Journal Summary Journal Muzikologija-Musicology (ISSN 1450-9814, eISSN 2406-0976) is a peer-reviewed academic journal established in 2001 that promotes contemporary Serbian musicological and ethnomusicological research in international circles; at the same time, by including contributions of eminent foreign scholars, it has become an important and reliable source on contemporary musicological and ethnomusicological scientific tendencies and knowledge around the world. It is dedicated to music research as an aesthetical, cultural, historical and social phenomenon, with a primary focus on musicological and ethnomusicological research. The Journal also welcomes approaches from diverse scientific disciplines (history, history of art and literature, ethnology, anthropology, sociology, communicology, semiotics, music psychology etc.) as well as interdisciplinary projects. Three sections make up the backbone of the magazine. The Main Theme contains original articles related to a specific musicological or ethnomusicological topic. The Varia section contains scientific studies from a wider circle of thematic areas relevant to the artistic, vernacular, and ecclesiastical music traditions. The third section – Scientific Reviews and Polemics – comprises reviews of various musicological and ethnomusicological publications and reports on scientific meetings. Until 2011 the journal was published annually. Due to an increasing interest among local and international contributors, the Editorial Board decided to start publishing two issues per year (June and December), both in print and in open-access digital format. The Journal is indexed in the Web of Science, SCOPUS, ERIH PLUS, DOAJ, ProQuest, DoiSerbia, RILM, and in the List of Scientific Journals Categorization of the Ministry of Science, Technological Development and Innovation of the Republic of Serbia (M22). Publisher: Institute of Musicology of the Serbian Academy of Sciences and Arts, Belgrade, Serbia Address: Kneza Mihaila 36/IV, 11000 Beograd, Republika Srbija Contact: muzikologija-musicology@music.sanu.ac.rs
Institute of Musicology of the Serbian Academy of Sciences and Arts
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Руска емиграција у музичком животу међуратног Београда
Rana domaća diskografska industrija: Edison Bell Penkala, Elektroton i Jugoton
Audiovisual Ethnomusicology: Filming Musical Culture
Плесати емоције: изазови емоционалног израза у процесу учења традиционалног плеса
Текст је настао као резултат пилот-пројекта спроведеног међу матурантима Одсека за народну игру Балетске школе у Новом Саду (2024). Како се у школском систему плес недовољно повезује с емоцијама, при чему је акценат углавном на техничким аспектима извођења, основни циљ пројекта био је теоријско и практично истраживање односа телесног и емоционалног израза у традиционалном плесу. Полазим од хипотезе да ученици доживљавају напетост између очекиваног плесног израза, који је део формалног кореографског оквира, и њихове способности да препознају и артикулишу властите емоције. Теоријски, текст се ослања на концепт отеловљења, док је методолошки поступак вишефазни и подразумева етнографију, анкете и анализу радионица с ученицима.
Serbian Gypsy Jazz: Origins, Development, Results
This study investigates the genesis and development of a popular music style, Serbian gypsy jazz, utilizing Radoslav Đokić’s sociological theory of cultural hybrids and paradigmatic transformations. In the Serbian context, the term gypsy jazz encompasses two discernible traditions: one stemming from the original French jazz manouche or jazz tsigane of Django Reinhardt, and the other an authentic local hybrid genre. This research focuses specifically on the latter – the indigenous Serbian hybrid. The methodology involves analyzing the origins of Serbian gypsy jazz and tracing its four distinct stages of evolution, supported by various musical examples. To illustrate the final stage of cultural permeation, I concentrate on the output of the versatile Serbian singer, composer, and multi-instrumentalist, Ljubiša Stojanović Louis (1952–2011).
The Rigor of Academic Publishing and Collaborative Projects: A Perspective from the Editor of Music Theory Spectrum and Contemporary Music Review
Music Theory Spectrum, featuring rigorous and critical studies on a wide range of topics in music theory and analysis, is a flagship journal of the Society for Music Theory. Contemporary Music Review is one of the leading publications that focuses on the critical study and discussion of contemporary music from around the globe and diverse methodologies and approaches. In this reflective essay, I present an autoethnographic assessment of the rigor of academic publishing from the perspective of Editor-in-Chief of Music Theory Spectrum and the challenges and fruitions of collaborative projects through the lens of Editor of Contemporary Music Review, the positions I currently hold.
Reflecting on Ethno/Musicology from an Alternative Angle: “Lives in Musicology” in Acta Musicologica
This article examines the “Lives in Musicology” column in Acta Musicologica (introduced in 2017 by Federico Celestini and Philip V. Bohlman) as a lens for reflecting on the discipline of musicology. Eight renowned scholars – including pioneers in musicology, ethnomusicology, and music theory – from the United States, Europe, East Asia, Africa, and Australia – revisited their careers, revealing the construction and trajectory of the field. Their autobiographical accounts, analyzed through the theory of autobiography by Jaume Aurell, trace the discipline’s expansion from the Western canon to diverse research areas, the establishment of new concepts, and the radical shift in Acta Musicologica editorial policy from conservative positivism focused on the Germanic canon toward a pluricultural and multilingual global musicology.
Academic Music Journal Publishing in Türkiye: A Field-Theoretical Analysis of Institutionalization, Symbolic Capital, and Editorial Structures
This article examines music journal publishing in Türkiye through Pierre Bourdieu’s field theory. While briefly outlining developments since the nineteenth century, its primary analytical focus is the post-1980 period, marked by the institutionalization of academia and the rise of peer review culture. The article specifically traces post-2000 transformations driven by digitization, open access, and indexing systems, showing how standardized editorial workflows formalize relationships between journals and symbolic capital. It conceptualizes editorial networking as a field-level practice through which language policy, reviewer mobility, and networked authorship operate as instruments of internationalization.
Journal Muzikologija – Musicology as an Agent in Shaping Musicological and Ethnomusicological Research (2001–2025)
This study has been written on the occasion of the twenty-fifth anniversary of the journal Muzikologija – Musicology. It employs a hybrid methodology, ranging from autoethnographic reflection to quantitative data analysis. It focuses on the process of the journal’s founding, as well as the research of the standardization of editorial policies and internationalization trends, and the editorial and author networking in shaping the journal’s thematic scope and physiognomy. In this way, the journal is viewed from different angles as a factor in ethno/musicological research at both local and international levels.
The Mediatory Role of Music and Dance in Romani Communities of Roman, Dom, Lom/Poşa in Türkiye: A Post-Humanism and Agential Realism Perspective
This study explores the mediatory roles of music and dance within the Roman, Dom, and Lom/Poşa communities in Türkiye through a post-humanist and agential realism framework, drawing on Karen Barad’s theories. These cultural practices are examined as dynamic material-discursive phenomena that entangle human and non-human agencies (such as instruments, performance spaces, and socio-political contexts) to co-constitute identity, resilience, and cultural heritage. Based on extensive fieldwork in the Thracian region, Istanbul, and ongoing projects across western, southeastern, and northeastern Türkiye, the research highlights how these communities’ music and dance serve as vibrant intra-actions that negotiate marginalization, foster intercultural exchange, and reconfigure socio-economic networks. By emphasizing the agency of sound, movement, and material elements, this paper reimagines Romani cultural expressions as living processes that challenge stereotypes, affirm communal bonds, and contribute to the evolution of music in Türkiye within local and global contexts.
Српско и антисрпско становиште у часопису Zvuk: Jugoslovenska muzička revija - о самопорицајућем духу у пољу музичке уметности
На материјалу првог и јединог стручног музичког гласила после Другог светског рата – Zvuk: Jugoslovenska muzička revija, у „београдској” фази излажења, када се на месту Главног уредника налазила Стана Ђурић Клајн (1955–1966), музиколог, издвојен је и аналитички сагледан однос тема и наратива српских, али и аутора из других република бивше југословенске федерације. Статус српске музикe на југословенској платформи, одсуство или замагљивање њене непосредне националне идентификације, с једне стране, и транспарентна национална усмереност прилога о осталим националним музичким традицијама, приказани су у вези с бројним личностима и догађајима који су обележили југословенски музички простор. Теза о порозној југословенској платформи, првенствено заступаној из Србије, односно – њена изразито национална интерпретација, често и с израженим анимозитетом према „српском” елементу у прилозима аутора из остатка земље, такође је документована. Самопорицајући дух у држању и делању већине српских музичких посленика показан је и на примерима из поља црквене – српске и византијске музике, као и духовних музичких традиција и пракси западне провенијенције.
Lacrimosa by Ivana Stefanović: Mother’s Tears Against War and Exile
This paper analyses the radiophonic work Lacrimosa (1993) by Serbian composer Ivana Stefanović (1948–). More specifically, the work is interpreted from several thematic cores, as it addresses antiwar protests, exile, and motherhood, while echoing the lament as practice of expressing grief and loss. These topics are shaped in the framework of radio art, using various sound sources as building materials, from archive and field recordings to quotations of well-known music pieces. The interpretation of these interpolated materials is framed by the accounts on the creation and reception of the piece.
Manolis Kalomiris’s Romeic Suite (1907/1910) as an initiatory semantic signifier of the composer’s ideology and creation. A music-analytical and intertextual approach
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 Poetics and Politics of the Mass Song in Nikola Hercigonja’s Discourse
The article is dedicated to Nikola Hercigonja’s discourse on the Yugoslav mass song. It reconstructs his aesthetic principles: simplicity, collectivism, realism, and folklore as “living art.” At the same time, it explores the political frameworks in which this poetics took shape: from the wartime partisan experience to the postwar institutionalization, where tensions arose between mass participation and the professionalization of artistic practice.
When Yugoslavia began to Speak Jazz: The Magazine Svijet Jazza (1941) in Interwar Popular Culture
Published in Zagreb between January and April 1941, the monthly magazine Svijet jazza [The World of Jazz] was the first periodical in the Kingdom of Yugoslavia dedicated exclusively to jazz music. It featured original articles and reviews of prominent musical events, as well as translations from a range of foreign jazz magazines. Taking inspiration from American publications such as The Orchestra World and Metronome, Svijet jazza brought together contributors and correspondents from Ljubljana, Belgrade, Split, and New York. Its publication came to an abrupt end, after only four issues, with the outbreak of World War II in Yugoslavia. An analysis of Svijet jazza reveals how jazz in interwar Yugoslavia emerged as a marker of modernity and an integral part of the broader field of popular culture.
Magazine Svijet jazza [The World of Jazz]
The INSAM Journal of Contemporary Music, Art and Technology: Curating a Research “Technoscape” through Independent Publishing and Regional Cooperation
The paper offers a comprehensive overview of the INSAM Journal of Contemporary Music, Art and Technology, focusing on its editorial policies, structure, and research profile within the broader context of regional and global academic publishing related to music and arts. Through an analysis of fourteen issues published between 2018 and 2025, the paper traces the journal’s development, its transdisciplinary orientation, and its commitment to open-access publishing. It further examines how the journal’s “technoscape” connects artistic research, music, and technology, positioning INSAM Journal as both a platform for independent scholarly expression and a site of regional collaboration and exchange. The study also reflects on the challenges and significance of maintaining an independent, digitally based, and transdisciplinary journal in the contemporary landscape of the humanities.
INSAM Journal of Contemporary Music, Art and Technology
Музикологија у Зборнику Матице српске за сценске уметности и музику (1987–2024)
Године 1987. објављен је први број Зборника Матице српске за сценске уметности и музику у Новом Саду. Посвећен театрологији, филмологији, музикологији и етномузикологији, ово је први српски научни часопис из области музикологије. Године 2024. изашао је 70. број овог гласила. То је био повод за израду ове студије, која доноси типолошку систематизацију и анализу музиколошких доприноса у тих седамдесет бројева. Зборник је био изразито посвећен истражи- вању и проучавању историје српске музике, а у том оквиру посебно историји црквене музике и историји музикографије. Заступљени су и радови о старијој и савременој европској музици, опери, балету, џезу, мјузиклу, позоришној и филмској музици и др.
Зборник Матице српске за сценске уметности и музику
Dedicated to the Memory of Dragutin Gostuški (Summary)
Музиколошки конгреси у Јашију и Москви посвећени посвећени јубилеју два миленијума хришћанства
The Works of the Composer Miloje Milojević (Kompozitorsko stvaralaštvo Miloja Milojevića)
General Histories of Music and the Place of the European Periphery
One of the aims of the paper is to draw attention to examples of partiality against younger or peripheral music cultures, still subsisting in Western general histories of music. It is suggested that one of the ways of overcoming such attitudes could be to organise team work that would concentrate on writing regional histories of music. Thus a fairer integration into general histories of music would hopefully be achieved.