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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 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]

There are still no argumentative answers about the extent to which and in what way the share of Russian singing practice in Serbian church singing is present. The ways in which the Serbian melody reached Russian singers are not known either. The paper presents the results of research on Russian notated collections kept in Serbian libraries are also presented. Certain stereotypes regarding the crucial Russian influence on the newer Serbian church singing have been critically considered. New research tasks related to Russian musical manuscripts are listed, after which the exchange of singing experiences between Russian and Serbian church singers will become clearer. [ABSTRACT FROM AUTHOR]