Papers by Miloš Marinković
Časopis za muzičku kulturu Muzika, 2025
The Yugoslav Music Panel (Jugoslovenska muzička tribina) was held in Opatija from 1964 to 1990 as... more 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).
Zbornik radova: 13. Međunarodni simpozij “Muzika u društvu”, 2025
The paper examines the significance of musicological competences in the operation of a music fest... more 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.
Зборник Матице српске за сценске уметности и музику, 2025
The Belgrade String Orchestra “Dušan Skovran” was founded in 1965 by conductor Dušan Skovran as t... more 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.
Зборник Матице српске за сценске уметности и музику, 2024
This paper examines the works of contemporary female composers from Serbia, inspired by the music... more 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.
New Sound : International Journal of Music, 2024
After the end of the Second World War the large-scale project of cultural and educational emancip... more After the end of the Second World War the large-scale project of cultural and educational emancipation of the Yugoslav population was initiated by several mass organizations that were affiliated with the Communist Party of Yugoslavia. The newly established republican, and later federal associations of composers, art music performer, concert and orchestral performers, and music pedagogues also contributed to this process. In this paper, we will examine in detail the specific undertakings of mass organizations and music associations oriented toward cultivation of music taste of children and youth and advancement of their knowledge of its history. Special emphasis will be given to the initiatives of the Yugoslav organization of Musical Youth (Jeunesses musicales, f. 1954) carried out between the mid-1950s and mid-1970s as they manifested various innovative dimensions. The aim is not only to give an overview of different approaches to art music popularization among young Yugoslavs after WWII, but also to critically assess their outcomes.
Zbornik radova Akademije umetnosti, 2024
In 1961, the first Zagreb Music Biennale (MBZ) was held in Yugoslavia, an international festival ... more In 1961, the first Zagreb Music Biennale (MBZ) was held in Yugoslavia, an international festival of contemporary music with two main objectives: to familiarize the domestic audience with contemporary musical endeavors worldwide and to contribute to the international recognition of Yugoslav endeavours. Vojin Komadina (1933-1997) made his debut at the fourth MBZ in 1967 and until the 1980s remained the only composer from Bosnia and Herzegovina whose works were performed at this most significant contemporary music festival in Yugoslavia. Drawing on insights into stylistic and compositional tendencies in Yugoslav music during the 1960s, 1970s, and 1980s, this paper examines the various contexts of performances of Komadina’s works at the Zagreb Music Biennale. The author’s works are analyzed in relation to the MBZ’s selection criteria, establishing Vojin Komadina’s position at this international festival. Another important aspect of the study is the reception of Komadina’s work from the MBZ repertoire. By considering critical reviews of this event published in the press during the second half of the 20th century, including musical periodicals ("Zvuk", "Pro musica"), cultural and social magazines ("Telegram", "15 dana"), and daily newspapers ("Vjesnik", "Večernji list", "Oslobođenje"), this research reveals various (even completely opposite) reactions of contemporary music critics to Komadina’s works from the biennial repertoire. Although Vojin Komadina’s works have not been performed at the MBZ since 1983, this does not diminish the significance of this festival as a place of international recognition for musicians in the professional career of the Bosnian-Herzegovinian composer. The fact that from the second half of the 1960s to the first half of the 1980s, Komadina was the only author from Bosnia and Herzegovina to participate in the Zagreb Music Biennale, the largest contemporary music festival in this part of Europe, speaks to the composer’s status not only within domestic, Bosnian-Herzegovinian, and Yugoslav contexts but also in international frameworks.
Искошени угао Драгутина Гостушког, 2024
One of the most significant works in the opus of Dragutin Gostuški as a composer is Rummy – A Fan... more 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.
Примењена музикологија и етномузикологија у Србији, 2024
У историји Музиколошког института САНУ, дугој преко 75 година, до сада су обележена три јубилеја ... more 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.
New Sound : International Journal of Music, 2024
Homo musicus. Homo poeticus. Живот и дело академика Властимира Трајковића, 2023
У периоду од 1964. до 1990. године у Опатији се одржавала Југословенска музичка трибина / Трибина... more 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.
Musicology, 2023
The Music in Serbia festival (Muzika u Srbiji-MUS) was held in Belgrade and other Serbian cities ... more 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... more 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.
Борислав Хложан (ур): Опседнуте ведрине Душана Радића. Зборник научних текстова са музиколошког скупа у Новом Саду 25. и 26. новембра 2021, Нови Сад: Културни центар Војводине „Милош Црњански“, 2022
Југословенска музичка трибина у Опатији представљала је годишњу смотру југословенских композитора... more Југословенска музичка трибина у Опатији представљала је годишњу смотру југословенских композитора различитих стилских и композиционо- техничких оријентација. Истовремено, карактеристичном програмском концепцијом овог фестивала савремене музике, остваривани су циљеви некадашње културне политике, усмерене ка зближавању народа социјалистичке Југославије. Међу бројним актерима ове манифестације био је и композитор Душан Радић, који се, у неколико наврата, нашао у улози музичког критичара Трибине у Опатији. На основу анализе садржаја Радићевих Извештаја с опатијских догађања, које је почетком 70-их година подносио Одељењу ликовне и музичке уметности САНУ, закључује се да су усмереност репертоарске селекције ка авангардним остварењима, али и политизација целокупног фестивала, представљали суштинске проблеме опатијске Трибине. Истраживањем критичког односа Душана Радића према Југословенској музичкој трибини, успостављена је и чврста веза са стваралачким начелима овог српског музичког уметника.
Музикологија / Musicology , 2022
As the first festival of contemporary music in socialist Yugoslavia, the Music Biennale Zagreb (f... more As the first festival of contemporary music in socialist Yugoslavia, the Music Biennale Zagreb (founded in 1961) attracted a lot of domestic and foreign media attention. This study discusses the reception of the first Music Biennale in the Belgradian daily newspapers, Politika [Politics], Borba [Struggle] and Večernje Novosti [Evening News], with reference to the characteristics of the editorial policies of these three newspapers. The timely and active reporting of the daily press in Belgrade indicates that the first Music Biennale Zagreb was promptly recognised as an important modernist musical festival for the then cultural life of the whole of Yugoslavia.
Марија Масникоса (ур): Музика и уметност у обликовању европског културног идентитета 2, Београд: Факултет музичке уметности – Катедра за музикологију, 2021
Vlastimir Peričić (1927–2000), composer, music writer and musicologist, was one of the leading fi... more Vlastimir Peričić (1927–2000), composer, music writer and musicologist, was one of the leading figure of the entire Serbian music culture in the second half of XX century. Among the numerous topics, aspects and problems in own scientific and artistic work, Peričić was visibly interested in phenomenon called fantasy. Namely, this author composed "Fantasia
quasi una Sonata" (in two verisons – for viola and piano; and for violin and piano) in 1954, while something later, Peričić gave a rich critical-analytical approach to the musical fantasy in his publications in the field of music theory (primarily in "Science of Musical Forms" as well in "Instrumental and Vocal-instrumental counterpoint"). In this regard, this paper is divided into two parts. On the one hand, this essay critically examines the manners in which Peričić, as a great theoretician of music, wrote about the form of musical fantasy. Bearing in mind the centuries-old development of musical fantasy, Peričić has shown a good knowledge of the historical and formal aspects of this old musical phenomenon. On the other hand, this study set out to determine musical characteristics of "Fantasia quasi una sonata" in the the context of interweaving of musical tendencies in the middle of the last century, as well as in the context
of development of the form of musical fantasy. On the basis of analytical procedure, this composition is interpreted as a very important contribution to the neo-romantic Serbian and Yugoslav music. The findings of this study suggest that there are a places of encounter and divergence between the theoretical and the compositional approach to the musical fantasy by Vlastimir Peričić.
New Sound International Journal of Music, 2020
У раду се разматра хетерогена грађасрпске уметничке музичке баштине, похрањена у Библиотеци Катед... more У раду се разматра хетерогена грађасрпске уметничке музичке баштине, похрањена у Библиотеци Катедре за музикологију Филозофског факултета у Љубљани (Oddelek za muzikologijo, Filozofska fakulteta, Univerza v Ljubljani). Чињенице да је ова Катедра тридесет година деловала у оквирима југословенске федерације, при чему је била и прва Катедра у тадашњој држави с могућношћу извођења докторских студија, наводе на претпоставкео богатој опскрбљености њеног библиотечког фонда грађом која припада српској музичкој култури. На основу пописа и анализе грађе о српској уметничкој музици, у раду се постојећи материјали разврставају у три одвојене збирке: Музиколошку књижну збирку, Нотну збирку и Звучну збирку. Критичким увидом у сваку од њих, указује се на потенцијале љубљанске музиколошке библиотеке, као својеврсне ‘базе података’ за упознавањеили истраживачки приступ уметничкој музичкој култури Србије.
Amra Bosnić, Nerma Hodžić-Mulabegović, Naida Hukić (eds.): 11th International Symposium Music in Society. The Collection of Papers: Music – Nation – Identity, Sarajevo: Academy of Music, University of Sarajevo – Musicological Society of the Federation of Bosnia and Herzegovina, 2020
Abstract: The establishment of the Electronic Studio Third program at Radio Belgrade (1971) repre... more Abstract: The establishment of the Electronic Studio Third program at Radio Belgrade (1971) represents beginning of a new period, as well as the institutionalization of electroacoustic music in Yugoslavia. This research will focus on the Music Biennale Zagreb (MBZ), founded in 1961, and the Yugoslav Music Tribune (YMT), founded in 1964 – festivals that have directly caused the progress and great expansion of electroacoustic music production in Yugoslavia. Therefore, on the one hand, this paper gives a brief overview of the often neglected period of the development of Yugoslav electroacoustic music. On the other hand, this study has found that the above-mentioned festivals could be interpreted as the main actors for the popularization of electronic media in Yugoslavian music.
Мирјана Веселиновић-Хофман, Срђан Атанасовски, Немања Совтић (ур): Југословенска идеја у/о музици. Тематски зборник, Београд – Нови Сад: Музиколошко друштво Србије – Матица српска, 2020
The Annual Review of Yugoslav Music (held in Opatija from 1964 to 1990), in addition to concert e... more The Annual Review of Yugoslav Music (held in Opatija from 1964 to 1990), in addition to concert events, where the audience got acquainted with the current production of Yugoslav composers, from the very beginning also nurtured scientific musicological activity. This practice was first realized through the establishment of the Forum Club and the so-called Music Salon, where lectures were held with discussions on various topics, then with the organization of Round Tables, dedicated to (mostly) current problems of the Yugoslav music culture and its position in the European context. The intensification of musicological debates at Opatija’s meetings grew year by year, and culminated with the foundation of the Artistic Sociological Forums (1976), which brought together eminent Yugoslav musicologists, as well as scientists from related humanistic disciplines. The initiative for establishing a kind of symposium on a musical event such as the Opatija Review of Music, and in the period when Yugoslavia introduced the new Constitution in 1974, was guided by the idea that certain social and political aspects of the country should be evident from the perspective of cultural workers and scientists. In this respect, in this research, the discourse of presenters at Artistic Sociological Forums is interpreted in the context of socio-political changes in Yugoslavia during the 1970s, with the very foundation of these scientific conferences to be seen as a kind of institutionalization of previous (modest) musicological discussions on the Opatija Annual Review of Yugoslav Music
Muzika: časopis za muzičku kulturu, 2019
This paper will focus on the ballade A’lentrada del temps clar by an anonymous author from the 13... more This paper will focus on the ballade A’lentrada del temps clar by an anonymous author from the 13th century. Despite the fact that the ballade existed as a specific literary-music genre before the 14th century, early medieval ballades are rarely analyzed in the literature. An analytical approach to the above mentioned song, proves the existence of almost all the characteristic elements of a modern ballade, as well as “advanced” musical language. In addition, this study’s findings suggest that the early medieval ballade is an extremely hybrid and multifaceted genre, embedded in the essence of the troubadours tradition.
Марко С. Миленковић (ур): Уметност и култура данас: образовање за уметност и изазови савремености: зборник радова са научног скупа Балкан Арт Форум (Ниш, 4–5. октобар 2018), Ниш: Факултет уметности, Универзитет у Нишу, 2019
During the late 1930s, the Yugoslav Radical Community initiated very important changes in the pol... more During the late 1930s, the Yugoslav Radical Community initiated very important changes in the political regime of The Kingdom of Yugoslavia. One of the principle of this party was affirmation of equality of three differеnt national identity – Serbian, Croatian and Slovenian. The 20th Century Journal, which was sponsored by Yugoslav Radical Community, has implicated actual social-political changes through its articles about philosophy, aesthetics arts and culture. The paper deals with the philosophical and aesthetic observations of the Serbian aesthetist Branko Lazarević, whose articles about art (published in the 20th Century Journal) were politicized and instrumentalized for the promotion of the political ideas through the field of art. In this way, the 20th Century Journal acted as an medium for the alternative artistic education of the masses. This journal has promoted new political ideas as ideas for artistic freedom and artistic progress, by placing them metaphorically through the aesthetic reflections of Branko Lazarević.
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Papers by Miloš Marinković
quasi una Sonata" (in two verisons – for viola and piano; and for violin and piano) in 1954, while something later, Peričić gave a rich critical-analytical approach to the musical fantasy in his publications in the field of music theory (primarily in "Science of Musical Forms" as well in "Instrumental and Vocal-instrumental counterpoint"). In this regard, this paper is divided into two parts. On the one hand, this essay critically examines the manners in which Peričić, as a great theoretician of music, wrote about the form of musical fantasy. Bearing in mind the centuries-old development of musical fantasy, Peričić has shown a good knowledge of the historical and formal aspects of this old musical phenomenon. On the other hand, this study set out to determine musical characteristics of "Fantasia quasi una sonata" in the the context of interweaving of musical tendencies in the middle of the last century, as well as in the context
of development of the form of musical fantasy. On the basis of analytical procedure, this composition is interpreted as a very important contribution to the neo-romantic Serbian and Yugoslav music. The findings of this study suggest that there are a places of encounter and divergence between the theoretical and the compositional approach to the musical fantasy by Vlastimir Peričić.