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Introduction/Objective. Although lymphocyte immunophenotyping based on flow cytometry is a powerful tool in the diagnosis of many primary immunodeficiences (PID), there has been an increasing awareness of associated costs and the need for its reassessment as a screening tool. We present the results and diagnostic impact of immunophenotyping performed by flow cytometry in the University Children’s Hospital, Belgrade, in a series of patients referred from the Institute for Child and Youth Health Care of Vojvodina from July 2008 to July 2018. Methods. We reviewed the laboratory reports on numbers of B lymphocytes (CD19+), T lymphocytes (CD3+), natural killer cells (CD3–CD16/CD56+) and activated T cells (CD3+HLA-DR+), as well as CD4+ and CD8+ T cells in 198 children. Results. Patients were grouped by stated indication into the following eight categories: hypogammaglobulinemia (34), selective IgA deficiency and/or IgG subclass deficiency (43), various infections with no immunoglobulin deficiencies (67), asthma and/or allergies with no immunoglobulin deficiencies or infections (23), known or suspected autoimmune disorders (24), and miscellaneous diagnoses not accompanied by infections (7). In total, 159 (80.3%) findings were either completely within the respective reference range or exhibited only minimal aberrations. Four patients were diagnosed with Bruton’s disease and one with Artemis immunodeficiency. Nineteen patients were given immunoglobulin substitution to control infections and/or maintain immunoglobulin G levels. Conclusion. Lymphocyte immunophenotyping aids the diagnosis of PID in selected patients. We venture some thoughts on how the usefulness of this laboratory method could be improved in real-life tertiary care pediatric hospital settings.

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.

Introduction/Objective. Interleukin 33 (IL-33) has a very significant function in inflammatory and autoimmune mechanisms, but its significance in immunopathogenic mechanisms of different allergic diseases, including allergic asthma (AA), is becoming increasingly emphasized. The objective of the study was to investigate serum levels of IL-33 in children with AA before applying inhalation corticosteroid therapy (ICS Th) and six months after it, correlating the gathered values of IL-33 with some clinical traits of the patient. Methods. The serum value of IL-33 has been determined in 61 children with AA before starting treatment and six months after treatment with ICS Th, and this was repeated in 30 healthy children. Results. Values of IL-33 in serum are significantly higher in children with AA that have not been treated with ICS Th during six months (p = 0.00; p < 0.05), which is also the case when comparing with healthy children (p = 0.00; p < 0.05). Serum values of IL-33 in children with AA after six months of ICS Th and in healthy children do not show significant difference (p = 0.88; p > 0.05). The correlation between serum values of IL-33 before applying ICS Th and the severity, degree of AA control, and the applied dose of ICS Th is statistically significant and positive. Conclusion. IL-33 values in the serum are significantly higher in children with untreated AA in those with poorly controlled AA. Six-month treatment with ICS Th leads to significant reduction of IL-33 serum levels, whose values are in positive correlation with the severity and control of AA.

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 Stojanović Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177004: Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges]

In the text I deal with the period of establishment and the beginnings of the work of the Institute of Musicology of the Serbian Academy of Sciences, which is marked by the role of composer and music writer Petar Konjović (1883- 1970), who founded and was the first director of the Institute (1947-1954). I examined and problematized Konjović’s efforts to establish and manage the institution, which were inseparable from his role of Fellow of the Academy and Secretary of the Department of Fine Arts and Music of the Serbian Academy of Sciences (1948-1954), through the analysis of archival documentation. The basic assumption that I started from was related to the interdependence between (1) the establishment of an institutional order and (2) the disciplining of scientific research in the direction of the emergence of musicology and ethnomusicology in the local context. In particular, issues related to the Institute’s relationship with the wider organizational environment and research policy of the SAN, as well as the role and support of its significant individuals in the process of the institutionalization of music science were especially highlighted. The problem of acquiring legitimacy in clearly hierarchical relationships proved to be very complex, since the Institute represented, on the one hand, a scientific unit of the Academy of Arts, that is, the Department of Fine Arts and Music, which, on the other hand, was marked by the inheritance of marginalized status of artists in comparison to other entities within the SAN. The formation of scientific tasks and objectives and the questions related to their realization were shaped in such a context. I analyzed these problems within three subchapters. The first of them provides basic information on the reorganization of the Serbian Academy of Sciences within the framework of the cultural policy of the new regime and deals with the aspects of the formal establishment of the Institute (1947) and the contextualization of the first programmatic projections of its work. The second question relates to the diverse problems that accompanied the delay of the start of the Institute’s activities, while the final subchapteris dedicated to the period from hiring the first associates to the end of Konjović’s directorship (1948-1954). Konjović’s strategies pointed to his simultaneous stability and flexibility in the design of thematic areas and methodological approaches. The policy of the scientific-research work of the Institute of Musicology from Konjović’s time can be outlined in several general aspects: reliance on pre-war experiences, without the destruction of inherited value canons, but with constant changes in the direction of widening the scope of processed material through research of hitherto neglected creative personalities, performing practices and institutions; melographed and studied folklore material from various rural and urban areas, including different national and ethnic communities; the establishment of completely new thematic areas in the local context that destabilize the concept of purely national science; the emphasis on interdisciplinarity and openness to communication and exchange of scientific and methodological experiences in the international context. Konjović’s position at the Serbian Academy of Sciences, his experience in managing various institutions, persistence and strategically planned actions, his high criteria and consideration in the selection of associates, managing without ideological divergences from his position of the bourgeois pre-war intellectual, but also his patient waiting for certain decisions of the competent instances, were crucial for the constitution and survival of the Institute of Musicology, within which the platform of musicological and ethnomusicological disciplines in Serbia was established in just a few years.

The organization of musical life of Belgrade as the capital of the newly founded Kingdom of Serbs, Croats and Slovenes was characterized by efforts towards a material, economic and cultural consolidation of the city after a war disaster; thus the mapping of continuity with pre-war traditions acquired a special significance. The first joint performance of Belgrade choirs in peacetime conditions, organised by the Belgrade Choral Society (1919) and dedicated exclusively to Mokranjac’s output testified to that effect. Soon there followed four similar events (1922- 1923), and then a manifestation of the transfer of Mokranjac’s remains from Skopje to Belgrade (1923). The aim of this article is to examine these events as the first, though belated (due to war circumstances) cases of memorizing Mokranjac after his death in 1914. This research has taken into account the processes of canonization of Mokranjac that had begun even during his lifetime, and the critical examination of the canon is complemented by theoretical elements from memory studies, because these events are about a (re)interpretation of the canon of national art music through strategies of memorialization. Concerts and narratives that are directly related to them are marked as artistic memorials to Mokranjac; afterwards, I analyzed the commemoration ceremony itself. Considering the results of the analysis, I concluded that these were two types of memorizing Mokranjac, one of which was in the domain of the professional music elite, while the other one acquired the proportions of the national-state event. Accordingly, they also offered two kinds of national memory. On the one hand, the version presented by the representatives of the elite contributed to the canonization of Mokranjac and the creation of national memory within the dominant group in the field of music which, through its narrative about Mokranjac, expressed its own aesthetic orientation and reinforced its social positions. On the other hand, the mass gathering of various representatives of the state, civil institutions and citizens pointed to the apposite narratives of glorifying Mokranjac, while loading the ideology of the official state apparatus and putting memories of Mokranjac into desirable Yugoslav frameworks. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177004: Identiteti srpske muzike od lokalnih do globalnih okvira: tradicije, promene, izazovi]

This article deals with Stevan Mokranjac’s fifthteen garlands (rukoveti), which are commonly regarded as the national project in Serbian art music that was accomplished through the producing of the tradition of the Serbian folk song. The garlands are examined by employing the concept of ethno-symbolism, theoretically associated with Anthony Smith. The elements of ethno-symbolism, and especially those aspects of this theory through which the articulation of a national identity activates connections with pre-modern myths, recollections and collective symbols, have proven useful in contextualization of folk material and its ethnological environment, with which the art work establishes intertextual connections. With his project Mokranjac created a rich network of ethno-symbols associated with the themes and motives of both rural and semi-urban communities that were characterized by their preservation of the model of patriarchal culture. Their strong attachment to ‘ethno-history’ as well as ‘symbolic geography’ produced various ‘ethno-scapes’, which established an increasingly symbiotic context of a ‘naturalized’ community and ‘historicized’ nature and territory. Mokranjac presented them as a representative sample in the process of legitimizing national consolidation and homogenization through the folk song. These aspects are observed in both textual and musical dimensions of Mokranjac’s garlands. The connection between his fieldwork and his compositions is also problematized. Mokranjac’s garlands are distinguished by their inclusiveness and a constant blending of older and newer ethno-historical elements, with an aim of constructing a unique tradition of national song, as an integral time-and-space image of the nation. Through this dimension of collectivism we can observe Mokranjac’s close connection to the patriarchal culture, as it remained an important ethno-symbolist element in both the politics and the poetics of his artistic project. At the same time, it provided a platform for free invention when it came to the more advanced stages of composition, when the patriarchal culture would be subjected to transfiguration by his individual creative imperatives. Mokranjac’s Garlands were the first works in Serbian music to emerge as results of an aesthetically rounded and ideologically grounded compositional project, which facilitated their canonization within the framework of Serbian art music. [Projekat Ministarstva nauke Republike Srbije, br. ON 177004: Identiteti srpske muzike od lokalnih do globalnih okvira: tradicije, promene, izazovi]

Part of the history of the National Theatre in Belgrade in the decade before the First World War relates to processes of discontinuity in the professionalization and modernization of the musical section in this institution and its repertoire. It had to do with abrupt changes reflected in three short-lived phases: improvements in musical ensemble and opera performances (1906-1909), the annulment of these efforts and results with a return to the old repertoire, and then again a new beginning once more with a fresh attempt to establish the Opera (1913-14). These dynamics were affected by the social and political context. It was dependent on frequent changes of the Theatre’s management staff whose main representatives had mutually conflicting views on important questions concerning the functioning of their institution. Relations between them were strongly marked by contested political motives. Theatre managers were appointed by ministers of education who could also be relieved of their posts, and members of the management staff were always active in political parties. These facts acted as a decisive factor in their communication which was similar to the behaviour and customs of public political life where an opponent is seen as an enemy, not as a partner in solving common problems. Critical and polemical discourses on important aspects of organization and programme strategy of the Theatre were burdened by political rivalry which also found its place in discussions on the cultivation of music. Questions relating to music were considered in a declarative way, so that music was instrumentalized as a means of political empowerment. The facts about music in the National Theatre raise many issues related to aspects of modernization, national identification, transfers of „high“ and popular musical cultures as well as to other problems of social, historical and cultural contexts that were intertwined in the operation of the Theatre. The context of political problems in the National Theatre opens some important topics discussed in the text: the discontinuous process of the development of the musical ensemble and its repertoire in conditions of changing management staff; prominent musical professionals and ideologists of cultural life and their relations to the musical and dramatic repertoire as well as to their audiences; potential Belgrade audience reception and their reactions to the musical and dramatic repertoire of the National Theatre. An integral analysis of these may show inconsistency between ideological and artistic intentions of individuals and the needs of the audience during the course of modernization.

Financial dependence of singing societies in the state of Serbia and Kingdom of Yugoslavia is particularly analyzed in the paper, with a view to pointing to problems which hindered the advancement of music culture in the civil society. As other similar institutions of civic type, choirs did not have at their disposal sufficient financial, social and symbolic capital independent of the state, so they did not possess the power to influence on the government authorities. Although the period between World Wars brought evident improvement in the state treatment of music institutions, it could not be interpreted as a fundamental shift. The treatment of the Yugoslav singing union (Južnoslovenski pevački savez), which fought for promotion of music culture in the Yugoslav society, is particularly indicative. This largest music organization in the country, fostering ideology of integral Yugoslavism, strived to contribute to ethnic and social cohesion of different regions through singing. In its plans for improving singing practice this organization exhibited a clear vision for activism in favor of the nation and state, but the state authorities did not know how or did not desire to make use of it. Certain information suggests indolent and at times negative, discouraging attitude of authorities towards different ways of improvement of music practice, both art and society wise, which opens a new horizon for future studies and for better comprehension of contemporary problems as well.

The study is dedicated to the Legacy Collection of composers maintained by the Institute of Musicology of SASA. Due attention is paid to the history of its formation as well as to its unique contents which refers to the primary and very important archive sources related to the Serbian musical history. The text also provides a discourse which highlights issues concerning the strategies and perspectives of Serbian musicology. The Supplement gives a short description of each composer’s legacy.

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 Konjović, Miloje Milojević 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 voice for Serbian and regional placing in European competition for musical spaces.

This paper presents some introductory observations on the ways in which the opposition between the modern and post-modern understanding of social identities can be overcome in the context of musicology. It is based on the consideration of identities as dynamic and changeable categories, as well as on the importance of the relation between individual and collective positionings, on the complexities of the multiple identifications and on the understanding of music as a social construction of identity. Due attention is paid to basic theoretical and methodological aspects in the interdisciplinary analysis of ′self′ and ′other′. In music, the problems of self-presentation appropriation, difference, power, control, authenticity, hybridity, as well as other issues that blur the boundaries between musicology, ethnomusicology and the studies of popular music, are made relevant by these interdisciplinary terms. Both the modern and post-modern understanding of identity can first be placed in the context of the binary questions: ′How to construct the identity and maintain it?′ and ′How to avoid the construction of the fixed identity and thus leave the door open for the possibility of change?′. It seems that the deconstruction of these opposite approaches has now grown in importance. This paper focuses especially on that kind of theorizing about music and socio-cultural identities. The views of Georgina Born and David Hesmondhalgh, that older and recent models of music representation are not ′either/or′ categories but rather complement each other, are especially singled out. These authors show by numerous examples that music can invariably both reflect existing identities and construct new ones. They conclude that possible shortcomings, such as the danger of essentialism in the earlier approach, and of later reductionism, could be avoided by carefully using the homology and process models of music representation. Their typology of music articulation of a socio-cultural identity, however, leaves the opposition between ′real′ and ′imagined′ intact. The theoretic analysis of other disciplines leads us to conclusion that these categories were the result of different images, whose opposite poles existed in the contrary approaches of ′realism′ and ′radical constructivism′. In this context, the analysis of Milan Subotić in the field of social theory is singled out as a ′middle-way′ position between these opposite sides. This approach in musicology could be most helpful in keeping an equal distance from both ′imagination′ and ′reality′. Where society is concerned, reality is, after all, imagined. However, this invention is certainly not an arbitrary one, but rather an effort to label social processes as a social reality, from the perspective of the ′longue durée′. Therefore, it is especially important to maintain an historical approach in the study of music, something that is often lacking in post-modern narratives. Since the relation between collective identities and music is a complex and diverse subject, theoretical and methodological approaches must be further developed in the context of separate and specific topics of research. Finally, musicology itself is a construct of musical representation in the performative processes and praxis of music. In that respect, the reconciliation between the antagonisms highlighted in this paper could be achieved in the concurrence of historical narrative and contemporary critique.

This study deals with the first Serbian oratorio, Vaskrsenje (Resurrection) by Stevan Hristić, and the first Serbian musical drama, Divina Tragoedia by Milenko Paunović. These works are based on two different interpretations of the same theme (the Resurrection of Jesus Christ). They were composed almost at the same time (1912), but separately, with no inter-textual relations. They represent the first steps of Modernism in Serbian music. Hristić’s work follows the French and Italian heritage whereas Paunović’s is connected with the German, post-Wagnerian tradition. In this text we highlight the different intensities of modernity realized by the composers, by comparing numerous aspects of the theme, genre and style with new types of expressiveness and procedures in the treatment of all musical resources. The parallel investigation of the oratorio and musical drama shows the closeness of these two young composers in their musical attempts, but also emphasizes some factors that were decisive for the public presentation of their works. Hristić predicted that the genre of oratorio had better chances of placement than, for example, a symphonic or musical-dramatic composition. Actually, a choir had strong links with tradition and it presented a significant means of potential communication, as well as penetrating novelties into other parts of the oratorio. Due to his readiness to make an effort and to compromise, the composer succeeded in performing his work. On the other hand, Paunović did not anticipate problems in the national cultural system of his time. Numerous aspects of his work, which prevented performance, confirm this. The chosen genre of German musical drama was a very speculative investment in the local musical context. Furthermore, the score was inappropriate for the real reproductive potential of Serbian performers. In addition, an avant-garde gesture was marked by the blasphemous treatment of the New-Testament theme in the dramatic content. These were among the most important indications of the author's unrealistic estimation of potential public reception of his music. Modern works of large-scale genre had no prospects of continual survival on the concert repertoire in the period between the two World Wars, either. This testifies to long-standing problems of national musical tradition, especially in consequence of its discontinued and uneven development. This study of early modernism shows the value of researching Serbian music through different cultural models existing in the system of national art of this time. The network of political, economical and cultural institutions was imbued with modern bourgeois culture, but the struggle for its wider acceptance in the domains of everyday life, self-consciousness, and the mentality and taste of different social groups and individuals, was slow and long. Such attempts have not always and fully realized the particular burden of inheritance, reflected in recent times.

The correspondence of the composer and writer Milenko Paunović (1889-1924) has a great role in revealing different aspects of his life, work and mind. Nearly 100 letters are preserved, most of which belong to his correspondence with his family and particularly with his sister Jelena Paunović, a pianist. One part of Jelena's correspondence with other persons gives us also diverse information about her brother. All the saved letters are kept in the holdings of the Institute of Musicology and the Serbian Archive. Paunović's correspondence is discussed from several viewpoints. In the introduction of the article is given a brief survey and description of the correspondence (according to the list enclosed at the end of the text). This is followed by analysis of some of Jelena's letters that clarify certain facts about the posthumous fate of Paunović's works. In the two central parts of the article the correspondence is observed as a source rich with information concerning Paunović's biography, dating and chronological systematization of his works as well as his (un)realized plans for performance. The concluding discussing is devoted to Paunović's personality, his ambitions, aspirations, relations to the others: it is possible to determine and explain his artistic creation like a specific autobiography and his correspondence speaks in favor of this thesis.

Tick-borne encephalitis (TBE) is a vaccine-preventable viral infection that poses significant public health challenges, particularly in regions where tick-borne diseases are endemic. This case report describes a 2-year-old boy with confirmed abortive TBEV infection following a tick bite during travel to Switzerland. The patient developed fever and mild symptoms but did not exhibit central nervous system involvement. The case underscores the importance of raising awareness among healthcare providers and travelers from non-endemic areas, such as Serbia, about TBE risk and the potential benefits of preventive vaccination. Strategic immunization campaigns could mitigate the public health impact of travel-related TBE.

Background/Objectives : To investigate if the severity and presentation of multisystem inflammatory syndrome in children (MIS-C) vary between different severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) variants. Methods : This retrospective study included 59 patients aged 0-18 years, diagnosed with COVID-19 and MIS-C, treated and monitored over a one-year period after discharge from hospital. The patients were grouped according to the predominant SARS-CoV-2 variant. The predominant variant of SARS-CoV-2 was assumed by the date of hospitalization. The following patient data were collected: demographic data (age, sex), information on comorbidities, body mass index, clinical data (fever and duration of febrile periods, symptoms of Kawasaki-like phenotypes, and presence of respiratory, cardiovascular, gastrointestinal, neurological and other symptoms), and laboratory and imaging findings. Results : In total, 24 (41%), 19 (32%), and 15 (25%) patients were diagnosed with MIS-C during the Alpha, Delta, and Omicron periods, respectively (63.8% were males; 36.2% were females). Comorbidities were present in 49% of patients. Respiratory symptoms were the most common during the Delta period (73%, p = 0.028). There was no statistically significant difference in the occurrence of other symptoms, laboratory findings, treatment, complications, and long-term outcomes between groups. Conclusions : No significant correlation was found between hospitalization date (used to estimate COVID-19 variant) and presentation/severity of MIS-C.

Background and Objectives: The COVID-19 pandemic has led to significant changes globally, which has also affected patients with type 1 diabetes mellitus (T1DM). This study aimed to determine the incidence of T1DM and the characteristics of diabetic ketoacidosis (DKA) during the pandemic comparing it to pre-pandemic period. Materials and Methods: Data from patients <19 years with newly diagnosed T1DM between 1st January 2017 and 31st December 2021 from four regional centers in Vojvodina were retrospectively collected and analyzed. Results: In 2021, the highest incidence of T1DM in the last five years was recorded, 17.3/100,000. During the pandemic period (2020−2021), there were 99 new-onset T1DM, of which 42.4% presented in DKA, which is significantly higher than in the pre-pandemic period (34.1%). During the pandemic, symptom duration of T1DM lasted significantly longer than before the COVID-19 period. At the age of 10−14 years, the highest incidence of T1DM and COVID-19, the highest frequency rate of DKA, and severe DKA were observed. Conclusions: The pandemic is associated with a high incidence rate of T1DM, longer duration of symptoms of T1DM, a high frequency of DKA, and a severe DKA at diagnosis. Patients aged 10−14 years are a risk group for the occurrence of T1DM with severe clinical presentation. Additional studies are needed with a longer study period and in a wider geographical area, with data on exposure to COVID-19 infection, the permanence of new-onset T1DM, and the psychosocial impact of the pandemic.

Background: Neonatal acute kidney injury (AKI) is common and is associated with poor outcomes. New criteria for the diagnosis of AKI were introduced based on the increase in serum creatinine (SCr) levels and/or reduction of urine output (UOP). Yet, there is no generally accepted opinion so far, which criteria (whether SCr, UOP, or their combination) are the most appropriate to diagnose neonatal AKI., Methods: The retrospective study included 195 prematurely born neonates who fulfilled all inclusion criteria (with at least two SCr measurements). In all the neonates included in the study, AKI was diagnosed using three different definitions: (1) SCr criteria (an increase in SCr values of ≥0.3 mg/dl), (2) UOP criteria (UOP < 1.5 ml/kg/h), and (3) SCr + UOP criteria., Results: Out of all of the patients the study included, 85 (44%) were diagnosed with AKI. The neonates who had AKI had a significantly lower gestational age, birth weight, and Apgar score, longer duration of mechanical ventilation, and a higher mortality rate. SCr + UOP criteria showed higher sensitivity for prediction of death compared to SCr or UOP alone (p = 0.0008, 95% CI 0.040-0.154, and p = 0.0038, 95% CI 0.024-0.125, respectively). If only SCr or only UOP criterion are used, they fail to identify AKI in 61 and 67%, respectively. AKI was an independent risk factor for death (OR 7.4875; CI 3.1887-17.5816)., Conclusions: Similar to other studies, our data showed that neonates with AKI have worse outcome. Neonatal AKI defined based on SCr + UOP criteria is a better predictor of death than neonatal AKI defined based only on the SCr or UOP criteria. Also, by using SCr + UOP criteria for diagnosing neonatal AKI, more patients with AKI are recruited than when only one of those criteria is used.

Background: The factors that contribute to the development of acute kidney injury (AKI) and treatment outcome among prematurely born neonates are not clearly understood., Methods: This retrospective study included 150 prematurely born neonates. AKI was defined as an increase of serum creatinine levels ≥0.3 mg/dl compared to basal values., Results: The majority of neonates with AKI (94.8 %) had a body weight <1,500 g. Logistic regression analysis showed that the Apgar score in the 5th minute <5, serum lactate levels >5 on the first day of life, core body temperature <36 ºC on the first day of life, occurrence of sepsis, intracranial hemorrhage, necrotizing enterocolitis, patent ductus arteriosus, as well as a treatment with vancomycin or dopamine were independent risk factors for the development of AKI. After the groups of neonates with and without AKI were adjusted, the calculated risk ratio for a negative outcome of treatment (death) was 2.215 (CI 1.27-3.86) for neonates with AKI. Neonates with AKI had higher serum sodium levels in the third and fourth days of life., Conclusions: AKI is associated with high mortality in preterm neonates. It is very important to identify, as quickly as possible, all infants who are at high risk of developing AKI.