Teaching staff | Jean Monnet Module “Musical Identities and European Perspective: an Interdisciplinary Approach”

Dr Mirjana Veselinović-Hofman

Chair Holder of the Project

BIOGRAPHY

Mirjana Veselinović-Hofman, musicologist, full-time professor in the Department of Musicology at the Faculty of Music, and the Department of Interdisciplinary Studies (study program: Theory of Arts and Media) at the University of Arts in Belgrade. She is also head of Musicological Department. Veselinović-Hofman studied in Belgrade (Musical Academy, now Faculty of Music of the University of Arts /BA and MA degree/; Faculty of Philology of the University of Belgrade /PhD degree/) and attended specialization courses in Germany (Analysis of Contemporary Music, with K. Stockhausen and G. Ligeti). She is DAAD Alumna.

In her professional career Mirjana Veselinović-Hofman cooperated with University of Music and Theatre in Rostock, Erasmus University in Rotterdam, and was affiliated to the Department of Music at the University Pretoria, South Africa, lecturing in the history of European music. As the representative of the University of Pretoria was a member of an international scholarly team that worked on a research project Musical Listening Habits of College Students in Finland, Slovenia, South Africa, and Texas (2005; elaborations published in 2010).

Veselinović-Hofman has been the chair holder of scientific projects at the Department of Musicology of the Faculty of Music/University of Arts in Belgrade (Serbian Music and European Musical Heritage, 2001–2005; World Chronotopes of Serbian Music, 2006–2010; Identities of Serbian Music in the World Cultural Context, 2011–2014), and at Matica srpska (The Aspects of Musical Silence in Serbian Postmodern Music, 2007–2011; Musical Institutions as the Representatives of Musical Life in Serbia, elaborated in the Form of Musical Lexikon, 2013–2016). She is is the author, co-author or editor of 19 books and 44 issues of the International Journal of Music New Sound (editor-in chief) and the author of around 80 articles.

Areas of Competence: European and Serbian contemporary music (history, development; avant-garde, neo-avant-garde; postmodernism); post-modern musicology; interdisciplinarity in music (including the media of other arts in the field of music); interdisciplinary science of arts; aesthetic and poetic trends in contemporary theoretical thought on music and musicology.

Didactic competences: History of Music of the 20^th and 21^st Century (in Europe and Serbia); Aesthetics, Poetics and Stylistics of Contemporary Music; The Forms of Interdisciplinary Approaches to a Work of Art.

TEACHING EXPERIENCES

Expressionism in European Music

2012, Faculty of Music in Belgrade

The topics of the course are as follows:

The historical announcements of Expressionism; philosophical, social and artistic preconditions for its appearance; the general characteristics of Expressionism; the aesthetics of ugliness; Expressionism in painting and literature; Expressionism in music; atonality, athematicism and abstraction – the sense of the object in Expressionism; pre-dodecaphonic and dodecaphonic musical Expressionism; the output of A. Schönberg, A. Berg, A. von Webern; the folklore sources of musical Expressionism – B. Bartók, I. Stravinsky; Adorno’s philosophical interpretation of New Music; the issues of Neo- and Post-Expressionism; the relationship between Expressionism and Neo-Classicism, between the Dionysian and the Apollonian.

Postmodernism in Serbian Music

2013, Faculty of Music in Belgrade

The topics of the course are as follows:

Terminological issues – Post-modernism (written with hyphen) and Postmodernism (non-hyphenated); theoretical approaches to Postmodernism; theoretical explanations of the musical Postmodernism; the ways of establishing Postmodernism in European Music; the ways of establishing Postmodernism in Serbian music; the characteristics of Postmodernism in Serbian music, in view of the European context; the ahistorical history and the musical paradigm – the sample, the pattern, the model, and their treatment in the Serbian postmodern music; similarities and differences between (Serbian) musical Postmodernism and Neo-Classicism, between Postmodernism and moderate Modernism; the representatives of Serbian musical Postmodernism.

The Forms of Interdisciplinary Approaches to a Work of Art

2013, Interdisciplinary Doctoral Studies, University of Arts in Belgrade

The topics of the course are as follows:

The time of Postmodernism and interdisciplinarity; interdisciplinarity and interpretation; interdisciplinarity and contextuality; the theories of interpretation; contextual art; contextual science of art; contextuality in epistemology; hermeneutics as epistemology; the genres of interdisciplinary texts; the methodology of their ‘reading’; the notion of the World Science regarding its contextual interpretative character and cultural crossings.

PUBLICATION LIST

Books

Пред музичким делом – Огледи о међусобним пројекцијама естетике, поетике и стилистике музике 20. vека. Jедна музиколошка визура. [Contemplating the Work of Music on Display – Essays on Mutual Projections of Aesthetics, Poetics, and Stylistics of 20^th Century Music. A Musicological Viewpoint]. Београд: Завод за уџбенике, 2007.

Fragmente zur musikalischen Postmoderne. Frankfurt am Main (etc.): Peter Lang Verlag, 2003.

Umetnost i izvan nje – poetika i stvaralaštvo Vladana Radovanovića. [Art and Beyond – The Poetics and Creation of Vladan Radovanović]. Novi Sad: Matica srpska, 1991.

Stvaralačka prisutnost evropske avangarde u nas. [The Creative Presence of the European Avant-Garde in Serbian Music]. Beograd: Univerzitet umetnosti, 1983.

Krešimir Baranović: stvaralački uspon. [Krešimir Baranović: The Creative Rise]. Zagreb: Jugoslavenska akademija znanosti i umjetnosti, 1979.

Крешимир Барановић. Минимонографија. [Krešimir Baranović. A Minimonograph], Београд: Удружење композитора Србије, 1975.

Миливој Црвчанин. Mинимонографија. [Milivoj Crvčanin. A Minimonograph]. Београд: Удружење композитора Србије, 1972.

Editor of books, journals and CDs

Аспекти интерпретације. [The Aspects of Interpretation]. Београд: УКС–ФМУ, 1989.

Editor-in-Chief of so far 44 issues of the New Sound. International Journal of Music (1993–2014), and their accompanying CDs.

Историја српске музике. [The History of Serbian Music]. Београд: Завод за уџбенике, 2007.

Musical Folklore as a Vehicle?. Belgrade: Serbian Musicological Society, International Musicological Society, etc., 2008.

Kаталог Легата Властимира Перичића [The Catalogue of the Legacy of Vlastimir Peričić]. Београд: Музиколошко друштво Србије, 2008.

Anthological Pieces of Serbian Music 1, CD 1/2009. Belgrade: Serbian Musicological Society, 2009.

Anthological Pieces of Serbian Music 2, CD 2/2010. Belgrade: Serbian Musicological Society, 2010.

Стана Ђурић-Клајн и српска музикологија. [Stana Đurić-Klajn and Serbian Musicology], ed. (with M. Milin). Београд: Музиколошко друштво Србије, 2010.

Праг и студенти композиције из Краљевине Југославије/Prague and the Students of Composition From the Kingdom of Yugoslavia, ed. (with M. Milin). Београд/Belgrade: Музиколошко друштво Србије/Serbian Musicological Society, 2010.

Никола Херцигоња (1911–2000) – Човек, дело, време/Nikola Hercigonja (1911–2000) – The Man, the Opus, Time, ed. (with M. Milin). Београд: Музиколошко друштво Србије/ Belgrade, Serbian Musicological Society, 2011.

Identities: The World of Music in Relation to Itself, ed. (with T. Seebass, T. Popović Mladjenović). Belgrade: Faculty of Music, 2012.

Between Nostalgia, Utopia, and Realities, ed. (with V. Mikić, I. Perković, T. Popović Mladjenović). Belgrade: Department of Musicology, Faculty of Music, 2012.

Music Identities on Paper and Screen, ed. (with V. Mikić, T. Popović Mladjenović, I. Perković). Belgrade: Department of Musicology, Faculty of Music, University of Arts, 2014.

Articles in journals and papers in monographs

“Mundus sensibilis – The Sense of the ́Different ́”. New Sound. International Journal of Music, 4/5, 1994/95, pp. 51–54.

„Постмодерно музичко позориште у Србији – уводне напомене о критеријумима за дефиницију, у: Српска музичка сцена. [The Postmodern Musical Theatre in Serbia – Introductory Remarks Regarding the Criteria for a Definition, in: Serbian Music Stage]. Београд: Музиколошки институт САНУ/Belgrade, Institute of Musicology of the Serbian Academy of Sciences and Arts, 1995, pp. 396–405.

“Electro-acoustic Music of Srdjan Hofman. From Sample to Rebus”. In: Late 20th Century Serbian Music, Belgrade: SOKOJ, 1995, pp. 4–14.

“Contemporary Music in Serbia. A Definition of Terms and Forms of Manifestation”. World New Music Magazine, (Köln), 5, June 1995, pp. 66–75.

“The Avant-Garde Today: Echoes of the Avant-garde”. New Sound. International Journal of Music, 6, 1995, pp. 63–72.

“Funkcija tehnološkog napretka u muzici 20. veka”. U: Umetnost – Priroda – Tehnika. [The Function of the Technological Progress in the Twentieth Century Music. In: Art – Nature –Technique]. Beograd: Estetičko društvo Srbije, 1996, pp. 133–139.

“Aspects of Alterity of a Music Piece”. In: Folklore – Music – Work of Art. Belgrade: Faculty of Music, 1995, pp. 1–8.

“Serbian Music and ’Frozen’ History”. New Sound. International Journal of Music, 9, 1997, pp. 13–20.

“Contextuality of Musicology”. In: Poststructuralist Musicology. Belgrade: Faculty of Music–Union of Yugoslav Composers ́ Organizations–Music Information Centre, 1998, pp. 13–20.

“Читање музике тишине”. Зборник Матице српске за сценске уметности и музику, 22-23, 1998 [The Reading of ‘Silent Music ́. The Matica Srpska Journal of Stage Art and Music], pp. 117–124.

“The Nature of the Reception of European Musical Phenomena as a Paradigm of the Genuineness of Serbian Music – System of Values and Artistic Horizons”. URAM, Interdisciplinary Studies in the Philosophy of Understanding, Central European Studies, Summe /Fall, 1997, Vol. 20, No. 2&3, pp. 191–195.

“History as a Possibility of Personal Appropriation. A fin-de-siècle problem overview of Yugoslav music”. World New Music Magazine, (Köln), 9, 1999, pp. 26–31.

“Developmental Trends of Serbian Music in the Second Half of the 20th Century”. U: InterBalkan Musical Cultural Interactions. Sofia: Muzika Viva, 2000, pp. 42–50. (printed in Russian)

„Ерне Кираљ као посленик авангарде у југословенској музици“. Зборник Матице српске за сценске уметности и музику, 26-27/2000. [Ernö Király as a Proponent of Avant-Garde in the Yugoslav Music, Matica srpska Journal of Stage Arts and Music], pp. 119–147.

“Musicology in the ’Vestibule’ of its Conceptual Change”. In: Musikkonzepte – Konzepte der Musikwissenschaft, Halle (Saale) 1998. Band I. Kasel–Basel–London–New York–Prag: Bärenreiter, 2000, pp. 386–392.

“Musicology Facing the Challenges of Computer Projection of its Interdisciplinarity”. In: Computer-Applications in Music Research – Concepts, Methods, Results. Methodology of Music Research. Band 1. Frankfurt am Main (etc.): Peter Lang, 2002, pp. 11–18.

“The Ethical Nature of Musicological Fractals”. Tijdschrift voor Muziektheorie, Jaargang 7, Summer 3, November 2002, pp. 202–206.

“Problems and Paradoxes of Yugoslav Avant-garde Music (Outlines for a Reinterpretation)”. In: Impossible Histories – Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918–1991”. Cambridge, Massachusetts–London, England: The MIT Press, 2003, pp. 404–441.

“Do National Schools of Musicologists Exist?”. In: Muzikos komponavimo principai. Istorinės sklaidos aspektai/Principles of Music Composing. Aspects of Historical Dispersion, IV. Vilnius: Lietuvos muzikos ir teatro akademija, 2004, pp. 82–87.

“Musicology vs. Musicology from the Perspective of Interdisciplinary Logic”. In: On Methods of Music Theory and (Ethno-)Musicology – From Interdisciplinary Research to Teaching, Vol./ Bd. 4. Frankfurt am Main (etc.): Peter Lang, 2005, pp. 9–38.

“Multimedia Networking and World Music”. In: Music & Networking. Belgrade: Faculty of Music, University of Arts, 2005, pp. 97–104.

“Koncert i njegove postmoderne naznake”. U: Muzikološke i etnomuzikološke refleksije. [Concert and its Postmodern ‘Signs’. In: Musicological and Ethnomusicological Considerations]. Beograd: Fakultet muzičke umetnosti, 2006, pp. 45–56.

“Transcendence of Avant-garde Negativity as a Determinant of the Social Position of Music in the 20^th Century”. Muzikologija / Musicology, 6, 2006, pp. 77–91.

“Mузика у другој половини XX века“. У: Историја српске музике. [Music in the Second Half of the 20^th Century. In: The History of Serbian Music]. Београд: Завод за уџбенике, 2007, pp. 107–137.

„Постмодерна – карактеристике и одабири ’игре’“. У: Историја српске музике. [Postmodernism – Characteristics and Selection of ‘Games’. In: The History of Serbian Music]. Београд: Завод за уџбенике, 2007, pp. 247–297.

“Musicology Between a National and International Musical Culture”. In: Musical Culture & Memory. Belgrade: Department of Musicology, Faculty of Music, University of Arts in Belgrade, 2008, pp. 113–120.

“On the Paths of Transition: From the Eye to the ‘Ear of Our Thinking’ Music”. New Sound. International Jornal for Music, 31, I/2008, www.newsound.org.rs

“Revisiting the Serbian Musical Avant-garde: Aspects of the Change of Reception and of Keeping History ‘Under Control’”. In: Rethinking Musical Modernism. Academic Conferences Vol. CXXII, Department of Fine Arts and Music, Book 6. Belgrade: Serbian Academy of Sciences and Arts and Institute of Musicology, 2008, pp. 211–218.

“Folk Music as a Vehicle for Accomplishing a Global Cultural Identity”. In: Musical Folklore as a Vehicle?. Belgrade: Serbian Musicological Society, International Musicological Society, etc., 2008, pp. 11–19.

“Silence As Improvisation”. New Sound. International Journal of Music, 32, II/2008, pp. 182–187.

“Позиција уметничког објекта у интердисциплинарном научном окружењу: питања интерпретације”. Зборник Матице српске за сценске уметности и музику. [The Position of an Artistic Object in the Interdisciplinary Scientific Environment: Issues of Interpretation. Matica srpska Journal of Stage Arts and Music], 41/2009, pp. 67–77.

„Цртани филм као могући вид пропагандног деловања музике, из визуре Војислава Вучковића“. У: Праг и студенти композиције из Краљевине Југославије/Cartoon Animation as a Possible Form of the Propaganda Effect of Music, Considered from the Perspective of Vojislav Vučković. In: Prague and the Students of Composition From the Kingdom of Yugoslavia. Београд/Belgrade: Музиколошко друштво Србије/Serbian Musicological Society, 2010, pp. 89–110.

“Reflection on silence”. In: (Auto)Biography as a Musicological Discourse. Belgrade: Department of Musicology – Faculty of Music, University of Arts in Belgrade, 2010, pp. 256–265.

“A Profile of the Academically Educated Music Listener in Pretoria as Seen Through Responses of Non-Music Students to a Questionnaire”. In: Musical Listening Habits of College Students in Finland, Slovenia, South Africa, and Texas, Methodology of Music Research/Methodologie der Musikforschung, Vol./Bd. 5. Frankfurt am Main, etc.: Peter Lang, 2010, pp. 17–41.

“Aсимптота: асимптота тишине – тишина асимптоте/Asymptote: Asymptote of Silence – Silence of the Asymptote”. In: Простори модернизма: опус Љубице Марић у контексту музике њеног времена/Spaces of Modernism: Ljubica Marić in Context. Београд: Музиколошки институт САНУ/Belgrade, Institute of Musicology of SASA, 2010, pp. 301–314.

„Стана Ђурић-Клајн и часопис Звук: програмска концепција Часописа и нивои њене артикулације у првом периоду његовог излажења (1932–1936)“. [Stana Đurić-Klajn and the Journal Zvuk: Programmatic Concept of the Journal and the Levels of Its Articulation in the First Period of Its Existence (1932 – 1936)]. In: Стана Ђурић-Клајн и српска музикологија. [Stana Đurić-Klajn and Serbian Musicology]. Београд: Музиколошко друштво Србије, 2010, pp. 107–116.

“Musical Notation: The More or The Less Than Sound”. New Sound. International Journal of Music, 35, I/2010, pp. 39–57.

“Drama With Music Die Glückliche Hand by Arnold Schönberg as a Multimedia Project”. New Sound. International Journal of Music, 36, II/2010, pp. 29–43.

“Serbien: Nachhaltiger Austausch”. Österreichische Musikzeitschrift, Thema: Musik im Donauraum – Stimmen aus den Ländern des Donauraums, 02 / 2011, pp. 45.

“Теорија у покрету. Музиколошки критицизам Николе Херцигоње у његовим написима и педагогији/A Theory in Motion: Musicological Criticism of Nikola Hercigonja, According to His Writings and Pedagogy”. In: Никола Херцигоња (1911–2000) – Човек, дело, време / Nikola Hercigonja (1911–2000) – The Man, the Opus, Time. Београд: Музиколошко друштво Србије / Belgrade: Serbian Musicological Society, 2011, pp. 45–60.

“Air, Ground and Water of a Capital of Silence. Ivana Stefanović’s radiophonic epic poem Metropola tišine/Stari Ras” [Metropolis of Silenc /Old Ras]. New Sound. International Journal of Music, 37, I/2011, pp. 24–34.

“Music at the Periphery Under Conditions of Degraded Hierarchy Between the Centre and the Margins in the Space of the Internet”. New Sound. International Journal of Music, 38, II/2011, pp. 29–39. (Published also in: Identities: The World of Music in Relation to Itself. Belgrade: Department of Musicology, Faculty of Music, University of Arts in Belgrade, 2012, pp. 23–33)

“The Relationship between Music and Society: An Attempt to Reconcile the Adornian Inconsistencies”. Music and Society in Eastern Europe, 6, 2011, pp. 67–74.

“Enduring exchange”. Österreichische MusikZeitschrift, Special edition Music in the Danube Region. Wien, Köln, Weimar, Böhlau Verlag, pp. 45.

“Fantasy and Musical Thinking”. New Sound. International Journal of Music, 37, I/ 2011, pp. 95–100.

“The Culture of Musical Identities”. In: Identities: The World of Music in Relation to Itself. Belgrade: Department of Musicology, Faculty of Music, University of Arts in Belgrade, 2012, pp. 11–21.

“Nostalgia between primary and tertiary emotion in postmodern music”. In: Between nostalgia, utopia, and realities. Belgrade: Department of Musicology, Faculty of Music, University of Arts in Belgrade, 2012, pp. 3–20.

“The Nature of Post-Modern Classicality in European Music”. New Sound. International Journal of Music, 39, I/2012, pp. 49–57.

“Sections ‘New Works’ and ‘Interpretations’ in the Last Twenty Years of the New Sound Magazine as the Indicators of Two Important Principles in Musicological Work”. New Sound. International Journal of Music, 40, II/2012, pp. 114–145.

“Keine Nachahmung, sondern kreative Interpretation”. Österreichische MusikZeitschrift ÖMZ, Jg. 68/2013, Heft 4, pp. 38.

“Forms of Oppression and Resistance in European Music of the Twentieth-Century”. Music and Society in Eastern Europe, 8, 2013, pp. 37–54.

“Temporal Capacities of the Visual in the Representation of a Piece of Music on the Screen”. In: Crossroads|Greece as an intercultural pole of musical thought and creativity. Thessaloniki: School of Music Studies, Aristotle University, 2013, pp. 867–873.

“U „crnoj kutiji” Koncertantne muzike Petra Bergama. O kompozitorskoj recepciji ovog dela u srpskoj muzici, u svetlu autorovih estetičko-poetičkih gledišta”. Bašćinski glasi, Južnohrvatski (etno)muzikološki godišnjak/(Ethno)musicological Yearbook of Southern Croatia. Knjiga 11. Split, 2013, 257–286.

“Paper: From Material to Music”. In: Music Identities on Paper and Screen. Belgrade: Department of Musicology, Faculty of Music, University of Arts, 2014, 1–15.

“Музичка тишина у композицији Она Иване Стефановић као изражајно и значењско поље двострукости нивоа инспирације традицијом”. У: Традиција као инспирација. Бања Лука: Академија умјетности Универзитета у Бањој Луци, Академија наука и умјетности Републике Српске, Музиколошко друштво Републике српске, 2014, 98–108.

“Towards a Bottomless Pit: The Dramaturgy of Silence in the String Quartet Play Strindberg by Ivana Stefanović”. In: Musical Romania and the Neighbouring Cultures. Traditions – Influences – Identities. Eastern European Studies in Musicology, Vol. 2. Frankfurt am Main: Peter Lang GmbH, 2014, 361–368.

PUBLICATION ABSTRACTS (selected)

Mirjana Veselinović, Stvaralačka prisutnost evropske avangarde u nas [The Creative Presence of the European Avant-Garde in Serbian Music]. Beograd: Univerzitet umetnosti [Belgrade: University of Arts], 1983, p. 467.

A theoretical and analytical study treating the phenomenon of the avant-garde in general, and specifically in music. The problem focus is on the nature of relationships between the European and Serbian avant-garde music, regarding their projects, the ways of their materialization, and artistic results.

Mirjana Veselinović-Hofman, Fragmente zur musikalischen Postmoderne. Frankfurt am Main (etc.): Peter Lang, 2003, p. 181.

The subject of this monograph is postmodernism in music, considered from the aspects of musical creations and theoretical issues, from the period between the end of radical Modernism and the return to some of its elements. The methodology of the investigation brings novelties since it relies on the treatment of the notion of paradigm/prototype in European music after the avant-garde.

Mirjana Veselinović-Hofman, “Musicology Facing the Challenges of Computer Projection of its Interdisciplinarity”. In: Computer-Applications in Music Research – Concepts, Methods, Results. Methodology of Music Research. Band 1. Frankfurt am Main (etc.): Peter Lang, 2002, pp. 11–18.

A pondering about the status of the European musicology under the conditions of the computer medium. The investigation is conducted from the perspective of a common field built by the overlapping of the computer’s multimedia nature and musicological interdisciplinarity.

Mirjana Veselinović-Hofman, “Drama With Music Die Glückliche Hand by Arnold Schönberg as a Multimedia Project”. New Sound. International Journal of Music, 36, II/2010, pp. 29–43.

It is about the complexity of Schönberg’s opera conception in Die Glückliche Hand, which hints at a multimedia form of modern artistic expression prophetically leading this opera into the field of its wider genre consideration. Such a consideration is enabled by a specific correlation of musical and non-musical media, suggested by the score itself.

Mirjana Veselinović-Hofman, “The Nature of Post-Modern Classicality in European Music”. New Sound. International Journal of Music, 39, I/2012, pp. 49–57.

This text examines the following criteria of postmodern classicality in European music: 1) classical/neoclassical musical materials respond to classical procedural signifiers; 2) classically referenced materials are subjected to non-classical procedures; 3) non-classically referenced materials are subjected to classical procedures.

Mirjana Veselinović-Hofman, “Forms of Oppression and Resistance in European Music of the Twentieth-Century”. Music and Society in Eastern Europe, 8, 2013, pp. 37–54.

This examination of the aspects of oppression and resistance in European 20^th century music shows that both of two theses specifically connected with them are fallacies: 1) that music is valuable only when it has a clear ideological/political function and message, and 2) that this function can be achieved only through simplified means and aesthetic prescriptions.

OTHER ACTIVITIES

Keynote speech: “On the Sustainability of Contemporary Music in Interdisciplinary and Cross-Cultural Contexts”, Modern Music Conference: International Conference on the Sustainability of Modern Music, Texas State University San Marcos, USA, 2011;

Keynote speech: Forum “Music Professions Today – from a European Perspective”, Texas State University San Marcos, USA, 2011;

Keynote speech: “Paper: From Material to Music”, XI. International Conference of the Department of Musicology, Faculty of Music, University of Arts in Belgrade, Music and Paper; Music and Screen, 2012;

A member of numerous international selection committees (recent: e.g. Belgrade, 2010; Thessaloniki, 2010; Salvador, 2011; Belgrade, 2012; Iasi, 2013; Belgrade, 2014)

The first president of the Serbian Musicological Society (SMS) (2007–2012);

A member of the Steering Committee of the Regional Association for the Study of Music of the Balkans as part of the International Musicological Society (IMS)

The Chairperson of the Department of Stage Arts and Music of the Matica srpska, one of the leading scientific and cultural institutions in Serbia;

A member of the Composers’ Association of Serbia;

A member of the Editorial Music Board for compiling the Serbian Encyclopaedia;

A reviewer of numerous musicological writings;

The position of the music critic at the Third Program of Radio Belgrade, and the daily Politika (until the beginning of the 1980s);

A collaborator on the Grove Music Online.

Dr Sonja Marinković

Contact information: sonja.marinkovic@gmail.com

BIOGRAPHY

Sonja Marinković, musicologist, full-time professor in the Department of Musicology at the Faculty of Music in Belgrade, teaches history of music (Romanticism, Russian music, Slavic music) and research methodology, as well as in the Department of Interdisciplinary studies at the University of Arts in Belgrade, teaches writing technique of the theoretical and scientific paper (study program: Theory of Arts and Media). She was a guest professor at the several higher education institutions in the country and the region: Faculty of Music in Prishtina, Faculty of Arts and Philology in Kragujevac (Serbia), Academiy of Fine Arts in Belgrade, Academy of Arts in Banja Luka (Republika Srpska), and Music Academy in Cetinje (Montenegro).

Marinković studied in Belgrade (Faculty of Music, University of Arts in Belgrade /BA, MA and PhD degree/) and attended a specialization course in Musicology at the Moscow P. I. Tchaikovsky Conservatory (Russia). She is engaged in research work concerning the Serbian and Montenegrian history of music of the 19th and 20th century, especially dealing with the problem of relation between folklore and composer’s creativity (her doctoral theses was National Music Features in Serbian Music in the First Half of the 20th Century), as well as the problem of social art, researching methods of Russian musicology (concept of integral analysis), symphonism (symphonic principle as composing method) and opera dramaturgy.

TEACHING EXPERIENCES

Twenty-Century Opera

2011, Faculty of Music in Belgrade

The topics of the course are as follows:

Opera in 20^th-century music; pro and contra Wagner; death of opera; avant-garde and opera; Russian and Soviet opera; opera and film.

Romanticism – Slavic Music of 19^thCentury 1

2008, Faculty of Music in Belgrade

The topics of the course are as follows:

National schools and national style in the 19^thcentury music; composer and folklore, Glinka and foundation of Russian music school; Dargomizsky; Czech opera: Smetana; national opera in Poland; South Slaves in the 19^th century music.

Romanticism – Slavic Music of 19^thCentury 2

2008, Faculty of Music in Belgrade

The topics of the course are as follows:

Russian music in the second half of the 19^thcentury (Mussorgsky, Borodin, Rimsky-Korsakov, Tchaikovsky); Czech music (Dvořak, Janáček).

PUBLICATION LIST

Books

Методологија научноистраживачког рада у музикологији [Methodology of Scientific-Research Work in Musicology], Београд, Нови Сад, Факултет музичке уметности, Матица српска, 2009.

Articles in journals and papers in monographs

“The Treatment of Glinka’s Variations in the Finn’s Ballad“, in: Miloš Zatkalik (ed.), Music Theory and Analysis, Belgrade, Faculty of Music, 2010, pp. 312–318.

“Живот за цара Mихајла Ивановича Глинке”, Зборник Матице српске за сценске уметности и музику, 1992, 10–11, [Life for the Tsar by Michail Ivanovich Glinka, The Matica Srpska Journal of Stage Art and Music], pp. 25–55.

“Вагнер и руска опера: Парсифал и Легенда о невидљивом граду Китежу и деви Февронији”, у: Соња Маринковић, Зоран Т. Јовановић и Весна Микић (уред.), Вагнеров спис “Опера и драма” данас [Wagner and Russian Oper: Parsifal and The Legend About the Invisible Town Kitež and Maiden Fevronia, in: Sonja Marinković, Zoran T. Jovanović and Vesna Mikić (eds.): Wagner’s “Opera and Drama” Today], Нови Сад, Матица српска, 2006, 108–118.

“Twenty years of the composers speaks section in the New Sound magazine (Inteview as a method of musicological research“, New Sound. International Journal for Music, No. 40, 2012, 81–97.

“The Dichotomy European–National As the Criterion of Systematizations in the History of Serbian Music“, in: Tatjana Marković & Vesna Mikić (eds.), Music and Networking, Belgrade, Faculty of Music, 2005, 165–171.

PUBLICATION ABSTRACTS

Sonja Marinković, Методологија научноистраживачког рада у музикологији [Methodology of Scientific-Research Work in Musicology], Београд, Нови Сад, ФМУ, Матица српска, 2009.

The book deals with the particulars of theoretic fondations of musicology, with the history of its own maturing and with the characteristics of scientific-research methodlogy which make it similar to, but also different from other more or less affiliate sciences.

Sonja Marinković, “The Treatment of Glinka’s Variations in the Finn’s Ballad“, in Miloš Zatkalik (ed.), Music Theory and Analysis, Belgrade, Faculty of Music, 2010, pp. 312–318.

The paper deals with Glinka’s variations, as a specific type of variation form based on a folk song, or melody composed ‘in folk style’. They are based on an unchanging melody, with added textural variations. The paper analyzes the dramaturgical function of the Finn’s ballad and its form.

“Живот за цара Mихајла Ивановича Глинке”, Зборник Матице српске за сценске уметности и музику, 1992, 10–11, [Life for the Tsar by Michail Ivanovich Glinka, The Matica Srpska Journal of Stage Art and Music], pp. 25–55.

The paper deals with the genesis and history of Glinka’s operatic debut, and gives an account of the usual explanations for the reasons for redaction of the opera in 1939, when a new libretto was written by Serghei Gorodecky. A comparative analysis of the musical and dramatic concept of them point at the intrisic differences between the two versions.

“Вагнер и руска опера: Парсифал и Легенда о невидљивом граду Китежу и деви Февронији”, у: Соња Маринковић, Зоран Т. Јовановић и Весна Микић (уред.), Вагнеров спис “Опера и драма” данас, [Wagner and Russian Oper: Parsifal and The Legend About the Invisible Town Kitež and Maiden Fevronia, in: Sonja Marinković, Zoran T. Jovanović and Vesna Mikić (eds.): Wagner’s “Opera and Drama” Today], Нови Сад, Матица српска, 2006, 108–118.

In the literature, the opera The Legend… is offen called “the Russian Parsifal”. The paper studiues the justification of the use of this phrase while discussing the issues of reception of Wagner’s work in Russia in the 19^th century and specially while comparing Wagner’s concept of Parsifal and the ideological and compositional-technical solutions of Rimsky-Korsakov.

Sonja Marinković, “Twenty years of the composers speaks section in the New Sound magazine (Inteview as a method of musicological research)“, New Sound. International Journal for Music, No. 40, 2012, 81–97.

This paper sums up the achieved results, and classifies the collected materials, with special emphasis on methodology issues concerning the status of the interview as a scientific method, indicating its importance in musicological research.

Sonja Marinković, “The Dichotomy European–National As the Criterion of Systematizations in the History of Serbian Music“, in: Tatjana Marković & Vesna Mikić (eds.), Music and Networking, Belgrade, Faculty of Music, 2005, 165–171.

The dichotomy European-national is used in historiography as the criterion of systematizations. It is part of heritage that cannot be ignored, because the polemics concerning all these issues left theier mark on different stages in the development of the ideas of the “national style”. The paper analysis three charasteric dichotomous milestones in the history of Serbian music.

OTHER ACTIVITIES

Member of Editorial board of New Sound. International Jorunal for Music (1993–present);

Member of Board of music magazine Mokranjac (2000–2007);

Editor-in-Chief of music magazine Mokranjac (2007–present);

Director of The International Review of Composers in Belgrade (2005–2006);

Member of Board of Composers Association of Serbia (2007–2009);

Vice-dean for education and science at the Faculty of Music in Belgrade (2007–2009).

Dr Vesna Mikić

Contact information: mikic@eunet.rs

BIOGRAPHY

Vesna Mikić, musicologist, full-time professor at the Department of Musicology of the Faculty of Music of the University of Arts in Belgrade. She studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). Vesna Mikić has more than 20 years of the teaching experience. She thought courses at all degrees of different academic programs, and at different schools in Serbia, Montenegro, Republic of Srpska. To this specific project her skills in teaching popular culture and popular music courses at the doctoral level, as well as her experience in participation in ESC and “New Europe” project (2009-2011), would combine in realization of the unique musicological approach to Eurovision Song Contest in the context of the European studies.

TEACHING EXPERIENCES

Theories of Popular Culture and Arts

2005, Faculty of Music in Belgrade

Description of the course:

Theoretical positions ranging from Frankfurt school, via structuralism/poststructualism, postmodernism, media and cultural studies and concerning popular culture phenomena and products are the subject matter of the course.

Popular music – Theories

2009, Faculty of Music in Belgrade

Description of the course:

Course deals with various theoretical approaches and issues to the popular music practices of production, distribution, and reception.

Popular music – Genres

2012, Faculty of Music in Belgrade

Description of the course:

The course combines historical and cultural contextualization perspectives in studying popular music genres.

PUBLICATION LIST

Books

Muzika u tehnokulturi [Music in Technoculture], Beograd, Univerzitet umetnosti, 2004.

Lica srpske muzike: neoklasicizam [Faces of Serbian Music: Neoclassicism], Beograd, Fakultet muzičke umetnosti, 2009.

Articles in journals and papers in monographs

“Folklore as a Vehicle for (Re)Construction of ‘Unified Space’ or How to Turn a Fawn into a Wolf and Then into a Dove and not to end up with some kind of Mythological Creature?“, in: Mirjana Veselinović-Hofman (ed.), Musical Folklore as a Vehicle?, Belgrade, Serbian Musicological Society, Faculty of Music, 2008, 69-77.

“Eurovision Song Contest – Serbian Victory“, Nutida Musik, 2007/3, 32-38.

“Romantic Notions in the Popular Music Discourses: Several Examples from Serbia“, in: Leon Stefanija, Nico Schuler (eds.), Approaches to Music Research. Between Practice and Epistemology, Frankfurt am Main, Peter Lang GmbH, Internationaler Verlag der Wissenchaften, 2011, 191-199.

“Ex-Yu nostalgia, nExt-Yu Realities? Some popular music strategies in former Yugoslavia spaces“, in: Vesna Mikić, Ivana Perković, Tijana Popović Mlađenović, Mirjana Veselinović-Hofman (eds.), Between Nostalgia, Utopia, and Realities, Musicological Studies: Collection of Papers, Vol 4, Belgrade, Faculty of Music, University of Arts, 2012, 394-600.

PUBLICATION ABSTRACTS (selected)

Vesna Mikić, Muzika u tehnokulturi [Music in Technoculture], Beograd, Univerzitet umetnosti, 2004.

The book deals with electroacoustic music practices, contextualized via technocultural phenomena such as: cyberspace, technobody/virus, subject/cyborg, etc. It also provides historical and technological survey of electroacoustic music defining modern, avant-guarde and postmodern/technocutural models.

Vesna Mikić, Lica srpske muzike: neoklasicizam [Faces of Serbian Music: Neoclassicism], Beograd, Fakultet muzičke umetnosti, 2009.

The book examines the phenomenon of neoclassicisms in the music of the 20th century as artistic practice in modernistic cultural model. Its first part is devoted to the different European practices – French, German, Italian, and Soviet. The second part brings case studies in Serbian neoclassicism.

Vesna Mikić, “Folklore as a Vehicle for (Re)Construction of ‘Unified Space’ or How to Turn a Fawn into a Wolf and Then into a Dove and not to end up with some kind of Mythological Creature?“, in: Mirjana Veselinović-Hofman (ed.), Musical Folklore as a Vehicle?, Belgrade, Serbian Musicological Society, Faculty of Music, 2008, 69-77.

The paper deals with Eurovision Song Contest entries by some of ex-Yugoslav republics in the context of “redefining” the borders of West Balkans via for example the televoting.

Vesna Mikić, “Eurovision Song Contest – Serbian Victory“, Nutida Musik, 2007/3, 32-38.

After revisiting the history of Yugoslavia’s and Serbia’s participation in ESC, the Serbian song of 2007, sung by Marija Šerifović is examined from perspectives of Serbia’s European future, and its national present.

Vesna Mikić, “Romantic Notions in the Popular Music Discourses: Several Examples from Serbia“, in: Leon Stefanija, Nico Schuler (eds.), Approaches to Music Research. Between Practice and Epistemology, Frankfurt am Main, Peter Lang GmbH, Internationaler Verlag der Wissenchaften, 2011, 191-199.

The popular music press reception of some Serbian popular music practices has been read here in the register of romanticized discourse of the popular music press.

Vesna Mikić, “Ex-Yu nostalgia, nExt-Yu Realities? Some popular music strategies in former Yugoslavia spaces“, in: Vesna Mikić, Ivana Perković, Tijana Popović Mlađenović, Mirjana Veselinović-Hofman (eds.), Between Nostalgia, Utopia, and Realities, Musicological Studies: Collection of Papers, Vol 4, Belgrade, Faculty of Music, University of Arts, 2012, 394-600.

Different aspects of the popular music production, distribution, and reception that could be tagged as Yugonostalgia are examined in this paper. The futures of the former Yugoslavia’s republics as independent states in European Union could be said depend to some extent to their mutual histories.

Dr Ivana Perković

Contact information: ivanabperkovic@gmail.com

BIOGRAPHY

Ivana Perković, musicologist, associate professor at the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. She was also the lecturer in history of music at the Department of Musicology and Ethnomusicology of the Academy of Arts in Novi Sad (Serbia). Ivana Perković studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). She is the author and co-author of 5 books, over 50 articles in national and international journals and in proceedings of the international conferences in the country and abroad.

Areas of Competence: history of Western music up to 18^th century, music and religion, music and literature, medieval poetics, musical libraries, musical archives.

Didactic competences: Medieval music in Orthodox countries, History of European music – Antique Period, Middle Ages, Renaissance, Baroque, Classical period, Serbian Chant, Music and Theology.

TEACHING EXPERIENCES

History of Western Music: Antiquity, Medieval Times, Baroque

2013-2014, Faculty of Music in Belgrade

Description of the course:

The course combines historical and cultural contextualization of European music through its’ long history from ancient times to 18^th century. The evolution of music genres is presented from the perspective of intercultural dialogue.

Classicism in Music

2008, Faculty of Music in Belgrade

Description of the course:

This syllabus is designed to engage students in music listening, analysis, reading and critical thinking. Cultural context of music styles, ideas, events, movements, composers and musicians in the second half of the 18^th century in Vienna, Mannheim, Berlin, Dresden, France, England, etc.

Music of the Eastern Countries in the Medieval Time

2009, Faculty of Music in Belgrade

Description of the course:

The aim of this course is to introduce historical, religious, cultural and other influences on musical forms, techniques and styles in use in the medieval period in Byzantium and Slavic countries. Sources and other kinds of contemporary evidence relating to music are taken into consideration.

PUBLICATION LIST

Books

Serbian Medieval Music, Belgrade, University of Arts, 1998. (Co-authors: Roksanda Pejović, Tatjana Marković and Marija Masnikosa)

Music of Serbian Oktoechos, Belgrade, Faculty of Music, 2004.

From Angel Chant to Choral Art, Belgrade, Faculty of Music, 2008.

Interdisciplinary Approach to Music: Listening, Performing, Composing, Belgrade, Faculty of Music (Tempus project), 2014. (Co-authors: Tijana Popović Mladjenović and Blanka Bogunović)

Articles in journals and papers in monographs

„Koje ću pesme da zapevam smrti Tvojoj, Milostivi?“ – pesme za večernje bogosluženje na Veliki petak u stvaralaštvu srpskih kompozitora, Muzički talas, 2001, 28, 18-33.

„Александар Дамњановић: Рождество за женски хор“, Нови звук. Интернационални часопис за музику, 2003, 22, 58-61.

“Choral Church Music in Serbia before 1914 and its’ Sociocultural Context“, Българско музикознание, 2003, 4, 92-102.

“Liturgievertonungen in der serbischen Musik der Romantik. Ein Betrag zur Erforschung der Musiksprache“, Die Kirchenmusik in Südosteuropa, Tutzing, Hans Schneider, 2003, 160-168.

“The Splendor of Harmonized Singing. Russian influence on the Serbian Musical Performance at the end of 19th and beginning of the 20th centuries“, Music and Networking, Faculty of Music, Belgrade, 2005, 221–231.

“Serbian Choral Societies before 1914 and their Church Musical Repertory“, Musik als interkultureller Dialog. Das Banat als euroregionaler Klangraum, Tutzing, Hans Schneider, 2005, 17–25.

“Serbian Traditional Church Chant and Choral Church Music in the 19th Century“, Cantus Planus, Budapest, Institute for Musicology of the Hungarian Academy of Sciences, 2006, 187–196.

„Muzika i pravoslavno bogosluženje. Pitanje termina“, u: Dragana Jeremić-Molnar, Ivana Stamatović (ur.), Muzikološke i etnomuzikološke refleksije, Beograd, Fakultet muzičke umetnosti, 2006, 57-70.

“Classification of Signs in Serbian Orthodox Church Music“, in: Eero Tarasti (ed.), Music and the Arts 1. Proceedings from ICMS 7, Imatra, International Semiotics Institute, Helsinki, Semiotical Society of Finland, 2006.

„Стара музика”, у: Мирјана Веселиновић-Хофман (ур.), Историја српске музике. Српска музика и европско музичко наслеђе [Old Serbian Music, in: The History of Serbian Music. Serbian Music and European musical Heritage], Београд, Завод за уџбенике, 2007, 29-62.

“Harmonizing Self-representation: Serbian Religious Music in the 19th Century and the Introduction of Polyphony“, Selbstdarstellung/Emergence 4: Self-Representation, Vienna, January 11-13, 2007, http://www.kakanien.ac.at/beitr/emerg/IPerkovic-Radak1/

“Hero(es) of Serbian libraries and music collections. The case of Ludwig van Beethoven“, Тематски потенцијали лексикографских јединица о музичким институцијама, [Thematic Possibilities in Lexicographic Units on Musical Institutions], Beograd, Факултет музичке уметности, 2009, 81-101.

“Music History Courses Following Revised Program of Studies for First Year Undergraduate Students at the Faculty of Music in Belgrade: Teaching Concepts“, 12^th International Conference „Educational Research and School Practice“ – Quality and Efficiency of Teaching in Learning Society, Institute for Educational Research and Volgograd Pedagogical University, Beograd, 240, 2009. (Co-authors: Marija Masnikosa and Tijana Popović Mlađenović)

“Battle in the Ballroom? Expressive Genres in Mozart’s Contredance La Battaille K535“, Beograd, 7^th Annual Conference of the Department of Music Theory, Faculty of Music, University of Arts in Belgrade, 2009, 16-17.

Ivana Perković Radak, “W. A. Mozart’s Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response“, Journal of Interdisciplinary Music Studies, 2009, 3, 1–2, 95–117. (Co-authors: Tijana Popović Mladjenović, Blanka Bogunović and Marija Masnikosa)

“Theatrical Expressivity of Berio’s Sequenza for Viola: Levels of Communication“, Journal of Interdisciplinary Music Studies, Fall 2010, vol. 4, issue 2, 55–84. (Co-authors: Tijana Popović Mladjenović and Blanka Bogunović)

“Approaches to Serbian Orthodox Music: A Case Study of Stevan Stojanović Mokranjac’s Complete Works“, in: Leon Stefanija/Nico Schüler (eds.), Approaches to Music Research. Between Practice and Epistemology, Peter Lang GmbH, Internationaler Verlag der Wissenschaften, Frankfurt am Main, 2011, 129-135.

“Musical references in Serbian hagiography (žitija) and liturgical poetry (Srbljak) “, in: Robert Klugseder, James Borders, Christelle Cazaux-Kowalski, Lori Kruckenberg, Frank Lawrence, Jeremy Llewellyn, Christian Troelsgard, Anna Vildera and Hanna Zuhlke (eds.), Cantus planus, Österreichische Akademie der Wissenschaften, Kommission für Musikforschung, Wien, 2012, 316–320.

“Musical symbols in Serbian liturgical poetry (Srbljak) “, Unity and Variety in Orthodox Music: Theory and Practice, International Society for Orthodox Church Music & University of Joensuu, Finland, 2013, 191-198.

“Arvo Pärt’s Trisagion: 1+1=1. The Intersection of Orthodoxy and Modernism”, in: Sonja Marinković and Sanda Dodik (eds.), Tradition as Inspiration. Days of Vlado Milošević, conference proceedings, Banja Luka, 2014, 186-202. (Co-author: Marija Masnikosa)

PUBLICATION ABSTRACTS (selected)

Ivana Perković, “Musical Culture Or/And Lost Memories: Serbian Students at Conservatory of Gesellschaft der Musikfreunde in Vienna“, in: Musical Culture & Memory, Musicological Studies: Proceedings No. 2, Begrade, Faculty of Music, University of Arts, 2008, 47-58.

During the 19^th century Serbian pupils interested in receiving higher musical education were required to attend foreign schools. Many of them turned to Viennese Conservatory. This paper explored students’ individual files, annual reports, etc. in order to define role of their European education in their future careers.

Ivana Perković, “Hero(es) of Serbian libraries and music collections. The case of Ludwig van Beethoven“, in: Тематски потенцијали лексикографских јединица о музичким институцијама [Thematic Possibilities in Lexicographic Units on Musical Institutions], Beograd, Факултет музичке уметности, 2009, 81-101.

Early records of the Belgrade Musical academy (currently Faculty of music) library show that among the most acquired works were those written by Ludwig van Beethoven. Such importance of Beethoven’s compositions is connected to mythical position of this composer, built in the European space during the 19^th century.

Ivana Perković, “Battle in the Ballroom? Expressive Genres in Mozart’s Contredance La Battaille K535“, in: 7^th Annual Conference of the Department of Music Theory, Faculty of Music, University of Arts in Belgrade, 2009, 16-17.

The unofficial beginning of the last Austrian Turkish in December 1787 was marked with the Austrian attempt to occupy Belgrade. At the same time, Mozart wrote Contredance known as Die Belagerungs Belgrads. This work was supposed to evoke public celebration as standard part of the “choreography of joy for central Europe”.

Ivana Perković, “Slavia Orthodoxa Restored? Church Orthodox Polyphony in Balkan Countries in the 19th and beginning of the 20th Century“, in: Research of Dance and Music on the Balkans, Brčko, International Musicological Society & Musicological Society of RS Banja Luka & Musicological Society FbiH, Sarajevo & Baštinar, 2007, 99–106.

Crisis of the Ottoman empire in the 18^th and 19^th centuries resulted with liberation of Balkan countries. Wave of national movements grasped new states, together with Europeanization. Musical issues had important place in revival of the supranational cultural community known as Pax Slavia Orthodoxa – the world of Orthodox Slavs.

Ivana Perković, „Стара музика”, у: Мирјана Веселиновић-Хофман (ур.), Историја српске музике. Српска музика и европско музичко наслеђе [Old Serbian Music, in: The History of Serbian Music. Serbian Music and European musical Heritage], Београд, Завод за уџбенике, 2007, 29-62.

This study offers the proposal to overcome possible dilemmas pertaining to terminological and chronological determination of early Serbian music, compared to Eastern and Western European tradition. Secular and church music are concerned, enriched with trends developed in the 18^th centuries.

Ivana Perković, “Arvo Pärt’s Trisagion: 1+1=1. The Intersection of Orthodoxy and Modernism, in: Sonja Marinković and Sanda Dodik (eds.), Tradition as Inspiration. Days of Vlado Milošević, conference proceedings, Banja Luka, 2014, 186-202. (Co-author: Marija Masnikosa).

The mystic aphorism Arvo Pärt 1 + 1 = 1 is interpreted in the context of the intersection of Orthodoxy and European modernism that characterizes the oeuvre of one of the most famous European composers. Permeation of these very remote categories is presented on the example of the composition Trisagion for string orchestra.

OTHER ACTIVITIES

Member of several national and international associations: International Musicological Society (active member of the Cantus Planus group), The International Society for Orthodox Church Music, Serbian Musicological Society (the first president of the Managing Board), and Composers’ Association of Serbia;

Participant of four national research project (since 1996, up to the present).

Member of the international project on hymnology (The Canterbury Dictionary of Hymnology, since 2004);

Postdoctoral research, Institut für Musikwissenschaft der Universität, Wien, 2005;

Coordinator of the research project funded by British Library (2006/07): research and archival work on endangered musical archives in Zemun;

Vice dean of the Faculty of Music in Belgrade in 2010/11;

Responsible for the application of the TEMPUS project (Introducing interdisciplinarity in music studies in the Western Balkans in line with European perspective) and the first project coordinator (in 2012).

Dr Tijana Popović Mladjenović

Contact information: tijana.popovic.mladjenovic@gmail.com

BIOGRAPHY

Tijana Popović Mladjenović, musicologist, associate professor at the Department of Musicology of the Faculty of Music, at the Department of Interdisciplinary studies at the University of Arts in Belgrade (study program: Theory of Arts and Media), and at the Department of Musicology and Ethnomusicology of the Academy of Arts in Novi Sad. She was also a visiting lecturer at the Department of Musicology of the Faculty of Philosophy, University of Ljubljana (Slovenia), at the Academy of Music of the University of Sarajevo (Bosnia and Herzegovina) and at the Academy of Music of the University of Montenegro.

Popović Mladjenović studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/), and attended a specialization courses in contemporary French music at the University of Paris IV – Sorbonne (France). She is an author and co-author of 5 books, over 100 studies in collective volumes, international and national journals, proceedings of international conferences in the country and abroad; editor of a 15 different musicological and music volumes (books, scores, CDs). Popović Mladjenović was an editor member of the Editorial Board of the musicological journal Musical Wave and the Editorial Board of the Ars Musica Series published by Clio (Belgrade). She contributed to The New Grove Dictionary of Music and Musicians (second edition), Grove Music Online, and Die Musik in Geschichte und Gegenwart (second edition). Tijana Popović Mladjenović was the editor for music entries of the Serbian edition of Le Grand Larousse Illustré (translation and supplementation), and participates in the preparation of the Serbian Encyclopedia. She is also an editor of a number of international monographs, member of several international conference committees, and peer reviewer of the international and national scientific journals (New Sound, Music, and The Matica Srpska Journal of Stage Art and Music). Currently, Popović–Mladjenović is a participant of the national research project Identities of Serbian Music in the World Cultural Context.

Areas of Competence: her main research interests include the fin de siècle European Music, contemporary music, aesthetics and philosophy of music, the issues concerning thinking in music, and interdisciplinary musicology and science of arts.

Didactic Competences: History of European Music – Antique Period, Middle Ages, Renaissance, Baroque, Classical Period; History of Serbian Music in Romanticism; Fin de siècle Music; Fantasy and Ballad Principle in Music; Music Interpretation and Creative Approach to Music Text; Phenomenon of Fantasy in Arts; General Theory of Contemporary Arts.

TEACHING EXPERIENCES

History of Ancient and Medieval Music

2013, Faculty of Music in Belgrade

The topics of the course are as follows:

The various musical systems that were developed across Mesopotamia, Egypt, India, and China; music in ancient Greece – music and philosophy, poetry, science; music theory and writing; music and tragedy; music in ancient Rome; ancient Jewish music; ancient Islamic music. Medieval music: Ambrosian, Gallican, Mozarabic, and Old Roman chant; Gregorian chant; Tropes, Sequences, and Liturgical Drama; early medieval polyphony; development of medieval music theory and writing; secular medieval music.

History of Serbian music in Romanticism

2013, Faculty of Music in Belgrade

The topics of the course are as follows:

Consideration of the specificity and importance of the creative works of Stevan Mokranjac and Josif Marinković in the context of: 1) the historical, socio-political and cultural upheavals of the 19th century in Serbia; 2) the need to establish a solid foundation of Serbian art music which, based on the inseparable connection to musical folklore, could rapidly compensate those missed phases, or the entire periods in the development of Western European art music, 3) acquisition of conditions for the definitive determination of the national direction of the Serbian art music, and 4) characteristics of individual poetics and their direct or indirect influence on the subsequent Serbian art music.

Fin de siècle Music

2014, Faculty of Music in Belgrade

The topics of the course are as follows:

Defining the concept and the historical period of fin de siècle as the space in-between; consideration of the cultural context and the philosophical and aesthetic endeavours, as well as of “paradigmatic change” which includes general subjectivization and consequent destabilization of knowledge; detecting important phenomena of psychoanalysis; insight into the basic assumptions of the humanities and natural science of the time, and general artistic tendencies. Western European fin de siècle music is observed and interpreted as a musical-historical period with its own peculiarities and separate rights. It is also points to the extreme heterogeneity of the technical repertoire of divergent analytical positions and a plurality of music and music-analytical and psychological theories which appeared the same time. It is specifically discusses and highlights the phenomenon of quite specific experience of time (in musical creation, interpretation, perception and reception) as emergent properties of the music of this period in the opuses of Mahler, Richard Strauss, Reger, Wolf, Debussy, Ravel, Scriabin etc.

PUBLICATION LIST

Books

Interdisciplinary Approach to Music: Listening, Performing, Composing, Belgrade, Faculty of Music (Tempus project InMusWB), 2014. (Co-authors: Blanka Bogunović and and Ivana Perković)

Muzičko pismo [Musical Writing], Belgrade, Clio, 1996.

Procesi panstilističkog muzičkog mišljenja [Processes of Panstylistic Musical Thinking], Beograd, Fakultet muzičke umetnosti & Signature, 2009.

Klod Debisi i njegovo doba [Claude Debussy and His Time], Beograd, Muzička omladina Srbije, 2008.

E lucevan le stelle – odabrani odlomci iz italijanske I francuske operske tradicije [E lucevan le stelle – Selected Fragments from the Italian and French Opera Tradition], Gornji MIlanovac, Milprom, 1997.

Articles in journals and papers in monographs

“Music has a Vision – Listening to Others and Oneself Through It”, in: Tilman Seebass, Mirjana Veselinović-Hofman & Tijana Popović Mladjenović (eds.), Identities: The World of Music in Relation to Itself, Belgrade, Faculty of Music, University of Arts in Belgrade, 2012, pp. 35–48.

“The Possibility and Purpose of Disciplinary Intersections and Permeations: The Case Study of Reger’s Variationen und Fuge über ein Thema von Joh. Seb. Bach for Piano, Op. 81”, in: Nico Schüler & Leon Stefanija (eds.), Approaches to Music Research. Between Practice and Epistemology, Peter Lang GmbH, Internationaler Verlag der Wissenschaften, Frankfurt am Main, 2011, pp. 137–152.

“W. A. Mozart’s Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response“, Journal of Interdisciplinary Music Studies, 2009, 3, 1–2, pp. 95–117. (co-authors: Blanka Bogunović, Marija Masnikosa and Ivana Perković Radak)

“A Fragment on the Emotion, “Mathesis“ and Time Dimension of the Purely Musical. Marginalia with Prelude to the Afternoon of a Faun by Claude Debussy“, in: Leon Stefanija and Katarina Bogunović–Hočevar (eds.), Rationalism of a Magic Tinge: Music as a Form of Abstract Perception. Musicological Annual, Vol. XLIII/2, Ljubljana, 2007, pp. 305–332.

“Тhe Voices of Debussy’s Letters as Something More and Something Less than (Auto)Biography”, in: Tatjana Marković and Vesna Mikić (eds.), (Auto)Biography as a Musicological Discourse, Belgrade, Department of Musicology, Faculty of Music, University of Arts, 2010, pp. 227–235.

“What Das Lied von der Erde by Gustav Mahler tells me”, in: Miloš Zatkalik (ed.), Music Theory and Analysis, Belgrade, Faculty of Music, 2010, pp. 35–59.

“The Longing for Lost Time and Utopian Space of the Musically Fantastic”, in: Mirjana Veselinović-Hofman, Vesna Mikić, Ivana Perković and Tijana Popović Mladjenović (eds.), Between Nostalgia, Utopia, and Realities, Belgrade, Faculty of Music, 2012, pp. 29–47.

“The Consequences of Wagner’s music drama in Pelléas et Mélisande by Claude Debussy – Where, how, why and whereto?”, in: Paulo de Castro, Gabriela Cruz and David Cranmer (eds.), Consequences of Wagner, Lisbon, Universidade Nova de Lisboa, Centro de Estudos de Sociologia e Estética Musical – CESEM, 2012, pp. 71–82.

“Brücken der Zeit. Alfred Schnittke: Konzert für Bratsche und Orchester. Vorschlag zu einer neuen lesart der Musikgeschichte”, Project Rastko, 1999, http://www.rastko.org.yu/ muzika/tpopovic_schnitke.html

“Improvisation as a Call for Communication“, New Sound. , Vol. 32, No. 2, 2008, pp. 23–32.

“In Search of the Meaning of Musical Time: Before and After the Music of Messiaen’s Quatour pour la Fin du Temps”, in: Lina Navickaite-Martinelli (ed.), Acta Semiotica Fennica XXXVII – Before and After Music, Helsinki, Vilnius & Imatra, International Semiotics Institute & Umweb Publications, 2010, pp. 75–584.

“Reminiscences about Ballad, Chopin, and Transgression”, in: Teresa Malecka and Malgorzata Pawlowska (eds.), Music: Function and Value, Proceedings of the 11th International Congress on Musical Signification, Krakow, Akademia Muzyczna w Krakow and Musica Iagellonica, 2013, pp. 448–459.

“Theatrical Expressivity of Berio’s Sequenza for Viola: Levels of Communication“, Journal of Interdisciplinary Music Studies, Fall 2010, Vol. 4, Issue 2, pp. 55–84. (co-authors: Blanka Bogunović and Ivana Perković)

“The Story of the Ballad in Music“, New Sound. International Journal for Music, Vol. 30, 2007, pp. 15–33.

“Ariadne’s Thread of Hofmannsthal’s and Strauss’s Opera in the Opera, or the Labyrinth of the Crossroads of European Cultural History”, in: Evi Nika-Sampson, Giorgos Sakallieros, Maria Alexandru, Giorgos Kitsios and Emmanouil Giannopoulos (eds.), Crossroads – Greece as an intercultural pole of musical thought and creativity, Aristotle University of Thessaloniki, School of Music Studies & International Musicological Society, 2013, pp. 681–698.

“Structure, Sense, and Meaning of Debussy’s La Puerta del Vino: Interpreting the Self through Music, in: Mark Reybrouck, André Helbo and Eero Tarasti (eds.), Music, Semiotics, Intermediality“, Centro di studi italiani, Université catholique de Louvain & Section of Musicology, Katholieke Universiteit Leuven, Louvain-la-Neuve & Leuven, 2013, pp. 322–330.

PUBLICATION ABSTRACTS (selected)

Tijana Popović Mladjenović, Interdisciplinary Approach to Music: Listening, Performing, Composing, Belgrade, Faculty of Music (Tempus project InMusWB), 2014, 286 pp. (Co-authors: Blanka Bogunović and Ivana Perković)

In this interdisciplinary research (musicology and psychology) on emotion and cognition, as well as creative imagery and its linkage to music unfolding in time and musical structure, referring to social-cultural context, a holistic approach was necessary for explaining the overarching pattern of common musical processes and experiences in all three musical activities.

Tijana Popović Mladjenović, Procesi panstilističkog muzičkog mišljenja [Processes of Panstylistic Musical Thinking], Beograd, Fakultet muzičke umetnosti & Signature, 2009, 533 pp.

The basic thesis of the book is that music is a form of thinking, based on universal, that is, pan-stylistic processes, which can best be confirmed in the sphere of musical fantasy. The interdisciplinary environment within which the author analyzes the phenomenon of fantasia is generally defined by the cognitivist, culturological, psychoanalytical and musicological transversals.

Tijana Popović Mladjenović, Muzičko pismo. Muzičko pismo i svest o muzičkom jeziku [Musical Writing and the Awareness of Musical Language with Special Consideration of Avant-garde Music in the Second Half of the 20th century], Beograd, Clio, 1996, 271 pp. (Serb.)

The book points to the role which the nature and the application of the (newly) established manners of musical notation may have in shaping the awareness of musical language, that is, observes the possible aspects of interaction between the composer’s awareness of musical language and the type of musical writing he employs.

Tijana Popović Mladjenović, “Music has a Vision – Listening to Others and Oneself Through It”; “The Cultural Context and Modernist Identity of Belgrade’s Musical Environment of the Mid-1960s”; and “The Potentials of Self-Representation in the Serbian Music of Romanticism. Stevan Stojanović Mokranjac (1856–1914) – In the Past and Now”, three chapters in: Tilman Seebass, Mirjana Veselinović-Hofman & Tijana Popović Mladjenović, eds., Identities: The World of Music in Relation to Itself, Belgrade, Faculty of Music, University of Arts in Belgrade, 2012, pp. 35–48, 101–110, 111–131.

In the first study, through the deliberation of the theme of a more general character referring to the phenomenon/assumption/possibility/practice… of acquiring a new identity through music in the sense of joining the Other and ours, the investigation is directed towards concrete music material of Yusupov Viola Tango Rock Concerto. The second and third study include the consideration of particular composers’ creation and forms of their more extensive action within Serbian music culture, as aspects of the building and manifestation of the identity of Serbian music.

Tijana Popović Mladjenović, “The Possibility and Purpose of Disciplinary Intersections and Permeations: The Case Study of Reger’s Variationen und Fuge über ein Thema von Joh. Seb. Bach for Piano, Op. 81“, in: Nico Schüler & Leon Stefanija, eds., Approaches to Music Research. Between Practice and Epistemology, Peter Lang GmbH, Internationaler Verlag der Wissenschaften, Frankfurt am Main, 2011, pp. 137–152.

Proceeding from the viewpoint of contextual musicology and advocating interdisciplinary synergy (as opposed to multidisciplinary accumulation) in music research, this volume deals with the relationship of different epistemological positions to “music itself“ and emphasizes the practice of disciplinary intersections.

Tijana Popović Mladjenović, Blanka Bogunović, Marija Masnikosa and Ivana Perković Radak, “W. A. Mozart’s Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response“, Journal of Interdisciplinary Music Studies, 2009, 3, 1–2, 95–117.

Mental representation of music is a decisive factor of the emotional expression of a musical structure. The key point of musical expression is founded on the musical structure and the pillars of structural organization, and these are, in the first place, the determinants of musical experience, especially in the case of skilled listeners.

OTHER ACTIVITIES

Member of the:

International Musicological Society (IMS);
Serbian Musicological Society (SMS which is a member of International Musicological Society) – she is the former President of the Managing Board;
Managing Board of the Composers’ Association of Serbia (CAS);
Board of the Matica Srpska Department of Stage Art and Music;
International Advisory Board of the journal for music culture Music, Musicological Society of the Federation of Bosnia and Herzegovina, Sarajevo, FBiH;
Editorial Board of the musicological journal Musical Wave (between 1994 and 2010), Clio, Belgrade;
Editorial Board of the Ars musica Series (between 1994 and 2010), Clio, Belgrade.

Participant of the:

International Project on Musical Signification (IPMS);
TEMPUS Project InMusWB (Introducing Interdisciplinarity in Music Studies in the Western Balkans in Line with the European Perspective);
International Editorial Board of the Project Ljubljansko glasbeno življenje do 1918 – osebnosti in ustanove, Univerza v Ljubljana, Filozofska fakulteta, Oddelek za muzikologijo, Slovenia;
SUNBEAM Project, Interdisciplinary Doctoral Studies, University of Arts in Belgrade;
Five national research projects (since 1993, up to the present).

Dr Marija Masnikosa

Contact information: marija.masnikosa@gmail.com

BIOGRAPHY

Marija Masnikosa, musicologist, associate professor at the Department of Musicology of Faculty of Music of the University of Arts in Belgrade. She is also lecturer of music history at the Faculty of Philology and Arts in Kragujevac (Serbia). Marija Masnikosa studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). She is the author and co-author of 4 books, over 40 articles in national and international journals, and in proceedings of the international conferences in the country and abroad.

Areas of Competence: American and Serbian minimalism and postminimalism, musical semiotics, Serbian postminimalist music, Serbian Music between the two World Wars.

Didactic competences: History of Renaissance Music, History of Serbian Music between the Two World Wars, Musical Semiotics.

TEACHING EXPERIENCES

History of Renaissance Music

2013, Faculty of Music in Belgrade

Description of the course:

The course encompasses the long period of renaissance art and music, starting with Ars Nova, up to the crucial outputs of the style in the achievements of Palestrina and Lassus. Special attention is put on the early developmental processes both of vocal secular music and instrumental one. The course is focused on the international – European character of the renaissance music.

Serbian Musical History between the Two World Wars

2014, Faculty of Music in Belgrade

Description of the course:

The course is focused on the music in the cultural context of inter-world war Serbia when the first professional musical institutions appeared. The main nucleus of the course contains the opuses of the four most important composers of the period: Petar Konjović, Miloje Milojević, Stevan Hristić and Josip Slavenski. Their achievements are discussed in detail, and with the special stress to the influence of the European contemporary music on their opuses. Theoretically, the course focuses both romanticist and modernist characteristics of the discussed composers’ achievements.

Applied Musical Semiotics

2013, Faculty of Music in Belgrade

Description of the course:

The course is focused on the main theoretical approaches in contemporary musical semiotics. Theories of the significant theoreticians in the field are discussed. The main topics of the course are: history of musical semiotics, the notion of musical sign, intonation theory, musical narrativity, musical discourse theory, theories of musical topoi, gestures theory in music, etc. The second part of the course is devoted to the analysis and interpretation of the Serbian postminimalist music using the musical semiotics as the main analytical and theoretical tool.

PUBLICATION LIST

Books

Musical Minimalism, Belgrade, Clio, 1998.

Orfej u repetitivnom društvu. Postminimalizam u srpskoj muzici za gudački orkestar u poslednje dve decenije XX veka [Orpheus in Repetitive Society. Postminimalism in Serbian music for String Orchestra in the Last Two Decades of XX Century], Beograd, Fakultet muzičke umetnosti, 2010.

Articles in journals and papers in monographs

“A Theoretical Model of Postminimalism and Two Brief ‘Case Studies’“, in: Keith Potter, Kyle Gann, Pwyill ap Sion (eds.), The Ashgate Research Companion to Minimalist and Postminimalist Music, Ashgate Publishing Limited, 2013, pp. 297-311.

“Application of Musical Semiotics in the Analysis and Interpretation of Postminimalist Work“, Muzička teorija i analiza, Beograd, FMU i Signature, 2008, pp. 130-137.

“The Life and Work of Ljubica Marić – Multifariousness of One“, New Sound. International Journal for Music, 2009, No. 33, 1, pp. 1-35.

“Postminimalism in contemporary Serbian music as a part of global postmodern culture”, Poetics and Politics of Place in Music, Vilnius, Lithuanian Composer’s Union, and Helsinki, Umweb Publications, 2009, pp. 91-105,

“Specific Typology of “Appropriated” Musical Signs in Serbian Postminimalist Compositions”, in: Lina Navickaite-Martinelli (ed.), Before and After Music, Acta Semiotica Fennica XXXVII, Helsinki, Vilnius & Imatra, International Semiotics Institute & Umweb Publications, 2010, pp. 555-564.

“Formalism and Contextualism in Contemporary Musicology: Why could it not be a ’joint venture’? (Case Study)“, in: Nico Schüler and Leon Stefanija (eds.), Approaches to Music Research. Between Practice and Epistemology, Peter Lang GmbH, Internationaler Verlag der Wiesenschaften, Frankfurt am Main, 2011, pp. 177-190.

“The ‘saturated self’ of Serbian postminimalist music. The case of Zoran Erić’s Konzertstük”, in: Tilman Seebass, Mirjana Veselinović-Hofman and Tijana Popović Mladjenović (eds.), Identities: The World of Music in Relation to Itself, Belgrade, Faculty of Music, University of Arts in Belgrade, 2012, pp. 147-156.

„Организација музичког простора дела – један од кључних елемената (музичког) модернизма Љубице Марић“ [Specific Organization of Musical Space in the Works of Ljubica Marić as One of the Key-Concepts of the Composer’s Musical Modernism], Простори модернизма: опус Љубице Марић у контексту музике њеног времена [Spaces of Modernism: Ljubica Marić in Context], Београд, Музиколошки институт САНУ, 2010, pp. 241-260,

„Функција музичких симбола у композицијама Смрт Мајке Југовића и Собарева метла Милоја Милојевића“, Изузетност и сапостојање, Београд, ФМУ, 1997, pp. 140-145,

„Интима за гудачки оркестар по мотиву re-la-do-mi-la, Милоја Милојевића“, Композиторско стваралаштво Милоја Милојевића, Београд, Музиколошки институт САНУ, 1998, 166-177,

„Савремена музикологија између модернизма и постмодернизма“, Постструктуралистичка наука о музици, (специјално издање часописа Нови Звук), Београд, СОКОЈ и ФМУ, 1998, 21-26,

„Воксал Владимира Тошића“, Нови Звук, бр. 17, 68-70, 2001.

„Експресионизам“, у: Мирјана Веселиновић–Хофман (ур.), Историја српске музике. Српска музика и европско културно наслеђе [„Expressionism“, in: Mirjana Veselinovć–Hofman (ed.), History of Serbian Music. Serbian Music and European cultural Heretage], Београд, Завод за уџбенике и наставна средства, 2007, 165-192.

„Гласови Земљана Владана Радовановића“, Музикологија, 2007, 7, 295-302,

“Дуал Владимира Тошића“, Нови Звук, 2007, 29, 60-66,

“Kreativni odgovor studenata prve godine na integrativni model nastave istorije muzike (u okviru reformisanih studijskih programa FMU)“, u: Gordana Karan (ur.), Pokret u muzičkim i scenskim umetnostima, XII Pedagoški forum, Beograd, Fakultet muzičke umetnosti, 2010, 3-21. (Co-authors: Tijana Popović Mlađenović and Ivana Perković)

PUBLICATION ABSTRACTS (selected)

Marija Masnikosa, Orfej u repetitivnom društvu. Postminimalizam u srpskoj muzici za gudački orkestar u poslednje dve decenije XX veka [Orpheus in Repetitive Society. Postminimalism in Serbian music for String Orchestra in the Last Two Decades of XX Century], Beograd, Fakultet muzičke umetnosti, 2010.

The book is conceived as a theoretical and analytical study of Serbian postminimalist music in the context of European postmodernism. It discusses the subject comparatively, in relation to both radical modernist minimalism, and worldwide postminimalist music. The novelty of the book is in its methodology consisting of musicological and musical semiotics methods.

Marija Masnikosa, “A Theoretical Model of Postminimalism and Two Brief ‘Case Studies’“, in: Keith Potter, Kyle Gann, Pwyill ap Sion (eds.), The Ashgate Research Companion to Minimalist and Postminimalist Music, Ashgate Publishing Limited, 2013, pp. 297-311.

The article presents one possible theoretical model of postminimalism, and applies it in the specific analysis of two American postminimalist compositions. The main novelty of the article is a new interdisciplinary founded theoretical and analytical approach to the subject.

Marija Masnikosa, “Specific Typology of “Appropriated” Musical Signs in Serbian Postminimalist Compositions”, in: Lina Navickaite-Martinelli (ed.), Before and After Music, Acta Semiotica Fennica XXXVII, Helsinki, Vilnius & Imatra, International Semiotics Institute & Umweb Publications, 2010, pp. 555-564.

The article is focused on Serbian postminimalist compositions from the aspect of musical semiotics. It shows that there is a whole scale of various types of signs, mostly “appropriated” form some other music, resulting in the specific, heterogeneous identity of the whole group of discussed postminimalist compositions.

Marija Masnikosa, “The ‘saturated self’ of Serbian postminimalist music. The case of Zoran Erić’s Konzertstük”, in: Tilman Seebass, Mirjana Veselinović-Hofman and Tijana Popović Mladjenović (eds.), Identities: The World of Music in Relation to Itself, Belgrade, Faculty of Music, University of Arts in Belgrade, 2012, pp. 147-156.

Examining the nature of intertextuality of the composition Konzertstük, created by Serbian composer Zoran Erić, this article uses the methodology suggested by Kenneth Gergen, in his book Saturated self, in order to make an interdisciplinary grounded case-study.

Marija Masnikosa, “Formalism and Contextualism in Contemporary Musicology: Why could it not be a ’joint venture’? (Case Study)“, in: Nico Schüler and Leon Stefanija (eds.), Approaches to Music Research. Between Practice and Epistemology, Peter Lang GmbH, Internationaler Verlag der Wiesenschaften, Frankfurt am Main, 2011, pp. 177-190.

This case-study belongs to the field of contextual musicology. Aiming to discover the poetic core of the analysed composition (Helium in the small box, by Serbian composer Zoran Erić), this article intersects the methodologies of “hard” structuralist musicology and contextual musicology grounded on the musical semiotics.

Marija Masnikosa, “Application of musical semiotics in the analysis and interpretation of postminimalist work“, Muzička teorija i analiza, Beograd, FMU i Signature, pp. 130-137, 2008.

This article discusses the possibilities of the application of musical semiotics in interpretation of postminimalist works, identifying all the possible situations in which the musicological analysis of the postminimalist work needs analytical and theoretical help of musical semiotics.

OTHER ACTIVITIES

Member of project team

Year: 2001–2005

Project: “Serbian music and European music heritage“, Faculty of Music, Belgrade, Serbia;

Year: 2006–2010

Project: “World chronotopes of Serbian music“, Faculty of Music, Belgrade, Serbia;

Year: 2011–present

Project: “The identities of Serbian music in the global cultural context“, Faculty of Music, Belgrade, Serbia.

Dr Dragana Stojanović-Novičić

Contact information: drasnovi@gmail.com

BIOGRAPHY

Dragana Stojanović-Novičić, musicologist, associate professor at the Department of Musicology of Faculty of Music of the University of Arts in Belgrade, and chair of the Department of Musicology’s Council. She has studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). Stojanović-Novičić also accomplished a postdoctoral specializaton at Paul Sacher Foundation in Basel (Switzerland).

She is the author and co-author of several books, many studies in international musicological journals, collective monographs and proceedings of international musicological conferences in Serbia and abroad. Stojanović-Novičić participated at around forty colloquia, symposia and conferences in Serbia, region, Switzerland, United Kingdom, European Union and USA. In 2011 she has contributed (with the article “The Carter-Nancarrow Correspondence”) to the spring issue of American Music.

Competences: History of contemporary Serbian Music, History of Contemporary European Music (subspecialization: Edgard Varèse), History of American Music (subspecialisation: Conlon Nancarrow), European Musical Avant-Garde (subspecialisation: Vinko Globokar).

Didactic competences: Contemporary European, Serbian and American Music.

TEACHING EXPERIENCES

French 20^th-Century Music

2013-2014, Faculty of Music in Belgrade

Description of the course:

The intention of the course is to offer a survey of the creative results of some of the leading composers of the 20^th century in France. The compositional careers of Edgar Varèse, Olivier Messiaen, Piere Boulez, Iannis Xenakis and Vinko Globokar are included. Some of them (Xenakis and Globokar) were not of the French origin, and some (Varèse) left France and developed a further career in USA.

Serbian Music during Socialist Realism

2013-2014, Faculty of Music in Belgrade

Description of the course:

A connection between politics and music is especially emphasized. The directions of specific kind of political repression are analyzed. There was an important influence of the cultural orientation of the then USSR. In the first years after the WWII, certain genres were intensively written: cantatas, choral pieces etc.

Serbian Music during Sixties of the 20^th Century

2012-2013, Faculty of Music in Belgrade

Description of the course:

In the sixties, important changes of the musical trends can be detected in Serbian music. Some of the European Avant-Garde features were attractive to many Serbian composers, who were decisive in their wish to act in accordance with current European trends. The musical form, the harmonic language, the genres, all these were under a certain creative “reconstruction”.

PUBLICATION LIST

Books

Винко Глобокар: музичка одисеја једног емигранта [Vinko Globokar: Musical Odyssey of an Emigrant], Београд, Факултет музичке уметности, Сигнатуре, 2013.

Облаци и звуци савремене музике [Clouds and Sound of Contemporary Music], Београд, Факултет музичке уметности у Београду, Сигнатуре, 2007.

Антоњин Дворжак, Београд, Музичка омладина Србије, 2004.

Ђузепе Верди, Београд, Музичка омладина Србије, 2002.

Колибри: 1963-1993, Пожаревац, Компромис, 1995.

Articles in journals and papers in monographs

“Musical Minimalism in Serbia: Emergence, Beginnings and its Creative Endeavours“, in: The Ashgate Research Companion to Minimalist and Postminimalist Music. Farnham, Surrey, UK, England, Ashgate, 2013, pp. 357-367.

„Душа у механизму: настанак и „перформансе“ перформанса Конлон Ненкероу: сто година од рођења композитора“, у: Играј, играј, играј!: Петнаести педагошки форум сценских уметности, Београд, Катедра за музичку педагогију ФМУ, 2013, pp. 50-69.

„Stvorenost u svedenosti: raščišćavanje stvaralačkog prostora – Šest dvoglasnih korala Vladana Radovanovića“, Treći program Radio Beograda, III-IV, leto-jesen 2012, pp. 219-228.

“Vinko Globokar and Improvisation: an all-inclusive Engagement“, http://www.cdmc.asso. fr/fr/actualites/ saison-cdmc/rencontre/caprices-improvisation-dans-musique-savante-2, 2013.

“Conlon Nancarrow as a Music Critic“, in: Vesna Mikić, Ivana Perković, Tijana Popović Mlađenović, Mirjana Veselinović Hofman (eds.), Between Nostalgia, Utopia, and Realities, Belgrade, Department of Musicology, Faculty of Music, University of Arts in Belgrade, 2012, pp. 373-384.

„The Carter-Nancarrow Correspondence“, American Music, Vol. 29, No. 1, Spring 2011, Champaign, Illinois, USA, University of Illinois Press, pp. 64-84.

„Misunderstandings about Conlon Nancarrow, with a little help from the composer himself“, in: Tatjana Marković and Vesna Mikić (eds.), (Auto)Biography as a Musicological Discourse: The Ninth International Conference, Department of Musicology, Faculty of Music, University of Arts in Belgrade, Belgrade, Faculty of Music, Signature, 2010, pp. 398-407.

“Ослушкујући редуковано: Шест двогласних корала Владана Радовановића“, у: Покрет у музичким и сценским уметностима: Зборник XII педагошког форумa, Београд, Факултет музичке уметности, Сигнатуре, 2010, pp. 134-143.

„Work of Edgard Varèse and ‘Futurist Music’: Affinities (and Differences) “, New Sound. International Journal for Music, 2009, 34, pp. 50-61.

„Танано и прецизно: умна звучања Властимира Перичића“, Музикологија. Часопис Музиколошког института САНУ, 2008, 8, pp. 167-183.

„Оркестарска музика“, у: Историја српске музике. Београд, Завод за уџбенике и наставна средства, 2008, pp. 493-515. (коаутор рада: Маријa Масникосa)

„Преглед камерне музике (1950-2004)“, у: Историја српске музике. Београд, Завод за уџбенике и наставна средства, 2008, pp. 467-491. (коаутор рада: Тијана Поповић-Млађеновић)

„Делатност Михаила Вукдраговића на Радио Београду: народне песме, њихово извођење, обрада и рецепција“, у: Димитрије О. Големовић (ур.), Дани Владе С. Милошевића: Међународни научни скуп: Бања Лука, 10-11. април 2008: Зборник радова, Бањалука, Академија умјетности Бања Лука, Музиколошко друштво Републике Српске, 2008, pp. 337-351.

“Iannis Xenakis (1922–2001): Some Thoughts on His Creative Output“, in: Tatjana Marković, Vesna Mikić (eds.), Musical Culture & Memory: The Eighth International Conference, Belgrade, Faculty of Music, Signature, 2008, pp. 263-270.

„Трезор савремене музике: о Паулу Захеру и његовом завештању“. Музикологија. Часопис Музиколошког института САНУ, 2007, 7, pp. 325-331.

„Коло… а у колу Глобокар… и песме из Босне“, у: Димитрије О. Големовић (ур.), Дани Владе С. Милошевића: Научни скуп, Бања Лука, 24-25. април 2007 – Зборник радова. Бањалука, Академија умјетности Бања Лука, Музиколошко друштво Републике Српске, 2007, pp. 181-189.

„Писана реч Берислава Поповића – интелектуално-уметнички кредо“, Музички талас, 2006-07, 34-35, pp. 16-34.

„Суочење са жестином радикалних резова: Вратите нам тоналност! (Или: ‘Такве бруке, таква грдила нигдје нико још видио није!’)“, у: Димитрије О. Големовић (ур.), Дани Владе С. Милошевића: Научни скуп: Бања Лука, 10. април 2006 – Зборник радова. Бањалука, Академија умјетности Бања Лука, Музиколошко друштво Републике Српске, 2006, pp. 121-128.

„Рука која дозива звук: диригент“, у: Покрет у музичким и сценским уметностима, Београд, Факултет музичке уметности, 2006, pp. 125-130.

„Написи о Стевану Стојановићу Мокрањцу и Београдском певачком друштву на страницама Цариградског гласника“, у: Ивана Перковић Радак, Тијана Поповић-Млађеновић (ур.), Мокрањцу на дар: 2006. Прошета – чудних чуда кажу – 150 година 1856–2006, Београд, Факултет музичке уметности, Неготин, Дом културе „Стеван Мокрањац”, 2006, pp. 265-273

“A Cry from the Trombone: Vinko Globokar will be discussed“, in: Tamara Karača, Senad Kazić (eds.), IV International Symposium ‘Music and Society’, Sarajevo, October 28-30, 2004 – Collection of Papers, Sarajevo, Musicological Society of the FBiH, Academy of Music, 2005, pp. 90-96.

„Реал-прича о соц-музици“, Свеске: књижевност, уметност, култура, септембар 2005, 77, pp. 64-74.

„Неки аспекти поимања националног у симфонијским делима српских композитора седме и осме деценије двадесетог века и идеолошко-културолошки контекст њиховог настанка“, у: Димитрије О. Големовић (ур.), Дани Владе С. Милошевића: Бања Лука, 2004: Научни скуп – зборник радова, Бања Лука, Академија умјетности, 2004, pp. 150-164.

„Написи Михаила Вукдраговића о музици“, у: Дејан Деспић (ур.), Дело и делатност Михаила Вукдраговића и Марка Тајчевића: зборник радова са научног скупа одржаног 13. и 14. децембра 2000, поводом 100-годишњице рођења двојице композитора, Београд, Српска академија наука и уметности, 2004, pp. 79-89.

“My Works live on: Interview with Vitomir Trifunović“, New Sound. International Јоurnal for Music, 2003, 22, pp. 5-11.

“Cool, Hot and Soft: Prologue, Action and Cadence of Petar Osghian“, New Sound. International Јоurnal for Music, 2002, 20, pp. 66-71.

„Tекстови о музичкој педагогији у Цариградском гласнику (1895-1909): Песма и њена улога у учењу и схватању музике“, у: Vera Milanković (ur.), Zbornik radova Četvrtog pedagoškog foruma, Beograd, Fakultet muzičke umetnosti, 2001, pp. 4-11.

“To observe the others, to discover oneself: Mihailo Vukdragović’s Music Reviews“, New Sound. International Magazine for Music, 2001, 18, 35-48.

“Serbian Music between two World Wars – from Traditional to Modern“, Voice of Project „Modernism, Serbian National Identity in 20th Century“, 4, August/September 2001, pp. 3-4.

„Постање људи Милоја Милојевића као музичка метафора истоимене поеме Јована Илића“, у: Властимир Перичић (ур.), Композиторско стваралаштво Милоја Милојевића: Зборник радова с научног скупа одржаног од 25. до 27. новембра 1996. године поводом 50. годишњице композиторове смрти, Београд, Музиколошки институт САНУ, 1998, pp. 117-125.

“More than just a Dance: Wind Quintet A Cinque by Dejan Despić“, New Sound. International Magazine for Music, 1997, 10, pp. 101-108.

“The Orchestral Works of Petar Osghian: Coordinates of Autonomous Maturity“, in: Miško Šuvaković (ed.), Exclusivity and Coexistence: the 5th International Symposium Folklore-Music-Work of Art, Belgrade, Faculty of Music, 1997, pp. 142-150.

“Mihailo Vukdragović: the Artistic Path and Vocal Lyrics as Pars pro Toto“, New Sound. International Magazine for Music, 1996, 8, pp. 25-32.

PUBLICATION ABSTRACTS (selected)

Драгана Стојановић-Новичић, Винко Глобокар: музичка одисеја једног емигранта [Vinko Globokar: Musical Odyssey of an Emigrant], Београд, Факултет музичке уметности, Сигнатуре, 2013.

The author treats the works and activities of Vinko Globokar (b. 1934), one of the representatives of the European Avant-Garde music. As a virtuoso on the trombone, he identified himself with his instrument; the instrument became a part of his specific artistic struggle through his compositions and very dynamic performances – struggle for social justice, for oppressed people.

Dragana Stojanović-Novičić, “Musical Minimalism in Serbia: Emergence, Beginnings and its Creative Endeavours“, in: The Ashgate Research Companion to Minimalist and Postminimalist Music. Farnham, Surrey, UK, England, Ashgate, 2013, pp. 357-367.

An early history of the Serbian musical minimalism is discussed.

Dragana Stojanović–Novičić, “Vinko Globokar and Improvisation: an all-inclusive Engagement“, 2013, http://www.cdmc.asso.fr/fr/actualites/saison-cdmc/rencontre/ caprices-improvisation-dans-musique-savante-2

The author discusses the role of the improvisational principles in the works of Vinko Globokar (b. 1934). Globokar often contemplated interpretation in music; he treated the instrument on which music was played and the improvisational process as two very important aspects of the performance. Traces of theatrical gestures were connected with both of these elements.

Dragana Stojanović-Novičić, “Work of Edgard Varèse and ‘Futurist Music’: Affinities (and Differences)“, New Sound. International Magazine for Music, 2009, 34, pp. 50-61.

The author discusses Varèse’s controversial relation to the Futurist movement. Varèse developed a friendship with Luigi Russolo, one of the leaders of the Futurist movement; on the other side, he protested against critics who connected him with Futurism. However, there are some creative connections between his output and futurist musical pieces.

Dragana Stojanović-Novičić, “Iannis Xenakis (1922-2001): Some Thoughts on His Creative Output“ in: Tatjana Marković, Vesna Mikić (eds.), Musical Culture & Memory: The Eighth International Conference. Belgrade, Faculty of Music, Signature, 2008, pp. 263-270.

Xenakis’s creative pass is discussed: his orientation toward application of some architectural and scientific principles into musical work, his interest in Eastern cultures, and the simplification of his language in his later years.

Dragana Stojanović-Novičić, “Serbian Music between two World Wars – from Traditional to Modern“, Voice of Project „Modernism, Serbian National Identity in 20th Century“, 4, August/September 2001, pp. 3-4.

The new tendencies and conservative approaches of Serbian music in the period between the two world wars are discussed. The author points to the relevant European models that were inspiring for Serbian composers at the time.

OTHER ACTIVITIES

Lectures on Serbian music at Bard College, New York, April 2009;

Postdoctoral scholarship from Ministry of Science of Republic of Serbia for perfection abroad (2008/9), Paul Sacher Foundation, Basel, Switzerland;

Grant from Paul Sacher Stiftung, Basel, Switzerland, 2006/7;

Award from Ministry of Science of Republic of Serbia for best young scholars, 2002.

Dr Dragana Jeremić-Molnar

Contact information: admolnar@sbb.rs

BIOGRAPHY

Dragana Jeremić-Molnar, musicologist, full-time professor in the Department of Musicology at the Faculty of Music and in the Department of Interdisciplinary studies (study program: Theory of Arts and Media) at the University of Arts in Belgrade. She also taught music history at the Academy of Arts in Novi Sad and was visiting lecturer at the Belgrade Open School (module: The Idea of Europe in Art and Literature). Jeremić-Molnar studied in Belgrade (Faculty of Music and Alternative Academic Educational Network) and Munich (Institut für Musikwissenschaft, Ludwig-Maximillian Universität). She is DAAD Alumna. Dragana Jeremić-Molnar is author and co-author of 9 books. She has published numerous articles in national and international journals in music, sociology, philosophy, cultural studies and literature, as wall as papers in proceedings of the international conferences in the country and abroad. Recently she has contributed (with the article “Adorno, Schubert, Mimesis”) to the summer issue of 19^th-Century Music.

Areas of Competence: History of 19^th-Century Western music, sociology of music, aesthetic of music, applied psychoanalysis, music and politics, with particular emphasis on the long 19^thcentury in Germany and Austria.

TEACHING EXPERIENCES

19^th-Century Western European Music

2007, Faculty of Music in Belgrade

The topics of the course are as follows:

Romantic music and 19^th-century music; socio-political context; questions of style; questions of aesthetic – aesthetic of feelings, aesthetic of instrumental music and Wagner’s, Nietzsche’s and Hanslik’s idea of absolute music; Liszt’s idea of programme music; New German school; Ars Galica; dominant compositional techniques – Lisztian motive/thematic transformation, Brahmsian developing variations, French cyclic form; piano music; Lied; symphony; second age of symphony.

Western European Opera in the Second Half of 19^thCentury

2007, Faculty of Music in Belgrade

The topics of the course are as follows:

Opera in Germany – the basic postulates of Wagner’s artistic poetics; analysis of differences between his short text “On German Opera” and autobiographical essay “A Communication to my Friends”; Wagner’s understanding of myth; Wagner’s interpretation of Greek dramatic legacy; poetic, dramatic, and musical means of Wagner’s creative process (Verdichtung and Verwirklichung); circumpolar opera world after Wagner.

Opera in Italy – changes in the opera after the revolution(s); place of opera in the emerging unified Italy; Verdi’s “years in the galley“; patriotic discourse in Verdi’s oeuvre; Opera in France – lyric drama; reception of Wagner.

Festivals and Arts

2011, University of Arts in Belgrade

The topics of the course are as follows:

Origin, role and types of festivals; the phenomena of festival in the theories of Emil Durkheim, Sigmund Freud, Roger Caillois and René Girard; the festivals in primitive and archaic societies; desacaralization of festival through art; Great Athenian Dionysia; the politicization of the festival; medieval festivals and court ceremonies; regeneration through political festival; festivals and celebrations in revolutionary France; desacaralization of dramatic/artistic festival; Richard Wagner’s Bayreuther Festispiele; the festivals in totalitarian regimes.

PUBLICATION LIST

Books

Myth, Ideology, and Mystery in the Richard Wagner’s Tetralogy. “Der Ring des Nibelungen” and “Parsifal” (with Aleksandar Molnar), Belgrade, Zavod za udžbenike i nastavna sredstva, 2004 .

Serbian Piano Music in the Romantic Age (1841-1914), Novi Sad, Matica srpska, 2006.

Richard Wagner, constructor of “genuine“ reality. Regeneration through Bayreuther Festspiele, Belgrade, Book Factory, 2007.

Conscious and Unconscious Drivers of Modest Mussorgskij’s Work. Redemption of Son’s Imaginary Grieves: “Œdipus” and “Lybian”, Belgrade, Faculty of Music, 2008.

Conscious and Unconscious Drivers of Modest Mussorgsky’s Work. Redemption of Father’s Imaginary Grief: “Boris Godunov”, Belgrade, Faculty of Music, 2008.

Retreat of Sublime and Conquest by Avant-Garde in the Music of Modern Epoch. Music Sublime in the Works of Beethoven and Schoenberg, Belgrade, Filip Visnjić, 2009.

Retreat of Sublime and Conquest by Avant-Garde in the Music of Modern Epoch. Musical Avant-Gardism in Schoenberg’s Dodecaphonic Poetics and Adorno’s Critical Aesthetics, Belgrade, Filip Visnjic, 2009 (with Aleksandar Molnar).

Adorno‘s Schubert. Towards a Theory of Mimesis (with Aleksandar Molnar), Belgrade, Faculty of Music, 2014.

Wilhelm Müller‘s and Franz Schubert‘s ‘(Die) Winterreise’. Romantic Transformation of Wandering Motif in Music, Literature, and Aesthetics, Belgrade, Faculty of Music, 2014.

Articles in journals and papers in monographs

“Psychological Aspects of Title Character in Musorgskij’s Opera Boris Godunov”, in: Sonja Marinković (ed.), Opera: From Ritual to Form of Art, Belgrade, Faculty of Music, 2001, pp. 133–142.

“Musical Contribution to the Modernisation. The Piano and Middle Class in 19th-Century Serbia”, Sociology – Journal for Sociology, Social Psychology, and Social Anthropology, Vol. 43, No. 2, 2001, pp. 153–170.

“Bayreuth Theatre: the Sanctuary of Faith in the Regeneration and ’Smithery’ of Germaness”, Notebooks. Literature, Art, Culture, Vol. 17, No. 77, 2005, pp. 53–64.

“Kornelije Stanković’s Piano Music. Implementation of ’National’ into ’International’”, Mokranjac. Journal for Culture, Vol. 6, No. 6–7, 2006, pp. 50–57.

“Bayreuther Festspiele as a Field for Application of Peter Berger’s and Thomas Luckmann’s Theory of Social Construction of Reality”, Sociological Review, Vol. XXXX, No. 3, 2006, pp. 433–456.

“The Role of Piano Music in the Everyday Life of Serbian Population Prior 1914”, in: Dragana Jeremić-Molnar and Ivana Stamatović (eds.): Musicological and Etnomusicological Reflections, Belgrade, Faculty of Music and Signature, 2006, pp. 88–96.

“Genesis and Articulation of Wagner’s Idea of Festival”, in: Ivana Perković Radak, Dragana Stojanović-Novičić and Danka Lajić-Mihajlović (eds.): History and Mystery of Music, Belgrade, Faculty of Music, 2006, pp. 401–412.

“Wagner’s Comprehension of ’True’ Reality”, The Reason. Yearbook for European Philosophy and Social Theory, Podgorica, Vol. III–IV, 2006/2007, pp. 73–85.

“Constructing Reality Through Music: the Example of Richard Wagner’s Festival Theatre in Bayreuth”, Sociology – Journal for Sociology, Social Psychology, and Social Anthropology, Vol. XLIX, No. 3, 2007, pp. 263–282.

“Emancipation of the Madness of Male Opera Characters since the Orpheus Myth (from Orpheus to Macbeth)”, Matica Srpska Journal of Stage Arts and Music, No. 37, 2007, pp. 49–60.

“Serbian Piano Music in Romantic Era (1841–1914)”, in: Mirjana Veselinović-Hofman (ed.): History of Serbian Music. Serbian Music and European Heritage, Belgrade, Zavod za udžbenike i nastavna sredstva, pp. 405–422, 2007.

“Mediations of Reality Through Bayreuth Festival”, in: Sonja Marinković, Zoran T. Jovanović and Vesna Mikić (eds.): Wagner’s “Opera and Drama” Today, Novi Sad, Matica srpska, 2007, pp. 29–42.

“Another Contemporary Contribution to the Contextualization of the Passacaglia. About Jugoslav Bošnjak’s Work Sinfonia – Passacaglia”, New Sound. International Journal of Music, No. 30, 2008, pp. 121–128.

“Surpassing improvisation? Stockhausen’s Concept of Intuitive Music” (with Aleksandar Molnar), New Sound. International Journal of Music, No. 32, 2008, pp. 167–181.

“‘Material in Adorno’s Sociology of Music“ (with Aleksandar Molnar), Sociological Review, Vol. XLII, No. 3, 2008, pp. 365–384.

“Richard Wagner’s and Modest Mussorgskij’s Critique of Modern Civilisation. Back to the Past – Not an Escape, nor a Memory, but a Road to Salvation” Tatjana Marković and Vesna Mikić (eds.), Musical Culture & Memory, Belgrade, Faculty of Music, pp. 190–200, 2008.

“Avant-Garde – Making War, Revolutionary Politics and Art” (with Aleksandar Molnar), Philosophy and Society, Vol. 36, No. 2, 2008, pp. 191–221.

“Echoes of Modernism in rock music of late sixties and early seventies. Influence of Karlheinz Stockhausen on early works of German group Can” (with Aleksandar Molnar), Dejan Despić and Melita Milin (eds.): Rethinking Musical Modernism, Belgrad, Institute of Musicology of the SASA, 2008, pp. 271–282.

“Romantic Representation of Avant-Garde” (with Aleksandar Molnar), Third Program, No. 137–138, 2008, pp. 371–401.

“Schönberg’s Avantgardism beyonds Politics” (with Aleksandar Molnar), Third Program, No. 139–140, 2008, pp. 461–490.

“Adorno’s Marxism Versus Schoenberg’s Judaism. Ideological Foundations of Adorno’s Sociological Approach to Schoenberg’s Dodecaphonic Music” (with Aleksandar Molnar), Sociology – Journal For Sociology, Social Psychology, and Social Anthropology, No. 1, 2009, pp. 45–54.

“Fatal Attraction of Hovering and the First Temptations of Atonality. On Arnold Schönberg’s Second String Quartet” (with Aleksandar Molnar), Matica Srpska Journal of Stage Arts and Music, No. 40, 2009, pp. 103–114.

“Debate on Sublime in the End of 18th Century: Burke, Kant, Schiller” (with Aleksandar Molnar), Philosophy and Society, No. 1, 2009, pp. 143–158.

“On (In)Completeness of Schoenberg’s Oratorio Die Jakobsleiter“ (with Aleksandar Molnar), Musicology, No. 9, 2009, pp. 113–132.

“Occidental Rationalism in Max Weber’s Sociology of Music ” (with Aleksandar Molnar), Matica Srpska Social Sciences Quarterly, No. 129, 2009, pp. 31–43.

“Lied: from Hausmusik to film. On the example of Franz Schubert’s Winterreise“, New Sound. International Journal of Music, No. 36, 2010, pp. 13–28.

“Psychoanalytic approach to the biography and work of composer: pro and contra, when and why”, Tatjana Marković and Vesna Mikić (eds.): (Auto)Biography as a Musicological Discourse, Belgrade, Faculty of Music, 2010, pp. 121–134.

“The Listener of the Chthonic Gods and the Barroom Player. Adorno’s Experience of Schubert“, Philosophy and Society, Vol. 22, No. 2, 2011, pp. 173–190.

“Adorno’s Early Theory of Society and Music (1928–1934)“ (with Aleksandar Molnar), Sociological Review, Vol. XLV, No. 3, 2011, pp. 351–372.

“Mythic World of the Past Times and Music: the Opposition Between Schubert and Wagner in Adorno’s Early Theory of Music“, Third Program, No. 151–152, 2011, pp. 164–175.

“Adorno’s Comprehension of the Wandering Through the Schubert’s Musical Landscapes“, Matica Srpska Journal of Stage Arts and Music, No.46, 2012, pp.101–116.

“Schubert and Beethoven – Adorno’s early Antipods of the Music in Bougeois Epoch”, Philosophy and Society, Vol. 23, No. 3, 2012, pp. 221–236.

“Adorno’s Failed Attempt to Establish an Underground Connection of Continuity Between Schubert and Schoenberg“, Matica Srpska Journal of Stage Arts and Music, No. 48, 2013, pp. 97–112.

“Wandering Motive and its Appeal on Reluctantly Wandering Franz Schubert“, Issues in Ethnology and Anthropology, Vol. 8, No. 1, 2013, pp. 277–293.

“Self-parodical Consequences of Operatic Parody. The Perfect American (Jungk – Wurlitzer – Glass)“, New Sound. International Journal of Music, No. 41, 2013, pp. 110–116.

“Wandering Ethos and Romantic Spirit. Reflections Following the Trail of Max Weber’s Sociology“, Sociological Review, Vol. XLVII, No. 3, 2013, pp. 355–372.

“Inception of Wagner’s Doctrine of Regeneration Prior to the Revolution 1848–1849“, New Sound. International Journal of Music, No. 42, 2014.

PUBLICATION ABSTRACTS (selected)

Dragana Jeremić-Molnar and Aleksandar Molnar, Mit, ideologija i misterija u tetralogiji Riharda Vagnera. “Prsten Nibelunga” i “Parsifal” (Myth, Ideology and Mystery in the Richard Wagner’s Tetralogy. “Der Ring des Nibelungen”and “Parsifal”), Belgrade, Zavod za udžbenike i nastavna sredstva, 2004, 478 p.

This book is an attempt to deal with artistic, ideological, and religious aspects of Wagner‘s project restore the ancient Greek tetralogy. The idea of tetralogy was key to Wagner’s decision not to complete heroic opera Siegfrids Tod and to compose music dramas that would later become parts of the Bühnenfestspiel Der Ring des Nibelungen. However, given that this cycle was not capable of expressing his (meanwhile revisited) Weltanschauung, Wagner had to compose the final part of it – Bühnenweihfestspiel Parisfal.

Dragana Jeremić-Molnar, Richard Wagner, constructor of “genuine“reality. Regeneration through Bayreuther Festspiele, Belgrade, Book Factory, 2007, 396 p.

In the book the author is analyzing Wagner’s Bayreuth project from the standpoint of Berger’s and Luckmann’s sociological theory of the construction of reality. The Bayreuther Festspielhaus was supposed to be, once in a year, during the Baureuther Festspiele, a place where, in the midst of the current, perverted reality – that is, the reality of everyday life – a germ of the new reality should be constructed and offered to the participating audience.

Dragana Jeremić-Molnar, “Mediations of Realiy within the Bayreuth Festivities“, in: Sonja Marinković, Zoran T. Jovanović and Vesna Mikić (eds.), Wagner’s “Opera and Drama“ Today, Novi Sad, Matica srpska, 2007, pp. 29–42.

In this article the author wants to show that the effect of the transposition of the Bayreuth audience into the morally regenerating reality constructed on the stage by the means of Wagner’s art, depended not only on the interaction of the elements incorporated in the Festspielhaus, but also greatly on the degree of the visitor’s emancipation from the everyday reality.

Dragana Jeremić-Molnar, “Richard Wagner’s and Modest Mussorgskij’s Critique of Modern Civilisation. Back to the Past – Not an Escape, nor a Memory, but a Road to Salvation”, in: Tatjana Marković and Vesna Mikić (eds.), Musical Culture & Memory, Belgrade, Faculty of Music, pp. 190–200.

Richard Wagner’s and Modest Musorgskij’s full involvement into the creation of poetry, drama, and music of Der Ring des Nibelungen and Parsifal on one side, and of Khovanshchina on another, enable both of them not only to express their own understanding of their nation’s pasts and not only to present their talent in reconstructing past times, but enable them to express their critique of modern civilisation and to reveal their own Weltanschauung.

Dragana Jeremić-Molnar and Aleksandar Molnar, “Avant-Garde – Making War, Revolutionary Politics and Art“, Philosophy and Society, 2008, Vol. 36, No. 2, pp. 191–221.

Emerging in the politics and art in the first half of 19th century and designed to ruin almost the whole tradition of „bourgeois“ enlightenment, political and artistic avant-garde was never capable of emancipating itself from its roots in strategic military thinking. Its true essence was to create battlefields in every domain of public life where the chance was given to ruin civil society.

Dragana Jeremić-Molnar, “Inception of Wagner’s Doctrine of Regeneration Prior to the Revolution 1848–1849“, New Sound, 2013, No. 42/II, pp. 71–85.

This article focuses on three early instances where Wagner referred to regeneration: a letter from 1843, a text “How do republican aspirations stand in relation to the monarchy?”, and a paper Art and Revolution. In 1843, Wagner had only vague ideas about regeneration in art; five years later, it was the rebirth of human society that he had in mind; after the collapse of the revolution, he established a correlation between regeneration and art.

Dragana Jeremić-Molnar, “The problem of reality in writtings of Richard Wagner. Reality of Artwork as Transition from ‘Reality of the Contemporary World’ to wards ‘Reality of the Future World’“, Philosophy and Society, 2014, Vol. XXV, No. 2, pp. 257–273.

During the years, Richard Wagner has developed his own version of the world, that was meant to become the referential framework for creating an entirely different reality in the future. In the letter to August Röckel, from 25–26 January 1854, Wagner put together his earlier reflections on reality into a relatively meaningful whole. He did it by the means of several different concepts: “the World as a whole”, “the actual world”, “reality of the world”/”the modern reality”. But, instead of elaborating his idea of world, he developed idea of the artwork which was supposed to be a sort of mediator between “the actual world” and “the world of the future”.

OTHER ACTIVITIES

Member of project team

Year: 2001–2005

Project: “Serbian music and European music heritage“, Faculty of Music, Belgrade, Serbia;

Year: 2002

Project: “European identity in the modern world“, Inter-University Centre, Dubrovnik, Croatia;

Year: 2006–2010

Project: “World chronotopes of Serbian music“, Faculty of Music, Belgrade, Serbia;

Year: 2011

Project: “Politics of social memory and national identity: regional and European context“, Institute for Philosophy and Social Theory, Belgrade, Serbia;

Year: 2011–present

Project: “The identities of Serbian music in the global cultural context“, Faculty of Music, Belgrade, Serbia.