(Re)positioning art music in contemporary traditional and digital mass media/radio context

This paper discusses, actualizes and problematizes the representation and treatment of art music in the context of contemporary mass media radio discourse, in its traditional and digital/internet formats. The thesis is that understanding the content of high culture and art music is key to the social and cultural progress of the audience, and that it implies the clear views of the creator of the work of art music, on the one hand, and the experience of the recipient - that is, the audience, on the other hand. In this context, traditional and digital mass media must continue to act as the main transmitters/mediators of musical creation. Through the prism of art music on the radio, the types and ways of the operation of contemporary (meta) mass media are detected, as well as the effect of the reception of elements of mass/media culture on the audience. The critical-analytical-interpretive method interprets the phenomenon of artistic music on the radio and contributes to the research of the impact on the audience with music as the key parameter of mass media discourse.

Ivan Brkljačić: Love!: Saxophone concerto

The text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will remain chronicled as the first performed concert for saxophone and symphony orchestra in the history of Serbian music.

Musicological discourse of Vesna Mikić (1967-2019): Characteristics, effects, and achievements

The aim of this paper is to gain an insight into the entire musicological discourse of Vesna Mikic, to offer its systematization, or, in other words, to shed light on her use of scientific and research procedures, methods and contributions. By analyzing her texts, I will try to define the development train of her musicological thought. Furthermore, I will emphasize the key characteristics regarding her field of research, and the mechanisms they are founded upon. I will also try to define the thematic fields she analyzed, thus demonstrating the valuable achievements of her work.

Folk music quotations and allusions in Latvian composers' neo-romantic symphonic music in the last decades of the 20th century and early 21st century

This article focuses on the one specific question about folk music quotations and allusions in the symphonic music of Latvian composers in the last third of the 20th century (from the 70s) and the early 21 st century. Several Latvian composers (e.g. Romualds Kalsons, Pēteris Butāns, Pēteris Vasks, Pēteris Plakidis, Juris Karlsons) in their NEO-romantic symphonic works reflects interesting cases of Latvian folk music quotation, quasi quotation or allusion. Overall these are cases that show the composer's ability to actively use and create a similarity with Latvian folk music. However, this aspect raises the following questions. What kind of local (Latvian) traditions regarding folk music use (in general) are represented by Latvian composers? Why, at the end of the 20 th century and the early 21st century, have several composers continued to use folk music quotations or create folk music allusions? What symbolizes the folk music quotations and allusions in the context of the postmodern period's characteristic musical aesthetic and stylistics? It is hoped that this analysis will provoke a fruitful exchange of views on this question from different aspects.

Jeunesses musicales of Yugoslavia (1954-1991) acitivities in the countries of Eastern Bloc through the prism of socialist Yugoslavia cultural diplomacy

In this paper we focused on the collaboration of the Jeunesses Musicales of Yugoslavia (JMY) with similar organisations of the Eastern Bloc countries. Besides pointing to the various activities that the JMY carried out from the early 1960s to the late 1980s, certain general tendencies in the process of cultural exchange were also underlined. The aim is to consider whether the JMY's cooperation with Eastern Bloc organisations followed Yugoslav foreign policies in the cultural sphere at the time.

Historical contributions to the study of Serbian-British relations in the field of music and culture from 1914 to 1941

The paper deals with the relations between the Kingdom of Serbia / Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia and Great Britain with special emphasis on their 'encounters' in the field of music and culture during the First World War and then between the two wars, which drew the two fairly mutually distant and insufficiently known 'worlds' closer. That music was an integral part of all major social and state events staged by the two countries at different moments and in different situations throughout the mentioned historical periods can be observed. The paper also shows that research into the role and significance of music in the relations between the two countries and its influence on them was continuously permeated, like a particular 'red thread' - which sublimated the most significant mutual effects of Serbian-British music relations in those times - by the creative work and enthusiasm of Oxford graduate Kosta Manojlović. There is no doubt that all this contributed to a more profound mutual understanding of these peoples and their countries.

From Kerman to Merzbow: Notes on the metamorphoses of music analysis at the turn of the millennium

This paper aims to delineate changes in the approach to music analysis over the last decades of the nineteenth century and to examine different possibilities in analysing works which have a characteristic that virtually excludes the use of traditional methods. The starting point is Joseph Kerman's criticism of music analysis, formulated in the 1980s, which - together with successive discussions - reflects a tendency towards abandoning the excessively academic and formalizing approach to analysis, moving from an attempt at an objective analysis of a work towards an interpretation that also focuses on the listener. Since the mid-twentieth century, electroacoustic music has been one of the areas where the use of traditional analysis was inconvenient. Since electroacoustic music began to lose its exclusive, academic character in the 1990s in relation with the development of computer technologies, the question of its interpretation and finding suitable listener strategies has kept coming to the fore. This paper shows the possibilities of approach to this music in relation to its specificities. The last part of the paper focuses on a specific example from one fringe genre: noise music, specifically the subgenre japanoise. In its peak period in the 1990s, this sound production was probably the furthest away from what is usually associated with the term music. Based on an analysis of a selected composition, the inadequacy of the traditional approach and certain alternatives to grasping such music will be demonstrated. The very end of the paper features some current results which relate to, or result from, the study's conclusions.

Pedagogical work of Vesna Mikić

This paper focuses on the teaching work of Vesna Mikić, PhD (1967-2019), full professor at the Department of Musicology of the Faculty of Music in Belgrade. Considering that she was tied to this institution throughout most of her professional career, the paper will offer an outlook on the curricula of the subjects which she taught over the years, and an attempt to shed light on her approach to teaching and to the subject matter she taught. In addition, the paper will focus on her work as a mentor, and attempt to pinpoint a number of aspects that connected her work as a scholar, pedagogue and mentor.