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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/

    As was the case with the two issues in the previous year, in 2023 the Editorial Board of the INSAM Journal of Contemporary Music, Art and Technology decided to dedicate both issues to the same main theme – “Technological Aspects of Contemporary Artistic and Scientific Research”. Seeing that this subject cannot be so easily exhausted, we are presenting to you another rich and insightful issue.

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    Authors: Atanasovski, Srđan;

    In this lecture, I will trace two possible histories of workers’ songs: a history of music practices of workers’ communities, or organized parts of the working class, and a history of representation of working class in songs. The statement that the labour movement is on its historic low has become a common statement across the political spectrum. Though not the loudest, a cultural argument has been one of the most widespread to address this phenomenon – that the communal experience of the working class, from trade unions activities, benefit societies, to cultural institutions and shared urban quarters, have all but disappeared. However, by tracing histories of workers’ songs I will show that disregarding workers’ communities as living practices is not only a contemporary phenomenon. I will particularly argue how the ideas of “socialism from above” and conflating workers’ movement with antifascist movement have contributed to a readiness to substitute practice for representation. Finally, I will discuss how we can reflect these lessons to current music practices in the organizing on the left. 26-30 August 2023, Reichenau/Rax, Austria and online

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    Having in mind the foundational idea not only of our Journal but also the INSAM Institute itself, the main theme of this issue is titled “Technological Aspects of Contemporary Artistic and Scientific Research”. This theme was recognized as important, timely, and necessary by a number of authors coming from various disciplines. The (Inter)Views section brings us three diverse pieces; the issue is opened by Aida Adžović’s interview with the legendary Slovene act Laibach regarding their performance of the Wir sing das Volk project at the Sarajevo National Theater on May 9, 2023. Following this, Marija Mitrović prepared an interview with media artist Leon Eckard, concerning this artist’s views on contemporary art and the interaction between technology and human sensitivity. An essay by Alexander Liebermann on the early 20th-century composer Erwin Schulhoff, whose search for a unique personal voice could be encouraging in any given period, closes this rubric. The Main theme section contains seven scientific articles. In the first one, Filipa Magalhães, Inês Filipe, Mariana Silva and Henrique Carvalho explore the process and details of technological and artistic challenges of reviving the music theater work FE...DE...RI...CO... (1987) by Constança Capdeville. The second article, written by Milan Milojković, is dedicated to the analysis of historical composer Vojislav Vučković and his ChatGPT-generated doppelganger and opera. The fictional narrative woven around the actual historical figure served as an example of the current possibilities of AI in the domain of musicological work. In the next paper, Luís Arandas, Miguel Carvalhais and Mick Grierson expand on their work on the film Irreplaceable Biography, which was created via language-guided generative models in audiovisual production. Thomas Moore focuses on the Belgium-based Nadar Ensemble and discusses the ways in which the performers of the ensemble understand the concept of the integrated concert and distinguish themselves from it, specifying the broadening of performers’ competencies and responsibilities. In her paper, Dana Papachristou contributes to the discussion on the politics of connectivity based on the examination of three projects: the online project Xenakis Networked Performance Marathon 2022, 2023Eleusis Mystery 91_Magnetic Dance in Elefsina European Capital of Culture, and Spaces of Reflection offline PirateBox network in the 10th Berlin Biennale. The penultimate article in the section is written by Kenrick Ho and presents us with the author’s composition Flou for solo violin through the prism of the relationship between (historically present) algorithmic processes, the composer, and the performer. Finally, Rijad Kaniža adds to the critical discourse on the reshaping of the musical experience via technology and the understanding of said technology using the example of musique concrète. In the final Review section, Bakir Memišević gives an overview of the 13th International Symposium “Music in Society” that was held in Sarajevo in December 2022.

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    Authors: Maglov, Marija;

    Predavanje je organizovano oko tri ključna koncepta: 1) primenjene muzikologije; 2) ekosistema muzike i 3) "agency" festivala/festivala s konferencijama. Nakon objašnjenja karakteristika svakog od naznačenih koncepata, autorka se fokusira na sopstveno istraživanje o festivalima s konferencijama i na razmatranje stanovišta da festivali s konferencijama mogu biti shvaćeni kao "materijalizacija mreža ekosistema". Naglasak je stavljen na specifičnu metodologiju primenjene muzikologije. Keynote lecture held in Hanover within the program of Hype & Friend festival (May 25 2023). Festival was organised by students and professors of HMTMH and partner organizations. Predavanje po pozivu održano u Hanoveru u okviru programa Hype & Friends festivala (25. maj 2023). Festival su organizovali studenti i profesori Visoke škole za muziku, teatar i medije u Hanoveru i partnerske organizacije. The lecture was organised around three key concepts: 1) applied musicology; 2) music ecosystem and 3) agency festivals. After exploring features of each, the author focused on her own research of agency festivals and on making the argument about agency festivals being "materialisation of ecosystem networks". The specific methodology of applied musicology was emphasised.

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    Authors: Akat, Abdullah; Dumnić Vilotijević, Marija;

    We are delighted to present a special issue of the Conservatorium focusing on “Balkan Music and Dance”. This issue is dedicated to our dear and respected colleague, Prof. Dr. Selena Rakočević (1971–2022). It encompasses 12 valuable contributions from the fields of ethnochoreology, ethnomusicology, and musicology, all of which delve into themes significant to the music and dance of Southeast Europe. As many as 8 of the 12 contributions relate to a bilateral scientific cooperation project with which Selena Rakočević was also associated: Exploring the Tracks of Balkan Culture: Serbian–Turkish Connections in Music and Dance from Ottoman Period until Today (TRackeRS). In editing this special issue of the journal, project leaders have attempted to highlight the connections and adaptations of music and dance forms originating from these two present-day countries as well as the legacies received by ethnic communities from related former countries such as the Ottoman Empire and the Federal Republic of Yugoslavia.

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    Authors: Iosifovich Zemtsovsky, Izaly;

    In May 1967, that is 56 years ago, I traveled abroad for the first time. My first foreign country was Serbia (then part of the SFR Yugoslavia). The first foreign institute that I visited was the Institute of Musicology of the Serbian Academy of Sciences and Arts. And since that distant spring day, everything Serbian, like first love, became dear and unforgettable for me. As I remember now: Nadezhda (Nadežda) Mosusova came out to meet me.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/

    As was the case with the two issues in the previous year, in 2023 the Editorial Board of the INSAM Journal of Contemporary Music, Art and Technology decided to dedicate both issues to the same main theme – “Technological Aspects of Contemporary Artistic and Scientific Research”. Seeing that this subject cannot be so easily exhausted, we are presenting to you another rich and insightful issue.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DAIS - Digitalni arh...arrow_drop_down
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    Authors: Atanasovski, Srđan;

    In this lecture, I will trace two possible histories of workers’ songs: a history of music practices of workers’ communities, or organized parts of the working class, and a history of representation of working class in songs. The statement that the labour movement is on its historic low has become a common statement across the political spectrum. Though not the loudest, a cultural argument has been one of the most widespread to address this phenomenon – that the communal experience of the working class, from trade unions activities, benefit societies, to cultural institutions and shared urban quarters, have all but disappeared. However, by tracing histories of workers’ songs I will show that disregarding workers’ communities as living practices is not only a contemporary phenomenon. I will particularly argue how the ideas of “socialism from above” and conflating workers’ movement with antifascist movement have contributed to a readiness to substitute practice for representation. Finally, I will discuss how we can reflect these lessons to current music practices in the organizing on the left. 26-30 August 2023, Reichenau/Rax, Austria and online

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    Having in mind the foundational idea not only of our Journal but also the INSAM Institute itself, the main theme of this issue is titled “Technological Aspects of Contemporary Artistic and Scientific Research”. This theme was recognized as important, timely, and necessary by a number of authors coming from various disciplines. The (Inter)Views section brings us three diverse pieces; the issue is opened by Aida Adžović’s interview with the legendary Slovene act Laibach regarding their performance of the Wir sing das Volk project at the Sarajevo National Theater on May 9, 2023. Following this, Marija Mitrović prepared an interview with media artist Leon Eckard, concerning this artist’s views on contemporary art and the interaction between technology and human sensitivity. An essay by Alexander Liebermann on the early 20th-century composer Erwin Schulhoff, whose search for a unique personal voice could be encouraging in any given period, closes this rubric. The Main theme section contains seven scientific articles. In the first one, Filipa Magalhães, Inês Filipe, Mariana Silva and Henrique Carvalho explore the process and details of technological and artistic challenges of reviving the music theater work FE...DE...RI...CO... (1987) by Constança Capdeville. The second article, written by Milan Milojković, is dedicated to the analysis of historical composer Vojislav Vučković and his ChatGPT-generated doppelganger and opera. The fictional narrative woven around the actual historical figure served as an example of the current possibilities of AI in the domain of musicological work. In the next paper, Luís Arandas, Miguel Carvalhais and Mick Grierson expand on their work on the film Irreplaceable Biography, which was created via language-guided generative models in audiovisual production. Thomas Moore focuses on the Belgium-based Nadar Ensemble and discusses the ways in which the performers of the ensemble understand the concept of the integrated concert and distinguish themselves from it, specifying the broadening of performers’ competencies and responsibilities. In her paper, Dana Papachristou contributes to the discussion on the politics of connectivity based on the examination of three projects: the online project Xenakis Networked Performance Marathon 2022, 2023Eleusis Mystery 91_Magnetic Dance in Elefsina European Capital of Culture, and Spaces of Reflection offline PirateBox network in the 10th Berlin Biennale. The penultimate article in the section is written by Kenrick Ho and presents us with the author’s composition Flou for solo violin through the prism of the relationship between (historically present) algorithmic processes, the composer, and the performer. Finally, Rijad Kaniža adds to the critical discourse on the reshaping of the musical experience via technology and the understanding of said technology using the example of musique concrète. In the final Review section, Bakir Memišević gives an overview of the 13th International Symposium “Music in Society” that was held in Sarajevo in December 2022.

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    Authors: Maglov, Marija;

    Predavanje je organizovano oko tri ključna koncepta: 1) primenjene muzikologije; 2) ekosistema muzike i 3) "agency" festivala/festivala s konferencijama. Nakon objašnjenja karakteristika svakog od naznačenih koncepata, autorka se fokusira na sopstveno istraživanje o festivalima s konferencijama i na razmatranje stanovišta da festivali s konferencijama mogu biti shvaćeni kao "materijalizacija mreža ekosistema". Naglasak je stavljen na specifičnu metodologiju primenjene muzikologije. Keynote lecture held in Hanover within the program of Hype & Friend festival (May 25 2023). Festival was organised by students and professors of HMTMH and partner organizations. Predavanje po pozivu održano u Hanoveru u okviru programa Hype & Friends festivala (25. maj 2023). Festival su organizovali studenti i profesori Visoke škole za muziku, teatar i medije u Hanoveru i partnerske organizacije. The lecture was organised around three key concepts: 1) applied musicology; 2) music ecosystem and 3) agency festivals. After exploring features of each, the author focused on her own research of agency festivals and on making the argument about agency festivals being "materialisation of ecosystem networks". The specific methodology of applied musicology was emphasised.

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    Authors: Akat, Abdullah; Dumnić Vilotijević, Marija;

    We are delighted to present a special issue of the Conservatorium focusing on “Balkan Music and Dance”. This issue is dedicated to our dear and respected colleague, Prof. Dr. Selena Rakočević (1971–2022). It encompasses 12 valuable contributions from the fields of ethnochoreology, ethnomusicology, and musicology, all of which delve into themes significant to the music and dance of Southeast Europe. As many as 8 of the 12 contributions relate to a bilateral scientific cooperation project with which Selena Rakočević was also associated: Exploring the Tracks of Balkan Culture: Serbian–Turkish Connections in Music and Dance from Ottoman Period until Today (TRackeRS). In editing this special issue of the journal, project leaders have attempted to highlight the connections and adaptations of music and dance forms originating from these two present-day countries as well as the legacies received by ethnic communities from related former countries such as the Ottoman Empire and the Federal Republic of Yugoslavia.

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    Authors: Iosifovich Zemtsovsky, Izaly;

    In May 1967, that is 56 years ago, I traveled abroad for the first time. My first foreign country was Serbia (then part of the SFR Yugoslavia). The first foreign institute that I visited was the Institute of Musicology of the Serbian Academy of Sciences and Arts. And since that distant spring day, everything Serbian, like first love, became dear and unforgettable for me. As I remember now: Nadezhda (Nadežda) Mosusova came out to meet me.

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