for the establishment of Balkan Music Studies as a discipline and attempt to outline its scope and outreach.

中文翻译：

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为巴尔干音乐研究提供依据

在巴尔干地区音乐的他的开创性综合史（S），吉姆·萨姆森避免有利于结合少标题的术语“巴尔干音乐”巴尔干音乐（莱顿：布里尔，2013年）。但是，这不应妨碍我们探索“巴尔干音乐”一词及其许多含义。在本期《巴尔干音乐：过去，现在，未来》的社论文章中，我旨在剖析总括性术语“巴尔干音乐”及其实际和假定的含义和含意，同时概述该术语涵盖的许多不同音乐传统和风格。我还将为建立巴尔干音乐研究学科提供依据，并尝试概述其范围和范围。