Serbian Music

Sources for musical life in the Zadar cathedral of St. Stošija from the seventeenth century are limited to two manuals compiled by the then maestro del coro Šime Vitasović (Simeon Vitassouich, 1644–1719): a manuscript from 1677 with liturgical texts, some with coral notation, and a 1685 songbook containing church songs (without notation) in the Croatian language, versatile dialogues performed solo (una voce), in two voices (binis vocibus) or in chorus, and one integral liturgical drama for Christmas. Vitasović was also present at the Diocesan Synod of the Archdiocese of Zadar, convened in 1680 by the Archbishop Giovanni Ev. Parzaghi (archbishop 1669–1688), which confirmed the regulations on music in the cathedral, agreed to at the previous synod in 1664. We know little about music in the cathedral during the eighteenth century.
In the archives of the achbishopric are preserved two volumes of the then popular psalms, Estro poetico-armonico (1724) by Benedetto Marcello; a manuscript hymnal from 1737 with rites for Holy Week used by maestro del coro Giovanni Frangipani (active ca. 1737–1773); and the libretti of the oratorios Jephtes sacrificium by Antoni Sacchini (1771) and Judith triumphans by Bonaventura Furlanetto (1787), printed for their first performances in Venice, which were probably not performed in Zadar. In 1784 was completed in Zadar the building of the Nobile Teatro, and with the
establishment of the regular opera seasons increased the number of  instrumental musicians in the city. That made possible from 1808 organizing in the cathedral the liturgical celebrations for important holidays with a participation of an orchestra.
In addition to figural music, there was a practice to perform also Gregorian chant and other vocal music a cappella or with organ accompaniment. Thus, two persons were always concurrently in charge of music: the orchestral performances were directed by the maestro di cappella, and the coral performances by the maestro del coro, who also taught canto ecclesiastico at the seminary. The position of maestro di cappella was successively held by Jerolim Alesani (1778–1823), Antonio di Licini, Giovanni Cigala (1805–1857), Antonio Ravasio (1835–1912), and Giometto Giometti (1885–1928). After Alesani’s death in 1823, the maestro del coro was Francesco Sabalić (1777–1855). He also taught church singing at the seminary and compiled a manual, Regole di canto fermo (lost). He was succeeded by Mate Kurtović (1804–1875), who was first mentioned as music director already in 1840, and since 1855 has taught Gregorian chant at the seminary. He also wrote a textbook Manuale dei principii di canto-fermo giusta le regole di S. Gregorio Magno (Venice 1844).
The music repertoire since the early nineteenth century has been relatively well documented through four groups of sources: (1) musical collection in the archives of the Zadar Archbishopric (collection HR-AZDN-49), (2) payments to copyists of music parts used in performances and to musicians, (3) manuscript chronicles, the Memoriale functionum Ecclesiae Metropolitanae Jadrensie and the Cronaca ecclesiastica di Zara, both spanning from 1865 through 1890, written by the canon Carlo Federico Bianchi, which are exquisit sources for the social, cultural and musical life of Zadar, and (4) reports about the performances published in newspapers.

Монографија се бави проучавањем утицаја сензорне стимулације на перцепцију музике код деце. Истиче се да је перцепција сложена психичка функција која подразумева оспособљавање организма да уз помоћ чулних органа прими, прерађује и организује чулне утиске и стиче сазнања о стањима и променама у својој околини. Ауторка такође наводи да се опажање тек у процесу практичне делатности (која га усмерава на чулне квалитете значајне за њено успешно обављање) претвара у сазнајну активност која се учи, те се може унапредити и развијати кроз васпитно‑‑образовни рад и сензорну стимулацију. Имајући у виду чињеницу да је период осетљивости, односно узраст у коме се чула и перцепција највише развијају и када је могуће највише утицати на њихов развој предшколски и млађи школски узраст, посебна пажња посвећена је проналажењу начина да се чула богато и разноврсно користе, нарочито у играма и брижљиво дидактички структурираним материјалима.
У раду је дат преглед различитих схватања перцепције, од Атомиста до Теорије одраза Павлова, као и преглед психолошких теорија и приступа перцепцији музике. Посебна пажња посвећена је перцепцији различитих изражајних средстава музике. Дефинисани су и представљени различити видови сензорне стимулације деце у циљу унапређења њихове перцепције музике. Посебно је истакнуто да се развој опажања код деце не одвија спонтано, већ под утицајем праксе и учења у току којих оно овладава социјалним сензорним искуством и укључује се у сензорну културу коју је човечанство створило. Наводи се, између осталог, да одрасли формирају методе и поступке упознавања детета са околином, упознају дете са системом музичких звукова, говорних фонема, геометријских облика које је човечанство изградило и подучавају дете да их означава помоћу језика и да, као резултат тога, дете усваја известан систем општеприхваћених сензорних еталона, које затим користи у својој перцептивној активности, анализирајући стварност и одражавајући је у синтетичким сензорним ликовима.
На крају монографије приказано је емпиријско истраживање које прати на који начин континуирана сензорна стимулација деце предшколског и млађег школског узраста може утицати на њихову перцепцију слушане музике. Такође, дати су критички осврт на истраживање, практични примери сензорне стимулације и препоруке за будућа истраживања и рад просветних радника у вртићу и у основној школи.
Монографија указује на значај практичног рада са децом, те сензорне стимулације (путем повезивања садржаја различитих уметности) у функцији унапређења њиховог приступа стварима и појавама које их окружују, те њиховог промишљања о датим стварима, што доводи до унапређења (музичке) перцепције код деце. Критички сагледава праксу и нуди решење проблема у контексту његовог настајања, што може бити подстицај и за друге практичаре на предузимање сличне акције.
У монографији се истиче да је однеговано чулно запажање темељ две највредније људске способности: интелигенције и креативности и да су обе значајне за развој схватања, али и доживљавања света који окружује дете. У том оквиру општи закључци истраживања синтетизовани су кроз педаго шке активности употребе асоцијација које су успешно апострофиране у завршном делу монографије. Поменуте активности коришћења асоцијација суштински се односе на истицање значаја стимулације деце садржајима различитих уметности.
Иако се резултати истраживања односе на контекст у коме је обављено, вредност ове монографије је, између осталог, и у томе што може бити извор мењања праксе и односа према музици и уметностима у вртићу и основној школи. Посебно значајним чини се истицање потребе да се васпитно‑‑образовни процес обогати интеграцијом садржаја из различитих области, ради холистичког развоја деце.

Кључне речи: 1. сензорна стимулација, 2. перцепција музике, 3. схватања перцепције, 4. теорије перцепције музике, 5. синкретизам уметности,  6. слушање музике, 7. изражајна средства музике, 8. деца,  9. холистички развој, 10. емпиријско истраживање.

The association between Vasilije Krestić and the Serbian Academy of Sciences and Arts began during his research for the doctoral dissertation The Croatian–Hungarian Settlement of 1868. When the Academy subse-quently published his dissertation, the doors of this institution were ef¬fectively opened to the young scholar. Parallel to his advancement to high¬er academic ranks at the university, Krestić became increasingly involved in the Academy’s daily activities—as an author, a participant in scholarly conferences, a presenter of reports, a member of commissions for the eval¬uation of archival materials, and an editor of important historical sources. He soon fulfilled the necessary requirements to be nominated as a candi¬date for corresponding membership in the Academy. When, on 7 May 1981, at not yet forty-nine years of age, he was elected to this rank, he became the youngest member of the Department of Historical Sciences. Following his election, the number of responsibilities entrusted to him increased significantly, and the status of corresponding member en¬abled him to link his scholarly work even more closely to the Academy and to further expand it. On 1 February 1982, he was appointed Director of the Archive, an institution that for a long time had not been headed by a member of the Academy. Within a short period, he succeeded in trans¬forming this small but exceptionally important institution into a model unit of the Academy. At his initiative, the Academy established the Com¬mittee for the History of the Serbs in Croatia, tasked with undertaking a comprehensive study of the history of the Serbs in Croatia, Slavonia, and Dalmatia throughout all centuries of their presence in these regions. Krestić was one of sixteen academicians elected to the Committee for the Preparation of the Memorandum, a document that the Academy decided to draft in order to present the existing social, political, economic, scientific, and cultural problems and to address it to those most responsible for conducting public affairs in Serbia and Yugoslavia. The appearance of a working version of the document in the public sphere ushered in a highly unpleasant phase in the history of the Academy, during which it was accused of Greater-Serbian hegemonism and anti-state activity. Krestić was among the leading figures in defending the Academy against such attacks, which he professionally and argumentatively exposed and rejected. He was elected a full member of the Department of Historical Sciences on 25 April 1991, and delivered his inaugural academic lecture, entitled Essentially Contested Issues between Serbs and Croats throughout History, at a special session of the Academy on 12 May 1992. His attempts to attain leading positions within the Academy (as a candidate for Vice President in late 1993 and early 1994, and for President in 2007) were unsuccessful. Nevertheless, this did not deter him from his persistence and continued efforts to care for the Academy and to contribute to the defense and preservation of its reputation. He served as Secretary of the Department of Historical Sciences for four terms, from 1 January 1998 until April 2011, when he voluntarily stepped down. During this period, the Department ranked among the leading units of the Academy in terms of scholarly productivity. Between his two major jubilees—the celebration of his eightieth birthday in 2012 and the ninetieth anniversary of his birth in 2022 Krestić proved to be one of the most industrious and dedicated Serbian academicians. He serves as President of the Professional Council of the SASA Archive in Sremski Karlovci, is a member of the editorial board of the Serbian Biographical Dictionary, and a contributor to the Serbian En¬cyclopedia. In this period, he published with the Academy three mono¬graphs, two catalogues, as well as one collection of sources and one edited volume. Over the past ten years, five volumes of the Proceedings on the Serbs in Croatia have appeared, in each of which he acted not only as editor and reviewer, but also as the author of one or two contributions. Krestić has participated in numerous scholarly conferences and, un¬der the auspices of the Academy and its branches, has delivered several lectures and presented his books. To this should be added a large number of television, radio, and newspaper interviews, as well as articles published in daily newspapers and various weekly magazines. In these public appearances, Krestić addressed not only his own field of scholarship but also the Academy itself, the state of Serbian culture and science, the national question, the suffering of the Serbian people in the twentieth century, foreign policy issues, and other important topics. He took part with great care in the election of new members, both as a proposer and as a voter, striving to ensure that his home Department would, in each election, secure as many younger and distinguished candidates as possible. Between 2012 and 2022, he received a series of awards and distinctions. His work within the Academy was symbolically crowned in 2021, when he became the first recipient of the newly established “SASA Medal” in the field of social sciences and humanities. Although now approaching his tenth decade of life, Krestić remains among the most active and dedicated members of the Serbian Academy of Sciences and Arts.

Spiritual music is said to have many functions: from religious, pedagogical, to educational and developmental functions. Reducing spiritual music, particularly Serbian spiritual music, solely to a tool for awakening one's religious feelings had a negative impact on studying this type of music in Serbian education in the post-war period. However, in the last decade of the previous century, Serbian spiritual music was incorporated in the curricular content of Music Education in primary schools. Bearing this in mind, the authors of the paper set the aim of their research - to determine the representation of Serbian spiritual music in teaching Music Education in the second cycle of general education, as well as its significance according to teachers' opinions. In order to contribute to this endeavour of national importance, the authors conducted research to investigate how much is Serbian spiritual music present in the current curricula, recommended contents, and music lessons, and what is its function from teachers' perspective. The research results, obtained on a sample of 24 teachers from the territory of the city of Niš, show that teachers attach importance to covering this content in their music lessons, they believe that this type of music is sufficiently represented in the curricula, and that they self-educate on this topic. The results illustrate the current situation which can be a starting point for potential modifications of the curricula in terms of expanding the content related to Serbian spiritual music.

The term ′moderated modernism′ has been current for quite some time in Serbian music historiography, but there have been only a few attempts to define it. I shall try to define the term, introduce some of its key concepts and features and demonstrate its applicability. Although moderated modernism was an international phenomenon which had divergent manifestations in various periods before and after the Second World War throughout Europe, my aim is to focus on the period between the decline of Socialist Realism and the ascent of post-modernism (roughly 1950 to 1980) in socialist Serbia, and to discuss the discourses and ideologies surrounding moderated modernism then and there.

This article deals with the soundscape of Mikser, an independent festival of contemporary creativity, established in 2009 in Belgrade, the capital city of Serbia. I focus on the years 2012–2016, during which Mikser was taking place in Savamala, an urban quarter in central Belgrade – which itself has undergone various urbanistic and cultural transformations in recent years. The creative team behind Mikser aimed to turn Savamala into a permanent fixture on the map of Belgrade nightlife and a tourist hotspot; the fact that they did not succeed was on account both of financial issues and conflicting top-down business interests. My conclusion is that the long-term survival of the festival is not dependent on its program or audiences, but on securing official support and infrastructure.

In the late sixteenth and seventeenth centuries the Ukrainian and Belarusian church repertoire was intensively renewed through interaction with Balkan Orthodox chant traditions. This is evidenced by "Bulgarian, " "Greek, " "Serbian, " "Multanian, " and "Wallachian" chants, written in Ukrainian and Belarusian Heirmologia of that time. Our object of study is the polyeleos refrains found in Ukrainian and Belarusian staffnotated Heirmologia of the seventeenth and eighteenth centuries under the rubric "Bulgarian prypila." These refrains are based on the poetic work of Filotei, a monk of the Wallachian Cozia Monastery in the southern Carpathians. In liturgical practice, polyeleos prypila existed in both oral and written traditions. Our comparative study shows that all of Filotei's prypila in Ukrainian and Belarusian manuscripts were combined with the same melodic model and were performed using the technique of chanting "na podoben" ("according to the model"). The melody of Filotei's prypila in Ukrainian and Belarusian Heirmologia was based on the late-Byzantine tune from the antiphon to the Most Holy Theotokos-chiefly the tune associated with the non-psalmic text "Rejoice, joyful Maria" (Χαῖρε κεχαριτωμένη Μαρία). The discovery of the Byzantine musical source of the "Bulgarian" prypila written in Ukrainian and Belarusian manuscripts, and the mapping of intersections among various church-chant traditions, enriches the history of Orthodox church music with new facts and contexts. Keywords: Polyeleos, polyeleos prypila of the Wallachian monk Filotei, Bulgarian prypila, Bulgarian chant, Ukrainian and Belarusian staffnotated Heirmologia of the seventeenth and eighteenth centuries, Kyivan exegesis of Byzantine music, antiphon to the Most Holy Theotokos, magnification to Prince Volodymyr of Kyiv.

Somborska Učiteljska škola predstavljala je jedan od najznačajnijih prosvetnih i kulturnih centara u drugoj polovini 19. veka. Kao središte prosvetiteljstva, uticala je na uspostavljanje temelja kvalitetnog muzičkog obrazovanja, doprinoseći razvoju kulturne, umetničke i muzičke tradicije grada. Nakon pada apsolutizma, stvaraju se društveno-političke prilike iz kojih je vidljivo ideološko stremljenje ka građanskom liberalizmu. Usled mnogobrojnih promena sprovode se reforme školskog sistema, a u nastavni plan uvodi se predmet Harmonično pojanje s ciljem da se podstakne estetsko obrazovanje učenika. Dragutin Blažek, prvi školovani muzičar u istoriji Učiteljske škole u Somboru, poreklom iz Češke, dolazi 1870. godine na mesto nastavnika Harmoničnog pojanja, gde se, pored rada u oblasti komponovanja, dirigovanja, muzičke esejistike i publicistike, afirmiše i kao muzički pedagog. U ovom radu postavljena su dva pitanja s ciljem da se rekonstruiše metodička praksa na predmetu Harmonično pojanje, a to su: kako je izgledao metodički pristup Dragutina Blažeka iz ugla muzičkog opismenjavanja i da li postoje određene sličnosti ili razlike u odnosu na savremeni metodički pristup muzičkom opismenjavanju. Rezultati analize ukazali su da je nastava bila usmerena od teorije ka zvuku u oblasti melodike i ritma. Muzički fenomeni nisu usvajani po principima zvučne percepcije, njihovog izdvajanja i fiksiranja u svesti učenika. Zbog nedostatka zvučnog iskustva i dominantnog deduktivnog pristupa umanjena je mogućnost za stvaranje funkcionalnog znanja u domenu muzičke pismenosti.

Pedagoški rad Stane Đurić Klajn na Muzičkoj akademiji (FMU) u Beogradu. Lekcije o istoriji nacionalne muzike. Praktično muziciranje na časovima. Poslednji čas Stane Đurić Klajn. Uputstva o zaštiti autorskog rada i prava.
Istraživanja i rad na tekstovima o Jovanu Pačuu i Petru Krančeviću.

Manolis Kalomiris (1883–1962), the leader of the Greek National School of
composers, continuously sought to express his ideas through both music
and words. This paper examines the formation of his ideology up to 1910,
focusing on his writings (articles, the 1908 “program-manifesto”) and his
orchestral Romeic Suite (1907/1910). Musical and textual co-examination
under semantic codes reveals external influences, symbolic meanings,
and ideological identity of the composer and his work. It is asserted
that within the historical context of the early 1910s, Kalomiris used
intertextual discourse to convey his ideological codes to Greek literary,
political, and musical audiences of the time.

The Yugoslav Music Panel (Jugoslovenska muzička tribina) was held in Opatija from 1964 to 1990 as a showcase of contemporary works by Yugoslav composers of various stylistic and compositional-technical orientations. Alongside composers, performers, and musicologists, music critics and chroniclers from different parts of the country were present at the inaugural Yugoslav Music Panel in 1964. Their largely unified discourse in the press presented the event as a significant cultural occasion with considerable potential for the development of contemporary musical creativity in Yugoslavia. This study analyses the reception of the first Yugoslav Music Panel through articles published in the print media of five Yugoslav centres whose composers’ associations were involved in organizing the festival (Zagreb, Ljubljana, Belgrade, Sarajevo, Skopje).

The paper examines the significance of musicological competences in the operation of a music festival. The representation of musicological content in the accompanying festival program, as well as the involvement of musicologists in the dissemination of the festival, profiles the music festival as a non-academic platform for the realization and affirmation of various forms of work in the field of applied musicology.

The Belgrade String Orchestra “Dušan Skovran” was founded in 1965 by conductor Dušan Skovran as the Academic Chamber Orchestra at the Music Academy in Belgrade. After Skovran’s death in 1975, violinist Aleksandar Pavlović took over as conductor and artistic director. The orchestra, named after its founder, achieved professional status a few years later in 1980. Beyond its commitment to promoting Baroque, Classical, and Romantic art music, as well as diverse 20th-century contemporary works, the Belgrade String Orchestra “Dušan Skovran” has shown a particular dedication to performing music by Serbian and Yugoslav composers. As part of its 60th anniversary celebration (1965–2025), this paper provides an overview of the orchestra’s history and media reception, highlighting its most significant achievements and the challenges it has encountered. Furthermore, the research examines the sheet music within the Academic Chamber Orchestra / Belgrade String Orchestra “Dušan Skovran” legacy. An analysis of this collection, particularly the works by Serbian and Yugoslav composers in its repertoire, underscores its importance as a valuable treasure of our chamber music heritage.

This paper examines the works of contemporary female composers from Serbia, inspired by the musical folklore of the East African country of Burundi. The focus is on the Burundian Suite for Flute, Clarinet, and Bassoon (2022) by Stanislava Gajić and the work Voice from Afar for Percussion and Electronics (2022) by Dorotea Vejnović. While S. Gajić aimed to preserve Burundi’s musical identity by placing the melodies of this country’s traditional songs almost unchanged into a contemporary artistic context, D. Vejnović used a traditional Burundian song (a lullaby) as a sound background from which she formed entirely new, specific soundscapes. The aim of this research is to examine the artistic approaches of the mentioned composers in works inspired by the folklore of Burundi, through the analysis of poetic principles and compositional techniques. Given that the compositions Burundian Suite and Voice from Afar are the result of field research on the music and dance of Burundian migrant women, the paper also examines the multiple significances of scientific-artistic projects dedicated to migrant communities.

One of the most significant works in the opus of Dragutin Gostuški as a composer is Rummy – A Fantastic Ballet Scene (1955). The ballet’s plot is based on the universal theme of the relationship between a woman and a man, and the music, although of neo-Romantic provenance, reveals some of the composer’s modernistic compositional techniques. After winning an award in a competition announced for new drama, opera, and ballet works on the occasion of the centenary of the Croatian National Theatre (1961), this ballet premiered two years later at the Music Biennale Zagreb (MBZ), an international festival of contemporary music in Yugoslavia (1963). Reflecting the diversity of compositional tendencies in the 20th-century music, the program of the MBZ (1963) included, among other things, as many as fourteen musical and stage works by Yugoslav and foreign composers. Alongside the performance by the Hamburg State Opera, which introduced the Yugoslav audience to some of the classics of contemporary opera (works by Igor Stravinsky and Alban Berg), contemporary Yugoslav ballet held a central place in the musical and stage repertoire of the MBZ (1963). On the penultimate day of the festival, the Croatian National Theatre hosted an evening of Yugoslav ballet, during which, along with three ballet works by Zagreb authors – А Man in front of the Mirror (1961) by Milko Kelemen, The Demon of the Golden Street (1962) by Krešimir Fribec and Encounters (1963) by Ivo Kirigin – the ensemble also premiered Rummy (1955) by the Belgrade composer Dragutin Gostuški (directed by Zvonimir Reljić and conducted by Pavle Dešpalj). Since Gostuški’s ballet had previously been awarded at the competition held on the occasion of the centenary of the Croatian National Theatre, this paper first explains certain inconsistencies in the implementation of this competition by analysing Gostuški’s correspondence with the leaders of the Zagreb theatre. A whole set of (un)fortunate circumstances, as it turned out, led to Rummy being premiered two years later at the MBZ. Furthermore, an analysis of the score of this piece took into consideration certain musical characteristics of Rummy in relation to the avant-garde tendencies in music at that time, as well as in relation to the criteria for selecting repertoire at the Music Biennale Zagreb. Finally, through the analysis of festival reviews and critiques published in the press from various Yugoslav centres, this study has found conflicting reactions among music critics to the premiere performance of Dragutin Gostuški’s ballet at this most important international festival of contemporary music in Yugoslavia.

У историји Музиколошког института САНУ, дугој преко 75 година, до сада су обележена три јубилеја – поводом двадесет пете, (1973), шездесете (2008) и седамдесете годишњице рада (2018). Садржаји ових прослава показују одређене сличности, али и специфичности својствене праксама научних институција, у овом случају, оних посвећених проучавању музике. У оквиру сва три догађаја уприличене су Свечане академије, с учешћем академика и директора Музиколошког института САНУ, као и концертни програми. Прославе јубилеја перципиране су и организоване од стране сарадника као значајне смотре промоције и афирмације најпре сâмог Института, музиколошке и етномузиколошке науке, те српске музике и културе у целини, а њихове организационе стратегије биле су условљене капацитетима Института у датом тренутку, финансијским могућностима, агилношћу и ангажованошћу руководилаца, кадровском расположивошћу, те развојем технологије и нових медија. Одражавајући спремност и настојање научних радника да изађу из строгих академских оквира и представе резултате свога рада на један друкчији, за ширу публику атрактивнији и пријемчљивији начин, обележавање ових јубилеја представља тек фрагменте из богате историје неговања примењене музикологије и етномузикологије у Музиколошком институту САНУ, које је пројектом АPPMES добило и формално признање.

У периоду од 1964. до 1990. године у Опатији се одржавала Југословенска музичка трибина / Трибина музичког стваралаштва Југославије, као годишња смотра савременог музичког стваралаштва југословенских композитора различитих стилских и композиционо-техничких оријентација. Како је, уз реномиране музичке ствараоце, концепција Трибине у Опатији подразумевала равноправно представљање младих, неафирмисаних аутора, тако се на репертоару овог фестивала већ 1968. године нашло и име Властимира Трајковића, тада још увек студента композиције на Београдској Музичкој академији. Од тада, па током седамдесетих и осамдесетих година прошлог века, истакнути југословенски ансамбли и солисти често су изводили Трајковићева остварења на концертима Трибине у Опатији. На основу анализе музичких критика и записа у фестивалским билтенима, у раду ће се представити рецепција Трајковићевог стваралаштва са Трибине у Опатији. Такође, сагледаће се функција ове некадашње смотре савремене југословенске музике у уметничком раду Властимира Трајковића.

The Music in Serbia festival (Muzika u Srbiji-MUS) was held in Belgrade and other Serbian cities from 1976 to 1991. Presenting contemporary creativity of composers from the former Socialist Republic of Serbia and its two provinces (Socialist Autonomous Province of Kosovo and Socialist Autonomous Province of Vojvodina), as well as works by Serbian authors of older generations, MUS existed as a unique place of valorization and revalorization of domestic art music. Through the analysis of program and organizational strategies, financial aspects, repertoire policy, and forms of dissemination and promotion, this article points not only to the artistic scope but also to the socio-political implications of the Music in Serbia festival. Keywords: Music in Serbia (Muzika u Srbiji-MUS), music festival, contemporary art music, music of the Socialist Republic of Serbia, culture of socialism.

The history of the festivals of art music in socialist Yugoslavia can be traced back to the early 1950s. At that time, in accordance with the policy of raising the level of culture in the country, the role of music festivals was aimed at bringing the classics of art music closer to a wider audience. On the other hand, Yugoslav festivals focused exclusively on contemporary music began to appear a decade later, as a reflection of similar modernist practices in Europe, established immediately after the end of World War II. This doctoral dissertation discusses the genesis, program concepts and initial functioning of the first festivals of contemporary music in Yugoslavia – Music Biennale Zagreb (1961), Annual Review of Yugoslav Music (Opatija, 1962/1964) and Festival of Contemporary Chamber Music Slatina Radenci (1963). From an artistic perspective, these festivals are generators in the process of post-war affirmation of ‘Western’ modernist musical tendencies in Yugoslav space. This is also indicated by the programs of the first Music Biennale Zagreb, in which, for example, the works of John Cage and Karlheinz Stockhausen were presented. The modernist concept of the Annual Review of Yugoslav Music is confirmed by the fact that this festival originated from the Opatija Symposium New Music and Music Interpretation, which was held in 1962, where the central event was a concert of electroacoustic music. On the other hand, the specific concept of the Festival of Contemporary Chamber Music Slatina Radenci emphasized the importance of a reaffirmation of interwar modernism in Yugoslavia. In accordance with that, the works of composers Slavko Osterc and Josip Slavenski were incorporated into the profile of the Festival in Slatina Radenci. Aside from festivals' tendencies, whose common feature is the manifestation of musical modernism in various forms, each of the three festivals is distinguished by distinct program features and specifics of selection and presentation of contemporary music. The selection criteria, concerning the diverse meanings of the term contemporary music, were the strictest at the Music Biennale Zagreb. Unlike the Festival in Zagreb, the Annual Review of Yugoslav Music in Opatija was open to all the stylistic and compositional-technical tendencies of Yugoslav composers, while the concept of the Festival of Contemporary Chamber Music Slatina Radenci implied a strict distinction between contemporary music of the first and the second half of the twentieth century. Considering that in the period of post-war modernism the criteria for the evaluation of contemporary music, i.e. New Music, were intensely sought, the emergence of these festivals is interpreted as an attempt to establish organized mechanisms for solving such processes. Besides, these festivals included ideas about the potential creation of a recognizable style of contemporary Yugoslav music, which was a huge challenge, given the heterogeneity of stylistic and compositional-technical orientations of Yugoslav composers during the 1950s and 1960s. The doctoral dissertation also examines the reception of works by Yugoslav composers from the initial repertoires of the festivals, taking into account the general discourse on festivals of contemporary music by then domestic and foreign critics, who positioned these events highly, not only in music life, but also in the wider socio-cultural life of Yugoslavia (and, more broadly, of Europe, in the case of Music Biennale Zagreb). In the context of the socio-political constellations in Yugoslavia and the world as a whole of the time, these festivals were interpreted as events of wider social significance, based on some of the main ideas of Yugoslav domestic policy (decentralization, the idea of ‘brotherhood and unity’) and foreign policy (strategy of non-alignment during the Cold War). By analyzing such a complex set of circumstances, this dissertation proves the transparent or indirect confrontation of musical and non-musical aspects in the functioning of the first Yugoslav festivals of contemporary music. A particular focus in the doctoral dissertation is given to the genesis of the festivals, that is, the complex processes that led to the founding of the festivals of contemporary music in Yugoslavia. In this regard, the research brings analysis of the interconnection of artistic and poetic principles and various activities, as well as concrete and official steps of certain persons in order to establish Yugoslav festivals of contemporary music. Thus, the engagement of the founder of the Music Biennale Zagreb, Milko Kelemen, is interpreted in alignment with his avant-garde worldview, with emphasis on Kelemen's activities in the light of cultural diplomacy of the former Yugoslavia. The establishment and functioning of the Annual Review of Yugoslav Music in Opatija are associated with aesthetic beliefs about the potential construction of an authentic style of Yugoslav contemporary music, and the political/ideological views of the founder of this Festival, Branimir Sakač (emphasizing the role of his associates, especially Belgrade esthetician Pavle Stefanović). The efforts of a composer from the Pomurje Region, Ladislav Vörös, founder of the Festival of Contemporary Chamber Music Slatina Radenci, were interpreted as a reflection of then ruling Yugoslav policy of decentralization. Furthermore, this research does not overlook the involvement of certain persons from Ljubljana, who (indirectly) contributed to the establishment of the Festival in Radenci (Ivo Petrić, Pavel Šivic). The degree of realization of their efforts was interpreted as a result of the relatively favorable socio-political and artistic situation in Yugoslavia from 1948 to 1965. Given that the first three Yugoslav festivals of contemporary music were formed in less than four years, and that there is a direct or indirect intertwining of these festivals, Music Biennale Zagreb, Annual Review of Yugoslav Music (Opatija), and Festival of Contemporary Chamber Music Slatina Radenci were presented as the embodiment of heterogeneous, modernist, cultural-artistic, and socio-political tendencies in the context of Yugoslav postwar music culture development.

Српска академија наука и уметности у 2021. обележава годину Јована Дучића поводом 150. годишњице његовог рођења. Јубилеј, уз свечану академију и научни скуп, прати изложба Јован Дучић – Трагње за новим.

Дучић припада реду најзначајнијих књижевних стваралаца нове српске књижевности чијој је општој вредности својом поезијом и прозом умногоме допринео, у којој је оставио дубок траг, а његово је дело извршило велики утицај на низ генерација српских песника XX века.

Одавно је понео титулу „кнеза српских песника“ и током целог стваралачког пута бранио је својим делом, самокритичношћу, високим естетским мерилима, и, понајвише, потпуном преданошћу тражењу пута до савршенства.

Цео Дучићев живот, многострано богат и испуњен искушењима и искуствима – од школовања у родном Требињу, Мостару, Сарајеву, Сомбору, преко учитељевања у Бијељини, Житомислићу, Мостару, преко студија у Женеви и Паризу, учествовању у културном животу Београда, стицању успешне дипломатске каријере током више од три деценије, која га је одвела у велике културне центре Европе, којих је био достојан, до признања која је добијао, а избор за члана Српске краљевске академије сматрао највишим – био је, у основи, у сенци посвећености стварању и досезању савршенства. И његов лични, често бурни живот, испуњен радостима, грешкама, неоствареним жељама  и разочарањима, носио је белег његових тежњи ка савршенству. Тај белег су понела и сва импресивна сведочанства са многих путовања, која су била његова страст и извор књижевних инспирација и задовољстава.

Јована Дучића и све што је стварао подједнако је обележила за цео живот и његова непрекинута веза са постојбином, посебно са родним Требињем, у коме је провео само ране године живота до завршетка основне школе, и са коренима свога рода. Та се невидљива веза јасно и недвосмислено препознаје у недосањаној имагинацији о барокном претку Дуки – Владиславићу Рагузинском и у сновима у којима, некада хиљадама километара удаљен размишља „гледајући” са „Леутара”  на људске душе и судбине, на Херцеговину, на дубровачко море, на многе пријатеље, међу којима су толики писци, његови савременици, са којима у писмима дели и живи живот постојбине, и у којима је исписао читаву своју биографију. Ваљда је та веза била и најснажнији темељ његовог безрезервног родољубља, које је често скупо плаћао, и које је било од ране младости до краја живота једно од симбола његове личности.

Тај Дучић, пролазећи дуги пут, остављао је трајне трагове, од прве збирке песама – Пјесме, штампаних у Мостару 1901. године, које су морале представљати највећу личну књижевну радост, преко београдских издања двеју збирки песама Песама и Плавих легенди из 1908, Песама из 1911, преко више стотина песама и циклуса песама штампаних у књижевном листовима и часописима, есеја и мишљења о делима својих књижевних савременика, о филозофским темама, о уметности, преко путописа, превода омиљених страних песника и написа о њима (Пушкина, Мицкјевича и других), политичких чланака, а све се сливало у Сабрана дела, до Лирике објављене на дан пишчеве смрти.

Изложба Јован Дучић – трагање за новим приказује овог угледног члана Академије као књижевника, дипломату и задужбинара. Она прати Дучићева трагања за стилом и формом у књижевности, начинима да свој народ афирмише у оквирима европске традиције и напорима да „мило Требиње” учини центром културе.

Драмска слојевитост комада Луда шума (1989) одражава политичку конфузију с краја XX вијека: на макроплану, у смислу урушавања доминантог политичког бинаризма између капиталистичког Запада и комунистичког Истока, односно дезоријентисаности проистекле из наводног социјалистичког пораза, а на микроплану, у смислу неразјашњених околности румунске народне револуције и успостављања контроверзне постреволуционарне политичке власти. С обзиром на непроцјенљиви допринос који је Керил Черчил (Caryl Churchill) дала социјалистичкој идеји егалитарног друштва, сматрали смо да је неопходно посветити нашу пажњу драми у којој су очита конфузија и неизвјесност настале након „краја“ социјалистичког великог наратива и доминације неолиберализма и код саме ауторке. У том смислу, један од циљева овог рада јесте и покушај „одбране“ комада од агресивних и неоправданих својатања постмодернистичких аутора и осталих апологета неолибералног дискурса који, према нашем мишљењу, обезвређују не само вриједност овог комада већ и дугогодишњи политички ангажман Керил Черчил уопште.

https://www.sanu.ac.rs/en/scientific-conference-symphonic-music-after-1945/
https://dais.sanu.ac.rs/bitstream/id/73447/bitstream_73447.pdf

From Folk Ritual to Symphonic Form: The Aesthetic and Philosophical Dimensions of Sulkhan Nasidze’s Triptych

Among Soviet Georgian composers of the 20th century, Sulkhan Nasidze stands out for his deep engagement with the aesthetic and philosophical dimensions of ethnicity. A leading figure of the Georgian Sixtiers, Nasidze synthesises archaic Georgian folk rituals, European Romanticism, and modern compositional traditions in his most significant work—the symphonic triptych. It is noteworthy that Nasidze turned to the symphonic genre to reinterpret ethnic rituals that encapsulate reflections on universal human experiences—most notably, the enduring conflict between life and death.
This research focuses on Nasidze’s symphonic triptych—Pirosmani, Passione, and Dalai. Each part explores a different facet of Georgian ritual culture. Pirosmani is a tribute to the solitary artist whose spiritual world is framed by Tbilisi’s multi-ethnic musical environment. Passione parallels Georgian highland mourning rituals with the European Passion genre, employing a male chorus to echo traditional practices. Dalai reimagines the Tushetian funeral rite through responsorial orchestration, symbolizing the dialogue between mourner and chorus.
Through these works, Nasidze blends the musical characteristics of Georgian mountain folk traditions with Baroque and Romantic idioms. This study examines how he integrates, transforms, and reinterprets ethnic materials within a modern symphonic framework, revealing a unique compositional style that expands the cultural boundaries of Georgian music.
By combining ethnic modalities with European symphonic form, he created an original model. This research highlights how his use of national rituals expresses ethnic identity and reflects universal human concerns within the symphonic framework, giving Georgian traditions broader global significance.

The Irish composer John Field (1782-1837) spent nearly 30 years in Russia and dedicated many of his compositions to various women, including his students, patrons, and high-ranking aristocrats. This research focuses on exploring the creative journeys of the female recipients of Field’s compositions: sisters Irina and Agatha Poltoratsky, who were dedicated the four-hand variations How Have I Grieved in 1808 and the Second Piano Concerto in 1816; Countess Anna Orlova-Chesmenskaya, to whom Field dedicated the divertissement in A major in 1811; and sisters Anna and Elizaveta Shepelev, who were the dedicatees of the First and Fifth Vocal Nocturnes in 1825. Notably, Nocturne No. 5 in B-flat Major was dedicated to the Polish musician Maria Szymanowska, with whom Field became acquainted and maintained a close relationship during his time in Russia. Drawing on Eastern European archival materials, including personal recollections from Field’s Russian contemporaries and periodical publications of the time, this study offers a detailed reconstruction of the composer’s life and presents new information about his neighbours, patrons, and students. Through examining the lives of these women, new insights are revealed about Field’s supporters and students, as well as the characteristics of early 19th-century Russian musical salons. This research also sheds light on the social position of talented female musicians who were often consigned to oblivion or constrained to an amateur path in music. The findings highlight Field’s undeniable influence on the development of Russian piano music at its inception.

This paper analyzes music textbooks for the first grade of primary school issued by two publishers — Zavod za udžbenike (Belgrade) and Eduka (Belgrade). The study examines the textbooks, teacher’s books, and CDs, focusing on their alignment with the official curriculum, the presence of musical activities, the selection of compositions, the clarity and comprehensibility of the teaching materials, and their correlation with other school subjects. The analysis identifies both the advantages and shortcomings of the reviewed textbooks and provides methodological guidance that can assist teachers in selecting the most appropriate music textbook for classroom use.
This paper contributes to the literature on music education methodology and curriculum analysis by highlighting practical challenges and proposing evaluation criteria for early-grade music textbooks.
Апстракт: У овом раду се анализирају уџбеници Музичке културе за први разред основне школе двају издавача. Предмет анализе су уџбеници, приручници и компакт дискови од Завода за уџбенике и наставна средства и Едуке, оба из Београда. Интересовала нас је усклађеност наставних материјала са Наставним планом и програмом, заступљеност музичких активности, избор композиција за реализацију кроз музичке области, прегледност и разумљивост наставних садржаја, као и корелација са другим наставним предметима. Анализа показује добре и лоше стране ових уџбеника и може усмерити учитеље у избору уџбеника.

Ovaj je Ëlanak pregled dosad objavljene literature o glazbenom aeivotu Kriaeevaca u 19. stoljeÊu. Prva polovica 19. stoljeÊa oznaËuje poËetak organiziranog glazbenog obrazovanja u gradu izvan crkvenih i samostanskih πkola. Od 1813. godine to se obrazovanje pruaealo u privatnom Glazbenom zavodu, a od 1856. godine nastavilo se u Glazbenoj uËioni, koja je djelovala pri Glavnoj πkoli. Gradska limena glazba bila je Ëvrsto povezana uz obje obrazovne institucije, no povijest i djelovanje glazbe nisu do kraja istraaeeni. U drugoj polovici stoljeÊa osnivaju se tri pjevaËka druπtva, Zvono, Slavulj i Kalnik, a aktivnost potonjeg proteaee se i na sljedeÊa dva stoljeÊa.

This study discusses the changing role of music informants in the printed collections of Greek folk music from the mid-nineteenth to mid-twentieth century. The earliest collections do not even include the informants' names, the focus being laid on the information (the ethnographic material) per se. Even in the early-twentieth century, we know little of the sporadically named informants, such as their education or experience. The transfer of information was often carried out with no official permission and financial returns. This study examines the stages of a transformation, from the informant's anonymity to their moderate appreciation and final rehabilitation.
Study the past if you would define the future (Confucius)

Beethoven's music has set the tone during different and diverse events in human history. It has been used in order to pinpoint major historical events, but it has been also used in order to represent ideas such as friendship of nations, freedom, and many others. There are two events though when the music of Beet ho ven has meant more than a fine and glorious tune for the Athenian public. These two events occurred under totally different circumstances, with the first being an incident involving a Fidelio performance during World War II in occupied Athens, and the second having to do with the death of the legendary conductor Dimitri Mitropoulos and his urn containing his ashes arriving in Athens. Although the two incidents are historically unconnected, they are very much underlined by the Beethovenian values rep resented within the actual score. In this study, I will present the historical framework of both events but also taking a step further will dare to connect these with values that have been attributed to Beethoven's music in terms of fundamental representation.

Beethoven’s music has set the tone during different and diverse events in human history. It has been used in order to pinpoint major historical events, but it has been also used in order to represent ideas such as friendship of nations, freedom, and many others. There are two events though when the music of Beet­ ho ven has meant more than a fine and glorious tune for the Athenian public. These two events occurred under totally different circumstances, with the first being an incident involving a Fidelio performance during World War II in occupied Athens, and the second having to do with the death of the legendary conductor Dimitri Mitropoulos and his urn containing his ashes arriving in Athens. Although the two incidents are historically unconnected, they are very much underlined by the Beethovenian values rep­ resented within the actual score. In this study, I will present the historical framework of both events but also taking a step further will dare to connect these with values...

Prateći okolnosti objavljivanja i internacionalne recepcije pesme „Pioneers! O Pioneers!“ Volta Vitmana, predstavićemo neke od pravaca komparativnih i interdisciplinarnih izučavanja književnosti, pre svega imajući u vidu funkcionisanje književnog dela u širem društvenom okruženju i u kombinaciji sa drugim oblicima kreativnog izražavanja. Osvrnućemo se na specifičnosti prvih izdanja pesme „Pioneers! O Pioneers!“ u okviru zbirki koje je Vitman objavio neposredno nakon američkog građanskog rata i ukazati na važnost studija materijalne kulture u izučavanju književnosti. Internacionalna recepcija Vitmanove pesme potvrđuje činjenicu da značajan deo književne produkcije nastaje kao rezultat međunarodnog povezivanja pisaca i umetnika, te da izučavanje tih veza donosi dragocene rezultate. Primer prvog britanskog izdanja Vitmanove poezije (1868), koje je uključilo i „Pionire“, skreće pažnju na važnost celokupnog društvenog i političkog konteksta ciljne kulture, čak i kada su jezik i epoha isti. Posmatrajući prevode „Pionira“ na strane jezike (uključujući i srpski) i dalju distribuciju pesme u Evropi, osvrnućemo se na osobenosti objavljivanja u publikacijama različitog formata, kada proučavanje književnih prevoda ne podrazumeva samo lingvističko-semantičku analizu teksta, već se proširuje na izučavanje šireg istorijskog konteksta kao i medija u kom se tekst pojavljuje. Rusko izdanje „Pionira“ iz 1918. godine, sa ilustracijama avangardne slikarke Vere Jermolajeve, primer je prevođenja književnosti u drugi medij, što takođe potvrđuje važnost intermedijalnog pristupa u književnim istraživanjima. Priču o Vitmanovim „Pionirima“ ćemo zaključiti tamo odakle je i krenula, u Sjedinjenim Državama, kroz primer novije upotrebe pesme u novom kontekstu – u reklami za „Levi’s“.

In this paper, we have listed, in our opinion, the "sins" of the Roman Catholic priest and professor of theology Anton Mahnič (1850-1920), who in 1885 spoke unfavorably about certain poems of the famous Slovenian poet Simon Gregorčič (1844-1906). Sažetak U radu smo naveli po našem mišljenju " grehe " rimokatoličkog sveštenika i profesora teologije Antona Mahniča (1850-1920) koji se 1885. godine nepovoljno izrazio o pojedinim pesmama proslavljenog slovenačkog pesnika Simona Gregorčiča (1844-1906). Povzetek V prispevku smo našteli po našem mnenju " grehe " rimskokatoliškega duhovnika in profesorja teologije Antona Mahniča (1850-1920), ki je leta 1885 podal negativno oceno nekaterih pesmih znanega slovenskega pesnika Simona Gregorčiča (1844-1906).

This study explores the music and performers from Kosovo at some prominent Yugoslav art music festivals between the 1950s and 1980s. During this period, the evolution of art music in Kosovo experienced significant progress, reflecting broader cultural developments mirroring patterns in other Yugoslav countries. Kosovo's art music, alongside the creativity and performances of various ensembles, both choral and orchestral, managed to integrate into the larger multinational cultural community within Yugoslavia, particularly through participation in diverse music festivals. By examining these processes, this study underscores the complex and multifaceted nature of Albanian cultural representation at Yugoslav music festivals, categorized into distinct aspects: popular heritage and musical amateurism, semi-professional and professional ensembles, and works by Kosovo composers that contributed to the shaping of Kosovo's creative musical identity.

During the relatively short time between the two World Wars, Serbian society in the sphere of politics, economic and social aspects underwent a fast and fundamental transformation from a patriarchal structure towards a modern urban profile. Open both to East and West, the state invested a great deal in the international education of the younger generations and immediately the progressive new intellectual elite with great enthusiasm began to invest back in the general evolution of the country. Through the spirit of this time, one crucial, almost mythological question was raised again: “Are we (Serbs) going to be East in the West, or West in the East or, if we want to have our own place in Europe and the world, we should seek for a third way, our own synthesis with roots planted somewhere down in this crossroads of the two worlds?“ The main musical question of the second and third decades of the 20th century, as regards the aspects of a national style, was based on domestic or interna...

Wer nicht mitspielt, wird zur Strafe nicht gespielt -eine Variante der Musikpolitik des Dritten Reiches, »Entartete Musik« mit umgekehrten Vorzeichen. Gelernt ist gelernt, und man hatte gelernt, wie man Komponisten »durchsetzt« oder »abschießt«. Dazu brauchte man kein Propagandaministerium, ein runder Tisch in einem Lokal in Darmstadt oder Donaueschingen oder einer der vielen anderen Stätten eines Musikfests reichte vollauf, um über einem Glas Wein die musikpolitischen Weichen zu stellen. Peter Jona Korn 1 Wir sollten uns über unsere Errungenschaften definieren, nicht uns durch den Holocaust erwürgen lassen. Das wäre ein nachträglicher Triumph Hitlers. Ra fae l Se lig m ann 2

This paper presents the early reception of Marina Tsvetaeva's poetry, prose,
and essays in Yugoslav, or more specifically, Serbian translated literature, with the intention to examine the influence of the Russian poet as an exemplary cultural figure in the works of Yugoslav women writers. As a cultural icon, Tsvetaeva is present in the literary oeuvre of Serbian writer Biljana Jovanović (1953‒1996), from her second novel, "Dogs and Others", to her last play, "A Room on the Bosphorus", where she appears as one of the characters. Presenting Tsvetaeva as a countercultural figure, Jovanović builds her authorial authority and integrity based on the example of the Russian author's poetic persona and her autobiographical writing. However, she also establishes a reciprocal relationship, paying homage to this influential poet who, during her lifetime, was deprived of adequate attention from readers and critics. This aspect is also highly relevant in the work "Marina, or About Biography" by Croatian author Irena Vrkljan (1930‒2021), especially in the frame of the reception of Tsvetaeva's autobiographical works. By juxtaposing details from Tsvetaeva's biography with her own, Vrkljan legitimizes her poetic confrontation with genre, social, and gender conventions. In both writers' works, Tsvetaeva appears as a privileged interlocutor and a desired reader, in contrast to the presumed critical reaction of the literary establishment.

The following elaboration on musical culture focuses primarily on the Kosovo Philharmonic as an institution—its brief history, the reasons behind the lack and delay of Western orchestral music traditions in Kosovo, and several small but crucial suggestions for a reorganization that could enable a qualitatively sufficient philharmonic.
Furthermore, as a potentially greater blessing, the grand potential of inspiring and transmitting Kosovo’s folkloric culture into the tradition of sublime orchestral music will be emphasized - something that should be actively promoted by institutional music policies.
Aside from objective issues, based on the absence of internationally recognized orchestral works from Kosovo, the main focus of this paper is on the subjective problem of the creators themselves: what they lack and what they need, beyond professional skills, in their aim to become universal and grandiose composers. Within this context, the value of a healthy and balanced intellectual background will be discussed as an inseparable organic part of the archetype of the complete composer.
In conclusion, precisely because of the vital importance of such a background, a brief overview of the key impulses of general cultural development throughout human history is offered. Along with social phenomena, this overview also reflects the evolutionary rhythm of music. Although very short for such a profound and expansive topic, this flash-summary is hoped to serve as a clear and simple example of a healthy, sufficient, and necessary intellectual foundation for today’s Albanian composer.

This paper treats the historic and cultural circumstances how was
established the first symphonic orchestra in Albania. For this reason,
are presented the documents and the arguments how Thoma Nassi, the
first conductor and composer of the National Band “VATRA”
succeeded to create in Albania during the 1920s this European musical
formation, having clear concepts that had to do with the Western
orientation and that the Albanian state and society that had just exited
the Ottoman rule, should had. From the other side, the paper proves that
the achievement of this objective, thus the establishment of the first
symphonic orchestra in Albania was totally reachable because that the
Albanian nation was and is an European nation and the music as the
master art was a part of this spiritual constitution. The paper aims to put
at the proper place this historic data of our music even why until today,
as the year of the foundation of the first symphonic orchestra in Albania
is said to be the 1950, at time when by state decision was formed the
Albanian Philharmonic which included the symphonic orchestra.
Through this paper, is proved that the time of the establishment of the
first symphonic orchestra in Albania is even before, on 1924, and this
was an achievement of individuals and of the society of free men that

 Academician, Prof. Dr. Deputy Chairman of the Academy of Sciences of Albania.
 Paper translated in English from the Albanian language by Assoc. Prof. Dr. Gjon
Boriçi.
8 VASIL S. TOLE
developed their activity in the homeland after the proclamation of
Independence in 1912.
Key words: Thoma Nassi, symphonic orchestra, Korça, philharmonic
society, the Metropolitan Square, Vatra, concert for mandolin.
(Until today, as a time of the foundation of the first symphonic orchestra
in Albania is the 1950, time when was established by national decision
the Albanian Philharmonic Orchestra which also included the
symphonic orchestra. Through this paper, we aim to prove that the time
of the foundation of the first symphonic orchestra in Albania is earlier
and as an outcome of the initiative of individuals and free people
society).

Gefördert von der Deutschen Forschungsgemeinschaft (DFG) -SFB 1391 -Projekt-ID 405662736 Für den SFB ist eine geschlechtersensible Sprache ein wichtiges Anliegen. Wir empfehlen daher nachdrücklich die Abbildung faktischer Geschlechtervielfalt in der Sprache. Angesichts der unterschiedlichen Möglichkeiten, dies zu realisieren, schreiben wir den Autor:innen jedoch nicht zwingend vor, welche Form jeweils gewählt wird.

Richter is cited in Folmer's and Benezit's biographical dictionaries as the author of albums/maps of graphics featuring motifs of Budapest and Belgrade -"Aladár Richter", in: E. Bénézit, Dictionnaire critiques et documentaire des peintres, sculpteurs, dessinateurs st graveurs dee tous les temps et de tous les pays par un groupe d'écrivains spécialistes français et etrangers, Nouvelle édition entièrment refondue, revue et corrigée sous la direction des héritiers de E. Bénézit, tome huitième, O'Keefe -Robbia, Librairie Gründ,

The history of Salon Music can be traced through the tense, dynamic relation between the consumers of that kind of music (performers, listeners) and critics. In the early 1930s, and later even more, a designation ?salon style? started to appear in the reviews of the Salon Music. By that fact alone, it was implied that compositions, which were published as Salon Music, or were defined as such in reviews, corresponded to specific musical norms, which, on the other hand, evolved merely from recipient?s needs. In foreign and domestic press from the period, there are many negative epithets referring to Salon Music: ?empty, frivolous, coquette, false?. Nevertheless, aesthetic debates in music literature had no impact on Salon Music admirers. In this study, the focus of attention is on the reception of Serbian Salon Music of the nineteenth century within the context of the Central European cultural practice. Salon compositions were interpreted within the interactive relations among musical...