Publications

Monographs and Edited Books

 

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

 

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

 

 

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

 

 

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

 

 

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

 

 

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

 

 

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

Forthcoming Books

• Ivana Medić, Paralelne istorije – Stvaralaštvo srpskih kompozitora umetničke muzike u dijaspori [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, 2020
• 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, 2020
• Ivana Medić, Bezuslovna sloboda. Jarboli i srpska alternativna rok scena [Unconditional Freedom. Jarboli and Serbian Alternative Rock Music Scene], 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

 

No 26 (I/2019) – Music History Today

 

 

 

No 25 (II/2018) – Music and Historiography

 

 

 

No 24 (I/2018) – Quantum Music

 

 

 

No 23 (II/2017) – Reflections on Socialism

 

 

 

No 22 (I/2017) – Urban Sonic Ecology

 

 

Guest Editor Ivana Medić

 

No 21 (II/2016) – Music and Crisis

 

 

 

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.
• “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.
• “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

• 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 (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
• Articles (in Serbian and English) on Serbian composers Vasilije Mokranjac and Ludmila Frajt for Wikipedia
• 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.