• Sound Heritage in Ethnomusicology and Musicology
    No. 33 (2022)

    In accordance with the Editorial Board’s decision to dedicate both 2022 issues of the journal Musicology to sound sources in music research, the Main theme of No. 33 comprises articles that contribute to the study of sound archives and audio-visual archives in ethnomusicology. The topics range from the questioning of the role of historical recordings in society and the system of intangible cultural heritage, through the presentation of the historical attempt to establish a national archive, the management model of the regional folk music archive, the possibilities to use advanced modern technology in digital collections, to the proposal of a manifesto of applied musicology and the presentation of methodologies in audio-visual ethnomusicology. The Varia section presents a wide range of topics and musicological and ethnomusicological approaches to music research, as well as an understanding of the role of music in cultural history seen through the lens of other disciplines. Part of the research results published in this issue belongs to the project Applied Musicology and Ethnomusicology: Making a Difference in Contemporary Society (APPMES), of the Institute of Musicology SASA.

  • Cover image for the Musicology journal no. 32

    Discography as a Scientific Source
    No. 32 (2022)

    In this year’s edition of the journal Musicology, special attention will be paid to sound sources in musicology and ethnomusicology and, through the main theme of issue 32, the consideration of the products of the record industry as scientific sources is affirmed. The six studies in this section cover a wide range of topics, from the first commercial 78 rpm records to contemporary editions of incidental music and the latest releases of folk music, including the legal regulation of copyright and the interaction of the early record industry and radio as a new medium. The examples are related to the different national productions and contexts of Bulgaria, Croatia, Lithuania and Serbia. The Varia section presents five original, thematically and methodologically diverse studies of musicological, ethnomusicological, anthropological and interdisciplinary profiles. Part of the research published in the Main theme section presents the results of the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES) of the Institute of Musicology SASA.

  • Music Criticism, Ideology and Politics
    No. 31 (2021)

    The main theme of the 31st issue of the journal “Musicology” is Music Criticism, Ideology and Politics, guest-edited by Dr Ivana Medić, Senior Research Associate of the Institute of Musicology SASA and an alumna of the University of Manchester. The main theme of the issue encompasses original scientific articles written by six scholars from Russia, the United Kingdom, Germany and Serbia. The “Varia” section, which includes six studies, is also extensive and thematically diverse, with articles encompassing the topics of Byzantine musicology, Baroque studies, the music of Impressionism, the history of musical periodicals, as well as changes in the position of music and musicians in the circumstances of the current Covid-19 pandemic. The section “Scientific Reviews and Polemics” presents important scientific monographic publications dedicated to Orthodox church music, Renaissance music and the history of the Belgrade Opera. With the final article, the editorial team of the journal “Musicology” sadly bids farewell to the prematurely deceased colleague Dr Danijela Kulezić-Wilson, a distinguished expert in film music.

  • Cover pages of the journal Musicology No. 30.

    Music Criticism in Russia and Eastern Europe
    No. 30 (2021)

    The main theme of the thirtieth issue of the journal Musicology is Music Criticism in Russia and Eastern Europe – In memorial Stuart Campbell (1949–2018).

    The main theme of No. 30 opens with a study by Lithuanian-British musicologist Akvilė Stuart on the critical reception of the work of Alexei Stanchinsky, a tragically and prematurely lost Russian avant-garde composer from the early twentieth century, whose innovative compositions divided the critics. One of the consequences of the October Revolution was the emigration of a large number of Russian artists to the West. Svetlana Zvereva, a Russian musicologist active in the United Kingdom, provides a vivid picture of “Russian Dresden” from the 1920s and 1930s in the domains of musical, church and social life. British musicologist Daniel Elphick writes about Boris Asafyev, an important protagonist of Soviet musicology of the 20th century and the author of the famous book Musical Form as a Process. The journal Musicology posthumously publishes one of Stuart Campbell’s final papers which covers the Paris years of Sergei Rachmaninoff. As a tribute to Dr Campbell, his personal bibliography is published along with this article. This main theme was guest-edited by Dr Ivana Medić, Senior Research Associate at the Institute of Musicology of the Serbian Academy of Sciences and Arts and an alumnа of the University of Manchester. 

  • Cover page of the Musicology journal No. 29

    Ethnomusicologist Vladimir R. Đorđević
    No. 29 (2020)

    On the first of December 2019 we celebrated the 150th anniversary of the birth of Vladimir R. Đorđević (1869–1938), a versatile Serbian musician who left a considerable mark in all fields in which he worked: as an ethnomusicologist, composer, music pedagogue, and one of the pioneers of Serbian music bibliography and lexicography.

    The editorial board of the journal Musicology decided to mark this important jubilee of Serbian music by dedicating the main theme of the 29th issue to the work and contribution of Vladimir R. Đorđević. At the invitation of the Editorial Board of the journal Musicology, five eminent experts wrote original scientific studies for the main theme of No. 29.

  • Cover image of the Musicology journal No. 28

    Russian-Serbian Cultural Relations Reflected in Music
    No. 28 (2020)

    The main theme of the journal Musicology originated from the international scientific conference Russian-Serbian Chanting Connections, which was organized in October 2018 by the Institute of Musicology of the Serbian Academy of Sciences and Arts in Belgrade. The centuries-long musical, artistic and cultural ties between the Russian and Serbian peoples have been researched and studied by scientists from both countries; nevertheless, the richness and significance of these ties require new research and interpretation.  

    In this issue of the journal Musicology, musicologists, philologists and art historians from Serbia and Russia gathered together to shed light on the topic of Russian-Serbian permeations in the domains of church art and musical performance on a temporally and thematically broad and interdisciplinary basis. The main theme of the issue was edited by Dr. Vesna Sara Peno, principal research fellow of the Institute of Musicology of the Serbian Academy of Sciences and Arts, one of the leading experts in the field of Byzantine music. 

  • The Future of Music History
    No. 27 (2019)

    The theme of the issue No 27 The Future of Music History was inspired by the eponymous seminar organised as part of a conference held at the Serbian Academy of Sciences and Arts in September 2017. The seminar was prepared by Jim Samson, one of the most outstanding musicologists of our time, Emeritus Professor of Music, Royal Holloway (University of London), member of the British Academy and author of more than 100 publications, including the first comprehensive history of music in the Balkans in English (Leiden: Brill, 2013). Professor Samson kindly accepted our invitation to be the guest editor of this issue, in which we publish articles by four of five panelists (Reinhard Strohm, Martin Loeser, Katherine Ellis and Marina Frolova-Walker). We are deeply grateful to these pre-eminent musicologists for their thorough reflection on the future of our discipline and the continuous efforts to make the subject of study the geographical regions, social strata and listening practices that have hitherto been neglected in musicological considerations.

  • Cover image of the 26th issue of the journal Musicology

    Music History Today
    No. 26 (2019)

    The main theme of No 26, Music History Today, was inspired by the international conference The Future of Music History organised by the Institute of Musicology SASA. The conference took place at the Serbian Academy of Sciences and Arts in September 2017. Although only a few articles in this issue originated from papers presented at the conference (which have been significantly expanded and peer-reviewed) – while the remaining articles were written independently – all authors gathered here share a consideration of the current position of historical musicology as a scientific discipline in the first decades of the 21st century.

  • Cover image of the issue no 25 of the journal Musicology

    Music and Historiography
    No. 25 (2018)

    The mini-jubilee of the journal Musicology – publication of the 25th issue – coincides with the celebration of the 70th anniversary of the Institute of Musicology SASA, as well as the celebration of the 90th birthday of Dr Nadežda Mosusova, a retired principal research fellow, who spent her entire career at the Institute of Musicology SASA. At the turn of the tenth decade of her life, Dr. Mosusova is still very active; it is with great pleasure that we dedicate the 25th issue of the journal to her. In the year of the anniversary, we decided that the main topic of the issue should be Music and Historiography. Although over the past several decades musicology has significantly expanded, overcoming its former borders and achieving numerous interdisciplinary interweavings, historiographic considerations remain the core of this discipline. The study of primary sources, the reconstruction of the past supported by convincing evidence, the review of earlier interpretations of the already processed material, and the discovery of unknown details from the lives of the famous protagonists of the musical past, constitute the backbone of the methodology applied in the articles unified in the main theme of this issue.

  • Cover image of the issue no 24 of the journal Musicology

    Quantum Music
    No. 24 (2018)

    The main theme of No 24 Quantum Music was inspired by the eponymous international project co-funded by the Creative Europe programme of the European Union (559695-CREA-1-2015-1-RS-CULT-COOP1, 2015-2018). For the first time, an institution from Serbia – the Institute of Musicology SASA – was the project leader within the Creative Europe programme, and the consortium of partners and associate partners comprised cultural, higher education and research institutions from Serbia, Slovenia, Denmark, the Netherlands and the United Kingdom. This issue contains articles written by the authors who directly participated in this project, but also the scientists who joined the project during its realisation, as well as articles by authors who are not in any way related to his project – however, they are involved in a similar or related research within their own institutions. Nine texts whitten by physicists, mathematicians, engineers, composers, musicologists and pianists, illuminate various aspects of the permeation of quantum physics and music.

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