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Journal articles on the topic 'Serbian Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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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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2

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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3

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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4

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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6

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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7

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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8

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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9

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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10

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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11

Rankovic, Sanja. "Vladimir R. Djordjevic’s contribution to the transcription of vocal practices." Muzikologija, no. 29 (2020): 51–67. http://dx.doi.org/10.2298/muz2029051r.

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Serbian musicians who were collecting different forms of traditional music at the end of the 19th and the beginning of the 20th century were unable to make audio recordings of the collected material. This conditioned the need to transcribe folk melodies ?by ear? during the very process of interviewing their interlocutors or later ? from memory. Methodology of transformation of sound into an adequate graphic transcription was especially promoted by Vladimir Djordjevic who, in comparison to his predecessors, introduced numerous novelties. This article discusses his approach to the transcription

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Vasic, Aleksandar. "Problem of the ′national style′ in the writing of Miloje Milojevic." Muzikologija, no. 7 (2007): 231–44. http://dx.doi.org/10.2298/muz0707231v.

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Dr. Miloje Milojevic (1884-1946) was a central figure in Serbian music criticism and academic essays between the World Wars. A large part of his writings on music were dedicated to the issue of the Serbian ?national music style?, its means of expression, and the question of modernity, i. e. to what extent modernity is desirable in the ?national style?. This paper analyzes some twenty articles - reviews, essays, and writings for special occasions - published by Milojevic between 1912 and 1942 in various Serbian newspapers magazines and collections: Srpski knjizevni glasnik (The Serbian Literary

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13

Medic, Ivana. "Arhai’s Balkan folktronica: Serbian ethno music reimagined for British market." Muzikologija, no. 16 (2014): 105–27. http://dx.doi.org/10.2298/muz1416105m.

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This article focuses on Serbian composer Jovana Backovic and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backovic moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity

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14

Nikolic, Olivera. "Ivan Jevtic’s musical universe at a crossroads of traditional and new music expression. Tendencies of changes on the example of selected works of the concert genre." Muzikologija, no. 23 (2017): 219–37. http://dx.doi.org/10.2298/muz1723217n.

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Our interest in the position and significance of the concert music of Ivan Jevtic in the development of this genre in the Serbian music of the second half of the 20th century is based on several facts. Judging from the number of concerts and the variety of their stylistic, aesthetic, technical, expressive and historical qualities, Jevtic comes across as a composer who was the pioneer of several particular and general tendencies in the development of Serbian concert music, especially when we have the following in mind: his relationship to the musical heritage; his aspirations to master new cont

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15

Peno, Vesna, and Aleksandar Vasic. "Voices from the beginning: The early phase of musical historiography in Serbia." Muzikologija, no. 25 (2018): 77–90. http://dx.doi.org/10.2298/muz1825077p.

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The beginnings of Serbian musical historiography can be traced back to the nineteenth century. The first half of that century is marked by the work of musical amateurs, and later professionals were gradually trained. The beginnings of Serbian musical historiography can be found in articles published in memorials of singing societies, as well as in periodicals. These were portraits of composers and performers, texts on church and folk music, obituaries and other articles. The first history of music in the Serbian language appeared in 1921 in Pancevo. Its author was Ljubomir Bosnjakovic (1891-19

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16

Marković, Tatjana. "Ottoman legacy and Oriental Self in Serbian opera." Studia Musicologica 57, no. 3-4 (2016): 391–402. http://dx.doi.org/10.1556/6.2016.57.3-4.7.

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Serbia was an Ottoman province for almost four centuries; after some rebellions, the First and Second Uprising, she received the status of autonomous principality in 1830, and became independent in 1878. Due to the historical and cultural circumstances, the first stage music form was komad s pevanjem (theater play with music numbers), following with the first operas only at the beginning of the twentieth century. Contrary to the usual practice to depict “golden age” of medieval national past, like in many other traditions of national opera, the earliest Serbian operas were dedicated to the rec

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17

Sentevska, Irena. "All that turban-folk: Orientalism and neo-folk music in Serbia." Bulletin de l'Institut etnographique 68, no. 3 (2020): 641–60. http://dx.doi.org/10.2298/gei2003641s.

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In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions a

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18

Kotevska, Ana. "Serbian musicological society at the beginning of its second decade (2006-2017)." New Sound, no. 50-2 (2017): 285–99. http://dx.doi.org/10.5937/newso1750285k.

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The purpose of the text is to present, on the occasion of the 10th anniversary of the establishment of the Serbian Musicological Society (SMS), the circumstances of its founding on 5 July 2006 and offer a panoramic survey of its accomplishments in research and publishing so far, which re-examine our stance toward our musical heritage and/or illuminate previously neglected chapters from the history of music in Serbia. The many and diverse contributions of the Serbian Musicological Society to the achievements of Serbian musicology, in general, are reflected in its conception and organization of

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19

Fracile, Nice. "The phonographic recordings of traditional music performed by Serbian prisoners of war (1915-1918)." New Sound, no. 51 (2018): 17–42. http://dx.doi.org/10.5937/newso1851017f.

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This paper will focus on an examination of the phonographic recordings of traditional music, as performed by Serbian war prisoners during World War One (1915-1918) in the German camps of Knigsbrck and Parchim. These recordings of traditional Serbian songs and instrumental tunes were made on the spot by the German researcher Georg Schnemann. This is a unique and outstandingly valuable source - in terms of quantity, quality and scientific approach-providing material about Serbian folklore from the early 20th century. The author of this paper will examine the basic poetic/musical features of that

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20

Milin, Melita. "Cultural isolation of Yugoslavia 1944–1960 and its impact on the sphere of music: the case of Serbia." Musicological Annual 51, no. 2 (2015): 149–61. http://dx.doi.org/10.4312/mz.51.2.149-161.

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In the decades after the end of WW2 and the establishment of the communist regime in Yugoslavia, cultural isolation affected Serbia in more or less the same way as the other five federal republics. This article examines aspects typical of that period, such as the level of musical exchange with the foreign, i.e. Western world; the creative responses of Serbian composers of all generations to post-war avantgarde movements; guest concerts of foreign musicians and ensembles in Serbia and the international tours of Serbian musicians; repertoires on concert and opera programs; and the legacy of the

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21

Bernstein, Tamara. "The Vocal Music of Ana Sokolović: Love Songs for the Twenty-First Century." Circuit 22, no. 3 (2013): 19–35. http://dx.doi.org/10.7202/1014226ar.

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Enchanted by the vocal music of Serbian-born Canadian composer Ana Sokolović, Tamara Bernstein visited the composer at her home in Montreal. Sokolović’s music draws on several sources, including the theatrical world and the culture of the Balkans. The extended vocal techniques in Sokolović’s music are rooted not in the avant-garde music of the twentieth century, but in the oral traditions and poetic voice of Serbia. It seems that the more the composer returns to her cultural roots, the more she embraces the universality of the human soul.

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22

Peno, Vesna. "The state of research on church chant in medieval Serbia." Muzikologija, no. 16 (2014): 131–54. http://dx.doi.org/10.2298/muz1416131p.

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The Byzantine-musicological studies in Serbia during the last few decades have been at an unsatisfactory level. The fact that Serbian musicologists have not exhibited much interest in exploring this research area could be somewhat justified by the fact that its scope for new studies might seem limited. The efforts aimed towards reconstructing and ?resounding? the medieval liturgical melodies based on the anagogic sources (the primary sources - notated manuscripts are very deficient) seems, at first glance, discouraging, even futile. Nevertheless, the conditions for systematic research do exist

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23

Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were inf

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24

Merkle, Milan J., and Miomir Mijic. "Statistical analysis of old Serbian music." Journal of the Acoustical Society of America 88, S1 (1990): S188. http://dx.doi.org/10.1121/1.2028844.

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Peno, Vesna. "Bilingual neume collections of the late middle ages - a new view at the well-known music sources." Zbornik radova Vizantoloskog instituta, no. 54 (2017): 279–301. http://dx.doi.org/10.2298/zrvi1754279p.

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The long-term process of the byzantinization of Serbian culture and art, intensified in the framework of complex political relations at the beginning of the 15th century, is testified, among others, by the preserved bilingual Greek-Slavonic musical manuscripts. As the primary sources in the reconstruction of the Serbian church chanting art in the late Middle Ages, but also the Byzantine-Serbian musical connections, the neum manuscripts unambiguously confirm the existence of the bilingual worship practice at the time of Despotovina Serbia. The long-held views on the dated two neum anthologies f

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26

Tomasevic, Katarina. "Stylistic directions in Stevan Hristic’s oratorio Vaskrsenje, Resurrection: The question of crossroads-traditions in Serbian music at the beginning of the twentieth century." Muzikologija, no. 4 (2004): 25–37. http://dx.doi.org/10.2298/muz0404025t.

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Vaskrsenje (Resurrection) which was composed by Stevan Hristic (libretto Dragutin Ilic) was a first oratorio in Serbian music. The libretto was published in a journal Odjek (Echo) in 1909, with the first performance in 1912 at the Belgrade National Theatre. During the period 1909-1912, the young composer studied church music in Moscow and Rome. He studied with Dom Lorenzo Perosi in Rome, who was a director of the Sistine Chapel at the time, and a leading composer of church music. Perosi also composed two oratorios with the Resurrection as a subject-matter. His stay in Rome, as well as the enco

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Ristivojević, Marija. "(Re)defining tradition: the example of the world music phenomenon." Issues in Ethnology and Anthropology 9, no. 1 (2016): 69. http://dx.doi.org/10.21301/eap.v9i1.4.

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The paper problematizes the understanding of the concept of tradition in the context of the world music phenomenon. Marketed as a hybrid music genre, from the perspective of anthropological theory, the world music genre is a complex cultural phenomenon, the result of mixing global and local influences which are reflected not only in the creation of a specific sound, but through different perceptions of music itself (the audience, musicians, producers, creators of cultural policies etc.) By analyzing the Serbian world music scene as exemplified by the work of the World Music association of Serb

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Mikić, Vesna. "Neoromantic »Answer« to the Demands of Socialist Realism: Stanojlo Rajičić Na Liparu for bass and symphonic orchestra (1951)." Musicological Annual 42, no. 2 (2006): 105–10. http://dx.doi.org/10.4312/mz.42.2.105-110.

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This paper deals with the first cycle for soprano and orchestra in the history of Serbian music. The fact that it was written in 1950 by one of the most prominent Serbian modernist of the interwar period provokes the questions considering the context in which it was composed, the possible reasons for its composition, as well as the reconsideration of its position in the context of Rajičić’s output and Serbian postwar music.

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Krstić, Marija. "All Roads Lead to Guča: Modes of Representing Serbia and Serbs during the Guča Trumpet Festival." Issues in Ethnology and Anthropology 7, no. 2 (2016): 447–70. http://dx.doi.org/10.21301/eap.v7i2.7.

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In this paper I research famous Serbian music event, the Dragačevo Trumpet Festival, better known as the Guča festival, by analysing on line photographs about the festival. The Dragačevo Trumpet Festival is one of the most famous music festivals in Serbia and one of the most famous brass band festivals in the world. Since 1961, it is annually held in the village of Guča in western Serbia. From 1962, the participants from other parts of Serbia came to Guča, while in 1963 for the first time the Roma players participated. From that time on, Roma remained among the best trumpeters at the competiti

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Isakovic, Smiljka. "Classical music in the new millennium: Return of philantropy." Zbornik Matice srpske za drustvene nauke, no. 147 (2014): 323–36. http://dx.doi.org/10.2298/zmsdn1447323i.

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Artists need economic base and financial support, either by individuals, corporations, non-profit organizations or government institutions. Investing in culture implies the provision of natural and human resources for artists and cultural institutions, in order to achieve, in return, certain counter services - generally improving the image. Those who want to influence the world must offer to the society something healing and positive, such as culture and art. These contribute to the vitality and mental health of society in finding the sense of identity and the meaning of life in turbulent time

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31

Djurkovic, Misa. "Ideological and political conflicts about popular music in Serbia." Filozofija i drustvo, no. 25 (2004): 271–84. http://dx.doi.org/10.2298/fid0525271d.

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The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements (such as asymmetric rhythmic patterns and melismatic singing) and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all of the theories are ideologic

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Kovačević, Ivan, and Marija Ristivojević. "The anthropology of music: contemporary theoretical perspectives." Issues in Ethnology and Anthropology 9, no. 4 (2016): 1067. http://dx.doi.org/10.21301/eap.v9i4.13.

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The anthropological study of music focuses on meanings which music hah and produces in a specific sociocultural context. Preferences toward a certain genre of music are tightly linked to the preference of certain cultural values, so music represents an important factor of identification in everyday life. In Serbian ethnology and anthropology music was long viewed as part of Serbian traditional culture, so the interests of researchers focused on “traditional music”. In the 1980’s first papers analyzing music which went outside the traditional frameworks appeared (new folk music – turbofolk), an

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Marković, Tatjana. "Serbian Romantic Lied as Intersection of the Austro-Hungarian and Serbian (con)texts." Musicological Annual 42, no. 2 (2006): 99–103. http://dx.doi.org/10.4312/mz.42.2.99-103.

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The authoress focuses on detecting Viennese cultural influences of the second half of the 19th century upon the composing of Josif Marinković’s solo song, the culture in which he educated himself, and on revealing elements characteristic of Serbian culture within which he composed.

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Marjanovic, Natasa. "Writers and chanters in the nineteenth century as keepers of the tradition of Serbian church music." Muzikologija, no. 16 (2014): 67–82. http://dx.doi.org/10.2298/muz1416067m.

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In this paper, parts of the memoir literary works from the second half of the nineteenth century are presented as important sources for the research of Serbian traditional church chant. The testimonies on church music from diaries, memoirs and autobiographical notes by famous Serbian writers, statesmen and politicians, namely Jovan Subotic, Jakov Ignjatovic, Milan Savic, Milica Stojadinovic Srpkinja, Todor Stefanovic Vilovski, Vladimir Jovanovic and Kosta Hristic, were analyzed. Those writings bring to light a time when church chant was appreciated as an important part of the spiritual, folk h

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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.

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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems o

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Medic, Ivana. "The ideology of moderated modernism in Serbian music and musicology." Muzikologija, no. 7 (2007): 279–94. http://dx.doi.org/10.2298/muz0707279m.

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The term ?moderated modernism? has been current for quite some time in Serbian music historiography, but there have been only a few attempts to define it. I shall try to define the term, introduce some of its key concepts and features and demonstrate its applicability. Although moderated modernism was an international phenomenon which had divergent manifestations in various periods before and after the Second World War throughout Europe, my aim is to focus on the period between the decline of Socialist Realism and the ascent of post-modernism (roughly 1950 to 1980) in socialist Serbia, and to

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Vasic, Aleksandar. "'The Music Herald' 1922: A esthetical and ideological aspects." Muzikologija, no. 9 (2009): 97–111. http://dx.doi.org/10.2298/muz0909097v.

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The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstic, a composer. Other members of the editorial staff were Bozidar Joksimovic, Stevan Hristic, Kosta Manojlovic (composers) Vladimir R. Djordjevic (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies a

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Milin, Melita. "The stages of modernism in Serbian music." Muzikologija, no. 6 (2006): 93–116. http://dx.doi.org/10.2298/muz0606093m.

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In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn t

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Milanovic, Biljana. "Balkans as a cultural symbol in the Serbian music of the first half of the twentieth century." Muzikologija, no. 8 (2008): 17–26. http://dx.doi.org/10.2298/muz0808017m.

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Focus on the internalization of Western images in the Balkans has special significance in researching Serbian art. The functioning of Balkanism as it overlapped and intersected with Orientalism is indicated in the text by an examination of the cases of Petar Konjovic, Miloje Milojevic and Josip Slavenski, the three significant composers working in Serbia during the first half of the twentieth century. Their modernistic projects present different metaphors of the Balkans. Nevertheless each of them is marked by desire to change the Balkan image into a 'positive' one and thus stands as a special

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Peno, Vesna. "Church music in the light of national legislation in the principality of Serbia and the Kingdom of Serbia." Muzikologija, no. 12 (2012): 9–36. http://dx.doi.org/10.2298/muz120215001p.

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Officially, the Serbian Orthodox Church enjoyed a legally guaranteed status throughout the 19th century and Orthodox faith was considered to be prevalent both in the Principality of Serbia and in the Kingdom of Serbia. Nevertheless, after gaining its autonomy within the Constantinople Patriarchate in 1831 (under whose forced jurisdiction it had been since 1766), Knez Milos?s attitude and a number of state provisions led to the unsparing diminishing of the Church authority together with frequent subversions of the Church Canon law. Introduction of the constitutional and legislative framework fo

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Ciric, Marija. "Music as word: Film music - superlibretto?" Muzikologija, no. 15 (2013): 127–44. http://dx.doi.org/10.2298/muz1315127c.

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The aim of his paper is to prove that film music can be understood as authentic narrative force: film music as word / discourse and its superlibretto status. Superlibretto is the status of music in a film which is constructing its own (aural) reality and is narrating, speaking its own text which creates a wholesome film meaning. The existence of superlibretto is substantiated by fundamental theoretic concepts of film music and practically proven by analyses of examples taken from the opus of Serbian film composer Zoran Simjanovic.

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Mikić, Vesna. "Constituting Neoclassicism in Serbia or: How and Why Neoclassicism Can Be Understood as Modernism – a Study of Ristić’s Second Symphony." Musicological Annual 43, no. 2 (2007): 99–104. http://dx.doi.org/10.4312/mz.43.2.99-104.

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The paper examines the possible re-contextualization of the Serbian musical neoclassicism in the field of (sober) modernism/socialist aestheticism characteristic for Serbian art and literature of the fifties. From that perspective, the Second Symphony (1951) by Milan Ristić is seen as the constitutive piece of neoclassicism/sober modernism, i.e. of artistic tendency that is going to become very important for understanding Serbian music in the second half of the 20th century.

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Vasiljević, Maja. "A 'quiet African episode' for the Serbian army in the Great War: The Band of the Cavalry Division and Dragutin F. Pokorni in North Africa (1916-1918)." New Sound, no. 43-1 (2014): 123–56. http://dx.doi.org/10.5937/newso1443123v.

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In the context of this year's centenary of World War I, the focus of this text is the music activities of the Serbian army in North Africa (1916-1918), where they recuperated from their retreat across the mountains of Albania. This paper is a result of an extensive archival research of the National Library of Serbia's collections and periodicals published during the Great War in North Africa. The daily news bulletin Napred/En avant published during the war in Africa deserves special attention, along with the personal archives of conductor and Serbian army captain Dragutin F. Pokorni (1868-1956

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Jovanovic, Jelena. "Miodrag Vasiljevic’s margin notes on Béla Bartók’s study Morphology of Serbo-Croatian vocal folk melodies." Muzikologija, no. 6 (2006): 365–93. http://dx.doi.org/10.2298/muz0606365j.

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The founder of modern Serbian ethnomusicology, collector of folk songs ethnomusicologist, and music pedagogue, Miodrag A. Vasiljevic (1903?1963) was a younger contemporary of the famous Hungarian composer and ethnomusicologist B?la Bart?k (1881?1945). Bart?k was the author of the first synthetic study of Serbian and Croatian vocal folk traditions, which was also the first such study in English. During the same period and immediately after Bart?k had completed his study, Miodrag Vasiljevic, along with other pioneers of modern ethnomusicology in former Yugoslavia, started to research musical fol

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Peno, Vesna, and Ivana Vesic. "Serbian church chant in the service of national ideology." Muzikologija, no. 20 (2016): 135–50. http://dx.doi.org/10.2298/muz1620135p.

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In this paper we investigate the process of the creation and embodiment of the concept of Serbian folk church chant throughout the 19th and the beginning of the 20th century among Serbian intellectuals and scholars. In order to indicate its main dimensions we focused on church music narratives of that time. Due to a detailed analysis of discussions and writings in periodicals as well as the published chant collections themselves, we were able to assess the dominant interpretations of the historical development of church singing in the Serbian Orthodox church. Looking closely at suppositions ma

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Vasic, Aleksandar. "Two views on the Yugoslav ideology in Serbian music periodicals between the two world wars." Muzikologija, no. 17 (2014): 155–66. http://dx.doi.org/10.2298/muz1417155v.

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This study explores the relationship between the Yugoslav ideology as exhibited in Serbian music magazines published between the two world wars. These are the following journals: Music (1928-1929), Bulletin of the Music Society ?Stankovic? (1928-1934, 1938-1941; in January 1931 it was renamed The Musical Gazette), The Sound (1932-1936), Herald of the South Slavic Choral Union (1935-1936, 1938), Slavic music (1939-1941) and Review of Music (1940). I have excluded the magazine Musical Gazette (1922) from consideration because I have already discussed its ideological aspects in an earlier article

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Radinovic, Sanja, and Dimitrije Golemovic. "Vladimir R. Djordjevic’s contribution to Serbian musical folkloristics." Muzikologija, no. 29 (2020): 15–33. http://dx.doi.org/10.2298/muz2029015r.

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Vladimir R. Djordjevic (1869?1938), one of the pioneers of Serbian ethnomusicology, achieved outstanding results in various fields; his work is based on Serbian musical folklore. Several dozen of his publications belong to the domain of ethnomusicology, as well as music pedagogy and popularization of folk music. However, for decades, their often very similar titles, as well as numerous repeated and sometimes revised editions, have discouraged researchers from acquiring a clear idea of his overall music-folkloristic contribution. The primary goal of this paper is to create a precondition for a

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Peno, Vesna. "On the orthodox church melos: A contribution to the typology of church chant." Muzikologija, no. 3 (2003): 219–34. http://dx.doi.org/10.2298/muz0303219p.

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Many unresolved questions related to post-Byzantine church chanting present obstacles to understanding some aspects of church music since the 19th century. One of those problems concerns the need for strict definitions of criteria according to which a church melody is classified as "melos" (Serb. napev). In this article the actual classifications of new Greek and Serbian chants are given. The most important Greek theoretical sources (theoretikon) are taken into consideration, as well as writings in which Serbian theoreticians and chanters explain the classification of hymns in Serbian church s

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Tomasevic, Katarina. "The East and the West in the polemical context of the Serbian music between the two World Wars." Muzikologija, no. 5 (2005): 119–29. http://dx.doi.org/10.2298/muz0505119t.

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This article represents a fragment of the author's doctoral dissertation Serbian Music at the Crossroads of the East and the West? On the Dialogue between the Traditional and the Modern in Serbian Music between the Two World Wars (the review of the thesis see on www.newsound.org.yu, issue No 24). The thesis (mentor: prof. Dr Mirjana Veselinovic-Hofman) was defended at the Faculty of Music, Belgrade, on January 2004. A revised text of the dissertation is forthcoming, in an edition of the Institute of Musicology of the Serbian Academy of Sciences and Arts. The article describes the creative orie

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Vasic, Aleksandar. "Music in Serbian literary magazine and Yugoslav ideology." Muzikologija, no. 4 (2004): 39–59. http://dx.doi.org/10.2298/muz0404039v.

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It is worth noting that the important journal of the history of Serbian literature and music, the Serbian Literary Magazine (1901 - 1914, 1920 1941), became more Yugoslav-oriented within a relatively short period following its inception. From its early beginning to 1906, the Magazine?s musical critics did not actively express its Yugoslav ideology. But from 1907 there was an increase of interest in both the music and the musicians from Croatia and Slovenia. In 1911 the Croatian Opera spent almost two weeks in Belgrade performing; the composer and musicologist, Miloje Milojevic began to develop

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