Journal Articles, Book Chapters

• “Applied Musicology and the Responsibility for Shaping the Cultural Scene in Serbia: On the Experience of Working for the Serbian Ministry of Culture”. Arts 2025, 14(3), 45.
• “The Newness of Quantum Music”, in Thomas Gartmann, Doris Lanz, Raphaël Sudan and Gabrielle Weber (eds.), Musik-Diskurse nach 1970 (Musikforschung der Hochschule der Künste Bern 19), Baden-Baden, Ergon Verlag, 2025, 157-170.
• “Serbian Gypsy Jazz: Origins, Development, Results”, Muzikologija-Musicology No. 39, 2025, 213-236.
• “Primenjena muzikologija, timski rad i vizionarski zanos: rekonstrukcija opere Suton Stevana Hristića” [Applied Musicology, Teamwork and Visionary Enthusiasm: The Reconstruction of the Opera Suton (The Twilight) by Stevan Hristić], in Ivana Medić and Mirko Jeremić (eds.), Suton: Muzička drama u jednom činu sa baletskim divertismanom, na libreto prema drami Suton (iz Dubrovačke trilogije) Iva Vojnovića [Suton, A musical drama in one act with a ballet divertissement, based on a libretto after the play Suton [The Twilight] from The Dubrovnik Trilogy by Ivo Vojnović], Volume 2: Ballet Divertissement and Afterword, Belgrade, Serbian Musicological Society and the Institute of Musicology SASA, 2025, 139-178. 
• “Music Can Indeed Change the World: An Interview With Composer Natasha Bogojevic”, Serbian Studies – Journal of the North American Society for Serbian Studies Vol. 36, Nos. 1-2, 2025, 71-81.
• “Predgovor” [Foreword], in Sonja Lončar, Andrija Pavlović and Ivan Lončarević, LP Duo: u potrazi za novom muzikom. 20 godina, 2 klavira [LP Duo: In Search for New Music. 20 Years, 2 Pianos], Belgrade, Centar za novu umetnost [New Art Centre], 2025, 6-7.
• “(Post)Minimalism and Postmodern Spirituality: Vuk Kulenović’s Hilandar Bells“. Contemporary Music Review 43(2–4), 2024, 259-278. 
• “Ludmila Frajt: A Quiet Avant-gardist”. Lietuvos muzikologija / Lithuanian Musicology25, 2024, 34–42.
• “Opere Isidore Žebeljan u kontekstu srpskog operskog stvaralaštva u XXI veku” [Isidora Žebeljan’s Operas in the Context of Serbian Opera in the 21st Century], in Biljana Milanović and Melita Milin (eds.), Savremena srpska muzička scena: istraživački izazovi [Contemporary Serbian Music Scene: Research Challenges], Belgrade, Department of Arts, Serbian Academy of Sciences and Arts, 2024, 11–58.
• “Kinemuzika Dragutina Gostuškog (i šta bi Gostuški mislio o kvantnoj muzici)” [Dragutin Gostuški’s Cinemusic (And What Would Gostuški Think About Quantum Music]], in Katarina Tomašević and Bojana Radovanović (eds.), Iskošeni ugao Dragutina Gostuškog [Dragutin Gostuški’s Oblique Angle], Belgrade, Institute of Musicology SASA, 2024, 321-358.
• “Uvođenje muzičkog minimalizma u obrazovni proces u evropskim zemljama (na primeru međunarodnog projekta NEMO)” [Introducing Minimalist Music Into the Educational Process in European Countries (On the Example of the NEMO International Project)], in Kristina Parezanović (ed.), SCIENTIA ET MUSICA. Proceedings of the Third National Conference with International Participation. Kragujevac, University of Kragujevac, Faculty of Philology and Arts, 2024, 49-69.
• “Primenjena muzikologija i autoetnografija – na primeru vlastite muzikološko-pijanističke prakse” [Applied Musicology and Autoethnography – On the Example of my Musicological-Pianistic Practice], in Ivana Medić (ed.), Primenjena muzikologija i etnomuzikologija u Srbiji [Applied Musicology and Ethnomusicology in Serbia]. Belgrade, Institute of Musicology SASA, 2024, 261-272.
• “Stara gradska muzika za nove izvođače i slušaoce: kompozicije Vere Milanković za hor ‘Kolibri’” [Old Urban Music for New Performers and Listeners: Vera Milanković’s Works for Children’s Choir “Kolibri”], in Milena Petrović and Aleksandra Miletić (eds.), Povezivanje, preplitanje i prožimanje muzičke pedagogije, izvođaštva i stvaralaštva na primeru muzičke ličnosti Vere Milanković [Bridging, Intertwining and Flowing Between Music Education, Performing and Composing, On the Example of Vera Milanković’s Musical Personality]. Belgrade, University of Arts, Faculty of Music, 2024, 157-170.
• “Irony, Satire, Parody and Grotesque in Alfred Schnittke’s Opera Historia von D. Johann Fausten“, in Amrei Flechsig (ed.), Alfred Schnittke in Hamburg. Aspekte einer transnationalen Biographie und späten Schaffensphase , Hildesheim, Georg Olms Verlag, 2023, 129-145.
• (with Jelena Janković-Beguš) “Srpski kompozitori i ‘Mesijanova škola’” [Serbian Composers and ‘Messiaen’s School’], in Ivana Medić (ed.), Homo musicus. Homo poeticus. Život i delo akademika Vlastimira Trajkovića [Homo musicus. Homo poeticus. Life and Work of Academician Vlastimir Trajković], Belgrade, Serbian Academy of Sciences and Arts and Institute of Musicology SASA, 2023, 125-142.
• “The Cicvarićs as Pioneers of Cultural Entrepreneurship in Serbia”, Konservatoryum – Conservatorium, Special Issue 2023, 10 (Suppl. 1): 65–75.
• “Srpska muzička dijaspora” [Serbian Musical Diaspora], in Jelena Janković-Beguš (ed.), Muzikološko nasleđe Stane Đurić-Klajn [Musicological Legacy of Stana Djurić-Klajn], Vol. 2. Belgrade: Serbian Musicological Society, 2023, 29-66.
• “Legal Aliens: Serbian Composers in Western Europe Today”, Contemporary Music Review Vol. 41 Nos. 5–6, 2022, 644–665.
• “Applied Musicology: A “Manifesto”, and a Case Study of a Lost Cultural Hub”, Muzikologija-Musicology No. 33, 2022, 87-102.
• “Constructive Engine of Music: Berislav Popović and the series Music Today / Musical Modernism of the Third Program of Radio Belgrade”, in Tijana Popović Mlađenović, Ivana Petković Lozo and Ivana Miladinović Prica (eds.), Diffractions of Berislav Popović’s Compositional, Music-Theoretical, Pedagogical, Social and Cultural Creation, Belgrade, University of Arts – Faculty of Music and Serbian Musicological Society, 2022, 237–248.
• “Kompozitorsko-pedagoška genealogija akademika Vlastimira Trajkovića” [The Compositional and Pedagogical Genealogies of Academician Vlastimir Trajković], Muzički talas Vol. 28 No. 51, 2022, 2–19.
• “Šnitkeova teorija polistilizma: geneza i stvaralačka primena” [Schnittke’s Theory of Polystylism: Genesis and Creative Application], Journal of the Serbian Society for Music Theory No. 2, 2022, 7–22.
• “‘Uniformnost vodi entropiji’: Dušan Radić u prvom licu” [“Uniformity Leads to Entropy”: Dušan Radić in First Person], in Borislav Hložan (ed.), Opsednute vedrine Dušana Radića [Dusan Radić’s Besieged Gaieties], Novi Sad, University of Arts – Faculty of Music and Serbian Musicological Society, 2022, 237–248.
• “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”, Contemporary Music Review Vol. 40 Nos. 5-6, 2021, 482-511.
• (with Miloš Bralović) “Kompozitor i njegovi kritičari: recepcija stvaralaštva Stanojla Rajičića u svetlu prelomnih događaja za razvoj srpske muzike u XX veku” [The Composer and His Critics: The Reception of Stanojlo Rajičić’s Works in the Light of Crucial Events for the Development of Serbian Music in the Twentieth Century], Muzikologija-Musicology 31, 2021, 59–93.
• “Playing Catch-Up: Serbian Art Music against the Odds”, in Ákos Windhager (ed.), Shostakovich-Syndrome. The Burdened Memories of Central European Societies in the 20th Century, Budapest, Hungarian Academy of Arts – Research Institute of Art Theory and Methodology, 2021, 43-52.
• “Rudolf Bruči’s Symphonic Works between Socialist Realism and Moderated Modernism”, in Ivana Medić and Ivan Moody (eds.), The Life and Work of Rudolf Bruči: The Composer in the Rift between Aesthetics and Ideologies, Newcastle-upon-Tyne, Cambridge Scholars Publishing (in collaboration with the Institute of Musicology SASA, Belgrade, and Rudolf Bruči Foundation, Novi Sad), 2021, 29-47.
• “Sofia Gubaidulina’s Symphony Stimmen… Verstummen… An Interpretation”, Journal of Moscow Conservatory 12/3, 2021, 58-71.
• “The Expansion of Time and Space in Franz Schubert’s Sonata in A Minor D. 845”, in Ivana Ilić, Jelena Mihajlović-Marković and Miloš Zatkalik (eds.), Music and Space: Theoretical and Analytical Perspectives, Belgrade, Faculty of Music, 2021, 96–107 (in print)
• “Prokofiev and Shostakovich: A Two-Way Influence”, in Rita McAllister and Christina Guillaumier (eds.), Rethinking Prokofiev, Oxford and New York, Oxford University Press, 2020, 87–105.
• “The Aesthetics of Music Videos in Yugoslav Rock Music: Josipa Lisac, EKV, Rambo Amadeus”, in Danijela Š. Beard and Ljerka V. Rasmussen (eds.), Made in Yugoslavia – Studies in Popular Music, Abingdon, Routledge / Taylor & Francis Group, 2020, 99-110.
• “Making a Case for Balkan Music Studies”, Arts 9(4), 99, 2020. 
• (with Jelena Janković-Beguš) “On Missed Opportunities: The International Review of Composers in Belgrade and the ‘Postsocialist Condition’”, in Biljana Milanović, Melita Milin and Danka Lajić Mihajlović (eds.), Music in Postsocialism: Three Decades in Retrospect, Belgrade, Institute of Musicology SASA, 2020, 153-182.
• “Echoes of a Distant Past: Serbian Piano Music Inspired by the Orthodox Tradition”, London / Belgrade, Centre for Russian Music, Goldsmiths, University of London / Institute of Musicology SASA, 2020, 149-176.
• “Ex-centric Identities in Central Europe: The Curious Case of Snežana Nešić”, in Ákos Windhager (ed.), Political or a Cultural Project? Contemporary Discourses on Central European Identity, Budapest, Hungarian Academy of Arts Research Institute of Art Theory and Methodology, 2020, 63-73.
• “Kantata Stojanka majka Knežopoljka Skendera i Vuka Kulenovića” [The Cantata Stojanka Majka Knežopoljka by Skender and Vuk Kulenović], Književna istorija [Literary History] 52/172, 2020, 143-164.
• “Beginnings of the Piano Department at the Belgrade Music Academy”, in Jernej Weiss (ed.), The Conservatories: Professionalisation and Specialisation of Musical Activity, Koper / Ljubljana, Založba Univerze na Primorskem / Festival Ljubljana, 2020, 383-399.  
• “Ivan Jevtić – srpski kompozitor sa pariskom adresom i međunarodnim ugledom”[Ivan Jevtić – Serbian Composer with a Parisian Address and International Renown], in Ivana Medić (ed.), Životna i stvaralačka odiseja akademika Ivana Jevtića [The Personal and Professional Odyssey of Academician Ivan Jevtić], Belgrade, Institute of Musicology SASA, 2020, 8-17.
• “Music Videos in Serbian Rock Music since 1990s: The Curious Case of Jarboli”, in Marija Dumnić Vilotijević and Ivana Medić (eds.), Contemporary Popular Music Studies, Wiesbaden, Springer VS, 2019, 215–224.
• (with Marija Dumnić Vilotijević) “Introduction”, in Marija Dumnić Vilotijević and Ivana Medić (eds.), Contemporary Popular Music Studies, Wiesbaden, Springer VS, 2019, 9-14.
• “The Impossible Avant-garde of Vladan Radovanović”, Musicological Annual 55/1, 2019, 157–176.
• “Muzika izgubljene generacije: ‘Američka priča’ Vuka Kulenovića” [Music of the Lost Generation: Vuk Kulenović’s ‘American Story’], Zbornik Matice srpske za scenske umetnosti i muziku 60, 2019, 139–156.
• “Doktorske akademske studije na Univerzitetu u Mančesteru (Ujedinjeno Kraljevstvo): iskustva iz prakse i poređenje sa doktorskim akademskim studijama (DAS) u Srbiji” [Doctoral Studies at the University of Manchester: Practical Experiences and a Comparison to Doctoral Studies in Serbia], in Marko S. Milenković (ed.), Balkan Art Forum 2018 – Art and Culture Today, University of Niš, Faculty of Arts, 2019, 13-31.
• (with Jelena Janković-Beguš) “What Does Quantum Music Sound Like and What Would Pierre Boulez Think of It? Super Position (Many Worlds) by Kim Helweg (2017)”, Musicology 24, I/2018, 79-93.
• “Libretistički postupak Svetislava Božića u operi Melanholični snovi grofa Save Vladislavića“ [Svetislav Božić’s Libretto for the Opera Melancholic Dreams of Count Sava Vladislavić], in Dragana D. Jovanović (ed.), Brojanica Svetislava Božića[Svetislav Božić’s Rosary], Novi Sad, The Library of Matica Srpska, 2018, 166-184.
• “Pavle Stefanović i tribina Muzika danas/Muzička moderna Trećeg programa Radio Beograda” [Pavle Stefanović and the Forum Music Today/Musical Modernism of Radio Belgrade 3], in Sonja Marinković and Jelena Janković-Beguš (eds.), O ukusima se raspravlja: Pavle Stefanović (1901-1985) [De gustibus est disputandum: Pavle Stefanović (1901-1985)], Belgrade, Serbian Musicological Society, 2018, 192-206.
• “Alfred Schnittke’s Operas from the 1990s in the Context of Trauma Studies”, in Sonja Marinković et al. (eds.), Challenges in Contemporary Musicology: Essays in Honour of Prof. Dr. Mirjana Veselinović-Hofman, Belgrade, Faculty of Music – University of Arts, 2018, 247-259.
• “Simfonijsko stvaralaštvo Rudolfa Bručija između socijalističkog estetizma i umerenog modernizma” [The Symphonic Output of Rudolf Brucci Between Socialist Aestheticism and Moderated Modernism], in Bogdan Đaković, Nenad Ostojić and Nemanja Sovtić (eds.), Život i delo Rudolfa Bručija: kompozitor u procepu između estetika i ideologija [The Life and Work of Rudolf Brucci: The Composer in the Fissure Between Aesthetics and Ideologies], Novi Sad, Matica srpska / Academy of Arts, 2018, 125-145.
• “From ‘Father Figure’ to ‘Persona Non Grata’: The Dismissal of Kosta P. Manojlović from the Belgrade Muzička akademija [Music Academy]”, in Vesna Peno, Ivana Vesić and Aleksandar Vasić (eds.), Kosta P. Manojlović (1890-1949) and the Idea of Slavic and Balkan Cultural Unification, Belgrade, Institute of Musicology SASA, 2017, 211-228.
• “Parenting the Piano: Miroslav Miša Savić’s St Lazarus Waltz”, New Sound 49, I/2017, 123-138.
• “Years of Sound Living: Mikser Festival in Savamala (2012-2016)”, Musicology 22, I/2017, 39-57.
• “Problemi interpretacije klavirskog stvaralaštva Josipa Slavenskog” [Problems of Interpretation of Josip Slavenski’s Piano Music], in Ivana Medić (ed.), Josip Slavenski (1896-1955) – On the 120th Anniversary of the Composer’s Birth, Belgrade, Institute of Musicology SASA, 2017, 144-159.
• “Poigravanje igrama. Tretman žanra u kompoziciji Tri fantastične igre op. 5 Dmitrija Šostakoviča” [Playing Games with Dances. The Treatment of Dance Genres in Dmitri Shostakovich’s Three Fantastic Dances Op. 5], in Nataša Nagorni Petrov (ed.), Balkan Art Forum 2016 / Art and Culture Today: Play as an Anthropological, Aesthetic and Pedagogical Principle, University of Niš, 2017, 173-180.
• “Crucifixus etiam pro nobis: Representation of the Cross in Alfred Schnittke’s Symphony No. 2 St. Florian” in Gavin Dixon (ed.), Schnittke Studies, Abingdon, Routledge, 2016, 3-29.
  – Excerpts from this book available on Amazon here
• “Revised Catalogue of Alfred Schnittke’s Sketches in the Juilliard Manuscript Collection” in Gavin Dixon (ed.), Schnittke Studies, Abingdon, Routledge, 2016, 209-257.
• “The Soundscape of Change: The Reculturalization of Savamala”, Musicological Annual 52/2, 2016, 39-53.
• (with Jelena Janković-Beguš) “The Works Commissioned by Belgrade Music Festival (BEMUS) 2002-2013: Contemporary Music Creation in a Transitional Society”, in Mirjana Veselinović-Hofman et al. (eds.), Music: Transitions / Continuities, Belgrade, Faculty of Music, 2016, 317-329.
• Grove Music Online, articles on Serbian composers: “Frajt, Ludmila”; “Mokranjac, Vasilije”; “Živković, Mirjana”; “Jevtić, Ivan”; “Nešić, Vojna (Olivera)”; “Sokolović, Ana”; “Žebeljan, Isidora”
• “The Challenges of Transition: Arvo Pärt’s ‘Transitional’ Symphony No. 3 between Polystylism and Tintinnabuli”, Musikgeschichte in Mittel- und Osteuropa, Heft 16, Institut für Musikwissenschaft der Universität Leipzig, 2015, 140-153.
• “Zora D. and Isidora Ž. between East and West”, in Ivana Medić and Katarina Tomašević (eds.), Beyond the East-West Divide. Balkan Music and its Poles of Attraction, Belgrade, Institute of Musicology SASA, 2015, 207-221.
• “Opera i kraj komunizma: Život s idiotom Alfreda Šnitkea” [Opera and the End of Communism: Alfred Schnittke’s Life with an Idiot], The Annual of the Institute of Theatre, Film, Radio and Television No. 28, Belgrade, Faculty of Dramatic Arts, 2015, 59-74.
• “Ciklus koncerata Muzička moderna Trećeg programa Radio Beograda (1967-1985)”[The Concert Cycle Musical Modernism at Radio Belgrade 3 (1967-1985)] in Ivana Medić (ed.), Radio i srpska muzika [Radio and Serbian Music], Belgrade, Institute of Musicology SASA, 2015, 141-176.
• “Amerika je drugi svet: razgovor sa Natašom Bogojević” [America is a Different World: A Conversation with Nataša Bogojević], Muzički talas 44 (XXI), 2015, 20-27.
• “Problemi interpretacije klavirskog stvaralaštva Vasilija Mokranjca” [Problems of Interpretation of Vasilije Mokranjac’s Piano Works] in Danijela Stojanović & Danijela Zdravić-Mihailović (eds.), Balkan Art Forum 2014 – Art and Culture Today: Spirit of Time and Problems of Interpretation, Niš, Faculty of Arts, 2015, 105-114.
• “Music of the Lost Generation: Serbian Émigré Composers” in Melita Milin and Jim Samson (eds.), Serbian Music: Yugoslav Contexts, Belgrade, Institute of Musicology SASA, 2014, 143-164.
• “ArHai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market”, Musicology 17, 2014, 115-127.
• “Jurijev krug Dragane Jovanović kao L’acte préalable za operu Zvezdani grad” [Dragana Jovanović’s Yurii’s Circle as L’acte préalable for the opera The Star City], Zbornik Matice srpske za scenske umetnosti i muziku 51, 2014, 99-111.
• “Studiranje na daljinu na britanskom Otvorenom Univerzitetu kao model uspešne primene novih informacionih tehnologija: iskustvo iz nastavne prakse” [Distance Learning at the Open University: a Model of a Successful Implementation of New Information Technologies] in Aleksandra Vraneš & Ljiljana Marković (eds.), Srbija između Istoka i Zapada: Nauka, obrazovanje, kultura, umetnost [Serbia Between East and West: Science, Education, Culture, Art], Vol. II, Belgrade, Faculty of Philology, 2014, 285-301.
• “LP Duo – Uspešan srpski muzički brend kao otelotvorenje marketinških arhetipova ‘Kreatora’ i ‘Istraživača’” [LP Duo – A Successful Serbian Musical Brand as an Embodiment of the Marketing Archetypes of ‘The Creator’ and ‘The Explorer’] in Miomira Đurđanović & Dragan Žunić (eds.), Balkan Art Forum 2013, Niš, Faculty of Arts, 2014, 273-284.
• “Kompozitorsko stvaralaštvo Vladana Radovanovića – od nesuđene avangarde do zakasnelog priznanja” [Vladan Radovanović’s Compositional Work – From Suppressed Avantgarde to Belated Praise], Koraci 7-9, 2014, 134-143.
• “On Stolen Sketches, Missing Pages and Playing a Musical Detective: Catalogue of Alfred Schnittke’s Sketches from the Juilliard Manuscript Collection”, in: Mirjana Veselinović-Hofman et al. (eds.), Music Identities on Paper and Screen, Belgrade, Faculty of Music, 2014, 348-361.
• “Odgovornost naše generacije za sudbinu sveta: napisi Alfreda Šnitkea o Lućanu Beriju” [“Our Generation’s Responsibility for the Fate of the World: Alfred Schnittke’s Writings on Luciano Berio”], in: Sonja Marinković & Sanda Dodik (eds.), Tradition as Inspiration, Banja Luka, Academy of Arts, 2014, 167-179.
• “Тhe Sketches for Alfred Schnittke’s Symphony No. 3 and What They (Don’t) Tell Us”, Musicology 15, 2013, 169-213.
• “In the Orbit of Shostakovich: Vasilije Mokranjac’s Symphonies”, Music and Society in Eastern Europe, C. Schlacks, Idyllwild CA (USA), 8, 2013, 1–22.
• (with Jelena Janković-Beguš) “Mjuzikl u Srbiji u novom milenijumu: smernice, dometi, izazovi” [Musical in Serbia in the New Millenium: Directions, Achievements, Challenges], Zbornik Matice srpske za scenske umetnosti i muziku 49, 2013, 133-151.
• “Helikopteri, vanzemaljci i razigrane kamile: opera Sreda iz ciklusa Svetlost Karlhajnca Štokhauzena” [Helicopters, Aliens and Dancing Camels: Opera Wednesday from Licht by Karlheinz Stockhausen] in Sanja Pajić & Valerija Kanački (eds.), Muzika i neizrecivo; Istorija umetnosti – Metodi i metodologija i njihova primena [Music and Unspeakable; History of Art – Methods and Methodologies and their Application], VII International Conference Serbian Language, Literature, Art, Vol. III, Kragujevac, Faculty of Philology and Art, 2013, 91-106.
• “Idioti, đavoli i grešnici: opere Alfreda Šnitkea” [Idiots, Devils and Sinners: Alfred Schnittke’s Operas], Muzički talas 42, 2013, 10-22.
• “Gubaidulina, Misunderstood”, Musicology 13, 2012, 103-123.
• “Skriveni rekvijemi i mise Alfreda Šnitkea: Klavirski kvintet, Rekvijem iz muzike za Šilerovog Don Karlosa i Druga simfonija Sveti Florijan” [Alfred Schnittke’s Hidden Requiems and Masses: Piano Quintet, Requiem from the Stage Music for Schiller’s Don Carlos, and Symphony No. 2 St Florian] in Sanja Pajić & Valerija Kanački (eds.), Jezik muzike – Muzika i religija [The Language of Music – Music and Religion], Kragujevac, Faculty of Philology and Art, 2012, 25-39.
• Ивана Медич, “Предисловие к каталогу набросков Альфреда Шнитке из собрания рукописе Джульярдской школй” [Introduction and Catalogue of Alfred Schnittke’s sketches from the Juilliard Manuscript Collection] in Alla Bogdanova (ed.), Алфреду Шнитке посвящается – Dedicated to Alfred Schnittke Vol. 8, Moscow, Kompozitor/Schnittke Centre, 2011, 109-157.
• “’Drugarice’ Ustvolska i Gubajdulina: O statusu kompozitorki u Sovjetskom Savezu”[Comrades Ustvolskaya and Gubaidulina: The Status of Female Composers in the USSR], Genero 14, 2010, 69-92.
• “‘I Believe… In What?’ Arvo Pärt’s and Alfred Schnittke’s Polystylistic Credos”, Slavonica 16/2, November 2010, 96-111.
• “Neuhvatljiv impuls stvaralačke duše: Razgovor sa Dušanom Radićem” [The Elusive Impulse of a Creative Soul], Muzički talas [Musical Wave] 39, 2010, 14-17.
• “Prokofiev’s Reception in Western Popular Music”, The Three Oranges (Journal of the Serge Prokofiev Foundation) 18, 2009, 17-22.
• “The Dramaturgical Function of the Improvisatory Segments of Form in Alfred Schnittke’s First Symphony”, New Sound 32, II/2008, 243-258.
• “Moderated Modernism in Russian Music After 1953”, in Dejan Despić & Melita Milin (eds.), Rethinking Musical Modernism, Belgrade, Institute of Musicology SASA, 2008, 195-204.
• “The Ideology of Moderated Modernism in Serbian Music and Musicology”, Musicology 7, 2007, 279-294.
• “Superformula – genetički kod kompozicije: razgovor sa Karlhajncom Štokhauzenom” [Superformula – The Genetic Code of Composition: A Conversation with Karlheinz Stockhausen], Muzički talas [Musical Wave] 36-37, 2008, 14-17. (Issue dedicated to Stockhausen, edited by me)
• “Svetlost: Kosmičko-ritualni teatar Karlhajnca Štokhauzena” [Light: The Cosmic-Ritual Theatre by Karlheinz Stockhausen], Muzički talas 36-37, 2008, 52-85.
• “Jedinstveni/o izolovani umetnik: Razgovor sa muzikologom Ričardom Toupom” [A unique(ly) Isolated Artist: Conversation with the Musicologist Richard Toop], Muzički talas 36-37, 2008, 8-13.
• “Posvete Josipu Slavenskom” [Dedications to Josip Slavenski], in: Mirjana Živković, ed., Josip Slavenski i njegovo doba[Josip Slavenski and his Era], Belgrade, Faculty of Music / Serbian Academy of Sciences and Arts / Association of Serbian Composers, 2007.
• “Ko je spomenuo cenzuru? (Gostovanje muzikologa Rićarda Taruskina u Beogradu)” [Anyone Mentioned Censorship? Apropos Richard Taruskin’s Belgrade Lecture)], Third Program 129-130, 2006, 442-445. (The article includes my interview with Taruskin)
• “Kritička-kritična izolovanost muzikologije” [The Critical Isolation of Musicology] in: Ivana Perković-Radak et al. (eds.), Istorija i misterija muzike – u čast Roksandi Pejović[History and Mystery of Music – In Honour of Prof. Roksanda Pejović], Belgrade, Faculty of Music, 2006, 271-280.
• “Revalorizacija opusa Vladana Radovanovića” [Reevaluation of Vladan Radovanović’s Oeuvre], Koraci 36, 3/4, 2006, 177-181.
• “Ludmila Frajt – ‘Druga’ srpska kompozitorka” [Ludmila Frajt – ‘The Other’ Serbian Female Composer], Sveske 77, September 2005, 208-214.
• “Čuvaj nam, Bože, Srbiju!” [“God, Save Serbia!” – Discourse of Nationalistic Popular Songs], Sveske 77, September 2005, 100-107.
• “…And There Was Light,“ in Vesna Mikić & Tatjana Marković, eds., Music and Networking, Belgrade, University of Arts – Faculty of Music, 2005, 154-162.
• “Karlheinz Stockhausen’s Course in Composition and Interpretation”, New Sound 25, 2005, 29-36.
• “Antisemitizam Riharda Vagnera” [Richard Wagner’s Antisemitism], in Sonja Marinković, ed., Vagnerov spis “Opera i drama” danas [Wagner’s “Opera and Drama” Today], Novi Sad, Matica Srpska, 2006, 43-50.
• “From the Unity of Arts Towards the Synthesis of Media,” in: Vesna Mikić and Tatjana Marković, eds., Music and Media, Belgrade, Faculty of Music, 2004, 125-135.
• “Iz sedam dana: Intuitivna muzika Karlhajnca Štokhauzena” [From the Seven Days: Karlheinz Stockhausen’s Intuitive Music], Third Program 117-118, 2003, 213-238.

as Ivana Janković

• “Sintezijska umetnost Vladana Radovanovića” [The Synthetic Art of Vladan Radovanović], Musicology 3, 2003, 141-186.
• “Tonski studio Fakulteta muzičke umetnosti u Beogradu: istorijat, razvoj, perspektive” [The Recording Studio of the Faculty of Music in Belgrade: History, Development, Prospects], New Sound 20, 2002, 97-104
• “Paranoja o Velikoj Majci – Matriks” [Paranoia About the Great Mother – The Matrix], Genero 1, Beograd, 2002, 159-164.
• “Uticaj žanra pesme na klavirske rapsodije Franca Lista i Johanesa Bramsa” [The Influence of Song Genre on Piano Rhapsodies by Franz Liszt and Johannes Brahms], in Vera Milanković, ed., Proceedings of the Fourth Pedagogy Forum of the Department for Solfeggio, Belgrade, Faculty of Music, 2001, 29-36.
• “Gesamtkunstwerk Albana Berga“ [Alban Berg’s Gesamtkunstwerk], in Sonja Marinković, ed., Opera od obreda do umetničke forme [Opera – From Rite to Art Form], Belgrade, Faculty of Music, 2001, 198-208.
• “Od igre tonova do igre polova” [From the Play of Notes to the Play of Sexes], Pro Femina, Spring/Summer 2000, 142-147.

Reviews

• Review of composer Marko Nikodijević’s CD Absolutio / Abgesang / da ispravitsja – gebetsraum mit nachtwache (in German), Wergo WER 64422, Series: German Music Council / Contemporary Music Edition, POSITIONEN – Texte zur aktuellen Musik 143, 2025, 111-112.
• Review of Eastern European Popular Music in a Transnational Context: Beyond the Borders, eds. Ewa Mazierska and Zsolt Győri, Apparatus. Film, Media and Digital Cultures in Central and Eastern Europe 17, 2023, https://doi.org/10.17892/app.2023.00017.313.
• Review of History of Music in the Slovenian Lands, vols. 1, 3 and 4, eds. Jurij Snoj, Aleš Nagode, Nataša Cigoj Krstulović and Gregor Pompe, Musicological Annual LVIII/II, 2022, 205-223.
• Review of Milan Milojković’s Digitalna tehnologija u srpskoj umetničkoj muzici [Digital Technology in Serbian Art Music], Muzikologija-Musicology 32, I/2022, 283-288.
• Review of the Roundtable In Honour of Professor Mirjana Živković: Composition, Theory, Pedagogy, Journal of the Serbian Society for Music Theory 1, 2021, 102-104.
• Review of Nemanja Stanković’s CD Tragovi (Traces), ZMSSUM 65, 2021, 215-218. 
• Review of Peter J. Schmelz’s Alfred Schnittke’s Concerto Grosso No 1, Music and Letters 101/2, 2020, 381-383, DOI: 10.1093/ml/gcaa018
• Review of Christine Guillebaud’s Understanding Global Cultures Through Sound: Toward an Anthropology of Ambient Sound, Sound Studies, Vol. 6, 2020, DOI: 10.1080/20551940.2020.1835268
• Review of Srđan Teparić’s Resemantization of Tonality in the First Half of the 20th Century (1917-1945), New Sound 56, II/2020, 116-120.
• Review of Mirjana Živković and Ivica Petković’s Harmonija na dirkama [Harmony on Digits], Musicology 29, II/2020, 179-180.
• Review of Ratimir Martinović’s CD Vasilije Mokranjac: Complete Piano Works – World Premiere Recording, Musicology 27, II/2019, 309-313.
• Review of Patrick Zuk and Marina Frolova-Walker’s Russian Music Since 1917: Reappraisal and Rediscovery, Musicology 25, II/2018, 223-226.
• Review of the project Quantum Music, INSAM Journal 1, 101-103.
• Review of Marina Frolova-Walker’s Stalin Music Prize. Soviet Culture and Politics, Musicological Annual 54(1), 2018, 177-182.
• Review of Ana Petrov’s Rethinking Rationalisation: Evolutionism and Imperialism in Max Weber’s Discourse on Music, Musicology 21, II/2016, 215-217.
• Review of Clio’s edition of CDs Our Czechs and Composers in Several Persons, ZMSSUM 55, II/2016, 181-183.
• Review of Dragana Stojanović-Novičić’s Vinko Globokar – Muzička odiseja jednog emigranta, Musicology 18, 2015, 184-185.
• Review of Jelena Arnautović’s Između politike i tržišta: Popularna muzika na Radio Beogradu u Jugoslaviji (1945-1991), Musicology 17, 2014, 296-299.
• Review of Maria Cizmic’s Performing Pain. Music and Trauma in Eastern Europe, Music and Letters 94/1, 2013, 193-196.
• Review of Milan Milojković’s Analiza jezika napisa o muzici (Srbija u Jugoslaviji, 1946-1975) – Prilog muzikološkoj teorijskoj praksi [An Analysis of the Discourse of Writings on Music (Serbia in Yugoslavia, 1946-1975) – A Contribution to the Musicological Theoretical Practice], Musicology 14, 2013, 279–285.
• Review of Judith Kuhn’s Shostakovich in Dialogue: Form, Imagery and Ideas in Quartets 1-7, Music and Letters 92/4, 2011, 682-684.
• Review of Peter J. Schmelz’s Such freedom, if only musical. Unofficial Soviet Music during the Thaw, Slavonica 16/1, 2010, 42-43.
• Review of Michael Kurtz’s Sofia Gubaidulina: A Biography, Music and Letters 90/2, 2009, 311-313.
• Review of Marina Frolova-Walker’s Russian Music and Nationalism: From Glinka to Stalin, Slavonica 14/2, 2008, 150-151.

Other Publications

• Editor of the Book of Abstracts for the Ninth International Conference on Music and Minimalism MINIMALIST INTERSECTIONS, Belgrade, Serbian Academy of Sciences and Arts, Institute of Musicology SASA, Society for Minimalist Music, 2024.
• Editor of the Book of Abstracts for the Conference Music and Quietness. Composer Vasilije Mokranjac. Scientific Conference of the Birth Centennary, Belgrade, Institute of Musicology SASA, Serbian Academy of Sciences and Arts, 2023.
• Editor of the Book of Abstracts for the International Conference Seven Years of Quantum music – And Beyond, Belgrade, Institute of Musicology SASA, Serbian Academy of Sciences and Arts, 2022.
• Editor of the Book of Abstracts for the Conference Homo Musicus. Homo Poeticus. The Creative Output of Vlastimir Trajković, Belgrade, Institute of Musicology SASA, Serbian Academy of Sciences and Arts, 2022.
• “Genealogija jedne antologije” [The Genealogy of an Anthology], I-II, introductory studies in Vladimir Gligorić and Stanko Simić (eds.), Memorabilia: An Anthology of Piano Music, Belgrade, Arion – Center for Contemporary Music, 2021, III–V (vol. I), III–V (vol. II).
• Editor of the Book of Abstracts for the Conference Une vie et une odyssée créative du compositeur Ivan Jevtić, Belgrade, Institute of Musicology SASA, Serbian Academy of Sciences and Arts, 2019.
• Editor (with Katarina Tomašević and Miloš Marinković) of the Festive Booklet for 70 Years of the Institute of Musicology SASA, Belgrade, Institute of Musicology SASA, 2018.
• Editor (with Aleksandar Vasić) of the Book of Abstracts for the International Conference The Future of Music History, Belgrade, Institute of Musicology SASA, Serbian Academy of Sciences and Arts, 2017.
• Editor of the Book of Abstracts for the International Conference Musical Legacies of State Socialism: Revisiting the Narratives About Post-World War II Europe, Belgrade, Institute of Musicology SASA, Serbian Academy of Sciences and Arts and REEM/BASEES, 2015.
• Editor of the Book of Abstracts for the Conference Radio kao stub razvoja srpske i jugoslovenske muzičke kulture i umetnosti [Radio as a Pillar of Development of Serbian and Yugoslav Musical Culture], Belgrade, Institute of Musicology SASA, 2014.
• Editor (with Biljana Milanović and Katarina Tomašević) of the Book of Abstracts for the International Conference Beyond the East-West Divide: Rethinking Balkan Music’s Poles of Attraction, Belgrade, Institute of Musicology SASA, Serbian Academy of Sciences and Arts and REEM/BASEES, 2013.
• Programme notes and blurbs for the International Contemporary Music Festival Ars Musica 2011, Belgium
• A selection of my older journal articles, CD and book reviews (mostly in Serbian) is available on my Academia.edu page. Full bibliographical data can be accessed via COBISS/OPAC digital archive.

Forthcoming Articles and Chapters

• “Saodnos muzike, slike i drame u filmu Petrijin venac“ [The Relationship Between Music, Images and Drama in the Film Petrija’s Wreath], in Bojan Jović and Marko Avramović (eds.), Devet decenija Dragoslava Mihailovića [The 90th Anniversary of Dragoslav Mihailović], Belgrade, Institute for Literature and Art, 2025, 725-740 (forthcoming).
• “The Ascent and Decline of Serbian Symphonic Music”, Revista Portuguesa de Musicologia, Vol. 11 No. 1, 2026 (forthcoming).
• (with Srđan Teparić) “A Soul’s Evolution: From Idoli to Burning Leaf – A Short History of Religiosity in Serbian Rock and Roll (1980s–present)”, in Sabina Bodin Hadžibulić (ed.), Sacred Voices and Popular Sounds: Exploring the Interplay of Religion and Popular Music Across Genres and Regions. Cham: Springer Nature, series: Popular Culture, Religion and Society. A Social-Scientific Approach, 2026 (forthcoming).
• “Musica popolare serba” [Serbian Popular Music], Dizionario enciclopedico universale della musica e dei musicisti – DEUMM Online, 2006 (forthcoming).
• “Čarobne svirale: Enriko Josif i Hor flauta” [Magic Flutes: Enriko Josif and the Belgrade Flute Choir], in Katarina Tomašević, Bojana Radovanović Šuput and Marija Golubović (eds.), Enriko Josif – Trajanje lepote pevnosti [Enriko Josif – The Lasting Beauty of Singing], Belgrade, Serbian Academy of Sciences and Arts, 2026 (forthcoming).
• “Ivan Moody’s Contributions to the Study of Musical Modernism in Serbia and Southern Europe”, Revista Portuguesa de Musicologia, Vol. 11 No. 2 / In memoriam Ivan Moody, 2026 (forthcoming).
• (with Nemanja Stanković) “Čelometodika Jovana Mokranjca” [Cellometodica by Jovan Mokranjac], in Ivana Medić and Ivan Jevtić (eds.), Muzika i ćutanje. Kompozitor Vasilije Mokranjac [Music & Quietness. Composer Vasilije Mokranjac], Belgrade, Serbian Academy of Sciences and Arts, Department of Arts, and the Institute of Musicology SASA, 2026 (forthcoming).
• “Kamenčić u mozaiku: stvaralaštvo Ane Sokolović” [A Pebble in a Mosaic: The Works of Ana Sokolović], in Borislav Hložan (ed.), themed issue “Ženski glasovi srpske muzike” [The Female Voices of Serbian Music], Interkulturalnost [Interculturality] No. 30, Novi Sad, Cultural Centre of Vojvodina “Miloš Crnjanski”, 2026 (forthcoming).
• “Muzičko prikazivanje čulnosti – na primeru opera Lejdi Magbet Mscenskog okruga Dmitrija Šostakoviča i Život s idiotom Alfreda Šnitkea” [Musical Representation of Sensuality: The Operas Lady Macbeth of the Mtsentsk District by Dmitry Shostakovich and Life with an Idiot by Alfred Schnittke], in Danijela Zdravić Mihailović and Dragan Žunić (eds.), Tradicionalna estetska kultura 14: čulnost i kultura [Traditional Aesthetic Culture 14: Sensuality and Culture], Niš, Faculty of Arts and the Niš Branch of the Serbian Academy of Sciences and Arts, 2026 (forthcoming).
• “Transcultural Interactions in the Operas of Isidora Žebeljan”, Lucrări de muzicologie –Musicology Papers, Vol. XLI, No. 1, 2026 (forthcoming).
• (with Tatjana Marković) “The Reception of Ludwig van Beethoven in Belgrade, the Capital City of the Territory of the Military Commander in Serbia (Gebiet des Militärbefehlshabers in Serbien), 1941–1944”, in Michael Custodis (ed.), Beethoven and His Music in Nazi-Occupied European Countries, Bonn, Beethoven-Haus, 2027 (forthcoming).
• “Radio Stations and the Institutionalization of the Avant-Garde in Southeastern Europe (1960–1980)”, in Raino Isto and Ágnes Berecz (eds), Cultural History of the Avant-garde in Central and Eastern Europe, Leiden, Brill, 2027 (forthcoming).