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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!
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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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, 199
3, 1
43–1
62.
4.
Eine
kle
ine
Trau
erm
usik
C
D N
ew S
ound
101
/ Mila
n M
ihaj
lovi
/ Z
oric
a Pr
emat
e
… /
On
the
Prot
ean
Stat
e of
Mus
ic…
. 1
, 159
–179
. N
o. 1
, 199
3, 1
43–1
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
.
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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
.
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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.
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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.
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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.
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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.
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)
New Sound 40, II/2012
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
Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)