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Traditional songs and dances of the city of Vranje (in southern Serbia), as well as their numerous and diverse artistic stylizations from the beginning of the 20th century until today, present an extraordinary example of a successful affirmation and preservation of original music and dance practices in the 21st century.

Teorijska i estetička potraga za univerzalnim zakonima na kojima počivaju svet prirode i svet umetnosti predstavlja jednu od kanonskih tema intelektualne istorije civilizacije. Napredak nauke i tehnologije davao je kako u prošlosti, tako i danas, često najznačajniji impuls razvoju izazovnih i plodnih teorijskih sistema kojima je cilj bio da dosegnu do „tajne” smisla umetnosti. Zahtevajući od istraživača, pre svega, ogromnu erudiciju i moćan podsticaj radoznalosti, kao i otvorenost za revolucionarne i inovacione proboje u svetu formalno apstraktnih disciplina, poput matematike, i/ ili proboje novih dostignuća u egzaktnom polju prirodnih nauka, složene i sintetičke studije u domenu teorije i estetike muzike nisu mnogobrojne ni u svetskim razmerama. To je, između ostalih, jedan od razloga da našu pažnju u ovom radu posvetimo dvema kapitalno značajnim monografijama dvojice savremenika, kompozitora i vrsnih mislilaca – Dragutina Gostuškog (1923–1998) i Berislava Popovića (1931–2002) ...

Da se pojava monografske studije posvećene jednom muzičkom stvaraocu može smatrati značajnim datumom u nacionalnoj muzikologiji, naročito novijoj, nije potrebno posebno isticati. Pogotovo ne, ukoliko je reč o ličnosti čije je već zaokruženo delo ugrađeno u minule tokove istorije. Mali je broj domaćih muzičkih stvaralaca, i umetnika, čiji je opus sveobuhvatno istražen i sintetički prikazan u formi monografije. Utoliko se pojava knjige koja je pred čitaocem – Predrag Milošević – portret muzičkog stvaraoca, iz pera dr Jelene Mihajlović Marković, dočekuje s radoznalošću i entuzijazmom, kao svojevrstan individualni muzikološki poduhvat i pažnje vredno izdavačko ostvarenje Muzikološkog instituta SANU i Muzikološkog društva Srbije.

In several sub-chapters - fragments, the article follows the unique and unusual life and artistic path of Avant-guard poet, writer, philosopher, aesthetician and music critic Stanislav Vinaver in the dynamic and turbulent decades of Serbian music culture during the First, Great War, and between the two World Wars. Special attention is paid to Vinaver s views about the strategy of the new Serbian music in the context of the than contemporary European stylistic streams.

Some might estimate that my decision to write a paper on the renowned composer and conductor Davorin Jenko (1835–1914), from the point of view of musical migrations as the main topic of the Symposium, held in Ljubljana, may be hasty, or, at best – a brave decision. It is well known that Ljubljana and Slovenia are considered a kind of epicentre for studying Jenko’s life and creative work: after the fundamental research and monographs by the doyen of Slovenian musicology Dragotin Cvetko, valuable contributions in recent times have been achieved in works by colleagues Nataša Cigoj-Krstulović, Gregor Jenuš and Franc Križnar, Henrik Neubauer, Jernej Weiss – to mention just a few of the most notable results.

Smrt trojice znamenitih ličnosti i stvaralaca – Jovana Skerlića (1877–1914), Stevana Stojanovića Mokranjca (1856–1914) i Davorina Jenka (1835–1914), u toku iste, prelomne 1914. godine, simbolično je označila kraj jedne po mnogo čemu ključne epohe razvoja srpske kulturne istorije., This paper represents a contribution to the marking of the death centenary of two significant composers and conductors – Davorin Jenko (1835–1914) and Stevan St. Mokranjac (1856–1914). Although belonging to different generations, Jenko and Mokranjac acted simultaneously in Serbian culture during almost four decades, in a very dynamic and fruitful period, marked at the same time by historical and political unrests and by the intense processes of searching for national cultural identity. Divided into several fragments, the article identifies the points of intersection in their biographies, examining the delicate nature of their relationship in the context of discourses of nationalism. Special attention is paid to the facts from the history of Belgrade Singing Society and National Theatre, as well as to the manifestations through which a tradition of cultural remembrance of the two artists is maintained in Serbia in the course of 2014.

U obimnom i značajnom opusu Dragotina Cvetka (1911–1993) – osnivača slovenačke i jedne od vodećih figura jugoslovenske muzikologije – istraživanja vezana za život i rad Davorina Jenka (1835–1914) imala su posebno mesto, označavajući svojevrsnu prekretnicu ka polju muzičke istoriografije kao budućem i trajnom opredeljenju autora. Ako je težište Cvetkove ukupne pažnje bilo usmereno pre svega ka doprinosima istoriji slovenačke muzike, tj. muzike na tlu Slovenije, rad na monografiji o Davorinu Jenku, uglednom kompozitoru i dirigentu koji je najplodnije godine svog rada ugradio u tokove srpske muzike romantičarskog doba, podstakao je nove, šire perspektive Cvetkovih pogleda. Oni su, između ostalog, zahtevali i komparativna sagledavanja društveno-istorijskih, političkih, kulturnih i umetničkih tokova slovenačke i srpske muzike na prelazu XIX i XX veka, u decenijama koje su za oba naroda imale smisao epohe konstruisanja nacionalnih identiteta., V zajetnem in pomembnem opusu Dragotina Cvetka (1911–1993) – utemeljitelja slovenske in enega vodilnih figur jugoslovanske muzikologije – preučevanje življenja in dela Davorina Jenka (1835–1914) je imelo smisel svojevrstne prelomnice proti področju glasbenega zgodovinopisja kot bodoči in trajni opredelitvi avtorja. Cvetkovo delo na prvi, in do zdaj edini monografiji posvečeni življenju in delu Davorina Jenka, se je udejanjalo v začetku petdesetih let 20. stoletja, kot del projekta Muzikološkega inštituta Srbske akademije znanosti (ustanovljen l. 1948), na pobudo in ob izjemni, prijateljski podpori Petra Konjovića (1883–1971), tedaj na položaju direktorja Inštituta. Tiskana leta 1952 v cirilicni izdaji (SAN in Muzikološki inštitut) se je Cvetkova monografija pojavila tudi v slovenščini (Ljubljana, 1955; druga izdaja v slovenščini: Maribor 1980). Cvetkova monografija je še od časa izida temelj za preučevanje dela Davorina Jenka v zgodovini slovenske, in še bolj – srbske glasbe, istočasno pa priča o metodoloških izhodiščih domače znanosti o glasbi v začetku petdesetih let. Utemeljeni na pozitivističnih načelih, Cvetkovi pogledi na politične, ideološke in kulturne lastnosti Jenkove dobe, zaznamujejo avtorjev poskus komparativne obravnave razvojnih problemov srbske in slovenske glasbene zgodovine, kot izhodišča za, po avtorjevih besedah „začetek izgradnje jugoslovanske glasbene zgodovine.“ Katero mesto je Dragotin Cvetko podelil Davorinu Jenku v stilni periodizaciji romantičarske dobe na južnoslovanskih prostori, in kateri so Cvetkovi ključni doprinosi k celotnem pogledu na Jenkov opus – je zgolj nekaj vprašanj, ki bodo sprožena v tem prispevku. Posebna pozornost bo posvečena korespondenci med Cvetkom in Konjovićem (Katarina Bedina, Povprečen nisam hotel biti, Ljubljana, 2007) ter viru manj znanih, dragocenih podatkov ne le o fazah in vidikih nastanka monografije o Davorinu Jenku, temveč o tesnem sodelovanju dveh uveljavljenih ustvarjalec v procesih ustvarjanja strategoj, In the extensive and significant work of Dragotin Cvetko (1911–1993) – the founder of Slovenian and one of the leading figures in Yugoslav musicology – the study of life and work by Davorin Jenko (1835–1914) had the meaning of a turning point toward the field of music historiography as a future and permanent author’s methodological preference. Cvetko’s work on the first, and so far the only monograph dedicated to the life and work of Davorin Jenko, took place at the beginning of the 1950s as part of the project of the Institute of Musicology of the Serbian Academy of Sciences (founded in 1948), on the initiative and with the generous, friendly support of Petar Konjović (1883– 1971), at that time at the position of Institute’s Director. Published in 1952 in the Cyrillic edition (SAS and Institute of Musicology), Cvetko’s monograph appeared later in Slovenian language (Ljubljana, 1955; second edition in Slovenian: Maribor 1980). Presenting from the time of publishing the basis for studying the work of Davorin Jenko in the history of Slovenian and, moreover, Serbian music, Cvetko’s book testifies at the same time about the methodological starting points of Yugoslav music scholarship in the early fifties. Grounded in positivism principles, Cvetko’s views about the political, ideological and cultural features of Jenko’s era indicate the author’s step towards an attempt of comparative consideration of common development problems of Serbian and Slovenian music history as a starting point for, according to the author’s words, “the beginning of creating a Yugoslav music history.” What is the place that Dragotin Cvetko assigned to Davorin Jenko in the stylistic periodization of the romantic epoch in South Slavic areas, as well as which are a key author’s contributions to a comprehensive research of Jenko’s work – these are just few of many questions discussed in this paper. Special attention is devoted to the correspondence between Cvetko and Konjović (Katarina Bedina, Povpre

Glavni cilj tega referata je ponovno preučiti položaj in vlogo priznanega skladatelja in zborovodje Davorina Jenka (1835–1914) v procesu nastajanja in premika panslovanskih idej prek glasbe in glasbenih dejavnosti v Avstro-Ogrski in Kraljevini Srbiji, večinoma ob prehodu iz 19. stoletja v 20., The main aim of this paper is to re-examine the position and a role of distinguish composer and choir-master Davorin Jenko (1835–1914), in the processes of emerging and migrating Pan– Slavic ideas through music and music activities both in Austro- Hungary and Kingdom of Serbia, mainly at the turn of the 19th and 20th centuries.

The main aim of this paper is to re-examine the modalities of Béla Bartók’s influence as a composer during the first half of the 20th century to the main, dominantly “nationally oriented style” in the former Yugoslavia, focusing on two of Bartók’s somewhat younger contemporaries – the composers Josip Slavenski (1896–1955) and Marko Tajčević (1900–1984), prominent representatives of European interwar musical modernism., Poglavitni namen tega prispevka je ponovna pre-učitev modalnosti vpliva skladatelja Béle Bartóka v prvi polovici 20. stoletja na najbolj razširjen, »nacio-nalno usmerjen slog« v nekdanji Jugoslaviji, pri čemer sta obravnava dva Bartókova mlajša sopotnika – skladatelja Josip Slavenski (1896–1955) in Marko Tajčević (1900–1984), pomembna predstavnika evropskega medvojnega glasbenega modernizma.

U doktorskoj disertaciji Zvuk iz oblaka i metamorfoze umetničkih/tehnoloških paradigmi u društvenoj recepciji zvuka i muzike, na primeru oblaka, istražene su i analizirane promene umetničkih paradigmi i praksi nastale usled tehnološkog razvoja, procesa digitalizacije i implementacije novih medija. Rad se fokusira na promenljive kontekste kreacije, produkcije, distribucije, konzumacije i recepcije zvuka i muzike, a poseban fokus istraživanja predstavljaju inovativne umetničke prakse koje se razvijaju paralelno sa tehnološkim razvojem, digitalnom konzumacijom i slušalačkim navikama nasuprot umetničkom iskustvu. Ove metamorfoze su uticale na socijalnu i kulturnu percepciju zvuka i muzike sa različitih aspekata – estetskog, istorijskog i činjeničnog. Cilj disertacije je da prikaže načine na koje je digitalna tehnologija uticala na zvuk i muziku, kao i da analizira neka teorijska pitanja provocirana takvim promenama. U radu se, pored diskurzivne analize zvuka i predstavljanja novog diskursa zvuka, komparativnom analizom upoređuju živa/snimljena muzika, tehnike snimanja i reprodukcije zvuka kroz vekove i različite vrste slušanja (samostalno/regresivno/sveprisutno) kroz adekvatan i relevantan heuristički okvir i brojne koncepte – prozumera, zvučne fikcije, zvučne imaginacije, aparatusa, prodjuzera i prodjuzidža – važne za razumevanje i praćenje procesa transformacije. Disertacija se sastoji iz pet poglavlja koja kroz interdisciplinarni pristup i iz različitih uglova tumače ne samo smenu paradigme kreiranja, produkcije, distribucije i recepcije zvuka i muzike, već i smenu socioloških i kulturoloških paradigmi i novonastalu konvergenciju kulture kao rezultat pomenutih metamorfoza. Suštinska priroda današnjih medija i oblak modela – interaktivnost, konvergencija i fenomen umrežavanja bitno su odredili način na koji se zvuk i muzika percipiraju i konzumiraju na početku 21. veka. Predmet rasprave, stoga, obuhvata neke od najsavremenijih teorija i istraživanja iz oblasti medijsk, In doctoral dissertation Sound from the cloud and metamorphoses of artistic/technical paradigms in social reception of sound and music, on the example of the cloud, I intended to research and analyze changes of artistic paradigms and practices occurred due to the technological development, digitalization process and implementation of new media. The paper focuses on the changing contexts for the creation, production, distribution, consumption, and reception of sound and music. More specifically, the aim of this study is to investigate innovative artistic practices that are developing parallel with technological development, digital music consumption, and listening habits in contrast to art experience. These metamorphoses impacted artistic practices and systems of production and distribution of sound and music from many different aspects ‒ esthetical, historical and factual. The aim of this dissertation is to focus on the impact that digital technologies have brought upon the musical landscape, as well as to probe some of the theoretical issues that such changes have given rise to. Sound from the cloud represents a new category of production, distribution, consumption and perception of sound, new sound/cloud discourse. This is the case of sound coming from virtual space, but due to development of new devices and mobile phones it does not require the connection of the consumer to the computer, but it is already connected through web, mobile and omnipresent. Apart from discoursive analyses of sound and representation of new sound doscourse, this paper tends to contrast, through comparative analyses, live/recorded music, techniques of sound recording and reproduction through the history and different listening practices (solitary/regressive/ubiqutous) through adequate and relevant heuristic framework and numerous concepts ‒ prosumer, sound fiction, sound imagination, apparatus, produser, and produsage ‒ important for understanding and tracking of the transformational pro

Centralna razmatranja u ovom radu posvećena su teorijskom diskursu o muzici Vladana Radovanovića, stvaraoca koji je svojim ukupnim delovanjem na područjima muzike, književnosti, vizuelnih umetnosti, polimedija i medijske sinteze trajno i duboko obeležio tokove umetničke avangarde u drugoj polovini XX veka. Tokom poslednjih šest decenija podjednako aktivan i plodan i na polju teorije umetnosti, Radovanović je napisao i publikovao obiman korpus od preko stotinu tekstova posvećenih ključnim pitanjima muzike. Nakon sažetog uvida u tematska čvorišta, terminološke specifičnosti i čvrste uzajamne veze između Radovanovićevog kompozitorskog i teorijskog postupka, u radu je posebno razmotren autorov reprezentativan doprinos ostvaren obimnom monografijom Muzika i elektroakustička muzika (2010). Ovom sveobuhvatnom, pregnantnom sintezom, Radovanović je pomerio horizonte poimanja pojedinih muzičkih fenomena i stvorio kapitalno delo koje pripada samim vrhovima teorijske literaturi o muzici.

The main aim of this article is to examine Stevan Stojanović Mokranjac’s role in the processes of inventing the artistic tradition of Serbian music of modern times. By following the route of the chosen analytical sample, the folk song “Cvekje cafnalo” from Mokranjac’s Twelfth Garland, through Petar Konjović’s works (Symphony C-minor, 1907and The Second String Quartet, 1937), finally to the piano Sonatina (1926) by Predrag Milošević, I plan to show on which way Mokranjac’s oeuvre served as a starting model for the initiation of early modernism in Serbian (and Yugoslav) music in the first half of the 20th century., Glavni namen prispevka je v raziskavi vloge Steva-na Stojanovića Mokranjca v procesih iznajdevanja umetne tradicije v srbski glasbi moderne dobe. S tem ko sledim poti izbranega analitičnega primera, to je ljudski pesmi »Cvekje cafnalo« iz Mokranjčeve 12. rukoveti, mimo P. Konjovićevih del (Simfonija v c-molu, 1907 in Drugi godalni kvartet, 1937) ter Sonatine (1926) Predraga Miloševića, nameravam pokazati, na kakšen način je Mokranjčev opus rabil kot izhodiščni model za vpeljevanje zgodnjega modernizma v srbski (in jugoslovanski) glasbi v prvi polovici 20. stoletja.

У раду су документарно-уметничка остварења друге половине 19. века, изпера истакнутих српских културних посленика, књижевника, уметника, државника,новинара и политичара, сагледана као драгоцена грађа за упознавање токова и везаизмеђу српске културне и музичке историје. Аналитички су обрађене доминантневрсте из наведене области: мемоари, дневници, аутобиографије и путописи, као иодабрани биографски списи о знаменитим појединцима овог периода.Извори потврђују да је музика, у сфери јавног и приватног, била важансегмент живота свих слојева српског друштва 19. века, у сложеним геополитичким икултурноисторијским контекстима. У дијахроној перспективи, истражени материјалодсликава динамику и еволуцију облика и видова присуства музике и музичкогживота у свим срединама насељеним српским живљем у овом периоду: уХабзбуршкој монархији, Кнежевини и Краљевини Србији, као и у српским енклавамау другим националним срединама. Потврђено је да су међу кључним одликамаразличитих културних модела, карактеристичних за период културног плурализмамеђу Србима у 19. веку, музичка кретања заузимала посебно место у изградњидруштвене сфере и рецепције целокупне стварности..., In this doctoral thesis the documentary prose written in the second half of the 19thcentury by prominent Serbian cultural workers, artists, statesmen, journalists and politiciansis regarded as a valuable material for exploring the links and flows between Serbiancultural and musical histories. I have analysed the dominant types of writings of that time:memoirs, diaries, autobiographies and travelogues, as well as selected biographical essaysabout the renowned individuals of this period.The sources confirm that, both in the public and private spheres, music was animportant segment of all strata of the 19th-century Serbian society in complex geopoliticaland cultural-historical contexts. In a diachronic perspective the analysed material reflectsthe dynamics and evolution of the types of presence of music and musical life in allcountries populated by the Serbs in this period: the Habsburg Monarchy, the Principalityand Kingdom of Serbia and the Serbian enclaves in other nations. It is confirmed that,among the key features of different cultural models typical for the period of culturalpluralism among the Serbs in the 19th century, the musical currents occupied a special placein the building of the social sphere and the reception of the entire reality...

Музичка култура у Србији на почетку XX века одликовала се бројним проблемима структурне природе и различитим покушајима да се њени оквири прошире, да се музика институционализује и инкорпорира у структуре друштва и државе. Профилисање концертних репертоара са делима интернационалног канона класичне музике указивало је на промене у односу на претходни век. Међутим, ово поље налазило се у фази формирања, а спорадична извођења малобројних примера солистичких, камерних, симфонијских и музичкодрамских дела локалних аутора представљала су његов незнатан део. Истовремено, јачали су токови музичке комерцијализације, па је то време сведочило и о првим виднијим раздвајањима високе и популарне културе у музичком контексту српске престонице. У таквим околностима, централни токови креирања националне уметничке музике у Србији одвијали су се у оквирима хорског певаштва. Овој области доприносили су готово сви композитори, а критеријуми који су конструисани у њеним оквирима пласирани су као стандарди и норме у произвођењу националне уметничке музике. У пољу хорске праксе најраније су се формирали уметничко-професионални, идеолошко-стратегијски и извођачко-технички услови за селективан и хијерархизован однос према наслеђу, па тако и за прве композиторске опусе у којима су се тражиле и проналазиле високе националне и естетске вредности. У средишту ових процеса крајем XIX и нарочито почетком XX века налазиле су се руковети Стевана Стојановића Мокрањца (1856–1914), дела која и данас имају статус националне музичке класике. Овај опус од петнаест хорских циклуса већ је у време Мокрањчевог деловања доживљаван као науспелија музичка аутентификација нације, стицао је углед путем извођења и јавних признања, да би свој значај изнова потврђивао кроз стваралашто млађих композитора, институционалне и педагошке праксе, музиколошке нарације и рецепцију публике наредних генерација..., The process of professionalization and the increasing complexity of musical practices in the Serbian capital at the beginning of the 20th century were marked by numerous structural problems and various attempts to expand the hitherto narrow framework of Serbian music and to institutionalise and incorporate it into the social and state structures. The choice of some concert repertoires with works of the international canon of classical music pointed to changes compared to the previous century. This field, however, was still in the process of being established and the sporadic appearance of a small number of solo, chamber, symphonic and vocal-instrumental works by local composers represented only a minor part of it. At the same time, the streams of the commercialisation of music were strengthening and, thus, this period of time further testified to the first noticeable separation between high and popular culture in the musical context of the Serbian capital. In such circumstances, the central streams of the creation of national art music in Serbia unfolded within the framework of choral singing. Almost all composers were contributing to this field and the criteria established within it were set as standards and norms in the production of national art music. In the field of choral practice, the earliest to form were the artistic-professional, ideological-strategic and performing-technical conditions for a selective and hierarchical attitude towards heritage and, accordingly, for the first opuses of composers in which high national and aesthetic values were sought and attained. Garlands by Stevan Stojanović Mokranjac (1856–1914), the works that, even today, have the status of national classics, were at the centre of these processes of the late 19th and early 20th century. This opus, comprising fifteen choral cycles, had already, during Mokranjac’s lifetime, been seen as the most successful musical authentication of the nation, securing its reputation by way of performan

Predmet proučavanja ove disertacije jeste tonalna struktura u harmonskom sistemu Sergeja Prokofjeva, koja se iskazuje kao jedan od ključnih označitelja njegovog upečatljivog i veoma prepoznatljivog muzičkog govora. Osobenost zvučnog prostora u muzici jednog od najznačajnijih kompozitora 20. veka, ogleda se u specifičnoj sprezi i prelamanju dijatonike i hromatike, modalnog i tonalnog, ostvarenim na način kojim se sveobuhvatnost tog prostora iskazuje unutar ne samo jasne centralizacije tonaliteta, već i tonalnog roda. U brojnim dosadašnjim teorijskim postavkama ruskih i anglosaksonskih teoretičara, uočava se terminološka neusaglašenost u definisanju tonalnog sistema ovog autora; većina se, ipak, slaže u tome da je njegova muzika tonalna. Polazeći od te pretpostavke, jedan od ciljeva rada jeste da najpre otkrije i definiše, a potom i tipološki sistematizuje sve postupke i procedure na osnovu kojih bi se formirao teorijski okvir za tumačenje specifičnog tonalnog jezika Prokofjeva, kao i prilog dubljem razumevanju stvaralačke poetike kompozitora. U tom cilju detaljno su proučeni: unutar-tonalni i međutonalni odnosi, politonalni i među-tonalni prostori, presek horizontalnog i vertikalnog uzajamnog dejstva, profil akordike unutar odnosa dijatonika-hromatika, kao i načini promene tonaliteta. Navedene oblasti proučene su na osnovu detaljne analize devet sonata za klavir koje, nastale u vremenskom okviru od skoro četrdeset godina (1909–1947), spajaju liniju različitih stvaralačkih faza kompozitora, te predstavlju mogući obrazac za sagledavanje tretmana forme, tematizma, osobenog spoja linearnosti i vertikalnog nadslojavanja, a naročito harmonskog sistema i strukture tonalnosti. Jedan od, takođe, ključnih označitelja harmonskog jezika Prokofjeva jeste pozicija dijatonike i njeno dejstvo unutar hromatizovanog tonalnog prostora. Iz tog razloga bilo je neophodno poći od proučavanja odnosa dijatonika – hromatika, kao ključnog polja unutar koga smo najpre ispitali analitičke interp, The subject of this dissertation is the exceptional tonal structure in the harmonic system of Sergei Prokofiev, one of the most prominent composers of the 20th century. His tonal system is one of the key points in determining his outstanding and notably recognisable music language. The exquisite sound sphere of his music is reflected in specific interactions and refractions of diatonic and chromatic spheres, as well as of modal and tonal elements; these are accomplished in such a manner that direct the allencompassing sound space not only to one undeniable key center but also, to a clear key mode (minor or major). The numerous studies by Russian and Anglo-Saxon theorist which deal with defining Prokofiev’s tonal system show significant terminological divergence; nevertheless, most of them do not deny that his music is tonal. One of the main fields of this research is identifying and defining all the processes and procedures in order to form a systematic typology, the basis for a theoretical interpretation of the specific tonal design as well as of the very music poetics of Sergei Prokofiev. The dissertation brings a thorough examination of relations both in and out of tonality i.e. those within one center and between different centers; furthermore, the research includes polytonal and inter-tonal spaces, interaction mutual effects between the linear chromatic and vertical diatonic spheres, chord profiles within diatonic-chromatic relations, and modulation techniques. Examinations of these fields and procedures were conducted through detailed analyses of nine Piano sonatas which, being composed during almost forty years (1909–1947), connect the diverse creative composer’s phases. They are observed as a possible pattern for perceiving the treatment of form, thematic shaping, the specific junction of linear and vertical layers, and especially for the harmonic system and tonal structure. One of the key elements to elicit the harmonic speech of Prokofiev is also the manif

У раду су документарно-уметничка остварења друге половине 19. века, из пера истакнутих српских културних посленика, књижевника, уметника, државника, новинара и политичара, сагледана као драгоцена грађа за упознавање токова и веза између српске културне и музичке историје. Аналитички су обрађене доминантне врсте из наведене области: мемоари, дневници, аутобиографије и путописи, као и одабрани биографски списи о знаменитим појединцима овог периода. Извори потврђују да је музика, у сфери јавног и приватног, била важан сегмент живота свих слојева српског друштва 19. века, у сложеним геополитичким и културноисторијским контекстима. У дијахроној перспективи, истражени материјал одсликава динамику и еволуцију облика и видова присуства музике и музичког живота у свим срединама насељеним српским живљем у овом периоду: у Хабзбуршкој монархији, Кнежевини и Краљевини Србији, као и у српским енклавама у другим националним срединама. Потврђено је да су међу кључним одликама различитих културних модела, карактеристичних за период културног плурализма међу Србима у 19. веку, музичка кретања заузимала посебно место у изградњи друштвене сфере и рецепције целокупне стварности..., In this doctoral thesis the documentary prose written in the second half of the 19th century by prominent Serbian cultural workers, artists, statesmen, journalists and politicians is regarded as a valuable material for exploring the links and flows between Serbian cultural and musical histories. I have analysed the dominant types of writings of that time: memoirs, diaries, autobiographies and travelogues, as well as selected biographical essays about the renowned individuals of this period. The sources confirm that, both in the public and private spheres, music was an important segment of all strata of the 19th-century Serbian society in complex geopolitical and cultural-historical contexts. In a diachronic perspective the analysed material reflects the dynamics and evolution of the types of presence of music and musical life in all countries populated by the Serbs in this period: the Habsburg Monarchy, the Principality and Kingdom of Serbia and the Serbian enclaves in other nations. It is confirmed that, among the key features of different cultural models typical for the period of cultural pluralism among the Serbs in the 19th century, the musical currents occupied a special place in the building of the social sphere and the reception of the entire reality...

Музичка култура у Србији на почетку XX века одликовала се бројним проблемима структурне природе и различитим покушајима да се њени оквири прошире, да се музика институционализује и инкорпорира у структуре друштва и државе. Профилисање концертних репертоара са делима интернационалног канона класичне музике указивало је на промене у односу на претходни век. Међутим, ово поље налазило се у фази формирања, а спорадична извођења малобројних примера солистичких, камерних, симфонијских и музичкодрамских дела локалних аутора представљала су његов незнатан део. Истовремено, јачали су токови музичке комерцијализације, па је то време сведочило и о првим виднијим раздвајањима високе и популарне културе у музичком контексту српске престонице. У таквим околностима, централни токови креирања националне уметничке музике у Србији одвијали су се у оквирима хорског певаштва. Овој области доприносили су готово сви композитори, а критеријуми који су конструисани у њеним оквирима пласирани су као стандарди и норме у произвођењу националне уметничке музике. У пољу хорске праксе најраније су се формирали уметничко-професионални, идеолошко-стратегијски и извођачко-технички услови за селективан и хијерархизован однос према наслеђу, па тако и за прве композиторске опусе у којима су се тражиле и проналазиле високе националне и естетске вредности. У средишту ових процеса крајем XIX и нарочито почетком XX века налазиле су се руковети Стевана Стојановића Мокрањца (1856–1914), дела која и данас имају статус националне музичке класике. Овај опус од петнаест хорских циклуса већ је у време Мокрањчевог деловања доживљаван као науспелија музичка аутентификација нације, стицао је углед путем извођења и јавних признања, да би свој значај изнова потврђивао кроз стваралашто млађих композитора, институционалне и педагошке праксе, музиколошке нарације и рецепцију публике наредних генерација..., The process of professionalization and the increasing complexity of musical practices in the Serbian capital at the beginning of the 20th century were marked by numerous structural problems and various attempts to expand the hitherto narrow framework of Serbian music and to institutionalise and incorporate it into the social and state structures. The choice of some concert repertoires with works of the international canon of classical music pointed to changes compared to the previous century. This field, however, was still in the process of being established and the sporadic appearance of a small number of solo, chamber, symphonic and vocal-instrumental works by local composers represented only a minor part of it. At the same time, the streams of the commercialisation of music were strengthening and, thus, this period of time further testified to the first noticeable separation between high and popular culture in the musical context of the Serbian capital. In such circumstances, the central streams of the creation of national art music in Serbia unfolded within the framework of choral singing. Almost all composers were contributing to this field and the criteria established within it were set as standards and norms in the production of national art music. In the field of choral practice, the earliest to form were the artistic-professional, ideological-strategic and performing-technical conditions for a selective and hierarchical attitude towards heritage and, accordingly, for the first opuses of composers in which high national and aesthetic values were sought and attained. Garlands by Stevan Stojanović Mokranjac (1856–1914), the works that, even today, have the status of national classics, were at the centre of these processes of the late 19th and early 20th century. This opus, comprising fifteen choral cycles, had already, during Mokranjac’s lifetime, been seen as the most successful musical authentication of the nation, securing its reputation by way of performan

In 2005 academician Dejan Despić celebrated the 75th birthday and 50 years of his fruitful work (180 opuses!). Six concerts held in Belgrade, Novi Sad and Kragujevac were the excellent occasion for the remarkable retrospective of Despić's most successful works. Still extremely active on many various fields, during the last decade Despić composed 55 new works; many of them were the results of composer's close collaboration with most prominent musicians, whose art often inspired his investigations for new coloristic combinations within the classical, mostly chamber sound. Previous excellent collaboration with Yasna Miličić-Brandstater, world-wide known oboist and English horn player, encouraged Despić to compose an inspired concerto piece for English horn and strings - Diptych, op. 166 (2003). The work had its premiere in Belgrade, on November the 18th, at the concert in the Atrium-hall of National Museum. The following year, the jury of the Serbian Composers' Association recognized Diptych as the best achievement of Serbian composers in the previous concert season and awarded it with the prestigious prize "Stevan Mokranjac." This article gives a concise description of the awarded composition and searches tor the answer whether the work represents just an excellent, typical example of Gebrauchsinusik or - as the author would say - the piece of "music as unsaid poetry."., Nagrada Udruženja kompozitora Srbije "Stevan Mokranjac" za 2005. godinu dodeljena je kompozitoru Dejanu Despiću za delo Diptih za engleski rog i gudače (op. 166, 2003). U radu se ukazuje na okolnosti pod kojima je kompozicija nastala i, putem sažetog prikaza kompozicije, utvrđuje njeno mesto u obimnom kompozitorskom opusu autora, koji je 2005. godine obeležio pola veka svog stvaranja.

In this paper, I aim to discuss some general concepts (“Old” and “New”, “Tradition(s)” and “Modernism(s)”) in Serbian music between the two World Wars, not onIy in their national context, but from a broader, European point of view. The complexity of the history of Serbian music in this period requires a certain systematization, a kind of typology, to account for the main streams, and the principal criterion for these may be found in the relationships between novelty and tradition.

The main goal of this paper, devoted to the contribution of Czech Musicians to the Serbian Music in the 19th Century is to point out the facts which will contribute to the better understanding of the migration as an important cultural phenomenon. Particular attention will be paid to several musicians whose biographies and achievements are notable., Glavni cilj sestavka, ki se posveča prispevku čeških glasbenikov srbski glasbi 19. stoletja, je v osvetlitvi tistih dejstev, ki morejo prispevati k boljšemu razumevanju migracij kot pomembnega kulturnega fenomena. Posebna pozornost se posveča vrsti glasbenikov, ki so biografsko in po svojih delih pomembni.

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 Veselinović-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 orientation of composers Miloje Milojević, Petar Konjović and Josip Slavenski as the key figures of the epoch, indicates their choices of an Eastern or Western orientation, and explains the antagonism between the poetics of the "Europeans" and the representatives of avant-garde trends. The topicality of the East-West dichotomy in the critical consciousness of the protagonist of this period is marked as one of the main and the most important dilemma of the polemical context of the Serbian art after the World War I. Conducted from standpoints "Pro et Contra Europe", East-West discussion was also the part of the debate of Serbian national art's development strategy in the new, modern epoch of its history., Polazeći od činjenice da pojmovna dihotomija Istok-Zapad, a takođe i sintagma o raskršću Istoka i Zapada predstavljaju svojevrsnu konstantu rasprava o srpskoj istoriji, kulturi i umetnosti, u radu se ukazuje na aktivnu zastupljenost ovih pojmova u svesti ključnih protagonista epohe srpske muzike između dva svetska rata. Posebna pažnja poklonjena je različitim viđenjima strategije razvoja "nove", moderne srpske muzike nakon Prvog svetskog rata. Razmatraju se stavovi i stvaralačke orijentacije Miloja Milojevića, Petra Konjovića, Josipa Slavenskog, kao i predstavnika najmlađe kompozitorske generacije.

Vaskrsenje (Resurrection) which was composed by Stevan Hristić (libretto Dragutin Ilić) 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 encounter with the contemporary Italian style of church music left a strong impression on Hristić and his later opus. The oratorio Resurrection is freely permeated with both romantic and impressionist elements, hence the impression of the typically Western fin-de-siècle style. Compared to Serbian performances until that time, Hristić’s work represented a complete novelty in its style and genre; it was considered as one of the first works of Serbian musical Modernism. Despite the audience’s positive reception, the oratorio was faced with a highly negative criticism of Jovan Zorko and Miloje Milojević. Both of them criticized Hristić for not having composed the work in the spirit of "national music". Hristić defended his poetics claiming that the idea of composing a national music did not comprise the use of folk melodies, but rather composing according to the highest professional and aesthetic criteria. A debate which was anticipated concerning the meaning and the importance of "national" poetics arose as a reaction to Resurrection. This debate remained important in two ways: 1) it remained a "typical" debate for the dynamic development of Serbian music following the World War I and 2) it became the central characteristic of the overall artistic development in Serbia during the interwar period, which was "coming close" and eventually became the part of Europe., Nastanak, premijera i kritička recepcija kompozicije Vaskrsenje Stevana Hristića kao prvog oratorijuma u srpskoj muzici jesu povod da se u ovom radu razmotri pitanje porekla stilske fizionomije srpske muzičke Moderne. Ustanovljavanje pozicije oratorijuma na liniji Hristićevog ličnog kompozitorskog puta aktuelizuje probleme uticaja i uzora. Identifikacija žanrovskih odlika oratorijuma i Hristićevog izbora muzičkih sredstava sprovodi se u cilju sagledavanja dela u aktuelnim koordinatama srpske i evropske muzike epohe fin-de-siècle-a. Posebna pažnja usmerava se na negativnu kritičku recepciju oratorijuma u napisima J. Zorka i M. Milojevića, kao i na Hristićevu reakciju i njegovu odbranu sopstvene poetike. Postavljajući u prvi plan problem poimanja i strategije razvoja nacionalnog stila, debata povodom Vaskrsenja sagledava se u ovom radu kao anticipacija centralnog polemičkog spora kao konstante razvojnih tokova srpske muzike u periodu između dva svetska rata.

Rezultat dugogodišnjih autorkinih istraživanja evropskih okvira nacionalne muzike, doktorska disertacija Katarine Tomašević, postavlja u centar pažnje one pojave koje su inicirale, prouzrokovale i značajno obeležile razvojne tokove stvaralaštva i zbivanja u srpskoj muzici u decenijama između dva svetska rata...

U tekstu je reč o biblioteci, arhivi i fonoteci Muzikoločkog instituta SANU sa stanovišta potrebe za digitalizacijom i mogućnosti za nju. Tako bi se očuvala neka retka i već oštećena muzička izdanja., The Library, Archive and Phonothèque of the Institute of Musicology of the Serbian Academy of Sciences and Arts (founded in 1948) represent an unique, rich and diverse library collection of the important and precious documents for historical and analytic research of the Serbian music past. Collection of the rare manuscripts, microfilms and old printed books that include recordings of the old Slavonic and Greek medieval music is of the greatest importance. The collection of the Archive and the legacies of composers consist of the original music and text manuscripts by Serbian composers and music-writers (e.g. Stevan Stojanović Mokranjac, Josif Marinković, Petar Konjović, Stevan Hristić, Stana Đurić-Klajn), rare or unique examples of the first printed scores composed by Serbian authors in the second half of the 19th century, examples of the first music journals printed on Serbian language, very rich and important fund of the photographs. Unfortunately, all of these important (and already damaged!) documents still wait for being scanned and saved from their further physical destroying. Still, the first steps in digital preserving of the Institute funds has been done: the part of the valuable collection of the audio-recordings of the Serbian folklore (recorded by dr Radmila Petrović and Milica Ilijin on NAGRA professional magneto phone beginning from 50ties in 20th century) has been already re-recorded and preserved in digitized form on DAT tapes. The importance of the digitization of the music collection at the Institute of Musicology cannot be overestimated. Besides the real need to protect and to conserve the precious national music heritage, the digitization of the Institute funds is of the greatest importance for the further expected, open and vivid scientific and cultural communication in Cyberspace.