Publications

Monographs and Edited Books

Springer IASPM Front Cover

 

Marija Dumnić Vilotijević and Ivana Medić (eds.), Contemporary Popular Music Studies, Wiesbaden, Springer VS, 2019

 

Polystylism

 

Ivana Medić, From Polystylism to Meta-Pluralism. Essays on Late Soviet Symphonic Music, Belgrade, Institute of Musicology SASA, 2017

 

Josip Slavenski 120th Anniversary

 

Ivana Medić (ed.), Josip Slavenski (1896-1955). Povodom 120-godišnjice rođenja [On the 120th Anniversary of the Composer’s Birth], Belgrade, Institute of Musicology SASA, 2017

 

BEYOND EAST-WEST

 

Ivana Medić and Katarina Tomašević (eds.), Beyond the East-West Divide. Balkan Music and its Poles of Attraction, Belgrade, Institute of Musicology SASA, 2015

 

RADIO & SERBIAN MUSIC

 

Ivana Medić (ed.), Radio i srpska muzika [Radio and Serbian Music], Belgrade, Institute of Musicology SASA, 2015

 

Ivana Medic Piano Music Vasilije Mokranjac

 

Ivana Medić, Klavirska muzika Vasilija Mokranjca [Piano Music of Vasilije Mokranjac], Belgrade, Students’ Cultural Centre, 2004

 

Ruma Music School

 

Ivana Janković i Đorđe Arsenić, Pedeset godina Muzičke škole u Rumi [50th Anniversary of Music School in Ruma], Ruma, 1998

Forthcoming Books

Svetlost/Licht Book Cover

Ivana Medić, Teorija i praksa Gesamtkunstwerka u XX i XXI veku – Operski ciklus Svetlost (Licht) Karlhajnca Štohauzena [Theory and Practice of Gesamtkunstwerk in the 20th and 21st Centuries – Karlheinz Stockhausen’s Operatic Cycle Licht], Belgrade, Institute of Musicology SASA, 2019

 

  • Ivana Medić, Parallel Histories. Serbian Composers in the Diaspora, Belgrade, Institute of Musicology SASA, 2019
  • Ivan Moody and Ivana Medić (eds.), Orthodoxy, Music, Politics and Art in Contemporary Russia and Eastern Europe, Belgrade / London, Institute of Musicology SASA / Centre for Russian Music, Goldsmiths, University of London, 2019
  • Ivana Medić and Ivan Moody (eds.), The Life and Work of Rudolf Bruči: The Composer in the Fissure Between Aesthetics and Ideologies, Belgrade / Novi Sad / Vienna, Institute of Musicology SASA / Fondation Rudolf Bruči / Holitzer Verlag, 2019
  • Ivana Medić, Bezuslovna sloboda. Jarboli i srpska alternativna rok scena 1992-2017. [Unconditional Freedom. Jarboli and Serbian Alternative Rock Music Scene 1992-2017], Belgrade, Kontrast, 2020

Forthcoming: Arts Journal, Special Issue

Balkan Music: Past, Present, Future
Guest Editor Ivana Medić

Journal Muzikologija/Musicology – Recent Issues

Editor-in-Chief Ivana Medić

Musicology 26

 

No 26 (I/2019) – Music History Today

 

 

Musicology 25

 

No 25 (II/2018) – Music and Historiography

 

 

Musicology 24

 

No 24 (I/2018) – Quantum Music

 

 

Musicology 23

 

No 23 (II/2017) – Reflections on Socialism

 

 

Musicology 22

 

No 22 (I/2017) – Urban Sonic Ecology

 

 

Guest Editor Ivana Medić

Musicology 21

 

No 21 (II/2016) – Music and Crisis

 

 

Musicology 20

 

No 20 (II/2016) – Music and Empire

 

 

Journal Articles, Book Chapters

  • “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.
  • (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.
  • “The Recording Studio of the Faculty of Music in Belgrade: History, Development, Prospects,” New Sound 20, 2002, 93-99
  • “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

Other Publications