No. 6 (2006): Tradition – Modernism – Avant-garde – Postmodernism

The choice of the central theme for this issue of Musicology was
also based on a belief in the permanent attraction and provocative nature of theoretical, aesthetic and historical discourses on the phenomena of tradition, modernism, avant-garde and post-modernism. A wide range of definitions and classifications of these notions, occasional deep difference in their use in Anglo-Saxon, German and Slav literatures, as well as the tendency to use certain notions as style categories (causing problems with periodization!), motivated us to include studies within the The Main Theme of this issue which could open international debate on  given questions. In that sense our expectations have been fully met.
The titles of several studies themselves suggest that many “old” questions have already been answered, while some new dilemmas have been opened. Although most articles concern more recent music, an inspired study on the traditional and modern in church music raises the question of changes in the canon of Eastern Orthodox liturgical singing practice in the 13th and 14th centuries. Apart from scholarly texts in which the phenomena of tradition(s), traditionalism(s), modern, die Moderne (Ger.), modernism(s), a(A)vant-garde, post-avant-garde, trans-avant-garde, postmodern and Postmodern are specially distinguished and discussed at
theoretical or analytical level, a number of articles present systematic reviews of major developmental trends in 20th century music in particular music cultures. We expect that texts dedicated to Serbian, Slovenian and Romanian music of the 20th century, as well as articles on outstanding representatives of more recent Hungarian and Greek music will encourage future comparative studies in the countries of this region.