The Post-1945 Music Analysis Interest Group is a discursive space for scholars of music after 1945, with an emphasis on the modernist, experimental, and avant-garde. Through its annual meetings and online communications, the group aims to strengthen, support, and develop its members’ ideas and sense of community. It also seeks to bring attention to and foster scholarship on post-1945 music both within the Society for Music Theory and in music scholarship at large.

Publication announcement: post-1945 /avant-garde music in Yugoslavia

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    • 22 March 2022 at 6:37 am EDT #57204

      Laura Emmery
      Participant
      @lauraemmery

      Hello everyone,

      I am super happy to announce the publication of Contemporary Music Review vol. 40, issue 5–6, on the topic of Serbian Musical Avant-gardes: https://www.tandfonline.com/toc/gcmr20/40/5-6?nav=tocList

      This publication covers the period of post-WW2 communist Serbia/Yugoslavia under the imposed doctrine of Socialist Realism through the country’s opening to the West with the Zagreb Biennale and other festivals, the rise of nationalism in the 1980s, the violent dissolution of Yugoslavia in the 1990s/2000s, and searching for Serbian musical identity in post-Yugoslav Serbia. More specifically, the articles, informed by archival and unpublished documents, illustrate Serbian composers’ unique path to modernizing their music during the country’s political and cultural isolation and its aftermath.

      Here is the full list of articles:

      Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction
      By Laura Emmery

      The Role of the Third Program of Radio Belgrade in the Presentation, Promotion, and Expansion of Serbian Avant-Garde Music in the 1960s and 1970s
      By Ivana Medić

      What Dreams May Come: Art Synthesis in Vladan Radovanović’s Radiophonic Work Small Eternal Lake (1984)
      By Laura Emmery

      Music in Vladan Radovanović’s ‘Art Synthesis’ Works
      By Melita Milin

      The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković
      By Ivana Ilić  

      The Cage Effect from a Serbian Perspective
       By Ivana Miladinović Prica

      Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić
      By Marija Masnikosa  

      Two Modes of the Avant-Garde’s Disintegration in 21st-Century Serbian Music
      By Mirjana Veselinović-Hofman  

      The Polish School, Johann Sebastian Bach, and the Gospel according to St. John in an Avant-Garde Synergy: Music of Becoming (1965) by Serbian Composer Rajko Maksimović
      By Dragana Stojanović-Novičić  

      How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources
      By Nikola Komatović

      Three String Quartets by Ivana Stefanović––Three Aspects of Serbian Music in the Second Half of the Twentieth Century
      By Srđan Teparić

       

      Laura

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