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New Sound 40, II/2012

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Abstract: This item concerns the profile and the contribution of the sections New Works and Interpretations to the recognition of contemporary Serbian music, on the basis of how they have functioned during the past two decades of the International Magazine for Music New Sound. Thereby, these sections can be considered as representative of two crucial principles of the musicological process – analytical and interpretative. It is on the basis of each and on their mutual permeation that different genres of musicological texts origi-nate.Keywords: New Sound, new works, interpretations, views, musicological genre

Апстракт: У овом раду разматрају се физиономија и допринос рубрика Нова дела и Интерпретације афирмацији савремене српске музике, на темељу њиховог деловања током две деценије постојања Интернационалног часописа за музику Нови Звук. При томе се у проблемском смислу сагледавају као оличења два основна

Article received on 7 March 2013Article accepted on 8 March 2013

UDC: 78.01 ; 050.489NEW SOUND

SECTIONS NEW WORKS AND INTERPRETATIONS IN THE LAST TWENTY YEARS OF THE NEW SOUND MAGAZINE AS

THE INDICATORS OF TWO IMPORTANT PRINCIPLES IN MUSICOLOGICAL WORK

Mirjana Veselinović-Hofman*University of Arts in BelgradeFaculty of MusicDepartment of Musicology

* Author contact information: [email protected] paper was written within the project Identiteti srpske muzike u svetskom kulturnom kon-tekstu [Identities of Serbian Music in the World Cultural Context] by the Department of Musicology of the Faculty of Music in Belgrade, supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia, under Reg, No. 177019.

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принципа музиколошког рада – аналитичког и интерпретативног, на чијој појединачној основи и међусобним прожимањима израстају различити жанрови музиколошког текста.Кључне речи: Нови Звук, нова дела, интерпретације, погледи, музиколошки жанр

New Works and Interpretations are two key sections of the New Sound magazine that deal immediately with newly composed musical works. Working alongside one another, but each pursuant to its own unique conception, practice and goal, they conjointly embody the methodology of the musicological ap-proach to music – not only contemporary! – that the magazine strives to affirm. This methodology includes, on the one hand, an analytical focus on an indi-vidual work, and on the other, on its problem positioning and interpretations. It covers, therefore, the range from types of individual presentations of new works to the superstructure of interpretative contextualizations. In that respect, the very titles of the sections are almost symbolic.

However, this does not mean that the New Works section is filled only with ‘close readings’ of new compositions, or that the Interpretations section is made up only of ‘contexts without texts’ – even when the contributors are not only musicologists, but also composers, performers, art historians or aestheticians: although at first one might expect them to advocate a strictly ‘specialist’ view-point, their perspectives are always wider and oriented in the methodologically ‘opposite’ direction. In other words, the items whose discourse naturally relies on the analytical sphere1 contain certain problem postulates, some theoretical observations, comparisons and evaluations, while the items whose discourse

1 E.g. Zoran Erić, Znakovi Srđana Hofmana kao pojmovnik upotrebe žive elektronike u procesu kreiranja realnog muzičkog vremena [Signs by Srđan Hofman as a Directory for the Use of Live Electronics in the Process of Creating Real Musical Time], Novi zvuk, 6, 1995, 97–101; Zoran Erić, Vlastimir Trajković: muzika za klavir [Vlastimir Trajković: Music for Piano], Novi zvuk, 9, 1997, 51–54; Vlastimir Trajković, S onu stranu međe moderna–post-moderna: Koncert za klavir i gudački orkestar Jugoslava Bošnjaka ili pouzdanje u princip muzikalnosti [Beyond the Boundary Modernism–Postmodernism: Concerto for Piano and String Orchestra by Jugoslav Bošnjak or Confidence in the Principle of Musicality], Novi zvuk, 15, 2000, 95–100; Milan Mihajlović, Pesme o zvezdama Svetlane Kresić [Pesme o zvezdama (Poems About Stars) by Svetlana Kresić], Novi zvuk, 18, 2001, 79–84; Svetlana Kresić, Pesme o zvezdama [Poems About Stars], Novi zvuk, 18, 2001, 85–87; Svetlana Kresić, AJ DI (ID) of Marsovci ili jednačina sa više nepoznatih [ID of Martians or Equation with Several Unknowns], Novi zvuk, 20, 2002, 87–90; Borislav Čičovački, Testije i kondiri – u potrazi za muzičkim „iskopinama” [Testije i kondiri (Jugs and Stoups) – in Search of Music ‘Artefacts’], Novi zvuk, 21, 2003, 81–86. Cf. Table 1!

Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)


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stems primarily from the theoretical and interpretative sphere2 include certain analytical notes and arguments. In truth, although one can only speak of musi-cologists’ papers as written in specifically musicological genres, the items by other authors are nevertheless examples of making fundamental connections between factual insights and personal opinions.

Apart from presenting the individual compositional and technical particu-lars of the treated works, as well as their aesthetic premises and stylistic features, the musicological papers in the New Works section display a tendency to place these works not only in the context of the individual creative paths and creative dynamics of their authors, but also in the setting of the compositional practice, the surrounding artistic milieu, as well as the relevant historical heritage. At the same time, the material acquired through this musical, factual and historic re-search is the basis for shaping the individual musicological views of a work, mostly founded on interdisciplinary thinking. Diverse stimulations from various disciplines converge within these views – most often visual, literary and aes-thetic ones, as well as the stimulations of a sociological or culturological nature.3 They are not, however, extensive elaborations, but a way of introducing a new work to readers which does not dwell just on a description, but also includes the concise articulation of the problem with the dimension of critical evaluation.

Therefore, in spite of not being large in scale, these papers clearly have well-defined genres, mostly as musicological ‘miniatures’ with problematiza-tion overtones.4 These texts, namely, display a consistent, causal and conse-quential permeation of the analytical and interpretative approaches, meaning that, typologically, they stand between the papers that otherwise – by focusing on detailed analytical examinations of a particular work or a group of related works – populate the Analyses section, and the papers published in the Interpre-tations section. That is to say: from the viewpoint of their general methodologi-

2 E.g. Miško Šuvaković, Mimezis mimezisa. Estetsko kao transgresivni element muzike [Mimesis of Mimesis. The Aesthetic as a Transgressive Element of Music], Novi zvuk, 10, 1997, 83–91; Nikola Šuica, Vladan Radovanović: Sazvežđa [Vladan Radovanović: Constel-lations], Novi zvuk, 12, 1998, 75–78; Marsel Kobason [Marcel Cobussen], Džon Zorn: dekonstrukcija i komprovizacija [John Zorn: Deconstruction and Comprovisation], Novi zvuk, 13, 1999, 51–60.3 Cf. Mirjana Veselinović-Hofman, Međunarodna tribina kompozitora i časopis Novi zvuk: korelacija vidova predstavljanja srpske savremene muzike [International Review of Com-posers and the New Sound Magazine: Correlation of Types of Presentation of Contemporary Serbian Music], in: …under (re)construction. Međunarodna tribina kompozitora 1992–2007, Vesna Mikić and Ivana Ilić (eds.), Belgrade, Udruženje kompozitora, 2007, 95–98.4 A deviation from such a genre format can be found in papers by the authors who are not specialists in musicology. Cf. footnotes 1 and 2.

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cal procedure, the majority of contributions to the New Works sections approach the genre of a musicological study, because in a compact form they demonstrate the relationship between the formalist-positivist and the contextual, whose types of manifestation and complexity represent one of the important hallmarks of genuine scientific studies. Still, as previously said, the New Works section of the magazine sometimes contains contributions in which the analytical compo-nent and the personal comments are fused in a certain musicologically ‘casual’, but valuable way, and there are also contributions where new compositions are presented in a more pronouncedly analytical sense, from the concrete aspects of form, harmony, compositional technique, media, etc. that distinguish them. Therefore they are included in the Analyses section.5 It is, thus, a type of con-tribution where the New Works and Analyses sections actually cooperate on a joint task – presenting new compositions! – but in two fundamentally different ways and with different intensities.6 This is understandable, because the concept of the Analyses section is not necessarily restricted to the latest production, or even contemporary music, since the goal of this segment is to demonstrate the application of chosen analytical concepts and methods using case studies from the entire history of music.

Within the described framework and in the described ways, eighty-eight compositions were treated in the New Works section up to and including the magazine’s Issue 39.7 (Appendices: Table 1)8

5 Summary of these papers can be found in the appendix New Works in the Analyses Sec-tion (Table 3).6 More on ways of elaborating on newly created compositions and, generally, contempo-rary music as the common subject of all the sections in the New Sound magazine, in: Mirjana Veselinović-Hofman, Nova dela i časopis Novi zvuk – Novi zvuk kao karika institucionalnog ulančavanja u svetu savremene srpske muzike [New Works and the New Sound Magazine – the New Sound as a Link in the Institutional Chain in the World of Contemporary Serbian Music], in: Tematski potencijali leksikografskih jedinica o muzičkim institucijama, Vesna Mikić, PhD, and Tijana Popović Mlađenović, PhD (eds.), Muzikološke studije – Zbornici radova, vol. 7, Belgrade, Katedra za muzikologiju, Fakultet muzičke umetnosti, 2009, 163–170.7 If we also include the new works dealt with from primarily the analytical or interpretative viewpoint in the appropriate sections – Analyses and Interpretations – the total amounts to ninety-eight works discussed in twenty years of the magazine’s existence, and most of them belonged to the latest compositional production.8 The table contains the title of each work, its author, the author of the item, the item’s title, the magazine issue in which the item was published, year of publication and the numbers of the first and last pages of the item. Given that New Sound is published both in Serbian and in English, the table also contains translations of the titles, as well as the data on the publishing dynamics of the magazine in these languages. Namely, up to Issue 23, the issues were pub-



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This selection has been made from a production monitored yearly, and in-volving several sources: the International Review of Composers in Belgrade,9 the domestic concert repertoire with premieres and performances of awarded works, the programmes of certain world festivals of contemporary music, as well as domestic and foreign ensembles specialized in its performance. As a rule, all these sources offer an insight into the production of the current year or the year before as well, and so these are indeed the latest achievements.10 Dur-ing that process, attention is paid predominantly to the compositional creation in Serbia. To a lesser extent but in the same manner, the selection includes recent compositions by foreign authors; more precisely, those who originated from the Serbian environment, but whose lives and professional careers are successfully progressing in musical cultures all over the world.

By implying a certain degree of contextual projection of a particular musi-cal material, the New Works section is more closely related to the Interpreta-tions section than to the Analyses section. Namely, like the New Works section, the Interpretations section establishes fundamental connections between the musical substance and its interpretation, but during the elaboration of these per-sonal elucidations, a ‘demonstrative’ reaching for the analytical apparatus is not necessarily employed. Besides, although this section also presents musical works which are usually of the most recent production11, either as individual

lished simultaneously in the Serbian and English languages. Since Issue 24, the English version was published only online, up to Issue 31, which was published only in Serbian. The following issue, 32, was published only in English, and since Issue 33, only the English edi-tion has been printed, and also uploaded to the Web, while the Serbian edition has been published only online. The reader is advised of the currently unavailable forms of certain issues by their being stricken through in this table.9 It is an international festival of contemporary music, organized yearly since 1992. Except for the first one, held in Novi Sad and Sremski Karlovci, all the following Reviews have taken place in Belgrade.10 The works, in fact, come under consideration for being presented as soon as the Editorial Board of the magazine receives both news about the works and the works themselves. For example, the work cvetić, kućica… [little flower, little house…] by Marko Nikodijević was written in 2009, but it was only in 2010 that it received the Gaudeamus Prize and the Second Prize at the Tansman Competition in Poland; hence it was presented in the New Works sec-tion two years after being composed, in the New Sound 38, II/2011. (cf. Table 1!) The most distant from the chronological determinant of the new works in the magazine are the works by Vlastimir Trajković: Zvona [Bells] (1974) and Koncert za klavir i orkestar u B-duru, op. 21 [Concerto for Piano and Orchestra in B-flat Major, Op. 21] (1990), to which Zoran Erić metaphorically referred as ‘eternally new’, and that is the reason why they were included in this section. (cf. Table 1!)11 Cf. appendix The Interpretations section and the new works in it (Table 2).

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compositions or within a festival programme,12 these works are treated in this section primarily as incentives and encouragements for special interpretative considerations. Thus, these items deliberate on what might be the entire scale of problem areas of contemporary music, even music in general – compositional, aesthetic, performing, stylistic, culturological…, and hence this deliberation in-volves not only musicologists, but also authors from non-musicological profes-sions, who sharpen their theoretical observations primarily from the standpoint of their disciplines. Therefore, the thematic range of the Interpretations sec-tion is quite diverse, including areas that are important and inexhaustibly open for contextual elaboration, such as e.g. time and space in the light of concrete compositional poetics (for example, S. Rachmaninoff, H. Rădulescu, A. Pärt),13 the inexpressibility of music,14, issues of mimesis,15 deconstruction and music,16 music and literature,17 the poetic and aesthetic issues of media and technology in compositional creation and performance,18 the stylistic view on compositional

12 Cf. Mirjana Veselinović-Hofman, Avangarda danas: odjeci avangarde. Svetski dani muz-ike ’95 [The Avant-garde Today: Echoes of the Avant-garde. World Music Days ‘95], Novi zvuk, 6, 1995, 71–95; Ksenija Stevanović, Pandorina muzička kutija: 11. međunarodna tri-bina kompozitora u Beogradu [Pandora’s Music Box: 11th International Review of Compos-ers in Belgrade], Novi zvuk, 20, 2002, 76–82; Ivana Medić, Letnji kurs iz kompozicije i interpretacije Karlhajnca Štokhauzena [The Stockhausen Composition and Interpretation Courses], Novi zvuk, 25, 2005, 29–35; Aleksandar Damnjanović, Srpska muzika na festivalu evropske muzike u Francuskoj [Serbian Music on the Festival of European Music in France], Novi zvuk, 26, 2005, 113–118. Cf. Table 2!13 E.g. Arbo Valdma, Rahmanjinov: vremenska i prostorna (dez)orijentacija [Rachmaninoff: Spatial and Temporal (Dis)orientation], Novi zvuk, 2, 1993, 41–48; Hartmut Meler [Hartmut Möller], Vremenski konflikti – višestruka vremena [Zeikonflikte – Multiple Zeiten], Novi zvuk, 11, 1998, 43–55; Herman Sabe [Herman Sabbe], Muzika stvara vreme; muzika zahteva vreme [Music Makes Time; Music Takes Time], Novi zvuk, 17, 2001, 49–54. Cf. Table 2!14 Ana Kotevska, Ne/izrecivo kao alternativa [The In/expressible as an Alternative], Novi zvuk, 10, 1997, 75–82. Cf. Table 2!15 Miško Šuvaković, Mimezis mimezisa. Estetsko kao transgresivni element muzike [Mime-sis of Mimesis. The Aesthetic as a Transgressive Element of Music], Novi zvuk, 10, 1997, 83–91. Cf. Table 2!16 Marsel Kobasen [Marcel Cobussen], Džon Zorn: dekonstrukcija i komprovizacija [John Zorn: Deconstruction and Comprovisation], Novi zvuk, 13, 1999, 51–60; Džeraldina Fin [Geraldina Finn], Muzika, identitet i différance u slučaju Čarlsa Ajvza [Music, Identity and Différance in the Case of Charles Ives], Novi zvuk, 18, 2001, 51–64. Cf. Table 2!17 Miloš Zatkalik, Nivoi muzikalizacije književnosti [Levels of the Musicalization of Litera-ture], Novi zvuk, 12, 1998, 61–73. Cf. Table 2!18 Tatjana Marković, Medij horskog „glasa“ kao stilski označitelj u opusu Konstantina Babića [The Medium of the Choir ‘Voice’ as a Stylistic Signifier in Konstantin Babić’s Opus], Novi zvuk, 20, 2002, 61–69; Bris Žoli [Brice Joly], Ksenakisov UPIC [L’UPIC de



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and performing creation,19 (auto)poetic reflections,20 the social and ideological environment of Serbian sacred music during the crisis in the 1990s,21 World Music22 and many more.23

The Interpretations section is closely related to the Views section, but the latter one, however, occurs only occasionally – mostly when it contains contri-butions that do not quite belong to the genre of interpretations, but deal with the act of expressing a particular attitude towards various phenomena and segments of musical life, their personal description and zooming, yet without the ‘devel-opment section’ which in terms of type and scope is typical of studies. There-fore, in this section – arranged as a separate segment five times in the previous thirty-nine issues of the magazine – such a view was directed to very dissimilar things, such as individual compositional creation,24 music as the constituent of customary social practice,25 the promotion of musical cultures as a form of co-

Xenakis], Novi zvuk, 21, 2003, 57–65; Bojana Cvejić, Autor kao producent – Kronos kvartet. U performativnim mutacijama sveta muzike [The Author as the Producer – The Kronos Quartet. In Performative Mutations of the World of Music], Novi zvuk, 22, 2003, 27–37. Cf. Table 2!19 Dragana Stojanović-Novičić, Cool/Hot and Soft: Prolog, akcija i kadenca Petra Ozgijana [Cool/Hot and Soft: Petar Osghian’s Prologue, Action and Cadence], Novi zvuk, 20, 2002, 70–75; Antonio Baldassare, ‘They Play More Like Angels Than Like Men’ – The Quatuour de Flonzaley and Considerations on its Performance Style, New Sound, 35, I/2010, 70–100; Anna Scott, Reinterpreting Michael Musgrave and Bernard D. Sherman’s Performing Brahms: Early Evidence of Performance Style, New Sound, 37, I/2011, 75–79. Cf. Table 2!20 Gerhard Štebler [Gerhard Stäbler], San. Nesan: nekoliko razmišljanja o komponovanju, sa primerima iz dela Gerharda Šteblera [Nicht Traum. Traum: Einige Überlegungen zum Komponieren mit Beispielen aus Werken Gerhard Stäblers], Novi zvuk, 6, 1995, 71–95. Cf. Table 2!21 Miloje Nikolić, Ko udara tako pozno iliti o fenomenu nove srpske pravoslavne duhovne muzike devedesetih godina dvadesetog veka [Who Bangeth So Late or the Phenomenon of New Serbian Orthodox Sacred Music in the Last Decade of the Century], Novi zvuk, 15, 2000, 75–93. Cf. Table 2!22 Dimitrije O. Golemović, World Music, Novi zvuk, 24, 2004, 41–47; Mladen Marković, World Contra Ethno… protiv kao i obično [World Contra Ethno... Against as Usual], Novi zvuk, 24, 2004, 48–51. Cf. Table 2!23 Cf. Table 2.24 E.g. in the text Ljubica Marić – istom rekom vremena [Ljubica Marić – By the Same River of Time] (Novi zvuk, 14, 1999, 31–41), Zorica Makević sheds light on the poetic of Lj. Marić, based on her works Archaia I for string trio (1992), Čudesni miligram [The Wondrous Milligram] for soprano and flute (1992), Archaia II for wind trio (1993) and Torso for piano trio (1996). Cf. Table 4!25 Dimitrije Golemović, Uloga muzike u posmrtnim običajima Srbije i Crne Gore [The

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operation between magazines,26 categories of World Music,27 the relationship between the domains of the spiritual and the musical through the critical recep-tion of a musicological-aesthetic publication.28

The sections dealt with in this item, however, were not always articulated individually in all the issues of the New Sound. Exceptions occur when the con-tributions belong mainly to the type of the study, but with genre stresses that are ‘destabilizing’, distinguishing and different, yet not decidedly defining. This will typically happen in some thematic issues of the magazine – probably because such issues naturally encourage and, in some way, release personal interpretative contextualizations as the specific layer of superstructure in studies. Therefore, in thematic issues, such texts are joined in the Core Issue section. Such is the case, for instance, in the issues dedicated to the spiritual music of the region of the Balkans (16, 2000), to the ballad (30, II/2007), to improvisation (32, II/2008) and to the metamorphosis of the musical-stage medium today (36, II/2010). Still, the New Works section survives independently in all these issues. And the issues whose themes are music and Futurism (34, II/2009) and contemporary music at the periphery (38, II/2011) also contain the Interpretations section as a separate unit. Ultimately, all this confirms and supports contextual freedom and uncon-ventionality in shaping a contemporary musicological text, which is in turn im-mediately related to the flexibility of the sections’ content and form.

Even so, the contributions in the sections New Works and Interpretations, as well as in the Views segment, related to the latter, affirm the contemporary processes of musicological thinking and key procedures in the currently preva-lent efforts of musicological elaboration in Serbia and abroad. Because, apart from domestic contributors, a large number of foreign authors write for these sections, which contributes significantly to bilateral acknowledgment, gaining mutual insights into musicological practice and results and, thus, the recogni-tion of our musicological discourse in a conceivably broad geographical and culturological space – first of all, thanks to the magazine being published in English29 and distributed in musical environments around the world.

Role of Music in Funeral Rites in Serbia and Montenegro], Novi zvuk, 14, 1999, 43–50. Cf. Table 4!26 Anders Bejer [Anders Beyer], Naš san o savezu [Our Dream of an Alliance], Novi zvuk, 25, 2005, 37–48. Cf. Table 4!27 Iva Nenić, World Music: od tradicije do invencije [World Music: From Tradition to In-vention], Novi zvuk, 27, 2006, 43–54. Cf. Table 4!28 Mirjana Veselinović-Hofman, On Rethinking the Relationship Between Spirituality and Music – Marcel Cobussen: Thresholds…, New Sound, 34, II/2009, 115–120. Cf. Table 4!29 Cf. footnote 8!



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Of course, besides demonstrating individual musicological styles and thus forming a picture of various possibilities and ways of presenting new composi-tions and subjects mainly from the domain of contemporary music, these sec-tions contribute to the promotion of their own topics. Thereat, they have an additional responsibility, since they mostly contain the first papers ever pub-lished on the chosen newly composed works, as well as their first completely personal interpretative theoretical reception, shaped in an either musicological or non-musicological manner. With these first presentations, both sections – New Works and Interpretations – mark the beginning of musicological dealing with the works treated in them. They not only introduce these works and their theoretical connotations and contextualizations into the realm of potential mu-sicological interests and debates, but also give a kind of first proposal for the analytical interpretation and the direction of the problem deliberations that later may follow. Certainly, that proposal can later be accepted and developed, or disputed by giving arguments to different opinions. In any case, it is verifiable in principle and acoustically, given that the works in question are released on the accompanying compact discs.30 And this opens the possibility for them to become an object of new interest among performers at home and abroad.

Interestingly enough, while contributing to the New Works and Interpreta-tions sections, certain musicologists have developed particular affinities for the music of certain composers.31 Thus, they observe the new works of these authors through the delicate nuances of their poetic realizations, and from the perspec-tives of their own problem insights. This often results in metaphorically rich, aesthetically well-founded and literarily shaped papers, built upon analytical argumentations that are stable and elaborated, but used unobtrusively.

The New Works and Interpretations sections thus continuously produce genuine musicological literature, chiefly on contemporary Serbian music, and hence they are crucial to the national musical historiography. They also put for-ward concrete facts of various profiles – analytical and historical, educational and descriptive – but also connotative readings, orientations and creations. These sections achieve that goal primarily as individual units, each within the domain of their own particulars, and then conjointly, whereby each includes elements of the other, as we have seen. From that perspective, in the last twenty years of the magazine’s existence, the New Works and Interpretations sections became the

30 Cf. ibid.31 For example, in their constant preoccupation with the latest compositional production in Serbia and abroad, Zorica Premate is particularly inclined towards the opus of Zoran Erić, while Vesna Mikić is singularly interested in the works by Srđan Hofman, as well as Serbian women composers living abroad (e.g. Milica Paranosić). Cf. Table 1!

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incarnation of two methodological poles that represent pillars of musicological research. And both of these pillars, by variously projected bridges, reach for each other.

Translated by Goran Kapetanović

LITERATURE

Veselinović-Hofman, Mirjana: Međunarodna tribina kompozitora i časopis Novi zvuk: kore-lacija vidova predstavljanja srpske savremene muzike, in: ...under (re)construction. Međunarodna tribina kompozitora 1992–2007, Vesna Mikić and Ivana Ilić (eds.), Belgrade, Udruženje kompozitora, 2007, 95–98.Veselinović-Hofman, Mirjana: Nova dela i časopis Novi zvuk – Novi zvuk kao karika institu-cionalnog ulančavanja u svetu savremene srpske muzike, in: Tematski potencijali lek-sikografskih jedinica o muzičkim institucijama, Vesna Mikić, PhD, and Tijana Popović Mlađenović, PhD (eds.), Muzikološke studije – Zbornici radova, vol. 7, Belgrade, Katedra za muzikologiju, Fakultet muzičke umetnosti, 2009, 163–170.Mikić, Vesna and Ilić, Ivana (eds.): …under (re)construction. Međunarodna tribina kompozi-tora 1992–2007, Belgrade, Udruženje kompozitora, 2007.Novi zvuk, Internacionalni časopis za muziku, 1–31, 1993–2008:articles from the section Nova dela (stated in Table 1);– Interpretacije (stated in Table 2);– Analize (stated in Table 3);– Pogledi (stated in Table 4)New Sound, International Magazine for Music, 32–39, 2008–2012: articles from the section New Works (stated in Table 1);– Interpretations (stated in Table 2);– Analyses (stated in Table 3);– Views (stated in Table 4)

APPENDICES:

Table 1The New Works section

Table 2The Interpretations section and the new works in it

Table 3New works in the Analyses section

Table 4Items in the Views section



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62.

5.

/ Bo

ogie

C

D N

ew S

ound

102

/

Vuk

Kul

enov

i

/ Zor

ica

Prem

ate

/ Th

e D

azzl

ing

Fetis

h of

Des

pair

. 2, 1

993,

119

–128

. N

o. 2

, 199

3, 1

05–1

13.

6.

Mus

ica

Sior

anum

C

D N

ew S

ound

103

/

Žark

o M

irkov

i

/ Bra

nka

Rad

ovi

/

A M

irror

Fac

ing

a M

irror

. 3

, 199

4, 1

45–1

50.

No.

3, 1

994,

145

–151

.

APP

EN

DIC

ES

Tabl

e 1

The

New

Wor

ks se

ctio

n

125

7.

Mem

ento

C

D N

ew S

ound

105

/ Mila

n M

ihaj

lovi

/

Bra

nisl

ava

Mija

tovi

: M

emen

to

/

Cry

stal

s of M

emor

y: M

ilan

Mih

ajlo

vi’s

Mem

ento

. 4-5

, 199

4/95

, 12

3–13

2.

No.

4-5

, 199

4/95

, 11

9–12

8.

8.

Mus

ica

conc

erta

nte

CD

New

Sou

nd 1

04

/

Sran

Hof

man

/

The

Mid

get a

nd th

e B

east

. 4

-5, 1

994/

95,

133–

144.

N

o. 4

-5, 1

994/

95,

129–

141.

9.

/

A Br

ief A

ccou

nt o

f th

e In

exor

able

and

Tra

gic

Cou

rse

of D

estin

y W

hich

Led

th

e Li

ttle

Mer

mai

d’s F

ragi

le

Bein

g in

to T

otal

Dis

aste

r C

D N

ew S

ound

104

/ Gor

an K

apet

anov

i

(=

) /

Ves

na

Paši

(= M

iki

)

/

The

Littl

e M

erm

aid

. 4-5

, 199

4/95

, 14

5–14

9.

No.

4-5

, 199

4/95

, 14

3–14

8.

10.

/ Si

gns

CD

New

Sou

nd 1

06

/

Sran

Hof

man

/ Zo

ran

Eri

/ Si

gns,

by S

ran

Hof

man

, D

irect

ory

for t

he U

se o

f Li

ve E

lect

roni

cs in

the

Proc

ess o

f Cre

atin

g R

eal M

usic

al T

ime

. 6, 1

995,

97

–101

. N

o. 6

, 199

5, 1

01–1

05.

11.

Duo

sim

bolic

o C

D N

ew S

ound

106

/ M

ilana

St

ojad

inov

i M

ili

/

Mar

ija

Mas

niko

sa

: Duo

sim

bolic

o / M

ilana

Sto

jadi

novi

Mili

: Duo

sim

bolic

o . 6

, 199

5, 1

03–1

06.

No.

6, 1

995,

107

–110

.



126

12.

/

The

Sple

ndou

r of

Bet

elge

use

or th

e Se

cret

of

the

Red

Gia

nt

CD

New

Sou

nd 1

06

/

Tatja

na M

iloše

vi

/ Zor

ica

Mak

evi

/ Th

e Sp

lend

our o

f Bet

elge

use

. 6, 1

995,

107

–109

. N

o. 6

, 199

5, 1

11–1

14.

13.

Séré

nade

(p.

117

) C

D N

ew S

ound

107

/

Dej

an D

espi

(=

) / V

esna

Pa

ši (=

Mik

i)

/ Sé

réna

de d

’un

faun

e . 7

, 199

6, 3

9–45

. N

o. 7

, 199

6, 4

3–49

. 14

. /

Tors

o C

D N

ew S

ound

108

/

Ljub

ica

Mar

i

/ Zor

ica

Mak

evi

,

/

The

Tors

o, L

jubi

ca M

ari

’s P

iano

Trio

. 8

, 199

6, 3

1–32

. N

o. 8

, 199

6, 3

3–35

. 15

. C

once

rto

dopp

io

CD

New

Sou

nd 1

08

/

Slav

ko Š

ukla

r

/ Z

oric

a Pr

emat

e

/ A

Big

Mat

ch

. 8, 1

996,

33–

38.

No.

8, 1

996,

37–

42.

16.

/ D

uel

CD

New

Sou

nd 1

08

/

Sran

Hof

man

/ V

esna

Mik

i

/ Th

e D

uel a

s the

Ans

wer

. 8

, 199

6, 3

9–42

. N

o. 8

, 199

6, 4

3–46

. 17

. ,

. 5 /

Bells

, Op.

5

CD

New

Sou

nd 1

09

/ V

last

imir

Traj

kovi

/

Zora

n Er

i

:

/ V

last

imir

Traj

kovi

: Mus

ic fo

r Pia

no

. 9, 1

997,

51–

54.

No.

9, 1

997,

51–

54.

18.

-,

. 21

/ C

once

rto

for P

iano

and

O

rche

stra

in B

-flat

maj

or,

Op.

21

/ V

last

imir

Traj

kovi

/

Zora

n Er

i

:

… /

Vla

stim

ir Tr

ajko

vi: M

usic

…

. 9, 1

997,

51–

54.

No.

9, 1

997,

51–

54.

19.

. 1 /

Stri

ng Q

uart

et N

o. 1

/ A

leks

andr

a V

reba

lov

/

Ira

Prod

anov

. 1

/ St

ring

Qua

rtet

No.

1 b

y A

leks

andr

a V

reba

lov

. 9, 1

997,

55–

58.

No.

9, 1

997,

55–

58.

20

. Si

lenz

io

CD

New

Sou

nd 1

10

/ Mila

n M

ihaj

lovi

/ Iv

ana

Vuk

sano

vi

/ Si

lenc

e W

ithou

t Tr

anqu

illity

. 1

0, 1

997,

93–

97.

No.

10,

199

7, 9

5–99

.

127

21.

A ci

nque

C

D N

ew S

ound

110

/

Dej

an D

espi

/

Dra

gana

St

ojan

ovi

N

ovi

i

/ M

ore

than

Just

a D

ance

. 1

0, 1

997,

99–

106.

N

o. 1

0, 1

997,

101

–10

8.

22.

Spee

d C

D N

ew S

ound

110

/ Gor

an K

apet

anov

i

/

Gor

ica

Pilip

ovi

/ Th

e Sp

eed

of th

e To

tem

s in

Pand

ora’

s Box

. 1

0, 1

997,

107

–10

9.

No.

10,

199

7, 1

09–

111.

23

. /

Tote

ms

/

Svet

lana

Kre

si

/

Gor

ica

Pilip

ovi

…

/ Th

e Sp

eed

of th

e To

tem

s…

. 10,

199

7, 1

07–

109.

N

o. 1

0, 1

997,

109

–111

. 24

.

/

At th

e En

d of

th

e Ro

ad

CD

New

Sou

nd 1

12

/

Dej

an D

espi

/ K

atar

ina

Tom

ašev

i

,

,

, . 1

25,

,

8

, /

Dej

an D

espi

, At t

he E

nd o

f the

Roa

d,

Tone

Poe

m fo

r Cha

mbe

r Orc

hest

ra, O

p. 1

25. A

Sh

ort H

isto

ry o

f the

Tex

t or P

rolo

gue,

A

Rev

iew

in E

ight

Sta

ges.

Epilo

gue

. 11,

199

8, 5

7–71

. N

o. 1

1, 1

998,

57–

71.

25.

/

Mus

ical

W

eek

CD

New

Sou

nd 1

11

/

Dej

an D

espi

/ K

atar

ina

Tom

ašev

i

,

,

. 1

23

/ D

ejan

Des

pi, M

usic

al W

eek,

Se

ven

Cha

ract

er P

iece

s, O

p. 1

23 fo

r Tw

o V

iolo

ncel

los

. 11,

199

8, 7

3–82

. N

o. 1

1, 1

998,

73–

82.

26.

/ C

onst

ella

tions

/

Vla

dan

Rad

ovan

ovi

/

Nik

ola

Šuic

a

:

/ V

lada

n R

adov

anov

i: C

onst

ella

tions

. 1

2. 1

998,

75–

78.

No.

12,

199

8, 7

9–82

. 27

. -

/

Obe

ron

Con

cert

o fo

r flu

te

and

inst

rum

enta

l ens

embl

e C

D N

ew S

ound

112

/

Zora

n Er

i

/ Zor

ica

Prem

ate

/ Th

ree

Smal

l Sto

ries

Abo

ut C

haos

. 1

2. 1

998,

79–

90.

No.

12,

199

8, 8

3–95

.



128

28.

/

The

Mad

Car

riag

e-G

reat

er fr

om

Chu

C

D N

ew S

ound

113

/

Milo

š Zat

kalik

/ G

oric

a Pi

lipov

i

/

Hys

teria

Und

er C

ontro

l . 1

3, 1

999,

73–

79.

No.

13,

199

9, 6

3–67

.

29.

Ludu

s mim

esis

C

D N

ew S

ound

113

/

Tatja

na M

iloše

vi

/

Val

entin

a R

adom

an

Ludu

s mim

esis

. 1

3, 1

999,

81–

84.

No.

13,

199

9, 6

8–71

.

30.

/

Con

cert

o fo

r Pia

no a

nd S

trin

g O

rche

stra

C

D N

ew S

ound

115

/

Jugo

slav

Boš

njak

/

Vla

stim

ir Tr

ajko

vi

–:

-

/

Bey

ond

the

Bou

ndar

y M

o-de

rnis

m–P

ostm

oder

nism

: Con

cert

o fo

r Pia

no

and

Stri

ng O

rche

stra

by

Jugo

slav

Boš

njak

or

Con

fiden

ce in

the

Prin

cipl

e of

Mus

ical

ity

. 15,

200

0, 9

5–10

0.

No.

15,

200

0, 9

7–10

2.

31.

/ Li

turg

y of

the

Pres

anct

ified

Gift

s C

D N

ew S

ound

116

/ D

imitr

ije G

olem

ovi

/ Iva

na P

erko

vi

/ D

imitr

ije

Gol

emov

i’s

Set

ting

of th

e Li

turg

y of

the

Pres

anct

ified

Gift

s

. 16,

200

0, 1

27–

130.

N

o. 1

6, 2

000,

125

–12

8.

32.

199

9 / A

Noc

turn

e of

Be

lgra

de S

prin

g 19

99

CD

New

Sou

nd 1

17

/

Sran

Hof

man

/ B

ojan

a C

veji

.

199

9.

,

-

/ Nea

r and

Far

. A N

octu

rne

of B

elgr

ade

Spri

ng

1999

for c

ham

ber e

nsem

ble,

live

ele

ctro

nics

an

d au

dio

tape

, by

Sran

Hof

man

. 17,

200

1, 6

1–67

. N

o. 1

7, 2

001,

57–

63.

33.

/ Vo

xal

CD

New

Sou

nd 1

17

/

Vla

dim

ir To

ši

/

Mar

ija

Mas

niko

sa

/ Vo

xal b

y V

ladi

mir

Toši

. 1

7, 2

001,

68–

70.

No.

17,

200

1, 6

4–66

.

34.

/ A

Har

vest

er C

uts

a H

andf

ull o

f Son

gs

CD

New

Sou

nd 1

18

/ Isi

dora

Žeb

elja

n

/ M

ilena

Med

i

/

The

Post

mod

erni

st C

ompo

sing

of S

ong-

Wre

aths

. 1

8, 2

001,

69–

78.

No.

18,

200

1, 6

7–76

.

129

35.

/ Po

ems

Abou

t Sta

rs

CD

New

Sou

nd 1

18

/

Svet

lana

Kre

si

/

Mila

n M

ihaj

lovi

/

(P

oem

s Abo

ut S

tars

) by

Svet

lana

K

resi

. 18,

200

1, 7

9–84

. N

o. 1

8, 2

001,

77–

82.

/

Poem

s Ab

out S

tars

/ Sv

etla

na K

resi

/ Sv

etla

na K

resi

/ Po

ems A

bout

Sta

rs

. 18,

200

1, 8

5–87

. N

o. 1

8, 2

001,

83–

85.

36.

3

/ H

isto

ry o

f the

Byz

antin

e Em

pire

3

CD

New

Sou

nd 1

19

(VII

,

/

7th

mov

., Bu

lgar

ians

Fly

Ove

r C

onst

antin

ople

)

/

Milo

š Pet

rovi

/ J

elen

a Ja

nkov

i

(

) /

His

tory

Goe

s O

n (A

gain

) . 1

9, 2

002,

67–

70.

No.

19,

200

2, 6

7–70

.

37.

Vris

Kri

k.Ex

e C

D N

ew S

ound

119

/

Jasn

a V

eli

kovi

/ V

esna

Mik

i

Vris

Kri

k.Ex

e:

/ /

Vris

Kri

k.Ex

e: A

Tec

hno-

Mus

ic

Met

apho

r of a

Sub

ject

/Bod

y

. 19,

200

2, 7

1–74

. N

o. 1

9, 2

002,

71–

74.

38.

/

The

Last

Bal

l of

Mar

gari

ta N

ikol

ayev

na

/

Ivan

a O

gnja

novi

/ B

ojan

a C

veji

:

-

-

/

Ivan

a O

gnja

novi

: The

Las

t Bal

l of M

arga

rita

N

ikol

ayev

na o

r how

to D

is-E

ncha

nt th

e M

aste

rshi

p of

Com

posi

ng

. 20,

200

2, 8

3–86

. N

o. 2

0, 2

002,

79

– 82

.

39.

Ix Ix

Ax

– bl

oom

C

D N

ew S

ound

120

/ Mili

ca P

aran

osi

/ Sv

etla

na K

resi

(I

D)

/ ID

of M

artia

ns o

r Equ

atio

n w

ith S

ever

al U

nkno

wns

. 20,

200

2, 8

7–90

. N

o. 2

0, 2

002,

83

– 86

.

40.

…

/ Su

per…

M

achi

ne

CD

New

Sou

nd 1

21

/

Jasn

a V

eli

kovi

/ Je

lena

Nov

ak

„“…

…

/ Th

e ‘N

oise

’ of t

he

Supe

r…M

achi

ne

. 21,

200

3, 6

7–71

. N

o. 2

1, 2

003,

67–

70.



130

41.

–

/ Si

x Sc

enes

– C

omm

enta

ries

for

thre

e vi

olin

s and

strin

gs

CD

New

Sou

nd 1

21

/

Zora

n Er

i

/ Zor

ica

Prem

ate

/ Si

x C

omm

enta

ries o

f Sc

enes

. 2

1, 2

003,

72–

80.

No.

21,

200

3, 7

1–79

.

42.

,

, . 2

7 /

Jugs

and

Sto

ups,

Five

Mus

ic

Engr

avin

gs fo

r Eng

lish

Hor

n an

d Vi

ola,

Op.

27

CD

New

Sou

nd 1

21

/ V

last

imir

Traj

kovi

/

Bor

isla

v i

ova

ki

–

„“

/

(J

ugs a

nd

Stou

ps) –

in S

earc

h of

Mus

ic ‘A

rtefa

cts’

. 21,

200

3, 8

1–86

. N

o. 2

1, 2

003,

80–

85.

43.

/ N

arci

ssus

an

d Ec

ho

CD

New

Sou

nd 1

22

(:

/

part

from

the

oper

a: M

y W

ish)

/

Anj

a or

evi

(=

) /

M

ilena

Vita

s (=

Med

i)

–

/ N

arci

ssus

and

Ech

o –

A P

sych

olog

ical

Atte

mpt

. 2

2, 2

003,

47–

50.

No.

22,

200

3, 4

5–48

.

44.

/ Re

turn

C

D N

ew S

ound

122

/ Mila

n M

ihaj

lovi

/ Z

oric

a Pr

emat

e

/

Ret

urn

to th

e U

nkno

wn

. 22,

200

3, 5

1–57

. N

o. 2

2, 2

003,

49–

55.

45.

/

Rožd

estv

o fo

r wom

en’s

cho

ir C

D N

ew S

ound

122

/ A

leks

anda

r D

amnj

anov

i

/ Iva

na P

erko

vi

:

/

Ale

ksan

dar D

amnj

anov

i:

Rožd

estv

o fo

r Wom

en’s

Cho

ir

. 22,

200

3, 5

8–62

. N

o. 2

2, 2

003,

56–

60.

46.

/

A C

hast

e W

elco

me

/

Anj

a or

evi

/ J

elen

a Ja

nkov

i

Caf

é de

l Con

-Tru

st (

12.

.z

ip) /

Caf

é de

l Con

-Tru

st (A

bout

th

e C

ompo

sitio

ns o

f Anj

a or

evi

and

V

ladi

mir

Pejk

ovi

on

the

prog

ram

me

of th

e 12

th

Inte

rnat

iona

l Rev

iew

of C

ompo

sers

.zip

)

. 23,

200

4, 6

1–64

. N

o. 2

3, 2

004,

47–

50.

131

47.

Bloo

d, N

oise

, End

less

Poe

try

/ V

ladi

mir

Pejk

ovi

/ J

elen

a Ja

nkov

i

Caf

é de

l Con

-Tru

st…

. 2

3, 2

004,

61–

64.

No.

23,

200

4, 4

7–50

.

48.

Thre

nody

C

D N

ew S

ound

123

/ M

arko

Nik

odije

vi

/ Iv

ana

Stam

atov

i

: Thr

enod

y / M

arko

N

ikod

ijevi

: Thr

enod

y

. 23,

200

4, 6

5–69

. N

o. 2

3, 2

004,

51–

55.

49.

/ Ab

ove

Wat

er

CD

New

Sou

nd 1

24

/Ivan

a St

efan

ovi

/ Iv

ana

Stam

atov

i

/ A

Dip

tych

on

Sile

nce

and

Lang

uage

. 2

4, 2

004,

53–

57.

No.

24,

200

4, o

nlin

e is

sue

50.

/ O

rdin

ary

Con

vers

atio

ns

CD

New

Sou

nd 1

24

/ Iva

na S

tefa

novi

/ Iv

ana

Stam

atov

i

… /

A D

ipty

ch…

. 2

4, 2

004,

53–

57.

No.

24,

200

4, o

nlin

e is

sue

51.

. / Z

ora

D.

/ Isi

dora

Žeb

elja

n

/ Je

lena

Nov

ak

.

:

,

/

The

Late

st S

erbi

an O

pera

. An

Essa

y on

Pha

ntas

ms o

f Tra

ditio

n, G

ende

r Ide

ntiti

es

and

Rep

rese

ntat

ion

in th

e M

usic

al T

heat

re

. 25,

200

5, 4

9–54

. N

o. 2

5, 2

005,

onl

ine

issu

e

52.

- 1

–6 /

Re-V

ersi

o 1–

6 C

D N

ew S

ound

125

/

Svet

lana

Sav

i

/

Ves

na M

iki

/

.

: -

1–6

/

Subv

er-

sion

of R

ever

sibi

lity

/ Rev

ersi

bilit

y of

Sub

ver-

sion

. Sve

tlana

Sav

i: R

e-ve

rzije

1–6

za

kam

erni

an

sam

bl (R

e-Ve

rsio

1–6

for c

ham

ber e

nsem

ble)

. 25,

200

5, 5

5–59

. N

o. 2

5, 2

005,

onl

ine

issu

e



132

53.

/

A Pr

ayer

Bre

akfa

st U

nder

the

Win

gs o

f a W

hite

Ang

el

CD

New

Sou

nd 1

26

(

…

/ Th

e M

usic

Com

pone

nt fo

r Sy

nthe

tic In

stal

latio

n A

Pray

er B

reak

fast

…)

/

Vla

dan

Rad

ovan

ovi

/

Jele

na N

ovak

.

:

/ A

Syn

thet

ic B

reak

fast

in

a B

ath.

Vla

dan

Rad

ovan

ovi

: A P

raye

r Br

eakf

ast U

nder

the

Win

gs o

f a W

hite

Ang

el

. 26,

200

5, 9

5–99

. N

o. 2

6, 2

005,

on

line

issu

e

54.

–

/

Had

edas

–

Pres

enta

tion

and

Thre

e D

evel

opm

ents

for V

iolo

ncel

lo

and

Pian

o C

D N

ew S

ound

126

/

Sran

Hof

man

/ V

esna

Mik

i

:

–

:

/ Sr

an H

ofm

an: H

aded

as –

Pr

esen

tatio

n an

d Th

ree

Dev

elop

men

ts fo

r Vi

olon

cello

and

Pia

no: B

ack

to th

e Fu

ture

. 26,

200

5, 1

00–

104.

N

o. 2

6, 2

005,

on

line

issu

e

55.

/

The

Boa

Con

stri

ctor

Th

at A

te a

n El

epha

nt

/

Iren

a Po

povi

/ A

sja

Rad

onji

:

/ Ir

ena

Popo

vi: T

he B

oa C

onst

rict

or

That

Ate

an

Elep

hant

. 26,

200

5, 1

05–

108.

N

o. 2

6, 2

005,

on

line

issu

e 56

.

? (

,

?) /

Who

Kill

ed

the

Seag

ull?

(You

Did

, Don

’t Yo

u Re

mem

ber?

) C

D N

ew S

ound

127

/

Zora

n Er

i

/ Zor

ica

Prem

ate

/

Mus

ic fo

r the

En

d of

Pos

tmod

erni

sm

. 27,

200

6, 5

5–60

. N

o. 2

7, 2

006,

on

line

issu

e

57.

/ O

rbits

C

D N

ew S

ound

127

/

Ale

ksan

dra

Vre

balo

v

/

Tatja

na

Mar

kovi

/

/ O

n/In

th

e O

rbits

of A

leks

andr

a V

reba

lov

. 27,

200

6, 6

1–64

. N

o. 2

7, 2

006,

on

line

issu

e

133

58.

Mus

ic B

ox /

Selb

stpo

rtra

it m

it Li

geti

und

Stra

win

sky

(und

M

essi

aen

ist a

uch

dabe

i)

/

Mar

ko N

ikod

ijevi

/

Boj

ana

Cve

ji

.

: M

usic

Bo

x / S

elbs

tpor

trai

t mit

Lige

ti un

d St

raw

insk

y (u

nd M

essi

aen

ist a

uch

dabe

i) / T

he E

nd o

f In

tuiti

on. M

arko

Nik

odije

vi: M

usic

Box

/ Se

lbst

port

rait

mit

Lige

ti un

d St

raw

insk

y (u

nd

Mes

siae

n is

t auc

h da

bei)

. 27,

200

6, 6

5–70

. N

o. 2

7, 2

006,

on

line

issu

e

59.

…

/ W

hen

the

Cur

tain

Ri

ses S

EVEN

Tim

es…

C

D N

ew S

ound

128

/

Ivan

Brk

ljai

/ Iv

ana

Vuk

sano

vi

.

:

… /

The

Mag

ic o

f N

umbe

r Sev

en. W

hen

the

Cur

tain

Ris

es S

EVEN

Ti

mes

…

. 28,

200

6,

159–

165.

N

o. 2

8, 2

006,

onl

ine

issu

e

60.

/

Five

Poe

ms o

f St

épha

ne M

alla

rmé

CD

New

Sou

nd 1

28

/ V

last

imir

Traj

kovi

/

Ana

Ste

fano

vi

/ Fi

ve P

oem

s of

Stép

hane

Mal

larm

é by

Vla

stim

ir Tr

ajko

vi

. 28,

200

6, 1

66–

174.

N

o. 2

8, 2

006,

onl

ine

issu

e 61

.

,

/ G

arla

nd fo

r the

vi

olin

, flu

te a

nd st

ring

orch

estra

C

D N

ew S

ound

128

/ Raj

ko M

aksi

mov

i

/

Sonj

a M

arin

kovi

:

,

/ Th

e D

edic

atio

n of

Mak

sim

ovi

to M

okra

njac

. G

arla

nd fo

r the

vio

lin, f

lute

and

strin

g or

ches

tra

. 28,

200

6, 1

75–

180.

N

o. 2

8, 2

006,

onl

ine

issu

e

62.

/ Ro

mar

C

D N

ew S

ound

129

/

Bož

idar

Obr

adin

ovi

/

Ves

na M

iki

/

?

/ Ro

mar

/ Th

e G

od o

f the

C

ity o

r a H

ealin

g Po

wer

of M

usic

? N

ew P

iece

s by

Bož

idar

Obr

adin

ovi

and

Anj

a or

evi

. 29,

I/20

07, 3

7–41

. N

o. 2

9, I/

2007

, on

line

issu

e 63

.

/ Th

e G

od o

f the

C

ity

CD

New

Sou

nd 1

29

(

/ C

hoir

of S

ouls

)

/

Anj

a or

evi

/ V

esna

Mik

i

/

?

… /

Rom

ar /

The

God

of t

he

City

or a

Hea

ling

Pow

er o

f Mus

ic?

New

Pi

eces

…

. 29,

I/20

07, 3

7–41

. N

o. 2

9, I/

2007

, on

line

issu

e



134

64.

/ D

ipty

ch

for e

nglis

h ho

rn a

nd st

rings

C

D N

ew S

ound

129

/

Dej

an D

espi

/ K

atar

ina

Tom

ašev

i

„

“ 2

005.

.

:

/

The

2005

Ste

van

Mok

ranj

ac

Aw

ard.

Dej

an D

espi

: Dip

tych

for e

nglis

h ho

rn

and

strin

gs

. 29,

I/20

07, 4

2–51

. N

o. 2

9, I/

2007

, on

line

issu

e

65.

Sinf

onia

–pas

saca

glia

C

D N

ew S

ound

130

/

Jugo

slav

Boš

njak

/ D

raga

na

Jere

mi

Mol

nar

.

Sinf

onia

–pas

saca

glia

/ A

noth

er C

onte

mpo

rary

Con

tribu

tion

to th

e C

onte

xtua

lizat

ion

of th

e Pa

ssac

aglia

. Abo

ut

Jugo

slav

Boš

njak

’s W

ork

Sinf

onia

–pas

saca

glia

. 30,

II/2

007,

121

–12

8.

No.

30,

II/2

007,

on

line

issu

e

66.

/

Seve

n G

lanc

es a

t the

Sky

C

D N

ew S

ound

131

/

Zora

n Er

i

/ Zor

ica

Prem

ate

:

/

Seve

n Fr

agm

ents

Abo

ut In

finity

: Sev

en G

lanc

es a

t the

Sk

y by

Zor

an E

ri

. 31,

I/20

08, 9

3–99

. N

o. 3

1, I/

2008

67.

Trav

elin

g So

ngs

CD

New

Sou

nd 1

31

/ Mili

ca P

aran

osi

/ B

rank

a Po

povi

Th

e ém

igré

’s W

altz

. 3

1, I/

2008

, 100

–10

8.

No.

31,

I/20

08;

onlin

e is

sue

68.

Cre

scen

t C

D N

ew S

ound

131

/ K

atar

ina

Milj

kovi

/ Bra

nka

Popo

vi

The

émig

ré’s

Wal

tz

. 31,

I/20

08, 1

00–

108.

N

o. 3

1, I/

2008

; on

line

issu

e

69.

Nks

cape

C

D N

ew S

ound

131

/ K

atar

ina

Milj

kovi

/ Bra

nka

Popo

vi

The

émig

ré’s

Wal

tz

. 31,

I/20

08, 1

00–

108.

N

o. 3

1, I/

2008

; on

line

issu

e

135

70.

/

The

émig

ré’s

Wal

tz

CD

New

Sou

nd 1

31

/

Nat

aša

Bog

ojev

i

/ Bra

nka

Popo

vi

The

émig

ré’s

Wal

tz

. 31,

I/20

08, 1

00–

108.

N

o. 3

1, I/

2008

on

line

issu

e

71.

/ W

izar

d C

D N

ew S

ound

131

/

Nat

aša

Bog

ojev

i

/ Bra

nka

Popo

vi

The

émig

ré’s

Wal

tz

. 31,

I/20

08, 1

00–

108.

N

o. 3

1, I/

2008

; on

line

issu

e 72

. Ve

rsus

vox

inte

gra

CD

New

Sou

nd 1

31

/

Dija

na B

oško

vi

/ Bra

nka

Popo

vi

The

émig

ré’s

Wal

tz

. 31,

I/20

08, 1

00–

108.

N

o. 3

1, I/

2008

; on

line

issu

e

73.

/

Sew

ed

Fog

CD

New

Sou

nd 1

31

/

Ana

Mih

ajlo

vi

/ Bra

nka

Popo

vi

The

émig

ré’s

Wal

tz

. 31,

I/20

08, 1

00–

108.

N

o. 3

1, I/

2008

; on

line

issu

e 74

. L’

aura

C

D N

ew S

ound

131

/

Ana

Mih

ajlo

vi

/ Bra

nka

Popo

vi

The

émig

ré’s

Wal

tz

. 31,

I/20

08, 1

00–

108.

N

o. 3

1, I/

2008

; on

line

issu

e 75

. Im

plor

o gr

azia

C

D N

ew S

ound

131

/

Ana

Mih

ajlo

vi

/ Bra

nka

Popo

vi

The

émig

ré’s

Wal

tz

. 31,

I/20

08, 1

00–

108.

N

o. 3

1, I/

2008

; on

line

issu

e



136

76.

/ U

nusu

al S

cene

s fro

m th

e H

omer

’s G

rave

in S

myr

n C

D N

ew S

ound

131

/ Iva

na S

tefa

novi

/ A

na K

arlo

vi

.

/ U

nusu

al S

cene

s fro

m th

e H

omer

’s

Gra

ve in

Sm

yrn.

New

Con

tribu

tions

for H

ans

Chr

istia

n A

nder

sen

. 31,

I/20

08, 1

09–

119.

N

o. 3

1, I/

2008

; on

line

issu

e

77.

/ At

las

/

Anj

a or

evi

/ J

elen

a Ja

nkov

i

„

“.

/ ‘L

et

me

Tell

the

Stor

y fr

om th

e B

egin

ning

’. A

bout

th

e St

age

Can

tata

Atla

s by

Anj

a or

evi

. 32,

II/2

008;

on

line

issu

e N

o. 3

2, II

/200

8, 2

31–

241;

als

o on

line

78

.

/ M

usic

To

ys

CD

New

Sou

nd 1

33

/

Sran

Hof

man

/ V

esna

Mik

i

–

:

/ A S

ampl

e of

the

Equa

ls’ D

uel –

Sr

an

Hof

man

: Mus

ic T

oys f

or v

iolo

ncel

lo a

nd d

oubl

e ba

ss

. 33,

I/20

09; o

nlin

e is

sue

No.

33,

I/20

09, 4

9–55

; als

o on

line

79.

Entr

’act

e,

- /

Entr

’act

e, fa

rce-

epis

ode

CD

New

Sou

nd 1

34

/

Zora

n Er

i

/ Mar

ija N

ikol

i

? En

tr’a

cte,

-

,

/ W

hat i

s Hid

den

Bet

wee

n th

e A

cts?

Ent

r’ac

te,

farc

e-ep

isod

e fo

r orc

hest

ra b

y Zo

ran

Eri

. 34,

II/2

009;

on

line

issu

e N

o. 3

4, II

/200

9, 8

7–97

; als

o on

line

80.

–

I

& II

/ Th

e D

eath

of

the

Star

Kno

wer

– P

etri

fied

Echo

es o

f an

Epita

ph in

a

Kic

ked

Cry

stal

of T

ime

I & II

C

D N

ew S

ound

134

/

Mili

ca

orev

i

/ Iv

ana

Mila

dino

vi

Pric

a

:

–

I

& II

/ M

ilica

or

evi

: Th

e D

eath

of t

he S

tar K

now

er –

Pet

rifie

d Ec

hoes

of a

n Ep

itaph

in a

Kic

ked

Cry

stal

of

Tim

e I &

II

. 34,

II/2

009;

on

line

issu

e N

o. 3

4, II

/200

9, 9

8–10

6;

also

onl

ine

137

81.

/ Ar

chai

c Sc

ene

CD

New

Sou

nd 1

35

/

Duš

an R

adi

/ V

alen

tina

Rad

oman

.

/

Con

tem

pora

ry A

lche

my.

Ar

chai

c Sc

ene

by D

ušan

Rad

i

. 35,

I/20

10;

onlin

e is

sue

No.

35,

I/20

10, 5

8–65

; als

o on

line

82.

out o

f now

here

C

D N

ew S

ound

135

/

Bra

nka

Popo

vi

/

Kse

nija

St

evan

ovi

o

ut o

f now

here

/ Th

e St

ring

Qua

rtet o

ut o

f now

here

by

Bra

nka

Popo

vi

. 35,

I/20

10;

onlin

e is

sue

No.

35,

I/20

10, 6

6–69

; als

o on

line

83.

/

Has

anag

inic

a C

D N

ew S

ound

136

/

Ras

tisla

v K

amba

skov

i

/ Bra

nka

Rad

ovi

.

:

/ Tw

o Fa

ces o

f Ope

ra. P

rem

iere

s of N

ew S

erbi

an

Ope

ras:

Has

anag

inic

a by

Ras

tisla

v K

amba

skov

i a

nd M

andr

agol

a by

Ivan

Jevt

i

. 36,

II/2

010;

on

line

issu

e N

o. 3

6, II

/201

0, 1

44–

154;

al

so o

nlin

e

84.

/

Man

drag

ola

CD

New

Sou

nd 1

36

/

Ivan

Je

vti

/ B

rank

a R

adov

i

.

… /

Two

Face

s of O

pera

. Pre

mie

res o

f N

ew S

erbi

an O

pera

s…

. 36,

II/2

010;

on

line

issu

e N

o. 3

6, II

/201

0, 1

44–

154;

al

so o

nlin

e

85.

/ Po

stca

rds

CD

New

Sou

nd 1

36

/ Mili

ca P

aran

osi

/ V

esna

Mik

i

:

/ M

ilica

Pa

rano

si: P

ostc

ards

. 3

6, II

/201

0;

onlin

e is

sue

No.

36,

II/2

010,

155

–16

3;

also

onl

ine



138

86.

„

“

/ Lo

okin

g at

th

e M

irro

rs o

f Ani

sh K

apoo

r C

D N

ew S

ound

137

/

Sran

Hof

man

/ V

esna

Mik

i

()

(

/

)

–

:

„“

Log

ic

Pro

/ Fr

om (L

iste

ning

to) M

ovin

g M

irro

rs to

(Lis

teni

ng th

roug

h/in

) Mirr

ors i

n M

otio

n –

Sran

Hof

man

: Loo

king

at t

he

Mir

rors

of A

nish

Kap

oor f

or tw

o am

plifi

ed

harp

s and

Log

ic P

ro so

ftwar

e

. 37,

I/20

11;

onlin

e is

sue

No.

37,

I/20

11, 6

3–74

; als

o on

line

87.

,…lalugubre

gondola:

–in

memoriam

smallflower,a

smallhouse…lalugubre

gondola:funeralmusicafter

franzliszt–inmemoriam

/

Mar

ko N

ikod

ijevi

/

Jele

na N

ovak

: ,

,

/ Po

litic

s of S

adne

ss:

Littl

e Fl

ower

, Ref

riger

ator

Lor

ry, D

eath

and

Sy

mph

onic

Tra

ditio

n

. 38,

II/2

011;

on

line

issu

e N

o. 3

8, II

/201

1, 6

5–75

; al

so o

nlin

e

88.

/ O

n th

e G

uard

ing

of th

e H

eart

C

D N

ew S

ound

139

/

uro

Živk

ovi

/ M

ilan

Milo

jkov

i

:

,

/

On

the

Gua

rdin

g of

the

Hea

rt b

y ur

o Ži

vkov

i: A

noth

er V

iew

on

the

Sym

bios

is o

f Rel

igio

n, S

tate

, and

Mus

ic

. 39,

I/20

12; o

nlin

e is

sue

No.

39,

I/20

12, 8

1–91

; al

so o

nlin

e

139

Tab

le 2

T

he Interpretations

sect

ion

and

the

new

wor

ks in

it

/ W

hen

Com

eth

No

Succ

our

CD

New

So

und

102

/

Ivan

a St

efan

ovi

/

Ana

St

efan

ovi

/

Whe

n C

omet

h N

o Su

ccou

r by

Ivan

a St

efan

ovi

. 2

, 199

3, 4

9–55

. N

o. 2

, 199

3, 4

7–52

.

/

Arb

o V

aldm

a :

()

/ R

achm

anin

off:

Spat

ial a

nd T

empo

ral (

Dis

)orie

ntat

ion

. 2, 1

993,

41–

48.

No.

2, 1

993,

39–

46.

Mun

dus

sens

ibili

s

/ Ana

Mih

ajlo

vi

-

/ M

irjan

a V

esel

inov

i-H

ofm

an

Mun

dus S

ensi

bilis

: „

“ / M

undu

s Sen

sibi

lis:

The

Sens

e of

the

‘Diff

eren

t’ . 4

-5, 1

994/

95, 5

1–54

. N

o. 4

-5, 1

994/

95, 5

1–54

.

/

Arb

o V

aldm

a

,

/ St

ep b

y St

ep to

Rea

ch A

rtist

ic C

reat

ion,

Ste

p by

Ste

p to

Atta

in M

aste

ry

. 4-5

, 199

4/95

, 55–

61.

No.

4-5

, 199

4/95

, 55–

61.

-

/ M

irjan

a V

esel

inov

i-H

ofm

an

:

.

’9

5 / T

he A

vant

-Gar

de T

oday

: Ech

oes o

f the

Ava

nt-G

arde

. W

orld

Mus

ic D

ays ‘

95

. 6, 1

995,

61–

69.

No.

6, 1

995,

63–

72.

/

Ger

hard

Stä

bler

.

:

/ N

icht

Tra

um.

Trau

m: E

inig

e Ü

berle

gung

en z

um K

ompo

nier

en m

it B

eisp

iele

n au

s Wer

ken

Ger

hard

Stä

bler

s

. 6, 1

995,

71–

95.

No.

6, 1

995,

73–

99.



140

(

) /

I H

ave

Not

Sp

oken

(Nor

D

o I N

ow)

CD

New

So

und

107

/

Zora

n Er

i

/

Zoric

a Pr

emat

e

/ O

n B

eing

Sile

nt

. 7, 1

996,

29–

38.

No.

7, 1

996,

31–

41.

/

Ana

K

otev

ska

/

/

The

In/e

xpre

ssib

le a

s an

Alte

rnat

ive

. 10,

199

7, 7

5–82

. N

o. 1

0, 1

997,

77–

84.

Mak

amba

C

D N

ew

Soun

d 11

0

/

Sran

Hof

man

/ M

iško

Šuv

akov

i

.

/ M

imes

is o

f Mim

esis

. The

Aes

thet

ic a

s a

Tran

sgre

ssiv

e El

emen

t of M

usic

. 10,

199

7, 8

3–91

. N

o. 1

0, 1

997,

85–

94.

-

/ M

irjan

a V

esel

inov

i-H

ofm

an

/ N

otat

ion

as M

usic

in It

self

in D

igita

l Tec

hnol

ogy

. 11,

199

8, 3

3–41

. N

o. 1

1, 1

998,

33–

41.

/

Har

tmut

Möl

ler

–

.

. 3

3 In

finite

to

be

Can

not b

e In

finite

; Inf

inite

Ant

i-be

Cou

ld b

e In

finite

(1

976/

87) /

Zei

konf

likte

– M

ultip

le

Zeite

n. Ü

berle

gung

en z

um S

treic

hqua

rtett

op. 3

3 In

finite

to b

e C

anno

t be

Infin

ite; I

nfin

ite A

nti-b

e C

ould

be

Infin

ite v

on

Hor

atiu

Rad

ules

cu (1

976/

87)

. 11,

199

8, 4

3–55

. N

o. 1

1, 1

998,

43–

55.

/

Milo

š Za

tkal

ik

/ Le

vels

of t

he

Mus

ical

izat

ion

of L

itera

ture

. 1

2, 1

998,

61–

73.

No.

12,

199

8, 6

5–78

.

/ M

arce

l Cob

usse

n

:

/

John

Zor

n:

Dec

onst

ruct

ion

and

Com

prov

isat

ion

. 13,

199

9, 5

1–60

. N

o. 1

3, 1

999,

41–

49.

/

Milo

š Za

tkal

ik

,

,

. 1

4, 1

999,

51–

60.

141

/

Ana

St

efan

ovi

/

Dec

onst

ruct

ion

of th

e Ae

sthe

tics o

f the

Mar

velo

us in

Fr

ench

Bar

oque

Ope

ra

. 13,

199

9, 6

1–72

. N

o. 1

3, 1

999,

50–

61.

/

Milo

je N

ikol

i

/

Who

Ban

geth

so L

ate

or th

e Ph

enom

enon

of

New

Ser

bian

Orth

odox

Sac

red

Mus

ic in

the

Last

Dec

ade

of

the

Cen

tury

. 15,

200

0, 7

5–93

. N

o. 1

5, 2

000,

77–

95.

/

Her

man

Sa

bbe

;

.

T

abul

a Ra

sa

/

Mus

ic M

akes

Tim

e; M

usic

Ta

kes T

ime

apro

pos o

f Arv

o Pä

rt’s T

abul

a Ra

sa

. 17,

200

1, 4

9–54

. N

o. 1

7, 2

001,

47–

51.

/

Milo

š Pet

rovi

/

The

Toys

of M

ilim

ir D

rašk

ovi

. 1

7, 2

001,

55–

59.

No.

17,

200

1, 5

2–56

.

/ G

eral

dina

Fin

n ,

d

iffér

ance

/ M

usic

, Ide

ntity

and

Diff

éran

ce in

the

Cas

e of

Cha

rles I

ves

. 18,

200

1, 5

1–64

. N

o. 1

7, 2

001,

49–

62.

/

Milo

š Pet

rovi

/

The

Sway

ing

of S

eaw

eeds

. 1

8, 2

001,

65

– 68

. N

o. 1

7, 2

001,

63–

66.

/

Tatja

na M

arko

vi

„

“

/

The

Med

ium

of t

he C

hoir

‘Voi

ce’ a

s a

Styl

istic

Sig

nifie

r in

Kon

stan

tin B

abi

’s O

pus

. 20,

200

2, 6

1–69

. N

o. 2

0, 2

002,

57–

65.

/ D

raga

na

Stoj

anov

i N

ovi

i

Coo

l/Hot

and

Sof

t: ,

/ C

ool/H

ot a

nd S

oft:

Peta

r Osg

hian

’s P

rolo

gue,

A

ctio

n an

d C

aden

ce

CD

New

Sou

nd 1

20 (

/ N

octu

rne)

. 20,

200

2, 7

0–75

. N

o. 2

0, 2

002,

66–

71.

/

Kse

nija

Ste

vano

vi

: 11.

/

Pand

ora’

s Mus

ic B

ox: 1

1th

Inte

rnat

iona

l Rev

iew

of C

ompo

sers

in B

elgr

ade

. 20,

200

2, 7

6–82

. N

o. 2

0, 2

002,

72–

78.

/

Bric

e Jo

ly

K U

PIC

/ L’

UPI

C d

e X

enak

is

. 21,

200

3, 5

7–65

. N

o. 2

1, 2

003,

57–

65.



142

/

Boj

ana

Cve

ji

–

.

/ Th

e A

utho

r as

the

Prod

ucer

– T

he K

rono

s Qua

rtet.

In P

erfo

rmat

ive

Mut

atio

ns o

f the

Wor

ld o

f Mus

ic

. 22,

200

3, 2

7–37

. N

o. 2

2, 2

003,

27–

37.

/

Tatja

na M

arko

vi

–

1

50.

(185

3–20

03) /

Cho

ral S

ocie

ty o

f a S

igni

fier o

f Ser

bian

C

ultu

re –

Mar

king

the

150th

Ann

iver

sary

of t

he F

irst B

elgr

ade

Cho

ral S

ocie

ty (1

853–

2003

)

. 22,

200

3, 3

8–45

. N

o. 2

2, 2

003,

38–

44.

/

Jele

na

Nov

ak

, ,

/ N

is fo

r Neo

, Nym

an,

Nos

talg

y . 2

3, 2

004,

55–

60.

No.

23,

200

4, 4

1–45

.

. /

Dim

itrije

O.

Gol

emov

i

Wor

ld M

usic

. 2

4, 2

004,

41–

47.

No.

24,

200

4, o

nlin

e is

sue

/

Mla

den

Mar

kovi

W

orld

Con

tra E

thno

…

/

Wor

ld C

ontra

Et

hno…

Aga

inst

as U

sual

. 2

4, 2

004,

48–

51.

No.

24,

200

4, o

nlin

e is

sue

/

Ivan

a M

edi

/ Th

e St

ockh

ause

n C

ompo

sitio

n an

d In

terp

reta

tion

Cou

rses

. 25,

200

5, 2

9–35

. N

o. 2

5, 2

005,

onl

ine

issu

e C

uttin

g Ed

ge

CD

New

So

und

126

/

Ivan

Brk

ljai

/ Sv

etla

na S

avi

.

: C

uttin

g Ed

ge /

The

His

tory

of F

our S

wea

rwor

ds. I

van

Brk

ljai

: Cut

ting

Edge

. 26,

200

5, 1

09–1

12.

No.

25,

200

5, o

nlin

e is

sue

/ A

leks

anda

r Dam

njan

ovi

/

Serb

ian

Mus

ic o

n th

e Fe

stiv

al o

f Eur

opea

n M

usic

in F

ranc

e

. 26,

200

5, 1

13–1

18.

No.

26,

200

5, o

nlin

e is

sue

143

/

Sonj

a M

arin

kovi

/

The

Jubi

lee

of D

mitr

y Sh

osta

kovi

ch

. 27,

200

6, 3

9–42

. N

o. 2

7, 2

006,

onl

ine

issu

e

/ A

na

Kot

evsk

a

– A

cust

ica

/

Pans

onic

The

atric

al A

dven

ture

– M

auric

io K

agel

’s A

cust

ica

for e

xper

imen

tal s

ound

gen

erat

ors a

nd L

ouds

peak

ers

No.

33,

I/20

09, 9

3–96

; al

so o

nlin

e is

sue

/ A

na

Kot

evsk

a

–

/

Mus

ica

futu

rista

–

The

Art

of N

oise

s N

o. 3

4, II

/200

9, 1

07–

110;

al

so o

nlin

e is

sue

/

Ves

na

Mik

i

–

.

1

909–

1935

/ M

usic

a fu

turis

ta –

The

Art

of N

oise

s. M

usic

and

Wor

ds fr

om th

e Ita

lian

Futu

rist M

ovem

ent 1

909–

1935

.

No.

34,

II/2

009,

111

–11

4;

also

onl

ine

issu

e

/

Ant

onio

Bal

dass

arre

„

“ –

Qua

tuou

r de

Flon

zale

y

/

‘The

y Pl

ay M

ore

Like

Ang

els T

han

Like

Men

’ – T

he Q

uatu

our d

e Fl

onza

ley

and

Con

side

ratio

ns o

n its

Per

form

ance

Sty

le

No.

35,

I/20

10, 7

0–10

0

/

Ann

a Sc

ott

:

.

/ R

eint

erpr

etin

g M

icha

el M

usgr

ave

and

Ber

nard

D.

Sher

man

’s P

erfo

rmin

g Br

ahm

s: E

arly

Evi

denc

e of

Pe

rfor

man

ce S

tyle

No.

37,

I/20

11, 7

5–79

; al

so o

nlin

e

/

Laur

en

Red

head

/

Re-

Perf

orm

ing

the

Mat

eria

l and

Nar

rativ

e of

the

Post

-War

Ava

nt-G

arde

No.

38,

II/2

011,

77–

86.



144

Tab

le 3

N

ew w

orks

in th

e Analyses

sect

ion

-,

. 23

/ Con

cert

o fo

r Vio

la a

nd

Orc

hest

ra in

G m

inor

, Op.

23

CD

New

Sou

nd 1

04

/ V

last

imir

Traj

kovi

/

Mar

ija M

asni

kosa

…

/ Th

e In

com

mun

icab

le…

. 4

-5, 1

994/

95, 7

3–82

. N

o. 4

-5, 1

994/

95, 6

3–73

.

. 2,

. 2

5 / C

once

rto

for M

arim

ba a

nd

Orc

hest

ra, N

o. 2

, Op.

25

CD

New

Sou

nd 1

11

/ N

eboj

ša

Jova

n Ži

vkov

i

/

Ira

Prod

anov

:

. 2

, . 2

5 /

Neb

ojša

Jova

n Ži

vkov

i: C

once

rto

for

Mar

imba

and

Orc

hest

ra, N

o. 2

, Op.

25

. 11,

199

8, 8

3–97

. N

o. 1

1, 1

998,

83–

97.

Div

ertim

ento

C

D N

ew S

ound

117

/

Ivan

Je

vti

/ Iv

ana

Vuk

sano

vi

Div

ertim

ento

: „

“ / D

iver

timen

to b

y Iv

an Je

vti

: Lig

ht E

lega

nce

. 17,

200

1, 7

1–75

. N

o. 1

7, 2

001,

67–

71.

/ K

alei

dosc

ope

CD

New

Sou

nd 1

20

/ M

ilana

St

ojad

inov

i M

ili

/

Ivan

a V

uksa

novi

:

,

/

Mila

na S

toja

dino

vi M

ili:

Kal

eido

scop

e, S

ix P

iece

s for

Win

d Q

uint

et

. 20,

200

2, 9

1–95

. N

o. 2

0, 2

002,

87–

91.

/ Sp

yro

CD

New

Sou

nd 1

22

/ Tat

jana

Milo

ševi

/ Iv

ana

Stam

atov

i

:

–

/

Tatja

na M

iloše

vi:

Spyr

o –

Abo

ut T

ime

in M

usic

. 22,

200

3, 6

3–67

. N

o. 2

2, 2

003,

61–

65.

145

Tab

le 4

It

ems i

n th

e Views s

ectio

n

–

/ Lj

ubic

a M

ari

– B

y th

e Sa

me

Riv

er o

f Tim

e

/

Zoric

a M

akev

i

Arch

aia

1

(1

992)

/ Ar

chai

a 1

for s

tring

tri

o (1

992)

CD

New

Sou

nd 1

14

(1

992)

/ Th

e W

ondr

ous M

illig

ram

for s

opra

no a

nd fl

ute

(199

2)

Arch

aia

2

(1

993)

/ Ar

chai

a 2

for w

ind

trio

(199

3)

CD

New

Sou

nd 1

14

Tors

o

(1

996)

/ To

rso

for p

iano

trio

(1

996)

. 14,

199

9, 3

1–41

. N

o. 1

4, 1

999,

31–

41.

e /

The

Rol

e of

Mus

ic in

Fun

eral

Rite

s in

Ser

bia

and

Mon

tene

gro

/

Dim

itrije

Gol

emov

i

. 1

4, 1

999,

43–

50.

No.

14,

199

9, 4

2–49

.

/

Our

Dre

am o

f an

Alli

ance

/ A

nder

s B

eyer

. 25,

200

5, 3

7–48

. N

o. 2

5, 2

005,

onl

ine

issu

e W

orld

Mus

ic: o

/

Wor

ld M

usic

: Fro

m

Trad

ition

to In

vent

ion

/

Iva

Nen

i

. 2

7, 2

006,

43–

54.

No.

27,

200

6, o

nlin

e is

sue

–

:

… /

On

Ret

hini

ng th

e R

elat

ions

hip

Bet

wee

n Sp

iritu

ality

an

d M

usic

– M

arce

l Cob

usse

n:

Thre

shol

ds…

-

/ M

irjan

a V

esel

inov

i-H

ofm

an

N

o. 3

4, II

/200

9, 1

15–1

20;

also

onl

ine

issu

e


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