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This article is the result of my research of Yugoslav pop music discography in the second half of the 1980s, focused on the processes of implementation of digital musical instruments and general-purpose computers into music production – as original sound sources or replacements for acoustic instruments, as well as poetic metaphors and elements of graphic design of record covers. Based on the data available from recording staff listings, interviews with musicians/producers and the listening experience, the paper covers the most prominent examples of aforementioned practices. [ABSTRACT FROM AUTHOR]

In this paper, the territorial frameworks are set with the aim of forming a regional historical synthesis dedicated to the creation of art music in Vojvodina, a synthesis that differs from those offered in previous music historiographies. It can be said that the composers who greatly contributed to the development of the musical life of the Vojvodina communities in the interwar period have made modest contributions to the “local type” musical modernism. In the second half of the 20th century, they were involved in determining the place of “new music” within modernism and realism in the Cold War period. The Serbian National Theatre, the Association of Composers of Vojvodina and the Academy of Arts in Novi Sad gave support to compositional practice in Vojvodina after the Second World War. [ABSTRACT FROM AUTHOR]

A significant part of the Radio Belgrade programme, especially in the years before the establishment of instrumental and choral ensembles within this institution, was comprised of music recordings. Although gramophone record concerts were presented within the programme announcements, they were not considered in more detail in existing studies of music on Radio Belgrade. One of the reasons for this could be limited access to the data on the gramophone record concerts. Thus, for the first analysis of this segment of the music programme, the author has focused on the first year in which weekly radio programme announcements were printed in Radio Beograd: nedeljni ilustrovani časopis. The announcements contained data about music numbers, recordings companies, and serial numbers of the records played. More precisely, the series of His Master’s Voice concerts, named after the label of records exclusively broadcast in the programme, were examined in the period from October 1930 to October 1931. This particular series was chosen because of the importance of the label in both the global and local music industry and the continual broadcasted of His Master’s Voice records on Radio Belgrade. Furthermore, the diversity of programme conceptions of concerts within the series indicates the particular ways in which gramophone record concerts were designed. Based on the series of His Master’s Voice concerts, three methods of categorising gramophone record concerts are suggested. In addition, the paper offers little known archival data on gramophone record distributors who borrowed records to Radio Belgrade for marketing purposes. [ABSTRACT FROM AUTHOR]

This paper is based on the intersection of studies of performing arts, music and digital media in the field of musicology, which I connected with empirical research of professional musicians' attitudes towards Belgrade concert life in art music in the first year of the coronavirus pandemic (COVID-19). The research was conducted on the basis of a survey in which fifteen concert musicians participated. Given the appropriate theoretical perspective, the considerations are contextualized with respect to global changes of concert life. [ABSTRACT FROM AUTHOR]

The Association of Serbian Singing Societies in Sombor started the magazine “Gusle” in May 1911. It was a monthly magazine with each issue sixteen pages long. In the introductory place in each issue “Gusle” brought extensive texts dedicated to the problems in the work of Serbian singing societies. One column followed the work of the Association, and one brought news from the life of singing societies. The magazine was concluded by notes and advertisements. The outbreak of the First World War stopped the publication of this magazine. The last issue was published in April 1914. This is the first study dedicated to the magazine “Gusle”, its structure, content and ideological profile. In the appendix, the paper brings an integral bibliography of the journal, which did not exist until now. [ABSTRACT FROM AUTHOR]

The basic thesis of this paper is that ʻpause’ represents the ontological center of Claude Debussy’s (1862–1918) Syrinx for solo flute (1913). The phenomenon of the musical work is interpreted through an ontological perspective, following Roman Ingarden’s reflections presented in his Ontology of the Work of Art, having also in mind the different modes in which music can exist, that can be read from Ferruccio Busoni’s Sketch of a New Esthetic of Music. Since the programmatic content of Syrinx represents the myth of Pan’s flute, we necessarily introduce Mircea Eliadeʼs explication of the phenomenon of myth, more precisely, of the mythical time, into the theoretical discussion as well. [ABSTRACT FROM AUTHOR]

In this paper I analyse selected articles by the composer and academician Vlastimir Trajković (1947–2017), published in various collective monographs and journals over the period of nearly three decades (1982–2008). These writings emphasise Trajković’s constant urging for a fairer (from his point of view) evaluation of Serbian art music in a wider, European and global context, but also within the state / national frameworks. Trajković aimed to prove that Serbian art music, as well as writings on music, would have enjoyed a wider recognition, had certain of their top achievements not been left forgotten and unpublished, and thus unavailable to potential researchers and performers. That is why he pleaded for the improvement of sheet music publishing in the country, as well as for the targeted promotion of Serbian art music repertoire. Moreover, he insisted on the proximity of the Belgrade ’cultural climate’ in the interwar period with the artistic and scholarly tendencies in France and its ’zones of influence’ in the same period. Consequently, Trajković particularly insists on the new evaluation of the opuses of the composers and musicologists Miloje Milojević (1884–1946) and Dragutin Gostuški (1923–1998) – whom he saw as those creative and intellectual individuals who had fallen victims to the ’historical injustice’ and whose (re)positioning within the Serbian music culture would increase the relevance of that same culture both in the national and international contexts. [ABSTRACT FROM AUTHOR]

The paper deals with the so-called patriarchal – Constantinople ifos in the recent church-singing tradition. Different aspects of this phenomenon are presented, about which numerous stereotypical attitudes have been expressed in different kind of narratives. In considering the phenomenon of ifos in this study, we started from the fact that it was at the center of a dispute between the reformers of the late Byzantine Neum notation - the so-called the “old method” and the conservative among Constantinople’s renowned singers, who did not accept the “new method” without resistance. It was also stated that the patriarchal ifos by inertia and not always justifiably attributed to the singers who were active in the Church of St. George on Fanar. Also, arguments were presented in favor of a critical review of contemporary discourses in which the ideologized belief is repeated that the Constantinople throne is the guarantee of any kind of saint church tradition, and thus the patristic Orthodox church music. [ABSTRACT FROM AUTHOR]