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ДАИС
Музиколошки институт САНУ / Institute of Musicology SASA
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ДАИС
Музиколошки институт САНУ / Institute of Musicology SASA
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Наслови
Official Regulations and Perceptual Aspects of Bell Ringing
[1]
Okrugli sto u čast profesorke Mirjane Živković: kompozicija, muzička teorija, pedagogija
[1]
Oktoih - uzor i inspiracija za srednjovekovne srpske himnografe
[1]
Olivier Messiaen's quartet for the end of time, secret of form: Movement VI
[1]
Omladini (ne)dostupna sfera umetnosti: „Jugoslovensko-nemačka horska nedelja” u afirmisanju crkvene muzike
[1]
On Developing a Methodology for Research of Musical Borrowing. Case Studies: Serbian Composers of the 1950s
[1]
On Missed Opportunities: The International Review of Composers in Belgrade and the “Postsocialist Condition”
[1]
On music and art in the journal Danica (1860-1872)
[1]
On Researching the Means of Musical Borrowing and Its Purpose – Case Study: Mature Works of Milan Ristić
[1]
On Stolen Sketches, Missing Pages and Playing Detective: Catalogue of Alfred Schnittke's Sketches from the Julliard Manuscript Collection
[1]
On the (in)completeness of Schoenberg's oratorio die Jakobsleiter
[1]
On the Connection of Musico-rhetorical Strategies and Marian Topic/Topos in Renaissance Motets
[1]
On the Future of Music History in Professional and Central-Peripheral European Musical Circumstances
[1]
On the margins of the musicological canon: the Generation оf Composers Petar Stojanović, Petar Krstić аnd Stanislav Binički
[1]
On the Meaning of the Chordophone Musical Instruments in the Scenes of the Mocking of Christ in Serbian Medieval Art
[1]
On the multicultural and intercultural approach to interpreting singing traditions of orthodox peoples in the Balkans: The case of 'Greek' and 'Western European' school in Byzantine musicology
[1]
On the Multipart Singing in the Religious Practice of Ortodox Greeks and Serbs: The Theological-Culturological Discourse
[1]
On the New Life of the Partisan Songs in ex-Yugoslavia : The Yugoslav Partisan Art
[1]
On the orthodox church melos: A contribution to the typology of church chant
[1]
On the other side of the field – Jelena Dopuđa as a narrator
[1]
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