Publications

Monographs and Edited Books

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

Springer IASPM Front Cover

 

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

 

  • Ivana Medić, Parallel Histories. Serbian Composers in the Diaspora, Belgrade, Institute of Musicology SASA, 2019
  • Ivana Medić, Theory and Practice of the Total Art-Work in the 20th Century. The Operatic Cycle Licht by Karlheinz Stockhausen, Belgrade, Institute of Musicology SASA, 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, 2019

Journal Muzikologija/Musicology – Recent Issues

Editor-in-Chief Ivana Medić

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

Journal Articles, Book Chapters

as Ivana Medić

  • (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.
  • “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.

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