Relevant bibliographies by topics / Serbian Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Serbian Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Serbian Music"

1

Erdely, Stephen, Dimitrije O. Golemovic, and Katarina Knezevic. "Serbia: An Anthology of Serbian Folk Music." Yearbook for Traditional Music 32 (2000): 249. http://dx.doi.org/10.2307/3185307.

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Parezanovic, Kristina. "The organisation of solfège pedagogy in Serbia from the second half of the 19th century until today - achievements and attainments." Muzikologija, no. 21 (2016): 27–50. http://dx.doi.org/10.2298/muz1621027p.

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This research focuses on the development of art music, music pedagogy and teaching solf?ge in Serbia in the long period stretching from the second half of the 19th century until the present day. In this article I present a chronology of the institutionalisation of the music education system in Serbia; then, I discuss the origins of the influence of Western European artistic-pedagogical practices on Serbian teaching, through the testimonies by Stevan Hristic, Berthold Hartmann, Miloje Milojevic, Stanislav Vinaver, Milan Grol and others. I finish with the presentation of the most important Serbi
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Gligorijević, Jelena. "Nation Branding in Two Major Serbian Music Festivals, Exit and Guča." Journal of Popular Music Studies 33, no. 1 (2021): 94–120. http://dx.doi.org/10.1525/jpms.2021.33.1.94.

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This article looks into the nation branding phenomenon surrounding two major Serbian music festivals, Exit and Guča, in the post-Milošević era. The departure point of analysis is the once-dominant national identity narrative of Two Serbias, by which Exit (as a purveyor of Western-style popular music) and Guča (as the self-proclaimed guardian of the Serbian brass-band tradition) were pitted against one another as representatives of Two Serbias, one looking towards the West, and the other towards the East. Moving away from this obsolete model of interpretation, this article examines the effects
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Golemović, Dimitrije. "Was Mokranjac the first Serbian ethnomusicologist?" New Sound, no. 50-2 (2017): 154–74. http://dx.doi.org/10.5937/newso1750154g.

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The question posed in the title of this article stems from the widespread belief that on account of his work in collecting folk melodies for his Rukoveti (Rukoveti; Garlands), Stevan St. Mokranjac (Stevan St. Mokranjac) gained a place among Serbian ethnomusicologists; since ethnomusicology is still a young field in Serbia, the author puts even more emphasis on that belief by asking whether Mokranjac was Serbia's first "real" ethnomusicologist. After establishing clear criteria that define an ethnomusicologist as a scholar, including, above all, fieldwork, transcription, analysis, etc., and stu
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Dumnic, Marija. "Applied ethnomusicology in Serbia: Politics and policies of Serbian ethnomusicological Society." Muzikologija, no. 12 (2012): 79–102. http://dx.doi.org/10.2298/muz120319003d.

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This paper deals with ethnomusicological research methodologies, the application of ethnomusicological knowledge outside academic institutions and ideologies which have contributed to ethnomusicological discourses in Serbia. Furthermore, state policy on ethnomusicology and folk music is analyzed. The recent institutionalisation of applied ethnomusicology, i.e. direct ethnomusicological engagement in society, which represents a turning point in the development of ethnomusicology, is particularly emphasized. The difference between contemporary applied ethnomusicology and ethnomusicology is in di
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Jovanovic, Jelena. "The correspondence between Miodrag Vasiljevic and Bulgarian Musicians." Muzikologija, no. 2 (2002): 201–20. http://dx.doi.org/10.2298/muz0202201j.

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The Serbian ethnomusicologist and music pedagogue Miodrag A. Vasiljevic corresponded with colleagues from neighboring Bulgaria between 1934 and 1962. This exchange of letters went through three phases. The first phase was linked with his stay in Skopje until the breakout of World War II; during the second phase - in the course of the 1940's - he was active in the Department for Folk Music at Radio Belgrade and he founded his method of music teaching on traditional Serbian music; in the third phase (the 1950's and beginning of 1960's) Vasiljevic aimed at a closer cooperation with Bulgarian musi
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Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.

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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a
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Vasic, Aleksandar. "Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role." Muzikologija, no. 8 (2008): 185–202. http://dx.doi.org/10.2298/muz0808185v.

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Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its reade
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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Mu
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Milanovic, Biljana, and Marija Maglov. "Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)." Muzikologija, no. 27 (2019): 221–50. http://dx.doi.org/10.2298/muz1927221m.

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Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers? works were going to be (repeatedly) present in its catalogue consequently had significant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer figure of Serbian music, Stevan Stojanovic Mokranjac, was represented in th
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Dissertations / Theses on the topic "Serbian Music"

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Milin, Melita. "The National Idea in Serbian Music of the 20th Century." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21226.

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If there was but one important issue to be highlighted concerning Serbian music of the 20th century, it would certainly be the question of musical nationalism. As in all other countries belonging to the so-called European periphery, composers in Serbia faced the problem of asserting both their belonging to the European musical community and specific differences. The former had to be displayed by their musical craftmanship and creative individuality, while the latter were conveyed through the introduction of native folk elements as tokens of a specific identity.
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Milin, Melita. "Tradicionalno i novo u srpskoj muzici posle Drugog svetskog rata 1945-1965 [The Traditional and· the New in Serbian Music after the Second World War 1945-1965], Belgrad 1998, pp. 261 [Zusammenfassung]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-225164.

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The aUthor of the book investigates the innovative processes in the Serbian music between 1945 and 1965, taking into due consideration the factor of tradition and the wider European context of musical development.
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Simic, Marina. "'Exit to Europe' : state, travel, popular music and 'normal life' in Serbian town." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499940.

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Milin, Melita. "Tradicionalno i novo u srpskoj muzici posle Drugog svetskog rata 1945-1965 [The Traditional and the New in Serbian Music after the Second World War 1945-1965], Belgrad 1998, pp. 261 [Zusammenfassung]." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 1999. https://ul.qucosa.de/id/qucosa%3A15653.

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The aUthor of the book investigates the innovative processes in the Serbian music between 1945 and 1965, taking into due consideration the factor of tradition and the wider European context of musical development.
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Sandu-Dediu, Valentina. "Serbian Music: Yugoslav Contexts, hrsg. von Jim Samson und Melita Milin (Institute of Musicology SASA), Belgrad 2014, 199 S., englisch, ISBN 978-86-80639-19-2 [Rezension]." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2016. https://ul.qucosa.de/id/qucosa%3A16187.

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Rezension: Mit diesem Band in englischer Sprache können sich nun Kollegen aus aller Welt mit dem Thema serbische Musik im jugoslawischen Kontext vertraut machen. (Ein westeuropäischer Verlag hätte sicherlich für ein breiteres Interesse gesorgt, aber darüber, wie schwierig es ist, zu einem bekannten Verlag zu gelangen, können wir alle, einschließlich der rumänischen Kollegen, ein Lied singen.) Die Idee zu diesem Band entstand während einer Tagung der Internationalen Gesellschaft für Musikwissenschaft (2012), als beide Herausgeber sich entschieden, das Projekt anzupacken. Das erfahren wir aus de
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Jakovljevic, Rastko Stevan. "Marginality and cultural identities : locating the bagpipe music of Serbia." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/3544/.

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This dissertation examines the gajde (bagpipe) music tradition of Serbia in the context of the increasing marginality of such cultural identities (i.e. musician, performer) over the period of rapid modernisation since 1945. It is argued that the process of marginalisation of gajde music in the second half of the twentieth century reached a critical point where social and ideological developments intertwined and resulted in radical changes to the cultural and musical identity of this tradition. The gradual decline in the number of the gajde performers, contextual changes, political influences a
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Todorovič, Milan. "The underground music scene in Belgrade, Serbia : a multidisciplinary study." Thesis, Bucks New University, 2004. http://bura.brunel.ac.uk/handle/2438/5905.

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The focus of this study is the underground music scene in Belgrade, Serbia. This work requires the exploration of varied cultural and market factors that have shaped the scene, resulting in its present form. The explored phenomenon is complex and achieving the necessary depth of analysis will involve the use of a wide set of theoretical sources and research methods. The fieldwork includes in-depth interviews, reflective accounts of longitudinal participant observation, data collected through email correspondence, and a large amount of documentary data. Data analysis will be articulated into a
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Darko, Kovačević. "Kontrastivna analiza žanra u tekstovima o klasičnoj muzici na engleskom i srpskom jeziku." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=101218&source=NDLTD&language=en.

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Cilj ovog rada je bio da se izvrši kontrastivna ana-IZ liza žanra tekstova o klasičnoj muzici na engleskom i srpskom jeziku koja bi omogućila predstavljanje ključnih jezičkih i sadržajnih sličnosti i razlika koje postoje među njima. U sklopu analize, žanr tekstova o klasičnoj muzici je sagledan i predstavljen kroz različite aspekte, a obavljena je i opsežna jezička analiza korpusa tekstova iz žanra, posebno za tekstove na engleskom jeziku i za one na srpskom. Nakon toga, obavljena je kontrastivna analiza, pomoću koje su uporedno sagledani rezultati dobijeni analizom žanra. Rezultati dob
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Milin, Melita. "›Soft Dictatorship‹ and the Fate of New Music in Serbia, 1945–2000. An Atypical Case." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72020.

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Bogdan, Đaković. "Фунционални и стилско-естетски елементи у српској духовној хорској музици прве половине двадесетог века". Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2013. http://www.cris.uns.ac.rs/record.jsf?recordId=94803&source=NDLTD&language=en.

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Уводно поглавље садржи образложење наслова и предмета студије, као и критичку анализу досадашњих музиколошких радова о српској црквеној хорској музици између два светска рата. Следеће поглавље посвећено је Традиционалној црквеној уметности, њеним основним појмовима и тумачењима у 20. веку. У њему су теоријски разрађени теолошки аспекти аутентичногцрквеног уметничког стваралаштва, са посебним освртом на проблем уметничкогсимвола и његовог функционисања у литургијској перспективи, те месту музике убогослужењу као сложеној синтези више уметничких врста. Поглавље Црквено-уметничко стваралаштво и ц
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Books on the topic "Serbian Music"

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Zivković, Zoran. Seven touches of music: A mosaic novel. Aio Pub. Company, 2006.

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Alice, Tošić, ed. Seven touches of music: A mosaic novel. Aio Pub. Company, 2006.

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Muzički leksikon: Priručnik za ljubitelje muzike. 3rd ed. Budućnost, 1998.

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Srpske narodne igre. Prosveta Koprodukcija, 1991.

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Veselin, Lazić, ed. Cigančica: Srpske igre podvoje u Vojvodini. Proleće na čenejskim salašima--PČESA, 1994.

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Čovek kao muzičko biće. Biblioteka XX vek, 2006.

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Usponi srpske kulture: Muzički, književni i likovni život, 1918-1941. Izdavačka knjižarnica Zorana Stojanovića, 2008.

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Statelova, Rozmari. Chŭzhdata kultura otblizo: Aktualni muzikalni praktiki na serbite v dvukulturnata oblast Luzhit︠s︡a v Germanii︠a︡. Institut za izsledvane na izkustvata, 2011.

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Rakočević, Selena. Vokalna tradicija Srba u Donjem Banatu. Zavod za udžbenike i nastavna sredstva, 2002.

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Jezik srpskog pesništva. Prometej, 2003.

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Book chapters on the topic "Serbian Music"

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Krsmanović, Elena. "Crimen et Circenses: Serbian Turbo Folk Music and Organised Crime." In Crime and Music. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49878-8_9.

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Rosić, Branko. "Painter From Piccadilly: British–Serbian Pop Culture/Rock Music Encounters." In Belgrade English Language and Literature Studies: BELLS90 Proceedings. Volume 2. Faculty of Philology, University of Belgrade, 2020. http://dx.doi.org/10.18485/bells90.2020.2.ch30.

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Peno, Vesna, and Goran Vasin. "The Birth of the Serbian National Music Project Under the Influence of Diplomacy." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch3.

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Peno, Vesna, and Goran Vasin. "The Birth of the Serbian National Music Project Under the Influence of Diplomacy." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch3.

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Vesić, Ivana. "The Echoes of Diplomatic Disputes. The Macedonian Question in the Work of Serbian and Yugoslav Music Scholars." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch7.

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Vesić, Ivana. "The Echoes of Diplomatic Disputes. The Macedonian Question in the Work of Serbian and Yugoslav Music Scholars." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch7.

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Hudson, Robert. "Songs of Love and Hate: the Role of the Intelligentsia, Music and Poetry in Forging Serbian Ethnic National Identity." In Why Europe? Problems of Culture and Identity. Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780333983065_13.

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Atanasovski, Srđan. "Recycled Music for Banal Nation: The Case of Serbia 1999– 2010." In Relocating Popular Music. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463388_5.

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Acker, Aleksandra, and Berenice Nyland. "Children’s Music Performance from Serbia, Snežana and Ivana’s Story." In International Perspectives on Early Childhood Education and Development. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57698-1_2.

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Medić, Ivana. "Rock music videos in Serbia since the 1990s: The curious case of Jarboli." In Contemporary Popular Music Studies. Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_20.

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Conference papers on the topic "Serbian Music"

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Vesic-Eder, Marina. "Border-Crossing Female Artists Between Experimental and Popular Music From 1970 to the Present Day in Serbia and Bosnia & Herzegovina." In Proceedings of EVA London 2020. BCS Learning and Development Ltd, 2020. http://dx.doi.org/10.14236/ewic/eva2020.22.

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