TY  - CHAP
AU  - Vesić, Ivana
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/16290
AB  - As the Great War entered its last phases and its various implications were taking place in the coming years, the European public sphere was showing a division into two poles – one highly critical of Western European culture, its values and objectives and, at the same time, enchanted by the social and political philosophy of the countries of the East and Far East and one that defended the cultural and sociopolitical heritage and historical path of the European West. These opposing
perspectives, most comprehensively cultivated in the post-war Weimar Republic, reached various countries, including the ones on the periphery, such as the Kingdom of Serbs, Croats and Slovenes/Kingdom of Yugoslavia. Being open to intellectual impulses from German post-war thinkers as well as the large group of pre-war Russian religious philosophers, Yugoslav intellectuals, politicians, artists and journalists created their own versions of pro et contra Western European and East/Far East narratives. Taking a position on this topic was typical for actors in the public, political and cultural spheres, notwithstanding their prevalent ideological inclinations (liberal, conservative, leftist), as they aspired to define the trajectory and objectives of Yugoslav cultural emancipation and development. Generally speaking, the critique of the West intertwined with some variant of the idea of the Slavic mission, and pan-Slavism was dominant in conservative and radical right-wing circles and, to a certain extent, among leftist groups. At the same time, the concept of Slavic integration was popular in the liberal segment of political and cultural spheres.
PB  - Belgrade: Institute for Balkan Studies SASA
T2  - Right-Wing Politics in Interwar Southeastern Europe: Between Conservatism and Fascism
T1  - The Place of Culture and Art in the Narratives of Serbian Conservative and Radical Right Circles (1919–1941)
SP  - 173
EP  - 197
UR  - https://hdl.handle.net/21.15107/rcub_dais_16290
ER  - 

@inbook{
author = "Vesić, Ivana",
year = "2023",
abstract = "As the Great War entered its last phases and its various implications were taking place in the coming years, the European public sphere was showing a division into two poles – one highly critical of Western European culture, its values and objectives and, at the same time, enchanted by the social and political philosophy of the countries of the East and Far East and one that defended the cultural and sociopolitical heritage and historical path of the European West. These opposing
perspectives, most comprehensively cultivated in the post-war Weimar Republic, reached various countries, including the ones on the periphery, such as the Kingdom of Serbs, Croats and Slovenes/Kingdom of Yugoslavia. Being open to intellectual impulses from German post-war thinkers as well as the large group of pre-war Russian religious philosophers, Yugoslav intellectuals, politicians, artists and journalists created their own versions of pro et contra Western European and East/Far East narratives. Taking a position on this topic was typical for actors in the public, political and cultural spheres, notwithstanding their prevalent ideological inclinations (liberal, conservative, leftist), as they aspired to define the trajectory and objectives of Yugoslav cultural emancipation and development. Generally speaking, the critique of the West intertwined with some variant of the idea of the Slavic mission, and pan-Slavism was dominant in conservative and radical right-wing circles and, to a certain extent, among leftist groups. At the same time, the concept of Slavic integration was popular in the liberal segment of political and cultural spheres.",
publisher = "Belgrade: Institute for Balkan Studies SASA",
journal = "Right-Wing Politics in Interwar Southeastern Europe: Between Conservatism and Fascism",
booktitle = "The Place of Culture and Art in the Narratives of Serbian Conservative and Radical Right Circles (1919–1941)",
pages = "173-197",
url = "https://hdl.handle.net/21.15107/rcub_dais_16290"
}

Vesić, I.. (2023). The Place of Culture and Art in the Narratives of Serbian Conservative and Radical Right Circles (1919–1941). in Right-Wing Politics in Interwar Southeastern Europe: Between Conservatism and Fascism
Belgrade: Institute for Balkan Studies SASA., 173-197.
https://hdl.handle.net/21.15107/rcub_dais_16290

Vesić I. The Place of Culture and Art in the Narratives of Serbian Conservative and Radical Right Circles (1919–1941). in Right-Wing Politics in Interwar Southeastern Europe: Between Conservatism and Fascism. 2023;:173-197.
https://hdl.handle.net/21.15107/rcub_dais_16290 .

Vesić, Ivana, "The Place of Culture and Art in the Narratives of Serbian Conservative and Radical Right Circles (1919–1941)" in Right-Wing Politics in Interwar Southeastern Europe: Between Conservatism and Fascism (2023):173-197,
https://hdl.handle.net/21.15107/rcub_dais_16290 .

TY  - CONF
AU  - Vesić, Ivana
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/16289
AB  - The ongoing political and economic instability experienced by socialist Yugoslavia during the 1980s had a profound impact on the Yugoslav young generations at the time. As the dominant socialist narratives grounded on the belief in self- management’s broad potential at social democratization and reforming started to fade away in the late 1970s and early 1980s, the Yugoslav youth was facing much harsher reality in comparison to previous generations...
PB  - Pula : Sveučilište Jurja Dobrile u Puli
C3  - 6. međunarodni znanstveni skup Socijalizam na klupi: Krize i reforme / 6th International Conference Socialism on the Bench: Crises and reforms
T1  - Alienation, escapism and a search for spiritual grounding: Yugoslav youth’s turning away from the dominant social values and ‘legitimate culture’
SP  - 59
UR  - https://hdl.handle.net/21.15107/rcub_dais_16289
ER  - 

@conference{
author = "Vesić, Ivana",
year = "2023",
abstract = "The ongoing political and economic instability experienced by socialist Yugoslavia during the 1980s had a profound impact on the Yugoslav young generations at the time. As the dominant socialist narratives grounded on the belief in self- management’s broad potential at social democratization and reforming started to fade away in the late 1970s and early 1980s, the Yugoslav youth was facing much harsher reality in comparison to previous generations...",
publisher = "Pula : Sveučilište Jurja Dobrile u Puli",
journal = "6. međunarodni znanstveni skup Socijalizam na klupi: Krize i reforme / 6th International Conference Socialism on the Bench: Crises and reforms",
title = "Alienation, escapism and a search for spiritual grounding: Yugoslav youth’s turning away from the dominant social values and ‘legitimate culture’",
pages = "59",
url = "https://hdl.handle.net/21.15107/rcub_dais_16289"
}

Vesić, I.. (2023). Alienation, escapism and a search for spiritual grounding: Yugoslav youth’s turning away from the dominant social values and ‘legitimate culture’. in 6. međunarodni znanstveni skup Socijalizam na klupi: Krize i reforme / 6th International Conference Socialism on the Bench: Crises and reforms
Pula : Sveučilište Jurja Dobrile u Puli., 59.
https://hdl.handle.net/21.15107/rcub_dais_16289

Vesić I. Alienation, escapism and a search for spiritual grounding: Yugoslav youth’s turning away from the dominant social values and ‘legitimate culture’. in 6. međunarodni znanstveni skup Socijalizam na klupi: Krize i reforme / 6th International Conference Socialism on the Bench: Crises and reforms. 2023;:59.
https://hdl.handle.net/21.15107/rcub_dais_16289 .

Vesić, Ivana, "Alienation, escapism and a search for spiritual grounding: Yugoslav youth’s turning away from the dominant social values and ‘legitimate culture’" in 6. međunarodni znanstveni skup Socijalizam na klupi: Krize i reforme / 6th International Conference Socialism on the Bench: Crises and reforms (2023):59,
https://hdl.handle.net/21.15107/rcub_dais_16289 .

TY  - CHAP
AU  - Vesić, Ivana
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/16201
AB  - After the fall of Slobodan Milošević in October 2000, the new political elite sought to bring about profound changes in Serbia’s political, social, economic, and cultural life. With the ambition to dampen or reverse the effects of the controversial legacy of Milošević’s time, the first post-October governments gave priority to the transforming of media, music, and creative industries as well as delegitimization and marginalization of one of the most important symbols of the 1990s – the turbofolk. The necessity to enhance control over the cultural sphere and its different segments was thought to be an adequate “antidote” to the politics of its commercialization and complete deregulation during Milošević’s era. Still, after not more than three years of distancing from the “heritage” of Milošević’s times, there was a gradual return to the populist model of cultural policy which was particularly observable in television production and digital media after 2006. Analyzing different stages of post-October cultural policy, the focus of this chapter will be oriented on examining the importance of diminishing sociocultural inequalities as its part, especially regarding lower classes. Assuming this issue is a priority in the socialist period, a detailed look at postsocialist and specifically post-October 2000 period will give an answer to whether it had relevance in the past two decades and in which ways the political elite sought to refer to it and embrace it in the public cultural policy.
PB  - New York/London : Routledge
T2  - Decolonial Politics in European Peripheries. Redefining Progressiveness, Coloniality and Transition Efforts
T1  - ‘Thank you for not attending!’: The Relevance of the Issue of Sociocultural Inequalities in the Process of Reforming Cultural Policy in Post-Milošević Serbia
SP  - 145
EP  - 169
DO  - 10.4324/9781003246848-13
UR  - https://hdl.handle.net/21.15107/rcub_dais_16201
ER  - 

@inbook{
author = "Vesić, Ivana",
year = "2023",
abstract = "After the fall of Slobodan Milošević in October 2000, the new political elite sought to bring about profound changes in Serbia’s political, social, economic, and cultural life. With the ambition to dampen or reverse the effects of the controversial legacy of Milošević’s time, the first post-October governments gave priority to the transforming of media, music, and creative industries as well as delegitimization and marginalization of one of the most important symbols of the 1990s – the turbofolk. The necessity to enhance control over the cultural sphere and its different segments was thought to be an adequate “antidote” to the politics of its commercialization and complete deregulation during Milošević’s era. Still, after not more than three years of distancing from the “heritage” of Milošević’s times, there was a gradual return to the populist model of cultural policy which was particularly observable in television production and digital media after 2006. Analyzing different stages of post-October cultural policy, the focus of this chapter will be oriented on examining the importance of diminishing sociocultural inequalities as its part, especially regarding lower classes. Assuming this issue is a priority in the socialist period, a detailed look at postsocialist and specifically post-October 2000 period will give an answer to whether it had relevance in the past two decades and in which ways the political elite sought to refer to it and embrace it in the public cultural policy.",
publisher = "New York/London : Routledge",
journal = "Decolonial Politics in European Peripheries. Redefining Progressiveness, Coloniality and Transition Efforts",
booktitle = "‘Thank you for not attending!’: The Relevance of the Issue of Sociocultural Inequalities in the Process of Reforming Cultural Policy in Post-Milošević Serbia",
pages = "145-169",
doi = "10.4324/9781003246848-13",
url = "https://hdl.handle.net/21.15107/rcub_dais_16201"
}

Vesić, I.. (2023). ‘Thank you for not attending!’: The Relevance of the Issue of Sociocultural Inequalities in the Process of Reforming Cultural Policy in Post-Milošević Serbia. in Decolonial Politics in European Peripheries. Redefining Progressiveness, Coloniality and Transition Efforts
New York/London : Routledge., 145-169.
https://doi.org/10.4324/9781003246848-13
https://hdl.handle.net/21.15107/rcub_dais_16201

Vesić I. ‘Thank you for not attending!’: The Relevance of the Issue of Sociocultural Inequalities in the Process of Reforming Cultural Policy in Post-Milošević Serbia. in Decolonial Politics in European Peripheries. Redefining Progressiveness, Coloniality and Transition Efforts. 2023;:145-169.
doi:10.4324/9781003246848-13
https://hdl.handle.net/21.15107/rcub_dais_16201 .

Vesić, Ivana, "‘Thank you for not attending!’: The Relevance of the Issue of Sociocultural Inequalities in the Process of Reforming Cultural Policy in Post-Milošević Serbia" in Decolonial Politics in European Peripheries. Redefining Progressiveness, Coloniality and Transition Efforts (2023):145-169,
https://doi.org/10.4324/9781003246848-13 .,
https://hdl.handle.net/21.15107/rcub_dais_16201 .

TY  - CHAP
AU  - Vesić, Ivana
AU  - Duraković, Lada
AU  - Stefanija, Leon
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/16205
AB  - U ovom poglavlju razmotreni su pokušaji funkcionera i aktivista Muzičke omladine Jugoslavije (MOJ) da kroz različite vrste programa upotpune vaspitno-obrazovni sistem u zemlji, a u izvesnoj meri i nadomeste njegove nedostatke u cilju unapređenja estetskog obrazovanja dece i omladine. Poseban akcenat stavljen je na one aktivnosti ove organizacije koje su predstavljane u osnovnim i srednjim školama i drugim institucijama okrenutim vaspitanju i obrazovanju dece i omladine, a sadržaj ovih aktivnosti, njihova učestalost, raznovrsnost, proces osavremenjivanja i prilagođavanja promenama širih sociokulturnih okolnosti podrobno je diskutovan. Proces reformisanja celokupnog vaspitno-obrazovnog sistema u zemlji, koji je iniciran više puta i koji se reflektovao na status nastave muzike u osnovnim i srednjim školama, kao i na kvalitet muzičkog obrazovanja dece i omladine, teorijski je pružao sve čvršću osnovu delovanju MOJ-a u školskoj sredini, ali je u praksi pokazivao brojne nedostatke, te se od početka 80-ih nametnuo kao jedan od faktora slabljenja veze između MOJ-a i školskih ustanova. Na tragu disproporcije između ambiciozno postavljenih ciljeva muzičkog i estetskog obrazovanja dece i omladine, osobito kroz osnovne škole, i ne sasvim odgovarajućih uslova za njihovo sprovođenje, pratićemo kako su se organizacije MO u različitim krajevima zemlje trudile da otklone zatečene slabosti, ali i kako su im te slabosti sužavale prostor delovanja. Takođe, osvrnućemo se i na kritike koje su aktivisti i funkcioneri MOJ-a upućivali na račun postavke muzičkog i umetničkog vaspitanja mladih kroz sistem obrazovanja, ali i na funkcionisanje kulturnih institucija.
PB  - Beograd : Muzikološki institut SANU
PB  - Ljubljana : University of Ljubljana Press
T2  - Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991)
T1  - Muzička omladina Jugoslavije u procepu između planiranja / realizacije reformi vaspitno-obrazovnog sistema i nastave muzike u socijalističkoj Jugoslaviji
SP  - 61
EP  - 106
DO  - 10.18485/muz_sanu_umoj.2023.ch2
UR  - https://hdl.handle.net/21.15107/rcub_dais_16205
ER  - 

@inbook{
author = "Vesić, Ivana and Duraković, Lada and Stefanija, Leon",
year = "2023",
abstract = "U ovom poglavlju razmotreni su pokušaji funkcionera i aktivista Muzičke omladine Jugoslavije (MOJ) da kroz različite vrste programa upotpune vaspitno-obrazovni sistem u zemlji, a u izvesnoj meri i nadomeste njegove nedostatke u cilju unapređenja estetskog obrazovanja dece i omladine. Poseban akcenat stavljen je na one aktivnosti ove organizacije koje su predstavljane u osnovnim i srednjim školama i drugim institucijama okrenutim vaspitanju i obrazovanju dece i omladine, a sadržaj ovih aktivnosti, njihova učestalost, raznovrsnost, proces osavremenjivanja i prilagođavanja promenama širih sociokulturnih okolnosti podrobno je diskutovan. Proces reformisanja celokupnog vaspitno-obrazovnog sistema u zemlji, koji je iniciran više puta i koji se reflektovao na status nastave muzike u osnovnim i srednjim školama, kao i na kvalitet muzičkog obrazovanja dece i omladine, teorijski je pružao sve čvršću osnovu delovanju MOJ-a u školskoj sredini, ali je u praksi pokazivao brojne nedostatke, te se od početka 80-ih nametnuo kao jedan od faktora slabljenja veze između MOJ-a i školskih ustanova. Na tragu disproporcije između ambiciozno postavljenih ciljeva muzičkog i estetskog obrazovanja dece i omladine, osobito kroz osnovne škole, i ne sasvim odgovarajućih uslova za njihovo sprovođenje, pratićemo kako su se organizacije MO u različitim krajevima zemlje trudile da otklone zatečene slabosti, ali i kako su im te slabosti sužavale prostor delovanja. Takođe, osvrnućemo se i na kritike koje su aktivisti i funkcioneri MOJ-a upućivali na račun postavke muzičkog i umetničkog vaspitanja mladih kroz sistem obrazovanja, ali i na funkcionisanje kulturnih institucija.",
publisher = "Beograd : Muzikološki institut SANU, Ljubljana : University of Ljubljana Press",
journal = "Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991)",
booktitle = "Muzička omladina Jugoslavije u procepu između planiranja / realizacije reformi vaspitno-obrazovnog sistema i nastave muzike u socijalističkoj Jugoslaviji",
pages = "61-106",
doi = "10.18485/muz_sanu_umoj.2023.ch2",
url = "https://hdl.handle.net/21.15107/rcub_dais_16205"
}

Vesić, I., Duraković, L.,& Stefanija, L.. (2023). Muzička omladina Jugoslavije u procepu između planiranja / realizacije reformi vaspitno-obrazovnog sistema i nastave muzike u socijalističkoj Jugoslaviji. in Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991)
Beograd : Muzikološki institut SANU., 61-106.
https://doi.org/10.18485/muz_sanu_umoj.2023.ch2
https://hdl.handle.net/21.15107/rcub_dais_16205

Vesić I, Duraković L, Stefanija L. Muzička omladina Jugoslavije u procepu između planiranja / realizacije reformi vaspitno-obrazovnog sistema i nastave muzike u socijalističkoj Jugoslaviji. in Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991). 2023;:61-106.
doi:10.18485/muz_sanu_umoj.2023.ch2
https://hdl.handle.net/21.15107/rcub_dais_16205 .

Vesić, Ivana, Duraković, Lada, Stefanija, Leon, "Muzička omladina Jugoslavije u procepu između planiranja / realizacije reformi vaspitno-obrazovnog sistema i nastave muzike u socijalističkoj Jugoslaviji" in Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991) (2023):61-106,
https://doi.org/10.18485/muz_sanu_umoj.2023.ch2 .,
https://hdl.handle.net/21.15107/rcub_dais_16205 .

TY  - CHAP
AU  - Vesić, Ivana
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/16210
AB  - U ovom poglavlju razmatrani su načini na koje je Društvo prijatelja muzike, kasnije Muzička omladina Jugoslavije (MOJ), pristupalo problemu demokratizacije kulture, te rezultati koje je postiglo na tom planu. S obzirom na široku lepezu pojava koje demokratizacija kulture može da obuhvati – počev od decentralizovanja kulturne ponude do smanjivanja sociokulturnih nejednakosti među pripadnicima različitih društvenih slojeva, te redefinisanja dominantnih kulturnih vrednosti – ovaj koncept učinio se pogodnim za razumevanje brojnih aktivnosti i inicijativa negovanih u okviru Društva / MOJ-a tokom gotovo četiri decenije. Uzimajući u obzir niz primera iz nekoliko zasebnih faza u delovanju ove organizacije, ilustrovaćemo kako su se menjali prioriteti u pogledu kulturnog 
prosvećivanja različitih kategorija dece i omladine, na koje je pojave bio usmeren fokus i koje su prepreke iskrsavale na tom putu. Pored ukazivanja na strukturne nedostatke unutar MOJ-a, koji su otežavali sprovođenje njegove društvene i kulturne misije, posebna pažnja posvećena je i sociokulturnim ograničenjima koja su sprečavala širi uticaj ove organizacije i ujedno dublju transformaciju polja kulture u FNR / SFR Jugoslaviji.
PB  - Beograd : Muzikološki institut SANU
PB  - Ljubljana : University of Ljubljana Press
T2  - Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991)
T1  - Demokratizacija kulture u FNR / SFR Jugoslaviji u teoriji  i praksi: slučaj Muzičke omladine Jugoslavije (1954–1991)
SP  - 11
EP  - 60
DO  - 10.18485/muz_sanu_umoj.2023.ch1
UR  - https://hdl.handle.net/21.15107/rcub_dais_16210
ER  - 

@inbook{
author = "Vesić, Ivana",
year = "2023",
abstract = "U ovom poglavlju razmatrani su načini na koje je Društvo prijatelja muzike, kasnije Muzička omladina Jugoslavije (MOJ), pristupalo problemu demokratizacije kulture, te rezultati koje je postiglo na tom planu. S obzirom na široku lepezu pojava koje demokratizacija kulture može da obuhvati – počev od decentralizovanja kulturne ponude do smanjivanja sociokulturnih nejednakosti među pripadnicima različitih društvenih slojeva, te redefinisanja dominantnih kulturnih vrednosti – ovaj koncept učinio se pogodnim za razumevanje brojnih aktivnosti i inicijativa negovanih u okviru Društva / MOJ-a tokom gotovo četiri decenije. Uzimajući u obzir niz primera iz nekoliko zasebnih faza u delovanju ove organizacije, ilustrovaćemo kako su se menjali prioriteti u pogledu kulturnog 
prosvećivanja različitih kategorija dece i omladine, na koje je pojave bio usmeren fokus i koje su prepreke iskrsavale na tom putu. Pored ukazivanja na strukturne nedostatke unutar MOJ-a, koji su otežavali sprovođenje njegove društvene i kulturne misije, posebna pažnja posvećena je i sociokulturnim ograničenjima koja su sprečavala širi uticaj ove organizacije i ujedno dublju transformaciju polja kulture u FNR / SFR Jugoslaviji.",
publisher = "Beograd : Muzikološki institut SANU, Ljubljana : University of Ljubljana Press",
journal = "Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991)",
booktitle = "Demokratizacija kulture u FNR / SFR Jugoslaviji u teoriji  i praksi: slučaj Muzičke omladine Jugoslavije (1954–1991)",
pages = "11-60",
doi = "10.18485/muz_sanu_umoj.2023.ch1",
url = "https://hdl.handle.net/21.15107/rcub_dais_16210"
}

Vesić, I.. (2023). Demokratizacija kulture u FNR / SFR Jugoslaviji u teoriji  i praksi: slučaj Muzičke omladine Jugoslavije (1954–1991). in Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991)
Beograd : Muzikološki institut SANU., 11-60.
https://doi.org/10.18485/muz_sanu_umoj.2023.ch1
https://hdl.handle.net/21.15107/rcub_dais_16210

Vesić I. Demokratizacija kulture u FNR / SFR Jugoslaviji u teoriji  i praksi: slučaj Muzičke omladine Jugoslavije (1954–1991). in Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991). 2023;:11-60.
doi:10.18485/muz_sanu_umoj.2023.ch1
https://hdl.handle.net/21.15107/rcub_dais_16210 .

Vesić, Ivana, "Demokratizacija kulture u FNR / SFR Jugoslaviji u teoriji  i praksi: slučaj Muzičke omladine Jugoslavije (1954–1991)" in Umetnost za pionire, mlade radnike i brigadire. O aktivnostima Muzičke omladine Jugoslavije (1954–1991) (2023):11-60,
https://doi.org/10.18485/muz_sanu_umoj.2023.ch1 .,
https://hdl.handle.net/21.15107/rcub_dais_16210 .

TY  - CHAP
AU  - Vesić, Ivana
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/16200
AB  - Apart from struggling for state autonomy throughout the 19th century, the Serbian political and intellectual elite strove to reform Serbian society in order to create a strong and respectable state that would represent a cultural and political centre of all Slavic peoples in Southeast Europe. In addition to creating a broad bureaucratic apparatus as well as educated and capable bureaucrats, it was particularly important to strengthen the country’s industrial potential and stimulate its technological advancement. These milestones became a priority especially after the Principality of Serbia (1815) was recognised as a sovereign state in 1878 after the Congress of Berlin, and several years later as the Kingdom of Serbia (1882). Owing to finally accomplishing the longstanding aim to constitute a national state and to liberate part of the Serbian population from the foreign Ottoman rule, the Serbian Obrenović dynasty together with influential political and economic circles could focus strongly on reshaping Serbian state and society according to examples of developed European countries.
PB  - Brepols : Turnhout
T2  - Between Centres and Peripheries: Music in Europe from the French Revolution to WWI (Series Speculum Musicae)
T1  - For the ‛Authentic’ National and Aesthetic Values: The Challenges of Music Production and Performance in the Kingdom of Serbia (1882–1914)
SP  - 129
EP  - 152
VL  - 50
UR  - https://hdl.handle.net/21.15107/rcub_dais_16200
ER  - 

@inbook{
author = "Vesić, Ivana",
year = "2023",
abstract = "Apart from struggling for state autonomy throughout the 19th century, the Serbian political and intellectual elite strove to reform Serbian society in order to create a strong and respectable state that would represent a cultural and political centre of all Slavic peoples in Southeast Europe. In addition to creating a broad bureaucratic apparatus as well as educated and capable bureaucrats, it was particularly important to strengthen the country’s industrial potential and stimulate its technological advancement. These milestones became a priority especially after the Principality of Serbia (1815) was recognised as a sovereign state in 1878 after the Congress of Berlin, and several years later as the Kingdom of Serbia (1882). Owing to finally accomplishing the longstanding aim to constitute a national state and to liberate part of the Serbian population from the foreign Ottoman rule, the Serbian Obrenović dynasty together with influential political and economic circles could focus strongly on reshaping Serbian state and society according to examples of developed European countries.",
publisher = "Brepols : Turnhout",
journal = "Between Centres and Peripheries: Music in Europe from the French Revolution to WWI (Series Speculum Musicae)",
booktitle = "For the ‛Authentic’ National and Aesthetic Values: The Challenges of Music Production and Performance in the Kingdom of Serbia (1882–1914)",
pages = "129-152",
volume = "50",
url = "https://hdl.handle.net/21.15107/rcub_dais_16200"
}

Vesić, I.. (2023). For the ‛Authentic’ National and Aesthetic Values: The Challenges of Music Production and Performance in the Kingdom of Serbia (1882–1914). in Between Centres and Peripheries: Music in Europe from the French Revolution to WWI (Series Speculum Musicae)
Brepols : Turnhout., 50, 129-152.
https://hdl.handle.net/21.15107/rcub_dais_16200

Vesić I. For the ‛Authentic’ National and Aesthetic Values: The Challenges of Music Production and Performance in the Kingdom of Serbia (1882–1914). in Between Centres and Peripheries: Music in Europe from the French Revolution to WWI (Series Speculum Musicae). 2023;50:129-152.
https://hdl.handle.net/21.15107/rcub_dais_16200 .

Vesić, Ivana, "For the ‛Authentic’ National and Aesthetic Values: The Challenges of Music Production and Performance in the Kingdom of Serbia (1882–1914)" in Between Centres and Peripheries: Music in Europe from the French Revolution to WWI (Series Speculum Musicae), 50 (2023):129-152,
https://hdl.handle.net/21.15107/rcub_dais_16200 .

TY  - CONF
AU  - Vesić, Ivana
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/14748
AB  - In this paper I will examine the representation of musical broadcasts based on the playing of gramophone records with film schlagers and popular songs in Radio Belgrade programming. Taking into consideration Radio Belgrade’s published weekly programmes from 1929 to 1941 as well as the statistics on the music shows at the time, the following aspects will be considered in detail: 1. the share of selected editions of domestic and foreign recording companies in the shows, 2. the popularity of film schlagers, 3. the type of popular songs and dances that were mostly played, and 4. the listeners’ preferences.
PB  - Zagreb : Institute of Ethnology and Folklore Research
C3  - International symposium - 78 rpm at home: Local perspectives on the early recording industry
T1  - From gramophone records to mass audience: Film schlagers and popular songs and dances in Radio Belgrade programming (1929–1941)
SP  - 15
UR  - https://hdl.handle.net/21.15107/rcub_dais_14748
ER  - 

@conference{
author = "Vesić, Ivana",
year = "2023",
abstract = "In this paper I will examine the representation of musical broadcasts based on the playing of gramophone records with film schlagers and popular songs in Radio Belgrade programming. Taking into consideration Radio Belgrade’s published weekly programmes from 1929 to 1941 as well as the statistics on the music shows at the time, the following aspects will be considered in detail: 1. the share of selected editions of domestic and foreign recording companies in the shows, 2. the popularity of film schlagers, 3. the type of popular songs and dances that were mostly played, and 4. the listeners’ preferences.",
publisher = "Zagreb : Institute of Ethnology and Folklore Research",
journal = "International symposium - 78 rpm at home: Local perspectives on the early recording industry",
title = "From gramophone records to mass audience: Film schlagers and popular songs and dances in Radio Belgrade programming (1929–1941)",
pages = "15",
url = "https://hdl.handle.net/21.15107/rcub_dais_14748"
}

Vesić, I.. (2023). From gramophone records to mass audience: Film schlagers and popular songs and dances in Radio Belgrade programming (1929–1941). in International symposium - 78 rpm at home: Local perspectives on the early recording industry
Zagreb : Institute of Ethnology and Folklore Research., 15.
https://hdl.handle.net/21.15107/rcub_dais_14748

Vesić I. From gramophone records to mass audience: Film schlagers and popular songs and dances in Radio Belgrade programming (1929–1941). in International symposium - 78 rpm at home: Local perspectives on the early recording industry. 2023;:15.
https://hdl.handle.net/21.15107/rcub_dais_14748 .

Vesić, Ivana, "From gramophone records to mass audience: Film schlagers and popular songs and dances in Radio Belgrade programming (1929–1941)" in International symposium - 78 rpm at home: Local perspectives on the early recording industry (2023):15,
https://hdl.handle.net/21.15107/rcub_dais_14748 .

TY  - JOUR
AU  - Vesić, Ivana
PY  - 2022
UR  - https://dais.sanu.ac.rs/123456789/13768
AB  - In this paper, I will focus on the reconstruction of the history of operetta companies established in interwar Belgrade. I gave priority to those ensembles that held regular performances for a longer period of time in the late 1920s and late 1930s. Aside from making a detailed overview of several more stable operetta theatres in Belgrade at the time, including their repertoire and leading artists, the attention will also be paid to uncovering the broader context of their work. The issues of state cultural policy and the rise of competitiveness inside the local spheres of culture and entertainment will also be discussed.
PB  - Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts
T2  - Музикологија / Musicology
T1  - Under Political and Market Pressures: The Staging of Operetta in Interwar Belgrade
T1  - Под притиском политике и тржишта: извођење оперете у међуратном Београду
SP  - 121
EP  - 152
VL  - II
IS  - 33
DO  - 10.2298/MUZ2233121V
UR  - https://hdl.handle.net/21.15107/rcub_dais_13768
ER  - 

@article{
author = "Vesić, Ivana",
year = "2022",
abstract = "In this paper, I will focus on the reconstruction of the history of operetta companies established in interwar Belgrade. I gave priority to those ensembles that held regular performances for a longer period of time in the late 1920s and late 1930s. Aside from making a detailed overview of several more stable operetta theatres in Belgrade at the time, including their repertoire and leading artists, the attention will also be paid to uncovering the broader context of their work. The issues of state cultural policy and the rise of competitiveness inside the local spheres of culture and entertainment will also be discussed.",
publisher = "Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts",
journal = "Музикологија / Musicology",
title = "Under Political and Market Pressures: The Staging of Operetta in Interwar Belgrade, Под притиском политике и тржишта: извођење оперете у међуратном Београду",
pages = "121-152",
volume = "II",
number = "33",
doi = "10.2298/MUZ2233121V",
url = "https://hdl.handle.net/21.15107/rcub_dais_13768"
}

Vesić, I.. (2022). Under Political and Market Pressures: The Staging of Operetta in Interwar Belgrade. in Музикологија / Musicology
Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts., II(33), 121-152.
https://doi.org/10.2298/MUZ2233121V
https://hdl.handle.net/21.15107/rcub_dais_13768

Vesić I. Under Political and Market Pressures: The Staging of Operetta in Interwar Belgrade. in Музикологија / Musicology. 2022;II(33):121-152.
doi:10.2298/MUZ2233121V
https://hdl.handle.net/21.15107/rcub_dais_13768 .

Vesić, Ivana, "Under Political and Market Pressures: The Staging of Operetta in Interwar Belgrade" in Музикологија / Musicology, II, no. 33 (2022):121-152,
https://doi.org/10.2298/MUZ2233121V .,
https://hdl.handle.net/21.15107/rcub_dais_13768 .

TY  - CONF
AU  - Vesić, Ivana
PY  - 2022
UR  - https://dais.sanu.ac.rs/123456789/14854
AB  - As Yugoslav society underwent profound reforms and political changes in the 1950s, new initiatives began in the cultural sphere aimed at changing existing forms of music and art consumption and making esthetically sophisticated repertoires accessible to broader parts of the population. Special attention was paid to Yugoslav youth, who were proclaimed as key figures in the future socialist transformation of society. Accordingly, schoolchildren, secondary school students, young workers and students became the main “target group” of several initially separate but later fully integrated organizations that emerged in the 1950s in Yugoslav urban centers (Belgrade and Zagreb). The Societies of Friends of Music (Društvo prijatelja muzike) were founded in 1954 in Belgrade and Zagreb, but in 1959 they evolved into a more ambitious organization – the Musical Youth of Yugoslavia, whose goal was to create a large network of local “branches” in various Yugoslav regions. This paper will mainly reconstruct the early phase of the work of the Musical Youth of Yugoslavia (before 1974), including the functioning of the Society of Friends of Music in Belgrade. Based on the results of archival research and the analysis of music magazines (Savremeni akordi, Zvuk, Pro musica), the main motives and activities, as well as the various obstacles they faced, will be highlighted. Using their functioning as an example, it will be possible
to discuss the complexity of the process of cultural democratization in socialist Yugoslavia and its numerous challenges.
PB  - Ljubljana : Znanstvena založba Filozofske fakultete Univerze v Ljubljani
C3  - Glasba mladih v slovenski preteklosti in sedanjosti I / Youth Music in The Slovenian Past and Present I
T1  - Kulturna demokratizacija in jugoslovanska mladina: O prizadevanjih in dosežkih Društva prijateljev glasbe Beograd in Glasbene mladine Jugoslavije
T1  - Cultural democratization and Yugoslav youth: On the efforts and accomplishments of Society of Friends of Music in Belgrade and Musical Youth of Yugoslavia
SP  - 46
EP  - 48
UR  - https://hdl.handle.net/21.15107/rcub_dais_14854
ER  - 

@conference{
author = "Vesić, Ivana",
year = "2022",
abstract = "As Yugoslav society underwent profound reforms and political changes in the 1950s, new initiatives began in the cultural sphere aimed at changing existing forms of music and art consumption and making esthetically sophisticated repertoires accessible to broader parts of the population. Special attention was paid to Yugoslav youth, who were proclaimed as key figures in the future socialist transformation of society. Accordingly, schoolchildren, secondary school students, young workers and students became the main “target group” of several initially separate but later fully integrated organizations that emerged in the 1950s in Yugoslav urban centers (Belgrade and Zagreb). The Societies of Friends of Music (Društvo prijatelja muzike) were founded in 1954 in Belgrade and Zagreb, but in 1959 they evolved into a more ambitious organization – the Musical Youth of Yugoslavia, whose goal was to create a large network of local “branches” in various Yugoslav regions. This paper will mainly reconstruct the early phase of the work of the Musical Youth of Yugoslavia (before 1974), including the functioning of the Society of Friends of Music in Belgrade. Based on the results of archival research and the analysis of music magazines (Savremeni akordi, Zvuk, Pro musica), the main motives and activities, as well as the various obstacles they faced, will be highlighted. Using their functioning as an example, it will be possible
to discuss the complexity of the process of cultural democratization in socialist Yugoslavia and its numerous challenges.",
publisher = "Ljubljana : Znanstvena založba Filozofske fakultete Univerze v Ljubljani",
journal = "Glasba mladih v slovenski preteklosti in sedanjosti I / Youth Music in The Slovenian Past and Present I",
title = "Kulturna demokratizacija in jugoslovanska mladina: O prizadevanjih in dosežkih Društva prijateljev glasbe Beograd in Glasbene mladine Jugoslavije, Cultural democratization and Yugoslav youth: On the efforts and accomplishments of Society of Friends of Music in Belgrade and Musical Youth of Yugoslavia",
pages = "46-48",
url = "https://hdl.handle.net/21.15107/rcub_dais_14854"
}

Vesić, I.. (2022). Kulturna demokratizacija in jugoslovanska mladina: O prizadevanjih in dosežkih Društva prijateljev glasbe Beograd in Glasbene mladine Jugoslavije. in Glasba mladih v slovenski preteklosti in sedanjosti I / Youth Music in The Slovenian Past and Present I
Ljubljana : Znanstvena založba Filozofske fakultete Univerze v Ljubljani., 46-48.
https://hdl.handle.net/21.15107/rcub_dais_14854

Vesić I. Kulturna demokratizacija in jugoslovanska mladina: O prizadevanjih in dosežkih Društva prijateljev glasbe Beograd in Glasbene mladine Jugoslavije. in Glasba mladih v slovenski preteklosti in sedanjosti I / Youth Music in The Slovenian Past and Present I. 2022;:46-48.
https://hdl.handle.net/21.15107/rcub_dais_14854 .

Vesić, Ivana, "Kulturna demokratizacija in jugoslovanska mladina: O prizadevanjih in dosežkih Društva prijateljev glasbe Beograd in Glasbene mladine Jugoslavije" in Glasba mladih v slovenski preteklosti in sedanjosti I / Youth Music in The Slovenian Past and Present I (2022):46-48,
https://hdl.handle.net/21.15107/rcub_dais_14854 .

TY  - CHAP
AU  - Vesić, Ivana
PY  - 2022
UR  - https://dais.sanu.ac.rs/123456789/14750
AB  - In the second half of the nineteenth century, diverse forms of Western popular entertainment, sociability, and leisure started to expand to the urban centers of Southeast Europe. The peak of this process was reached in the decades following the end of the First World War. As it unfolded simultaneously with attempts at political and cultural integration in so-called first Yugoslavia, it captured the interest of the elites who openly expressed concerns about its possible negative impact on the creation of a unified national character and cultural space. 
This chapter discusses the presence and significance of popular culture in the everyday life of Yugoslav urban centers. The focus is on the cultural transfer of modern dance and dance music, including the important role of cross-border trade relations in the film and publishing industries, and the impact of imperial legacies and migration on this process. A further point of investigation are the critical reactions to the spread of popular culture by the country's political and intellectual elites manifested in the narratives and cultural policies that they publicly promoted. Despite their reservations, the integrative potential of transnational popular culture in interwar Yugoslavia cannot be denied given that, in a highly culturally differentiated environment, it often represented the only form of a commonly shared culture.
PB  - New York – London : Routledge
T2  - Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s
T1  - Popular Culture and Cultural Policies and Narratives in Interwar Yugoslavia
SP  - 200
EP  - 230
DO  - 10.4324/9781003247401
UR  - https://hdl.handle.net/21.15107/rcub_dais_14750
ER  - 

@inbook{
author = "Vesić, Ivana",
year = "2022",
abstract = "In the second half of the nineteenth century, diverse forms of Western popular entertainment, sociability, and leisure started to expand to the urban centers of Southeast Europe. The peak of this process was reached in the decades following the end of the First World War. As it unfolded simultaneously with attempts at political and cultural integration in so-called first Yugoslavia, it captured the interest of the elites who openly expressed concerns about its possible negative impact on the creation of a unified national character and cultural space. 
This chapter discusses the presence and significance of popular culture in the everyday life of Yugoslav urban centers. The focus is on the cultural transfer of modern dance and dance music, including the important role of cross-border trade relations in the film and publishing industries, and the impact of imperial legacies and migration on this process. A further point of investigation are the critical reactions to the spread of popular culture by the country's political and intellectual elites manifested in the narratives and cultural policies that they publicly promoted. Despite their reservations, the integrative potential of transnational popular culture in interwar Yugoslavia cannot be denied given that, in a highly culturally differentiated environment, it often represented the only form of a commonly shared culture.",
publisher = "New York – London : Routledge",
journal = "Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s",
booktitle = "Popular Culture and Cultural Policies and Narratives in Interwar Yugoslavia",
pages = "200-230",
doi = "10.4324/9781003247401",
url = "https://hdl.handle.net/21.15107/rcub_dais_14750"
}

Vesić, I.. (2022). Popular Culture and Cultural Policies and Narratives in Interwar Yugoslavia. in Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s
New York – London : Routledge., 200-230.
https://doi.org/10.4324/9781003247401
https://hdl.handle.net/21.15107/rcub_dais_14750

Vesić I. Popular Culture and Cultural Policies and Narratives in Interwar Yugoslavia. in Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s. 2022;:200-230.
doi:10.4324/9781003247401
https://hdl.handle.net/21.15107/rcub_dais_14750 .

Vesić, Ivana, "Popular Culture and Cultural Policies and Narratives in Interwar Yugoslavia" in Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s (2022):200-230,
https://doi.org/10.4324/9781003247401 .,
https://hdl.handle.net/21.15107/rcub_dais_14750 .

TY  - CONF
AU  - Vesić, Ivana
PY  - 2022
UR  - https://dais.sanu.ac.rs/123456789/14747
AB  - The significant role that the use of art and popular music had for the strengthening of political influence of particular countries in international relations was well documented in the recent past. According to results of large number of studies that appeared in the last decade, governments and political elites of various European countries as well as US have shown great interest in materializing political potentials of different types of music and music genres in the international arena since 19th century (and earlier). The gradual rise of prestige of certain forms of popular music in the diplomatic activities worldwide coincided, on the one hand, with the expansion of global music industry and its relevance in various parts of the world, and, on the other, with the intensifying of Cold War...
PB  - Beograd : Univerzitet umetnosti
C3  - Cultural diplomacy and cultural relations: strengthening fair collaboration, diversity and dialogue
T1  - The Place of Popular Music in Public Diplomacy: Experiences of  Countries of Former Western and Eastern Bloc and Serbian Challenges
SP  - 53
UR  - https://hdl.handle.net/21.15107/rcub_dais_14747
ER  - 

@conference{
author = "Vesić, Ivana",
year = "2022",
abstract = "The significant role that the use of art and popular music had for the strengthening of political influence of particular countries in international relations was well documented in the recent past. According to results of large number of studies that appeared in the last decade, governments and political elites of various European countries as well as US have shown great interest in materializing political potentials of different types of music and music genres in the international arena since 19th century (and earlier). The gradual rise of prestige of certain forms of popular music in the diplomatic activities worldwide coincided, on the one hand, with the expansion of global music industry and its relevance in various parts of the world, and, on the other, with the intensifying of Cold War...",
publisher = "Beograd : Univerzitet umetnosti",
journal = "Cultural diplomacy and cultural relations: strengthening fair collaboration, diversity and dialogue",
title = "The Place of Popular Music in Public Diplomacy: Experiences of  Countries of Former Western and Eastern Bloc and Serbian Challenges",
pages = "53",
url = "https://hdl.handle.net/21.15107/rcub_dais_14747"
}

Vesić, I.. (2022). The Place of Popular Music in Public Diplomacy: Experiences of  Countries of Former Western and Eastern Bloc and Serbian Challenges. in Cultural diplomacy and cultural relations: strengthening fair collaboration, diversity and dialogue
Beograd : Univerzitet umetnosti., 53.
https://hdl.handle.net/21.15107/rcub_dais_14747

Vesić I. The Place of Popular Music in Public Diplomacy: Experiences of  Countries of Former Western and Eastern Bloc and Serbian Challenges. in Cultural diplomacy and cultural relations: strengthening fair collaboration, diversity and dialogue. 2022;:53.
https://hdl.handle.net/21.15107/rcub_dais_14747 .

Vesić, Ivana, "The Place of Popular Music in Public Diplomacy: Experiences of  Countries of Former Western and Eastern Bloc and Serbian Challenges" in Cultural diplomacy and cultural relations: strengthening fair collaboration, diversity and dialogue (2022):53,
https://hdl.handle.net/21.15107/rcub_dais_14747 .

TY  - CHAP
AU  - Peno, Vesna
AU  - Vesić, Ivana
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/14829
AB  - Numerous studies have been written and published on the social status and cultural progress of the emerging Serbian and Greek bourgeoisie of the Habsburg Monarchy in the 18th and 19th ce-nturies.1 Still, only a handful of them is devoted to the role of music in the shaping of the identity of Balkan Christians in the given country and period. In the focus of this chapter is the establishment of the practice of multipart choral singing in the Serbian and Greek Orthodox Churches of the Habsburg Monarchy, which was untypical for their liturgical traditions. This novel musical current will be explored from the perspective of theological and cultural influences from the West, which rapidly and profoundly transformed the image of Orthodox Balkan nations, and blurred the boundaries between West and East, and European and Balkan/Mediterranean cultural spaces. The self-perceived cultural inferiority of members of the Greek and Serbian diaspora in the face of the abundant and diverse musical heritage of imperial Vienna, was, as will be pointed out, critical for «installing» multipart choral ensembles in the galleries of Orthodox church edifices. Therefore, this phenomenon will serve as a basis for our narrative.
PB  - Split : Umjetnička akademija Sveučilišta
PB  - Split : Filozofski fakultet Sveučilišta
T2  - Između srednje Europe i Mediterana: Glazba, književnost i izvedbene umjetnosti / Between Central Europe and Mediterranean : Music, Literature and the Performing Arts
T1  - Orthodox Church Music at the Crossroads between Central-European and Mediterranean Cultural Heritage
T1  - Pravoslavna crkvena glazba na razmeđi srednjoeuropske i mediteranske kulturne baštine
SP  - 359
EP  - 372
UR  - https://hdl.handle.net/21.15107/rcub_dais_14829
ER  - 

@inbook{
author = "Peno, Vesna and Vesić, Ivana",
year = "2021",
abstract = "Numerous studies have been written and published on the social status and cultural progress of the emerging Serbian and Greek bourgeoisie of the Habsburg Monarchy in the 18th and 19th ce-nturies.1 Still, only a handful of them is devoted to the role of music in the shaping of the identity of Balkan Christians in the given country and period. In the focus of this chapter is the establishment of the practice of multipart choral singing in the Serbian and Greek Orthodox Churches of the Habsburg Monarchy, which was untypical for their liturgical traditions. This novel musical current will be explored from the perspective of theological and cultural influences from the West, which rapidly and profoundly transformed the image of Orthodox Balkan nations, and blurred the boundaries between West and East, and European and Balkan/Mediterranean cultural spaces. The self-perceived cultural inferiority of members of the Greek and Serbian diaspora in the face of the abundant and diverse musical heritage of imperial Vienna, was, as will be pointed out, critical for «installing» multipart choral ensembles in the galleries of Orthodox church edifices. Therefore, this phenomenon will serve as a basis for our narrative.",
publisher = "Split : Umjetnička akademija Sveučilišta, Split : Filozofski fakultet Sveučilišta",
journal = "Između srednje Europe i Mediterana: Glazba, književnost i izvedbene umjetnosti / Between Central Europe and Mediterranean : Music, Literature and the Performing Arts",
booktitle = "Orthodox Church Music at the Crossroads between Central-European and Mediterranean Cultural Heritage, Pravoslavna crkvena glazba na razmeđi srednjoeuropske i mediteranske kulturne baštine",
pages = "359-372",
url = "https://hdl.handle.net/21.15107/rcub_dais_14829"
}

Peno, V.,& Vesić, I.. (2021). Orthodox Church Music at the Crossroads between Central-European and Mediterranean Cultural Heritage. in Između srednje Europe i Mediterana: Glazba, književnost i izvedbene umjetnosti / Between Central Europe and Mediterranean : Music, Literature and the Performing Arts
Split : Umjetnička akademija Sveučilišta., 359-372.
https://hdl.handle.net/21.15107/rcub_dais_14829

Peno V, Vesić I. Orthodox Church Music at the Crossroads between Central-European and Mediterranean Cultural Heritage. in Između srednje Europe i Mediterana: Glazba, književnost i izvedbene umjetnosti / Between Central Europe and Mediterranean : Music, Literature and the Performing Arts. 2021;:359-372.
https://hdl.handle.net/21.15107/rcub_dais_14829 .

Peno, Vesna, Vesić, Ivana, "Orthodox Church Music at the Crossroads between Central-European and Mediterranean Cultural Heritage" in Između srednje Europe i Mediterana: Glazba, književnost i izvedbene umjetnosti / Between Central Europe and Mediterranean : Music, Literature and the Performing Arts (2021):359-372,
https://hdl.handle.net/21.15107/rcub_dais_14829 .

TY  - CONF
AU  - Vesić, Ivana
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/14700
AB  - As the Principality of Serbia (1817-1882) fought for its political independence and
sovereignity in the second half of the 19th century, the longstanding struggle for cultural
emancipation of its peoples was initiated by the Serbian political and intellectual elite and
Serbian diaspora from the neighbouring Habsburg Monarchy. Different activities and projects
that the elite carried out before the outbreak of the Great War were aimed at giving an impulse
to the Serbian underdeveloped cultural space and bringing it closer to the level of the advanced
European peoples.
PB  - Lucca : Centro Studi Opera Omnia Luigi Boccherini
PB  - Oviedo : Research Group ERASMUSH, University of Oviedo
PB  - Venice : Palazzetto Bru Zane – Centre de musique romantique française
C3  - Between Centres and Peripheries : Music in Europe from the French Revolution until WWi (1789-1914)
T1  - For the ‘Pure’ National and High-Art Values: Music Production and Performance in the Kingdom of Serbia (1882-1914)
SP  - 13
EP  - 14
UR  - https://hdl.handle.net/21.15107/rcub_dais_14700
ER  - 

@conference{
author = "Vesić, Ivana",
year = "2021",
abstract = "As the Principality of Serbia (1817-1882) fought for its political independence and
sovereignity in the second half of the 19th century, the longstanding struggle for cultural
emancipation of its peoples was initiated by the Serbian political and intellectual elite and
Serbian diaspora from the neighbouring Habsburg Monarchy. Different activities and projects
that the elite carried out before the outbreak of the Great War were aimed at giving an impulse
to the Serbian underdeveloped cultural space and bringing it closer to the level of the advanced
European peoples.",
publisher = "Lucca : Centro Studi Opera Omnia Luigi Boccherini, Oviedo : Research Group ERASMUSH, University of Oviedo, Venice : Palazzetto Bru Zane – Centre de musique romantique française",
journal = "Between Centres and Peripheries : Music in Europe from the French Revolution until WWi (1789-1914)",
title = "For the ‘Pure’ National and High-Art Values: Music Production and Performance in the Kingdom of Serbia (1882-1914)",
pages = "13-14",
url = "https://hdl.handle.net/21.15107/rcub_dais_14700"
}

Vesić, I.. (2021). For the ‘Pure’ National and High-Art Values: Music Production and Performance in the Kingdom of Serbia (1882-1914). in Between Centres and Peripheries : Music in Europe from the French Revolution until WWi (1789-1914)
Lucca : Centro Studi Opera Omnia Luigi Boccherini., 13-14.
https://hdl.handle.net/21.15107/rcub_dais_14700

Vesić I. For the ‘Pure’ National and High-Art Values: Music Production and Performance in the Kingdom of Serbia (1882-1914). in Between Centres and Peripheries : Music in Europe from the French Revolution until WWi (1789-1914). 2021;:13-14.
https://hdl.handle.net/21.15107/rcub_dais_14700 .

Vesić, Ivana, "For the ‘Pure’ National and High-Art Values: Music Production and Performance in the Kingdom of Serbia (1882-1914)" in Between Centres and Peripheries : Music in Europe from the French Revolution until WWi (1789-1914) (2021):13-14,
https://hdl.handle.net/21.15107/rcub_dais_14700 .

TY  - JOUR
AU  - Vesić, Ivana
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/11661
AB  - In this article part of musical activities of two federal Sokol organizations (JSS and SSKJ) in interwar Yugoslavia will be thoroughly examined. Despite the fact that these organizations were primarily focused on development of gymnastics and certain individual sports, cultural advancement of its members as well as of Yugoslav population also occupied an important place, particularly in the 1930s. As a result of broadening of Sokol’s work, musical amateurism started to gain prominence in Sokol legions, societies and parishes (župe). This was reflected in the proliferation of Sokol vocal and instrumental ensembles, as well as their performances in various Sokol units, both in urban and rural areas. The flourishing of musical activities among Sokols from different parts of the country led to the change of circumstances in the cultural sphere of these regions, particularly in the undeveloped ones. Among other things, this included giving an impetus to the preservation and popularization of tamburitza orchestras and epic singing to the accompaniment of the gusle, promotion of national and Slavic music repertoire
and enrichment and diversification of musical life.
AB  - У овом раду детаљно ће бити размотрене поједине музичке активности две
савезне соколске организације из међуратне Југославије (ЈСС и ССКЈ).
Упркос чињеници да су обе организације биле првенствено усмерене
на развој гимнастике и индивидуалних спортова, културно унапређење
чланства као и југословенског становништа имало је такође важну улогу
нарочито током 30-их година. Као резултат ширења соколског рада, музички
аматеризам добијао је на све већој важности у соколским четама, друштвима
и жупама. То је долазило до изражаја у порасту броја соколских вокалних и
инструменталних ансамбала као и њихових наступа у соколским јединицама
како у урбаним, тако и у руралним областима. Процват музичких активности
међу соколима из различитих крајева земље довео је до промене околности у
културној сфери у овим крајевима, особито у оним који су били неразвијени.
Поред осталог, то је подразумевало подстицање очувања и ширења
тамбурашких орекстара и певања уз гусле, популаризовање националног и
словенског музичког репертоара, те обогаћивање и плурализацију музичког
живота.
AB  - Упркос томе што је реч била о организацијама првенствено усмереним на ширење
спорта и гимнастике у широј популацији, Југословенски соколски савез (ЈСС)
и Савез Сокола Краљевине Југославије (ССКЈ) поклањали су значајну пажњу
неговању различитих врста музичких активности током међуратног периода. То
је особито било изражено током 30-их година након што је реформски курс,
актуелан од краја Првог светског рата, добио на важности. Захваљујући томе
што је соколство поставило шире циљеве не само у погледу унапређења физичкe
способности маса, већ и њиховог културног уздизања, започет је интензиван
рад на развијању музичког аматеризма. Он je обухватао оснивање различитих
врста оркестара, углавном тамбурашких, дувачких (соколске фанфаре) и
великих (соколске музике), као и хорова (мешовити, мушки, женски, дечји), те
подстицање очувања традиционалних народних инструмената и пракси (певање
уз гусле). Почев од оснивања ССКЈ, а особито после 1933. када је са савезног
нивоа покренута иницијатива за изразитије ширење музике у соколству дошло
је до пораста броја ансамбала на нивоу земље, јачања концертне активности
у соколским друштвима, те до веће заступљености музике у различитим
соколским догађајима. Поред појаве веома амбициозно осмишљених наступа
соколских ансамбала у појединим друштвима и жупама с програмом сачињеним
од дела уметничке музике и обрада народних мелодија, у овом периоду појавила
се и идеја о такмичењима музичких ансамбала и гуслара, како на савезном
нивоу, тако и на нивоу жупа, друштава и чета. Од музичких активности и појава у оквиру ЈСС и ССКЈ, посебан фокус у овом раду стављен је на рад тамбурашких
оркестара, потом на процес популаризовања певања уз гусле и, најзад на
концертну активност у соколским јединицама. На основу извештаја у соколској
штампи, као и других извора, указано је на ширење тамбурашких ансамбала
током 20-их и 30-их година у соколству, на њихове опште карактеристике и
репертоар. Осим тога, праћено је и подстицање певања уз гусле у појединим
жупама, као и на савезном нивоу током 30-их година. Напослетку је дат кратак
осврт на тенденције у вези с организацијом концерата у соколским јединицама.
Узимајући у обзир прелиминарне резултате анализе, закључује се да допринос
соколских организација, особито ССКЈ, различитим сегментима музичког
живота у међуратној Југославији није био занемарљив уколико се пореди с
доприносом различитих културних организација, те државних тела. Изнета је
и претпоставка да су активности међуратних соколских организација у области
музичког аматеризма могле да послуже као модел у креирању приступа тој
области у социјалистичкој Југославији. Иако је за њену потврду неопходно да
се изврше детаљна додатна истраживања, евидентно је да је и пре тога потребно
да се укаже на историјски значај рада соколских организација на културном
унапређењу маса путем музичких активности.
PB  - Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts
T2  - Musicology
T1  - Contribution of the Yugoslav Sokol organizations to the interwar sphere of music
T1  - Допринос југословенских соколских организација сфери музике у међуратном периоду
SP  - 107
EP  - 133
IS  - 30
DO  - 10.2298/MUZ2130107V
UR  - https://hdl.handle.net/21.15107/rcub_dais_11661
ER  - 

@article{
author = "Vesić, Ivana",
year = "2021",
abstract = "In this article part of musical activities of two federal Sokol organizations (JSS and SSKJ) in interwar Yugoslavia will be thoroughly examined. Despite the fact that these organizations were primarily focused on development of gymnastics and certain individual sports, cultural advancement of its members as well as of Yugoslav population also occupied an important place, particularly in the 1930s. As a result of broadening of Sokol’s work, musical amateurism started to gain prominence in Sokol legions, societies and parishes (župe). This was reflected in the proliferation of Sokol vocal and instrumental ensembles, as well as their performances in various Sokol units, both in urban and rural areas. The flourishing of musical activities among Sokols from different parts of the country led to the change of circumstances in the cultural sphere of these regions, particularly in the undeveloped ones. Among other things, this included giving an impetus to the preservation and popularization of tamburitza orchestras and epic singing to the accompaniment of the gusle, promotion of national and Slavic music repertoire
and enrichment and diversification of musical life., У овом раду детаљно ће бити размотрене поједине музичке активности две
савезне соколске организације из међуратне Југославије (ЈСС и ССКЈ).
Упркос чињеници да су обе организације биле првенствено усмерене
на развој гимнастике и индивидуалних спортова, културно унапређење
чланства као и југословенског становништа имало је такође важну улогу
нарочито током 30-их година. Као резултат ширења соколског рада, музички
аматеризам добијао је на све већој важности у соколским четама, друштвима
и жупама. То је долазило до изражаја у порасту броја соколских вокалних и
инструменталних ансамбала као и њихових наступа у соколским јединицама
како у урбаним, тако и у руралним областима. Процват музичких активности
међу соколима из различитих крајева земље довео је до промене околности у
културној сфери у овим крајевима, особито у оним који су били неразвијени.
Поред осталог, то је подразумевало подстицање очувања и ширења
тамбурашких орекстара и певања уз гусле, популаризовање националног и
словенског музичког репертоара, те обогаћивање и плурализацију музичког
живота., Упркос томе што је реч била о организацијама првенствено усмереним на ширење
спорта и гимнастике у широј популацији, Југословенски соколски савез (ЈСС)
и Савез Сокола Краљевине Југославије (ССКЈ) поклањали су значајну пажњу
неговању различитих врста музичких активности током међуратног периода. То
је особито било изражено током 30-их година након што је реформски курс,
актуелан од краја Првог светског рата, добио на важности. Захваљујући томе
што је соколство поставило шире циљеве не само у погледу унапређења физичкe
способности маса, већ и њиховог културног уздизања, започет је интензиван
рад на развијању музичког аматеризма. Он je обухватао оснивање различитих
врста оркестара, углавном тамбурашких, дувачких (соколске фанфаре) и
великих (соколске музике), као и хорова (мешовити, мушки, женски, дечји), те
подстицање очувања традиционалних народних инструмената и пракси (певање
уз гусле). Почев од оснивања ССКЈ, а особито после 1933. када је са савезног
нивоа покренута иницијатива за изразитије ширење музике у соколству дошло
је до пораста броја ансамбала на нивоу земље, јачања концертне активности
у соколским друштвима, те до веће заступљености музике у различитим
соколским догађајима. Поред појаве веома амбициозно осмишљених наступа
соколских ансамбала у појединим друштвима и жупама с програмом сачињеним
од дела уметничке музике и обрада народних мелодија, у овом периоду појавила
се и идеја о такмичењима музичких ансамбала и гуслара, како на савезном
нивоу, тако и на нивоу жупа, друштава и чета. Од музичких активности и појава у оквиру ЈСС и ССКЈ, посебан фокус у овом раду стављен је на рад тамбурашких
оркестара, потом на процес популаризовања певања уз гусле и, најзад на
концертну активност у соколским јединицама. На основу извештаја у соколској
штампи, као и других извора, указано је на ширење тамбурашких ансамбала
током 20-их и 30-их година у соколству, на њихове опште карактеристике и
репертоар. Осим тога, праћено је и подстицање певања уз гусле у појединим
жупама, као и на савезном нивоу током 30-их година. Напослетку је дат кратак
осврт на тенденције у вези с организацијом концерата у соколским јединицама.
Узимајући у обзир прелиминарне резултате анализе, закључује се да допринос
соколских организација, особито ССКЈ, различитим сегментима музичког
живота у међуратној Југославији није био занемарљив уколико се пореди с
доприносом различитих културних организација, те државних тела. Изнета је
и претпоставка да су активности међуратних соколских организација у области
музичког аматеризма могле да послуже као модел у креирању приступа тој
области у социјалистичкој Југославији. Иако је за њену потврду неопходно да
се изврше детаљна додатна истраживања, евидентно је да је и пре тога потребно
да се укаже на историјски значај рада соколских организација на културном
унапређењу маса путем музичких активности.",
publisher = "Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts",
journal = "Musicology",
title = "Contribution of the Yugoslav Sokol organizations to the interwar sphere of music, Допринос југословенских соколских организација сфери музике у међуратном периоду",
pages = "107-133",
number = "30",
doi = "10.2298/MUZ2130107V",
url = "https://hdl.handle.net/21.15107/rcub_dais_11661"
}

Vesić, I.. (2021). Contribution of the Yugoslav Sokol organizations to the interwar sphere of music. in Musicology
Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts.(30), 107-133.
https://doi.org/10.2298/MUZ2130107V
https://hdl.handle.net/21.15107/rcub_dais_11661

Vesić I. Contribution of the Yugoslav Sokol organizations to the interwar sphere of music. in Musicology. 2021;(30):107-133.
doi:10.2298/MUZ2130107V
https://hdl.handle.net/21.15107/rcub_dais_11661 .

Vesić, Ivana, "Contribution of the Yugoslav Sokol organizations to the interwar sphere of music" in Musicology, no. 30 (2021):107-133,
https://doi.org/10.2298/MUZ2130107V .,
https://hdl.handle.net/21.15107/rcub_dais_11661 .

TY  - JOUR
AU  - Весић, Ивана
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/14746
AB  - У раду ћемо детаљно размотрити дискрепанцу између две појаве: опадања развоја хорског аматеризма започетог половином педесетих година протеклог столећа и истовременог успона ове праксе у културној дипломатији социјалистичке Југославије. На основу, с једне стране, увида у различите фазе кроз које је хорски аматеризам пролазио у првим деценијама након Другог светског рата, заједно са интервенцијама креатора југословенске културне политике у правцу његове ревитализације и експанзије, као и с друге стране, на јачање његове улоге и престижа у билатерним културним разменама у овом периоду, покушаћемо да укажемо на то: 1. колико је важна повезаност културне дипломатије и националне културне политике и да одговоримо на питање: 2. да ли је фокусирање на развој различитих области у музици у националним оквирима плодотворно и за културну дипломатију.
PB  - Београд : Завод за проучавање културног развитка
T2  - Култура – Review for the Theory and Sociology of Culture and for the Cultural Policy
T1  - Проблем међуодноса културне дипломатије и националне културне политике у пољу музике: искуства из социјалистичке Југославије као могући оријентир
SP  - 155
EP  - 173
IS  - 173
DO  - 10.5937/kultura2173155V
UR  - https://hdl.handle.net/21.15107/rcub_dais_14746
ER  - 

@article{
author = "Весић, Ивана",
year = "2021",
abstract = "У раду ћемо детаљно размотрити дискрепанцу између две појаве: опадања развоја хорског аматеризма започетог половином педесетих година протеклог столећа и истовременог успона ове праксе у културној дипломатији социјалистичке Југославије. На основу, с једне стране, увида у различите фазе кроз које је хорски аматеризам пролазио у првим деценијама након Другог светског рата, заједно са интервенцијама креатора југословенске културне политике у правцу његове ревитализације и експанзије, као и с друге стране, на јачање његове улоге и престижа у билатерним културним разменама у овом периоду, покушаћемо да укажемо на то: 1. колико је важна повезаност културне дипломатије и националне културне политике и да одговоримо на питање: 2. да ли је фокусирање на развој различитих области у музици у националним оквирима плодотворно и за културну дипломатију.",
publisher = "Београд : Завод за проучавање културног развитка",
journal = "Култура – Review for the Theory and Sociology of Culture and for the Cultural Policy",
title = "Проблем међуодноса културне дипломатије и националне културне политике у пољу музике: искуства из социјалистичке Југославије као могући оријентир",
pages = "155-173",
number = "173",
doi = "10.5937/kultura2173155V",
url = "https://hdl.handle.net/21.15107/rcub_dais_14746"
}

Весић, И.. (2021). Проблем међуодноса културне дипломатије и националне културне политике у пољу музике: искуства из социјалистичке Југославије као могући оријентир. in Култура – Review for the Theory and Sociology of Culture and for the Cultural Policy
Београд : Завод за проучавање културног развитка.(173), 155-173.
https://doi.org/10.5937/kultura2173155V
https://hdl.handle.net/21.15107/rcub_dais_14746

Весић И. Проблем међуодноса културне дипломатије и националне културне политике у пољу музике: искуства из социјалистичке Југославије као могући оријентир. in Култура – Review for the Theory and Sociology of Culture and for the Cultural Policy. 2021;(173):155-173.
doi:10.5937/kultura2173155V
https://hdl.handle.net/21.15107/rcub_dais_14746 .

Весић, Ивана, "Проблем међуодноса културне дипломатије и националне културне политике у пољу музике: искуства из социјалистичке Југославије као могући оријентир" in Култура – Review for the Theory and Sociology of Culture and for the Cultural Policy, no. 173 (2021):155-173,
https://doi.org/10.5937/kultura2173155V .,
https://hdl.handle.net/21.15107/rcub_dais_14746 .

TY  - JOUR
AU  - Весић, Ивана
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/14749
AB  - У овом раду размотрене су активности Српске православне цркве током осамдесетих година протеклог столећа на оживљавању извесних догађаја из прошлости који су били занемарени или маргинализовани у југословенском социјализму, а које су подразумевале и успостављање веза и сарадње с појединим уметницима и интелектуалцима. Претпоставка на којој смо засновали анализу делања СПЦ и уметничких и интелектуалних кругова у овом периоду била је да је својеврсно афирмисање појава, личности и процеса из Првог и Другог светског рата иако једним делом мотивисано превазилажењем социјалистичке „културе заборава“, у још већој мери проистицало из потребе артикулисања критике и отпора друштвеном и политичком систему креираном након 1945. и његовим различитим димензијама. Значај које је посредовање критичке мисли кроз откривање прошлости широј јавности сагледан је из угла скрајнутости СПЦ, те група уметника и интелектуалаца из доминантне јавне сфере (сфере масовних медија), али и потребе дефинисања њихове друштвене улоге и позиције у околностима све израженијег растакања југословенског социјализма.
PB  - Лесковац : Народни музеј
T2  - Лесковачки зборник
T1  - Реактуелизовање потиснуте прошлости као исходиште критике југословенског социјализма: поглед на сарадњу између Српске православне цркве и уметничких и интелектуалних кругова током осамдесетих година
SP  - 401
EP  - 416
IS  - LXI
UR  - https://hdl.handle.net/21.15107/rcub_dais_14749
ER  - 

@article{
author = "Весић, Ивана",
year = "2021",
abstract = "У овом раду размотрене су активности Српске православне цркве током осамдесетих година протеклог столећа на оживљавању извесних догађаја из прошлости који су били занемарени или маргинализовани у југословенском социјализму, а које су подразумевале и успостављање веза и сарадње с појединим уметницима и интелектуалцима. Претпоставка на којој смо засновали анализу делања СПЦ и уметничких и интелектуалних кругова у овом периоду била је да је својеврсно афирмисање појава, личности и процеса из Првог и Другог светског рата иако једним делом мотивисано превазилажењем социјалистичке „културе заборава“, у још већој мери проистицало из потребе артикулисања критике и отпора друштвеном и политичком систему креираном након 1945. и његовим различитим димензијама. Значај које је посредовање критичке мисли кроз откривање прошлости широј јавности сагледан је из угла скрајнутости СПЦ, те група уметника и интелектуалаца из доминантне јавне сфере (сфере масовних медија), али и потребе дефинисања њихове друштвене улоге и позиције у околностима све израженијег растакања југословенског социјализма.",
publisher = "Лесковац : Народни музеј",
journal = "Лесковачки зборник",
title = "Реактуелизовање потиснуте прошлости као исходиште критике југословенског социјализма: поглед на сарадњу између Српске православне цркве и уметничких и интелектуалних кругова током осамдесетих година",
pages = "401-416",
number = "LXI",
url = "https://hdl.handle.net/21.15107/rcub_dais_14749"
}

Весић, И.. (2021). Реактуелизовање потиснуте прошлости као исходиште критике југословенског социјализма: поглед на сарадњу између Српске православне цркве и уметничких и интелектуалних кругова током осамдесетих година. in Лесковачки зборник
Лесковац : Народни музеј.(LXI), 401-416.
https://hdl.handle.net/21.15107/rcub_dais_14749

Весић И. Реактуелизовање потиснуте прошлости као исходиште критике југословенског социјализма: поглед на сарадњу између Српске православне цркве и уметничких и интелектуалних кругова током осамдесетих година. in Лесковачки зборник. 2021;(LXI):401-416.
https://hdl.handle.net/21.15107/rcub_dais_14749 .

Весић, Ивана, "Реактуелизовање потиснуте прошлости као исходиште критике југословенског социјализма: поглед на сарадњу између Српске православне цркве и уметничких и интелектуалних кругова током осамдесетих година" in Лесковачки зборник, no. LXI (2021):401-416,
https://hdl.handle.net/21.15107/rcub_dais_14749 .

TY  - JOUR
AU  - Vesić, Ivana
AU  - Peno, Vesna
PY  - 2020
UR  - https://dais.sanu.ac.rs/123456789/12767
AB  - In this paper we will consider how, from the beginning to the end of the 1980s, the Serbian Orthodox Church gradually abandoned its restricted mode of public action and moved from an enclave form, with occasional elements of counterpublics, to a dominant public sphere. This 
process was the result of a complex set of phenomena that often overlapped. Pressure from authorities on religious communities and believers started to decline at the time despite restrictive legislation regarding public appearances by religious officials still being in force. This was followed by a pronounced deatheization of younger parts of the population and an expansion of various forms of secular religiosity (popular culture, sports), including hybrid types of postmodern spirituality within Yugoslav society. In such circumstances, religious communities were encouraged to expand the scope of their public activities, so they found new forms of communication and networking, both among believers and in various social circles. Our aim is to point to forms of public action cultivated at the time by the Church and the stages it underwent in its participation in the public sphere. Additionally, the factors that influenced a change in the Church’s public and social position in the late 1980s will be discussed, along with the consequences caused in different areas of its functioning.
PB  - Novi Sad : Filozofski fakultet
T2  - Istraživanja/Journal of Historical Researches
T1  - Stepping out of the ‘Enclave’: Public Activities of the Serbian Orthodox Church and the Quest to Regain Social Authority in the 1980s
IS  - 31
DO  - 10.19090/i.2020.31.254-278
UR  - https://hdl.handle.net/21.15107/rcub_dais_12767
ER  - 

@article{
author = "Vesić, Ivana and Peno, Vesna",
year = "2020",
abstract = "In this paper we will consider how, from the beginning to the end of the 1980s, the Serbian Orthodox Church gradually abandoned its restricted mode of public action and moved from an enclave form, with occasional elements of counterpublics, to a dominant public sphere. This 
process was the result of a complex set of phenomena that often overlapped. Pressure from authorities on religious communities and believers started to decline at the time despite restrictive legislation regarding public appearances by religious officials still being in force. This was followed by a pronounced deatheization of younger parts of the population and an expansion of various forms of secular religiosity (popular culture, sports), including hybrid types of postmodern spirituality within Yugoslav society. In such circumstances, religious communities were encouraged to expand the scope of their public activities, so they found new forms of communication and networking, both among believers and in various social circles. Our aim is to point to forms of public action cultivated at the time by the Church and the stages it underwent in its participation in the public sphere. Additionally, the factors that influenced a change in the Church’s public and social position in the late 1980s will be discussed, along with the consequences caused in different areas of its functioning.",
publisher = "Novi Sad : Filozofski fakultet",
journal = "Istraživanja/Journal of Historical Researches",
title = "Stepping out of the ‘Enclave’: Public Activities of the Serbian Orthodox Church and the Quest to Regain Social Authority in the 1980s",
number = "31",
doi = "10.19090/i.2020.31.254-278",
url = "https://hdl.handle.net/21.15107/rcub_dais_12767"
}

Vesić, I.,& Peno, V.. (2020). Stepping out of the ‘Enclave’: Public Activities of the Serbian Orthodox Church and the Quest to Regain Social Authority in the 1980s. in Istraživanja/Journal of Historical Researches
Novi Sad : Filozofski fakultet.(31).
https://doi.org/10.19090/i.2020.31.254-278
https://hdl.handle.net/21.15107/rcub_dais_12767

Vesić I, Peno V. Stepping out of the ‘Enclave’: Public Activities of the Serbian Orthodox Church and the Quest to Regain Social Authority in the 1980s. in Istraživanja/Journal of Historical Researches. 2020;(31).
doi:10.19090/i.2020.31.254-278
https://hdl.handle.net/21.15107/rcub_dais_12767 .

Vesić, Ivana, Peno, Vesna, "Stepping out of the ‘Enclave’: Public Activities of the Serbian Orthodox Church and the Quest to Regain Social Authority in the 1980s" in Istraživanja/Journal of Historical Researches, no. 31 (2020),
https://doi.org/10.19090/i.2020.31.254-278 .,
https://hdl.handle.net/21.15107/rcub_dais_12767 .

TY  - JOUR
AU  - Vesić, Ivana
AU  - Golubović, Marija
AU  - Spasić, Vanja
PY  - 2020
UR  - http://www.ojs.newsound.org.rs/index.php/NS/article/view/40/70
UR  - https://dais.sanu.ac.rs/123456789/12770
AB  - In this paper we focused on the collaboration of the Jeunesses Musicales of Yugoslavia (JMY) with similar organisations of the Eastern Bloc countries. Besides pointing to the various activities that the JMY carried out from the early 1960s to the late 1980s, certain general tendencies in the process of cultural exchange were also underlined. The aim is to consider whether the JMY’s cooperation with Eastern Bloc organisations followed Yugoslav foreign policies in the cultural sphere at the time.
PB  - Belgrade : Department of Musicology, Faculty of Music
T2  - New Sound
T1  - Jeunesses Musicales of Yugoslavia (1954–1991) Activities in the Countries of Eastern Bloc Through the Prism of Socialist Yugoslavia Cultural Diplomacy
SP  - 70
EP  - 90
VL  - 55
IS  - 1
UR  - https://hdl.handle.net/21.15107/rcub_dais_12770
ER  - 

@article{
author = "Vesić, Ivana and Golubović, Marija and Spasić, Vanja",
year = "2020",
abstract = "In this paper we focused on the collaboration of the Jeunesses Musicales of Yugoslavia (JMY) with similar organisations of the Eastern Bloc countries. Besides pointing to the various activities that the JMY carried out from the early 1960s to the late 1980s, certain general tendencies in the process of cultural exchange were also underlined. The aim is to consider whether the JMY’s cooperation with Eastern Bloc organisations followed Yugoslav foreign policies in the cultural sphere at the time.",
publisher = "Belgrade : Department of Musicology, Faculty of Music",
journal = "New Sound",
title = "Jeunesses Musicales of Yugoslavia (1954–1991) Activities in the Countries of Eastern Bloc Through the Prism of Socialist Yugoslavia Cultural Diplomacy",
pages = "70-90",
volume = "55",
number = "1",
url = "https://hdl.handle.net/21.15107/rcub_dais_12770"
}

Vesić, I., Golubović, M.,& Spasić, V.. (2020). Jeunesses Musicales of Yugoslavia (1954–1991) Activities in the Countries of Eastern Bloc Through the Prism of Socialist Yugoslavia Cultural Diplomacy. in New Sound
Belgrade : Department of Musicology, Faculty of Music., 55(1), 70-90.
https://hdl.handle.net/21.15107/rcub_dais_12770

Vesić I, Golubović M, Spasić V. Jeunesses Musicales of Yugoslavia (1954–1991) Activities in the Countries of Eastern Bloc Through the Prism of Socialist Yugoslavia Cultural Diplomacy. in New Sound. 2020;55(1):70-90.
https://hdl.handle.net/21.15107/rcub_dais_12770 .

Vesić, Ivana, Golubović, Marija, Spasić, Vanja, "Jeunesses Musicales of Yugoslavia (1954–1991) Activities in the Countries of Eastern Bloc Through the Prism of Socialist Yugoslavia Cultural Diplomacy" in New Sound, 55, no. 1 (2020):70-90,
https://hdl.handle.net/21.15107/rcub_dais_12770 .

TY  - JOUR
AU  - Peno, Vesna
AU  - Vesić, Ivana
PY  - 2020
UR  - https://emuni.si/wp-content/uploads/2021/02/Scientific-2_13_2_2020.pdf
UR  - https://dais.sanu.ac.rs/123456789/12766
AB  - The article examines the specific phenomenon of the return of Serbian Orthodox Church music to Byzantine chant in the turbulent period of the early 1990s. The framework for the study is an analysis of a unique movement among younger generations of Serbian believers for the revival of ecclesiastical heritage in church art, particularly music. This paper highlights: (1) the reasons behind a deep spiritual crisis that preceded affirmation of Byzantine chant, (2) (in)correct perceptions of Eastern Christian tradition and heritage among Serbs actively engaged in the liturgical life of the Serbian Orthodox Church in the 1990s, and (3) some pros and cons of the unique musical tradition of the Eastern Church and the national variants of church singing, such as the Serbian church chant. The article concludes that even in today’s circumstances, the Orthodox
Serbs who ground their national identity in Eastern Christian/ Byzantine religious heritage regardless of the existing borders of the Serbian state – have a reason to consider themselves a
part of Byzantine and Mediterranean Europe.
PB  - Piran : Euro-Mediterranean University (EMUNI)
T2  - International Journal of Euro-Mediterranean Studies
T1  - Return of Serbian Chant to Byzantine Tradition
SP  - 29
EP  - 44
VL  - 13
IS  - 2
UR  - https://hdl.handle.net/21.15107/rcub_dais_12766
ER  - 

@article{
author = "Peno, Vesna and Vesić, Ivana",
year = "2020",
abstract = "The article examines the specific phenomenon of the return of Serbian Orthodox Church music to Byzantine chant in the turbulent period of the early 1990s. The framework for the study is an analysis of a unique movement among younger generations of Serbian believers for the revival of ecclesiastical heritage in church art, particularly music. This paper highlights: (1) the reasons behind a deep spiritual crisis that preceded affirmation of Byzantine chant, (2) (in)correct perceptions of Eastern Christian tradition and heritage among Serbs actively engaged in the liturgical life of the Serbian Orthodox Church in the 1990s, and (3) some pros and cons of the unique musical tradition of the Eastern Church and the national variants of church singing, such as the Serbian church chant. The article concludes that even in today’s circumstances, the Orthodox
Serbs who ground their national identity in Eastern Christian/ Byzantine religious heritage regardless of the existing borders of the Serbian state – have a reason to consider themselves a
part of Byzantine and Mediterranean Europe.",
publisher = "Piran : Euro-Mediterranean University (EMUNI)",
journal = "International Journal of Euro-Mediterranean Studies",
title = "Return of Serbian Chant to Byzantine Tradition",
pages = "29-44",
volume = "13",
number = "2",
url = "https://hdl.handle.net/21.15107/rcub_dais_12766"
}

Peno, V.,& Vesić, I.. (2020). Return of Serbian Chant to Byzantine Tradition. in International Journal of Euro-Mediterranean Studies
Piran : Euro-Mediterranean University (EMUNI)., 13(2), 29-44.
https://hdl.handle.net/21.15107/rcub_dais_12766

Peno V, Vesić I. Return of Serbian Chant to Byzantine Tradition. in International Journal of Euro-Mediterranean Studies. 2020;13(2):29-44.
https://hdl.handle.net/21.15107/rcub_dais_12766 .

Peno, Vesna, Vesić, Ivana, "Return of Serbian Chant to Byzantine Tradition" in International Journal of Euro-Mediterranean Studies, 13, no. 2 (2020):29-44,
https://hdl.handle.net/21.15107/rcub_dais_12766 .

TY  - CHAP
AU  - Vesić, Ivana
PY  - 2020
UR  - https://dais.sanu.ac.rs/handle/123456789/10374
UR  - https://dais.sanu.ac.rs/123456789/10397
AB  - As the Great Eastern Crisis was approaching in the mid-1870s, the conflicting political interests of neighboring Balkan peoples started to manifest. Claiming primacy over the same territory of the Ottoman Empire and its inhabitants in their mutually excluding national projects, political elites of the Balkans initiated longstanding political and diplomatic struggles that did not lose intensity over
the course of time. The so-called Macedonian Question became one of the most important points of dispute between the countries of this part of Europe at the time, imposing itself as an almost insurmountable obstacle in the relations between Serbian and Bulgarian elites since the second half of the 19th century. The end of the Second Balkan War (1913), and even more so the Great War with the Treaty of Neuilly between the Kingdom of Serbs, Croats and Slovenes (SCS) and the
Kingdom of Bulgaria (1920) did not bring a stabilization of the political situation in the region. On the contrary, the fact that the territory of Vardar Macedonia was recognized as part of the newly founded Yugoslav Kingdom fueled fierce reactions of the Bulgarian side throughout the interwar period.
PB  - Belgrade : Institute of Musicology SASA
PB  - Ljubljana : University of Ljubljana - Faculty of Social Sciences
T2  - The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century)
T1  - The Echoes of Diplomatic Disputes. The Macedonian Question in the Work of Serbian and Yugoslav Music Scholars
SP  - 93
EP  - 120
DO  - 10.18485/music_diplomacy.2020.ch7
UR  - https://hdl.handle.net/21.15107/rcub_dais_10397
ER  - 

@inbook{
author = "Vesić, Ivana",
year = "2020",
abstract = "As the Great Eastern Crisis was approaching in the mid-1870s, the conflicting political interests of neighboring Balkan peoples started to manifest. Claiming primacy over the same territory of the Ottoman Empire and its inhabitants in their mutually excluding national projects, political elites of the Balkans initiated longstanding political and diplomatic struggles that did not lose intensity over
the course of time. The so-called Macedonian Question became one of the most important points of dispute between the countries of this part of Europe at the time, imposing itself as an almost insurmountable obstacle in the relations between Serbian and Bulgarian elites since the second half of the 19th century. The end of the Second Balkan War (1913), and even more so the Great War with the Treaty of Neuilly between the Kingdom of Serbs, Croats and Slovenes (SCS) and the
Kingdom of Bulgaria (1920) did not bring a stabilization of the political situation in the region. On the contrary, the fact that the territory of Vardar Macedonia was recognized as part of the newly founded Yugoslav Kingdom fueled fierce reactions of the Bulgarian side throughout the interwar period.",
publisher = "Belgrade : Institute of Musicology SASA, Ljubljana : University of Ljubljana - Faculty of Social Sciences",
journal = "The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century)",
booktitle = "The Echoes of Diplomatic Disputes. The Macedonian Question in the Work of Serbian and Yugoslav Music Scholars",
pages = "93-120",
doi = "10.18485/music_diplomacy.2020.ch7",
url = "https://hdl.handle.net/21.15107/rcub_dais_10397"
}

Vesić, I.. (2020). The Echoes of Diplomatic Disputes. The Macedonian Question in the Work of Serbian and Yugoslav Music Scholars. in The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century)
Belgrade : Institute of Musicology SASA., 93-120.
https://doi.org/10.18485/music_diplomacy.2020.ch7
https://hdl.handle.net/21.15107/rcub_dais_10397

Vesić I. The Echoes of Diplomatic Disputes. The Macedonian Question in the Work of Serbian and Yugoslav Music Scholars. in The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). 2020;:93-120.
doi:10.18485/music_diplomacy.2020.ch7
https://hdl.handle.net/21.15107/rcub_dais_10397 .

Vesić, Ivana, "The Echoes of Diplomatic Disputes. The Macedonian Question in the Work of Serbian and Yugoslav Music Scholars" in The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century) (2020):93-120,
https://doi.org/10.18485/music_diplomacy.2020.ch7 .,
https://hdl.handle.net/21.15107/rcub_dais_10397 .

TY  - CHAP
AU  - Vesić, Ivana
PY  - 2020
UR  - https://dais.sanu.ac.rs/123456789/8979
AB  - Pristup uspostavlјanju političkog i kulturnog jedinstva među elitama jugoslovenskih
naroda drastično je varirao nakon konstituisanja njihove prve države, Kralјevine Srba,
Hrvata i Slovenaca, što je opstalo do izbijanja Drugog svetskog rata. Razlike su dolazile do
izražaja ne samo između vodećih političkih i intelektualnih grupa različitih nacionalnosti
već i između grupa iste nacionalnosti. Pluralne interpretacije jugoslovenstva bile su uočlјive
u brojnim društvenim oblastima i manifestovale su se u spektru društvenih aktivnosti. Jedna
od verzija „realnog jugoslovenstva” oblikovana je i među međuratnim jugoslovenskim muzičarima.
Ona je prolazila kroz različite faze i aktuelizovala se u nizu njihovih poduhvata,
uklјučujući rad na unapređenju muzičkog obrazovanja, organizovanje javnih koncerata i turneja
amaterskih i profesionalnih ansambala, muzičko izdavaštvo, muzičku kritiku i novinarstvo,
muzičku produkciju itd.
Različite interpretacije „realnog jugoslovenstva” koje su se nametnule u muzičkom životu
Kralјevine SHS/Jugoslavije detalјno su razmatrane uzimajući u obzir aktivnosti muzičara iz
različitih jugoslovenskih krajeva, osobito iz Beograda, Zagreba i Ljublјane. Analizirajući njihove
inicijative u domenu koncertnog izvođenja, muzičkog izdavaštva, kritike, produkcije i
formiranja profesionalnih udruženja, bilo je moguće ocrtati osnovne pretpostavke na kojima
su se temelјili dominantni pogledi na jugoslovenstvo. Javne aktivnosti muzičara otkrile su i
nedoslednosti u pristupu konceptu jugoslovenske integracije tokom međuratnog perioda,
koje su bile rezultat specifičnih okolnosti u oblasti muzike u različitim jugoslovenskim regionima
i preovlađujućih političkih i društvenih uslova. Način na koji su „unutrašnji” ili
„spolјašnji” faktori doprineli tumačenju „realnog jugoslovenstva” pažlјivo je ispitan na osnovu
podataka prikuplјenih tokom višegodišnjeg istraživanja od kojih je veći deo objavlјen. Za
ovu priliku fokus će biti na primarnim izvorima, posebno na periodici, štampanim muzičkim
programima, privatnim i javnim arhivskim zbirkama itd.
AB  - The approach to establishment of political and cultural unity among the elites of Yugoslav
peoples varied drastically in the aftermath of the constitution of their first state, the Kingdom
of Serbs, Croats and Slovenes, and continued until the outbreak of the Second World War.
Differences were manifest not only between the leading political and intellectual groups of
diverse nationalities, but also between the groups of the same nationality. Plural interpretations
of Yugoslavism were noticeable in numerous social spheres and were reflected in the
range of specific social activities. One of the versions of “realistic Yugoslavism” was elaborated
among the interwar Yugoslav musicians. It went through different stages and was displayed
in number of their undertakings including public concerts and tours of amateur and
professional ensembles, music publishing, music criticism and journalism, music production
etc.
The distinctive interpretations of “realistic Yugoslavism” that were popularized in the musical
life of the Kingdom of SCS/Yugoslavia were discussed in detail taking into consideration
activities of musicians from different Yugoslav regions, particularly from Belgrade, Zagreb
and Ljubljana. Analyzing their public initiatives of different kind in the domain of concert
performing, music publishing, criticism, production, and the creation of professional associations
it was possible to outline the basic premises on which the dominant views on
Yugoslavism were rooted. Various activities of musicians also revealed the inconsistencies in
the approach to concept of Yugoslav integration throughout the interwar period that were
both the result of specific circumstances in the spheres of music in different Yugoslav regions
and the dominant political and social conditions. The manner in which “internal” or
“external” factors contributed to the interpretation of “realistic Yugoslavism” was carefully
examined.
PB  - Београд : Музиколошко друштво Србије
PB  - Нови Сад : Матица српска
T2  - Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26. маја 2019. године
T1  - Proces jugoslovenske integracije u muzici u Kraljevini SHS/Jugoslaviji (1918-1941)
T1  - The Process of Yugoslav Integration in the Field of Music of the Kingdom of SCS/Yugoslavia (1918-1941)
SP  - 93
EP  - 109
UR  - https://hdl.handle.net/21.15107/rcub_dais_8979
ER  - 

@inbook{
author = "Vesić, Ivana",
year = "2020",
abstract = "Pristup uspostavlјanju političkog i kulturnog jedinstva među elitama jugoslovenskih
naroda drastično je varirao nakon konstituisanja njihove prve države, Kralјevine Srba,
Hrvata i Slovenaca, što je opstalo do izbijanja Drugog svetskog rata. Razlike su dolazile do
izražaja ne samo između vodećih političkih i intelektualnih grupa različitih nacionalnosti
već i između grupa iste nacionalnosti. Pluralne interpretacije jugoslovenstva bile su uočlјive
u brojnim društvenim oblastima i manifestovale su se u spektru društvenih aktivnosti. Jedna
od verzija „realnog jugoslovenstva” oblikovana je i među međuratnim jugoslovenskim muzičarima.
Ona je prolazila kroz različite faze i aktuelizovala se u nizu njihovih poduhvata,
uklјučujući rad na unapređenju muzičkog obrazovanja, organizovanje javnih koncerata i turneja
amaterskih i profesionalnih ansambala, muzičko izdavaštvo, muzičku kritiku i novinarstvo,
muzičku produkciju itd.
Različite interpretacije „realnog jugoslovenstva” koje su se nametnule u muzičkom životu
Kralјevine SHS/Jugoslavije detalјno su razmatrane uzimajući u obzir aktivnosti muzičara iz
različitih jugoslovenskih krajeva, osobito iz Beograda, Zagreba i Ljublјane. Analizirajući njihove
inicijative u domenu koncertnog izvođenja, muzičkog izdavaštva, kritike, produkcije i
formiranja profesionalnih udruženja, bilo je moguće ocrtati osnovne pretpostavke na kojima
su se temelјili dominantni pogledi na jugoslovenstvo. Javne aktivnosti muzičara otkrile su i
nedoslednosti u pristupu konceptu jugoslovenske integracije tokom međuratnog perioda,
koje su bile rezultat specifičnih okolnosti u oblasti muzike u različitim jugoslovenskim regionima
i preovlađujućih političkih i društvenih uslova. Način na koji su „unutrašnji” ili
„spolјašnji” faktori doprineli tumačenju „realnog jugoslovenstva” pažlјivo je ispitan na osnovu
podataka prikuplјenih tokom višegodišnjeg istraživanja od kojih je veći deo objavlјen. Za
ovu priliku fokus će biti na primarnim izvorima, posebno na periodici, štampanim muzičkim
programima, privatnim i javnim arhivskim zbirkama itd., The approach to establishment of political and cultural unity among the elites of Yugoslav
peoples varied drastically in the aftermath of the constitution of their first state, the Kingdom
of Serbs, Croats and Slovenes, and continued until the outbreak of the Second World War.
Differences were manifest not only between the leading political and intellectual groups of
diverse nationalities, but also between the groups of the same nationality. Plural interpretations
of Yugoslavism were noticeable in numerous social spheres and were reflected in the
range of specific social activities. One of the versions of “realistic Yugoslavism” was elaborated
among the interwar Yugoslav musicians. It went through different stages and was displayed
in number of their undertakings including public concerts and tours of amateur and
professional ensembles, music publishing, music criticism and journalism, music production
etc.
The distinctive interpretations of “realistic Yugoslavism” that were popularized in the musical
life of the Kingdom of SCS/Yugoslavia were discussed in detail taking into consideration
activities of musicians from different Yugoslav regions, particularly from Belgrade, Zagreb
and Ljubljana. Analyzing their public initiatives of different kind in the domain of concert
performing, music publishing, criticism, production, and the creation of professional associations
it was possible to outline the basic premises on which the dominant views on
Yugoslavism were rooted. Various activities of musicians also revealed the inconsistencies in
the approach to concept of Yugoslav integration throughout the interwar period that were
both the result of specific circumstances in the spheres of music in different Yugoslav regions
and the dominant political and social conditions. The manner in which “internal” or
“external” factors contributed to the interpretation of “realistic Yugoslavism” was carefully
examined.",
publisher = "Београд : Музиколошко друштво Србије, Нови Сад : Матица српска",
journal = "Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26. маја 2019. године",
booktitle = "Proces jugoslovenske integracije u muzici u Kraljevini SHS/Jugoslaviji (1918-1941), The Process of Yugoslav Integration in the Field of Music of the Kingdom of SCS/Yugoslavia (1918-1941)",
pages = "93-109",
url = "https://hdl.handle.net/21.15107/rcub_dais_8979"
}

Vesić, I.. (2020). Proces jugoslovenske integracije u muzici u Kraljevini SHS/Jugoslaviji (1918-1941). in Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26. маја 2019. године
Београд : Музиколошко друштво Србије., 93-109.
https://hdl.handle.net/21.15107/rcub_dais_8979

Vesić I. Proces jugoslovenske integracije u muzici u Kraljevini SHS/Jugoslaviji (1918-1941). in Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26. маја 2019. године. 2020;:93-109.
https://hdl.handle.net/21.15107/rcub_dais_8979 .

Vesić, Ivana, "Proces jugoslovenske integracije u muzici u Kraljevini SHS/Jugoslaviji (1918-1941)" in Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26. маја 2019. године (2020):93-109,
https://hdl.handle.net/21.15107/rcub_dais_8979 .

TY  - CHAP
AU  - Vesić, Ivana
AU  - Teodosić, Dragan
PY  - 2019
UR  - https://dais.sanu.ac.rs/handle/123456789/6923
UR  - https://dais.sanu.ac.rs/123456789/12769
AB  - Despite the fact that Petar Krstić was one of the most educated and, at the same time, most versatile Serbian musicians in the first decades of the 20th century, his numerous contributions in different areas of public, cultural and musical life have remained unexplored.
PB  - Београд : Музиколошко друштво Србије : Музиколошки институт САНУ
T2  - On the Margins of the Musicological Canon: The Generation оf Composers Petar Stojanović, Petar Krstić аnd Stanislav Binički
T1  - Petar Krstić and the Struggle for  Emancipation of Yugoslav Musicians and  Musical Life in the Interwar Period
SP  - 265
EP  - 287
UR  - https://hdl.handle.net/21.15107/rcub_dais_12769
ER  - 

@inbook{
author = "Vesić, Ivana and Teodosić, Dragan",
year = "2019",
abstract = "Despite the fact that Petar Krstić was one of the most educated and, at the same time, most versatile Serbian musicians in the first decades of the 20th century, his numerous contributions in different areas of public, cultural and musical life have remained unexplored.",
publisher = "Београд : Музиколошко друштво Србије : Музиколошки институт САНУ",
journal = "On the Margins of the Musicological Canon: The Generation оf Composers Petar Stojanović, Petar Krstić аnd Stanislav Binički",
booktitle = "Petar Krstić and the Struggle for  Emancipation of Yugoslav Musicians and  Musical Life in the Interwar Period",
pages = "265-287",
url = "https://hdl.handle.net/21.15107/rcub_dais_12769"
}

Vesić, I.,& Teodosić, D.. (2019). Petar Krstić and the Struggle for  Emancipation of Yugoslav Musicians and  Musical Life in the Interwar Period. in On the Margins of the Musicological Canon: The Generation оf Composers Petar Stojanović, Petar Krstić аnd Stanislav Binički
Београд : Музиколошко друштво Србије : Музиколошки институт САНУ., 265-287.
https://hdl.handle.net/21.15107/rcub_dais_12769

Vesić I, Teodosić D. Petar Krstić and the Struggle for  Emancipation of Yugoslav Musicians and  Musical Life in the Interwar Period. in On the Margins of the Musicological Canon: The Generation оf Composers Petar Stojanović, Petar Krstić аnd Stanislav Binički. 2019;:265-287.
https://hdl.handle.net/21.15107/rcub_dais_12769 .

Vesić, Ivana, Teodosić, Dragan, "Petar Krstić and the Struggle for  Emancipation of Yugoslav Musicians and  Musical Life in the Interwar Period" in On the Margins of the Musicological Canon: The Generation оf Composers Petar Stojanović, Petar Krstić аnd Stanislav Binički (2019):265-287,
https://hdl.handle.net/21.15107/rcub_dais_12769 .

TY  - CONF
AU  - Vesić, Ivana
AU  - Peno, Vesna
PY  - 2019
UR  - https://zenodo.org/record/3567713#.YZUe1hwo_IU
UR  - https://dais.sanu.ac.rs/123456789/12768
AB  - In this paper, we will present part of the research initiated in 2019 regarding the activities of the Serbian cultural elite during the last decade of the SFR Yugoslavia. Considering primarily the work of various artistic, ecclesiastical and intellectual  circles from that period, the aim was to identify the different phases of the process  of revitalization and construction of the Serbian medieval past, to point out the key actors who participated in it, their points of view, and dominant interpretations and 
types of actualization. Drawing on examples from the music and literary production at the time, as well as diverse types of cultural events we will try to identify the most signifi cant elements of this process and bring them into line with the strivings in the Yugoslav society of 1980s. The crystallization and strengthening of nationalist positions in the cultural sphere in the territory of Serbia and autonomous provinces, and at the same time right-wing groups, will be analyzed through the prism of the crisis of Yugoslav self-governing socialism, but also more broadly, taking into account the “dissolution” of the socialist paradigm in the global context. Special emphasis will 
be placed on the intertwining of theological, historical, pseudo-historical and artistic narratives in the public of the former Yugoslavia through various actualizations. Also, we will emphasize the gradual expansion and complexity of this process in the form of inclusion of distinctive groups and circles and point out the most important “generative” moments. The research is largely based on material collected from press and periodicals, interviews of the time witnesses and archival material of various types.
PB  - Beograd : Naučno društvo za istoriju zdravstvene kulture (NDZIZK)
C3  - Contemporary Populism and its Political Consequences: Discourses and Practicies in Central and South-Eastern Europe
T1  - The Revitalization and Construction of the Distant Past in the SFR Yugoslavia of the 1980s: The Case of the Serbian Cultural Sphere
SP  - 60
EP  - 61
UR  - https://hdl.handle.net/21.15107/rcub_dais_12768
ER  - 

@conference{
author = "Vesić, Ivana and Peno, Vesna",
year = "2019",
abstract = "In this paper, we will present part of the research initiated in 2019 regarding the activities of the Serbian cultural elite during the last decade of the SFR Yugoslavia. Considering primarily the work of various artistic, ecclesiastical and intellectual  circles from that period, the aim was to identify the different phases of the process  of revitalization and construction of the Serbian medieval past, to point out the key actors who participated in it, their points of view, and dominant interpretations and 
types of actualization. Drawing on examples from the music and literary production at the time, as well as diverse types of cultural events we will try to identify the most signifi cant elements of this process and bring them into line with the strivings in the Yugoslav society of 1980s. The crystallization and strengthening of nationalist positions in the cultural sphere in the territory of Serbia and autonomous provinces, and at the same time right-wing groups, will be analyzed through the prism of the crisis of Yugoslav self-governing socialism, but also more broadly, taking into account the “dissolution” of the socialist paradigm in the global context. Special emphasis will 
be placed on the intertwining of theological, historical, pseudo-historical and artistic narratives in the public of the former Yugoslavia through various actualizations. Also, we will emphasize the gradual expansion and complexity of this process in the form of inclusion of distinctive groups and circles and point out the most important “generative” moments. The research is largely based on material collected from press and periodicals, interviews of the time witnesses and archival material of various types.",
publisher = "Beograd : Naučno društvo za istoriju zdravstvene kulture (NDZIZK)",
journal = "Contemporary Populism and its Political Consequences: Discourses and Practicies in Central and South-Eastern Europe",
title = "The Revitalization and Construction of the Distant Past in the SFR Yugoslavia of the 1980s: The Case of the Serbian Cultural Sphere",
pages = "60-61",
url = "https://hdl.handle.net/21.15107/rcub_dais_12768"
}

Vesić, I.,& Peno, V.. (2019). The Revitalization and Construction of the Distant Past in the SFR Yugoslavia of the 1980s: The Case of the Serbian Cultural Sphere. in Contemporary Populism and its Political Consequences: Discourses and Practicies in Central and South-Eastern Europe
Beograd : Naučno društvo za istoriju zdravstvene kulture (NDZIZK)., 60-61.
https://hdl.handle.net/21.15107/rcub_dais_12768

Vesić I, Peno V. The Revitalization and Construction of the Distant Past in the SFR Yugoslavia of the 1980s: The Case of the Serbian Cultural Sphere. in Contemporary Populism and its Political Consequences: Discourses and Practicies in Central and South-Eastern Europe. 2019;:60-61.
https://hdl.handle.net/21.15107/rcub_dais_12768 .

Vesić, Ivana, Peno, Vesna, "The Revitalization and Construction of the Distant Past in the SFR Yugoslavia of the 1980s: The Case of the Serbian Cultural Sphere" in Contemporary Populism and its Political Consequences: Discourses and Practicies in Central and South-Eastern Europe (2019):60-61,
https://hdl.handle.net/21.15107/rcub_dais_12768 .

TY  - JOUR
AU  - Vesić, Ivana
PY  - 2019
UR  - https://dais.sanu.ac.rs/123456789/6937
AB  - This paper deals with the activities of Petar Krstić in the domain of music
education in the first years after the First World War and the constitution of
the Kingdom of Serbs, Croats and Slovenes. As a long-serving director of the
Serbian Music School, Krstić initiated various processes in order to modernize
it and transform it into institution of higher level of music education. For that
purpose he focused on the school’s internal reorganization and ‘etatization’.
As a result, Krstić prepared new school regulations and several drafts of legal
texts and started negotiations with the authorities. Krstić’s ideas, plans and his
undertakings concerning the reforms during the rule over the Serbian Music
School/Music School in Belgrade will be discussed in detail together with their
historical value.
AB  - Петар Крстић је у својству директора Српске музичке школе/Музичке
школе у Београду (1914–1921) након завршетка Првог светског рата започео
интензиван рад на њеној реорганизацији и осавремењивању. Полазећи од
уверења да ова установа може у блиској будућности да достигне ниво који би
одговарао музичким школама у развијеним европским земљама он се усмерио
на измене њеног начина функционисања и општег устројства. С тим увези,
од изузетне важности била је припрема и усвајање новог Правилника школе,
а затим и иницирање преговора с надлежнима из Министарства финансија и
Министарства просвете не би ли се школи обезбедила материјална сигурност.
Томе је убрзо придодат и предлог о подржављењу школе о чему је Крстић
размишљао још у првим месецима управљања, 1914. године, захваљујући
чему је настала Уредба Српске музичке школе. Предлог је у форми Нацрта
Закона о државним музичким школама у Краљевини СХС предат министру
просвете у јулу 1920, а озбиљнији кораци с тим у вези начињени су током
1921. године. Заправо, након поновног обраћања Крстића министру поводом
питања подржављења у јуну те године, инициран је обиман рад на припреми
одговарајућих докумената и извођењу овог процеса. Тако је отпочео
историјски важан процес усвајања Уредбе о Конзерваторијуму у Београду који
је имао неколико предфаза и потоњих разрада. Убрзо је питање подржављења
Музичке школе у Београду прерасло почетне оквире и претворило се у питање
конституисања високих школа за музику – конзерваторијума, на територији
читаве земље. Иако напослетку овај процес није формализован, захваљујући
њему начињени су помаци у реформи музичког образовања. Наиме, музичке
школе у Загребу и Љубљани успеле су да материјализују своја вишегодишња
настојања и оформе државне конзерваторијуме током двадесетих година.
Рад на Уредби представљао је на известан начин круну активности Петра
Крстића у погледу темељног преобликовања Музичке школе у Београду, али
и музичког школства уопште. У току дискусија које су вођене пре и након
њеног усвајања, Крстић је био прилици да изложи своје погледе на проблем
стварања конзерваторијума и сумира дугогодишња размишљања, сазнања и
искуства на ту тему. Иако пажљиво аргументована и чврсто утемељена, његова схватања нису наилазила на разумевање чланова комисије за припрему Уредбе,
док су је поједини стручњаци оштро критиковали. Крстићеви јединствени
погледи и нека врста „еволутивног модела“ који је путем њих пропагирао,
нису, међутим, били узрок његовог потоњег дистанцирања од Министарства
просвете с чијим челницима је одржавао добре односе од 1919. године. До
тога је довело како „одуговлачење“ које је уследило у вези с применом Уредбе
и усвајањем пропратних докумената, тако и сплетке које су настале око избора
директора будућег Конзерваторијума у Београду. Ипак, Крстићев рад на
реформама музичког образовања није завршен 1921. године. Он се наставио
током наредне деценије када се Крстић, у улози инспектора Министарства
просвете и члана комисије, посветио припреми најзначајнијег документа за
ову област у читавом међуратном периоду – Пројекту Закона о уметничким
школама.
PB  - Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts
T2  - Музикологија / Musicology
T1  - From great expectations to great disappointments: Petar Krstić’s contribution to the process of reforms of music education in interwar Yugoslavia (1918–1921)
T1  - Од великих очекивања до великих разочарења: допринос Петра Крстића реформама музичког образовања у међуратној Југославији (1918–1921)
SP  - 253
EP  - 276
IS  - 27
DO  - 10.2298/MUZ1927253V
UR  - https://hdl.handle.net/21.15107/rcub_dais_6937
ER  - 

@article{
author = "Vesić, Ivana",
year = "2019",
abstract = "This paper deals with the activities of Petar Krstić in the domain of music
education in the first years after the First World War and the constitution of
the Kingdom of Serbs, Croats and Slovenes. As a long-serving director of the
Serbian Music School, Krstić initiated various processes in order to modernize
it and transform it into institution of higher level of music education. For that
purpose he focused on the school’s internal reorganization and ‘etatization’.
As a result, Krstić prepared new school regulations and several drafts of legal
texts and started negotiations with the authorities. Krstić’s ideas, plans and his
undertakings concerning the reforms during the rule over the Serbian Music
School/Music School in Belgrade will be discussed in detail together with their
historical value., Петар Крстић је у својству директора Српске музичке школе/Музичке
школе у Београду (1914–1921) након завршетка Првог светског рата започео
интензиван рад на њеној реорганизацији и осавремењивању. Полазећи од
уверења да ова установа може у блиској будућности да достигне ниво који би
одговарао музичким школама у развијеним европским земљама он се усмерио
на измене њеног начина функционисања и општег устројства. С тим увези,
од изузетне важности била је припрема и усвајање новог Правилника школе,
а затим и иницирање преговора с надлежнима из Министарства финансија и
Министарства просвете не би ли се школи обезбедила материјална сигурност.
Томе је убрзо придодат и предлог о подржављењу школе о чему је Крстић
размишљао још у првим месецима управљања, 1914. године, захваљујући
чему је настала Уредба Српске музичке школе. Предлог је у форми Нацрта
Закона о државним музичким школама у Краљевини СХС предат министру
просвете у јулу 1920, а озбиљнији кораци с тим у вези начињени су током
1921. године. Заправо, након поновног обраћања Крстића министру поводом
питања подржављења у јуну те године, инициран је обиман рад на припреми
одговарајућих докумената и извођењу овог процеса. Тако је отпочео
историјски важан процес усвајања Уредбе о Конзерваторијуму у Београду који
је имао неколико предфаза и потоњих разрада. Убрзо је питање подржављења
Музичке школе у Београду прерасло почетне оквире и претворило се у питање
конституисања високих школа за музику – конзерваторијума, на територији
читаве земље. Иако напослетку овај процес није формализован, захваљујући
њему начињени су помаци у реформи музичког образовања. Наиме, музичке
школе у Загребу и Љубљани успеле су да материјализују своја вишегодишња
настојања и оформе државне конзерваторијуме током двадесетих година.
Рад на Уредби представљао је на известан начин круну активности Петра
Крстића у погледу темељног преобликовања Музичке школе у Београду, али
и музичког школства уопште. У току дискусија које су вођене пре и након
њеног усвајања, Крстић је био прилици да изложи своје погледе на проблем
стварања конзерваторијума и сумира дугогодишња размишљања, сазнања и
искуства на ту тему. Иако пажљиво аргументована и чврсто утемељена, његова схватања нису наилазила на разумевање чланова комисије за припрему Уредбе,
док су је поједини стручњаци оштро критиковали. Крстићеви јединствени
погледи и нека врста „еволутивног модела“ који је путем њих пропагирао,
нису, међутим, били узрок његовог потоњег дистанцирања од Министарства
просвете с чијим челницима је одржавао добре односе од 1919. године. До
тога је довело како „одуговлачење“ које је уследило у вези с применом Уредбе
и усвајањем пропратних докумената, тако и сплетке које су настале око избора
директора будућег Конзерваторијума у Београду. Ипак, Крстићев рад на
реформама музичког образовања није завршен 1921. године. Он се наставио
током наредне деценије када се Крстић, у улози инспектора Министарства
просвете и члана комисије, посветио припреми најзначајнијег документа за
ову област у читавом међуратном периоду – Пројекту Закона о уметничким
школама.",
publisher = "Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts",
journal = "Музикологија / Musicology",
title = "From great expectations to great disappointments: Petar Krstić’s contribution to the process of reforms of music education in interwar Yugoslavia (1918–1921), Од великих очекивања до великих разочарења: допринос Петра Крстића реформама музичког образовања у међуратној Југославији (1918–1921)",
pages = "253-276",
number = "27",
doi = "10.2298/MUZ1927253V",
url = "https://hdl.handle.net/21.15107/rcub_dais_6937"
}

Vesić, I.. (2019). From great expectations to great disappointments: Petar Krstić’s contribution to the process of reforms of music education in interwar Yugoslavia (1918–1921). in Музикологија / Musicology
Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts.(27), 253-276.
https://doi.org/10.2298/MUZ1927253V
https://hdl.handle.net/21.15107/rcub_dais_6937

Vesić I. From great expectations to great disappointments: Petar Krstić’s contribution to the process of reforms of music education in interwar Yugoslavia (1918–1921). in Музикологија / Musicology. 2019;(27):253-276.
doi:10.2298/MUZ1927253V
https://hdl.handle.net/21.15107/rcub_dais_6937 .

Vesić, Ivana, "From great expectations to great disappointments: Petar Krstić’s contribution to the process of reforms of music education in interwar Yugoslavia (1918–1921)" in Музикологија / Musicology, no. 27 (2019):253-276,
https://doi.org/10.2298/MUZ1927253V .,
https://hdl.handle.net/21.15107/rcub_dais_6937 .

TY  - CONF
AU  - Весић, Ивана
PY  - 2019
UR  - https://dais.sanu.ac.rs/123456789/6197
PB  - Нови Сад : Матица српска
PB  - Београд : Музиколошко друштво Србије
C3  - Међународни научни скуп Југословенска идеја у/о музици, Нови Сад, 25-26.05.2019.
T1  - Концепт југословенске интеграције у јавним активностима југословенских музичара (1918-1941)
SP  - 26
EP  - 27
UR  - https://hdl.handle.net/21.15107/rcub_dais_6197
ER  - 

@conference{
author = "Весић, Ивана",
year = "2019",
publisher = "Нови Сад : Матица српска, Београд : Музиколошко друштво Србије",
journal = "Међународни научни скуп Југословенска идеја у/о музици, Нови Сад, 25-26.05.2019.",
title = "Концепт југословенске интеграције у јавним активностима југословенских музичара (1918-1941)",
pages = "26-27",
url = "https://hdl.handle.net/21.15107/rcub_dais_6197"
}

Весић, И.. (2019). Концепт југословенске интеграције у јавним активностима југословенских музичара (1918-1941). in Међународни научни скуп Југословенска идеја у/о музици, Нови Сад, 25-26.05.2019.
Нови Сад : Матица српска., 26-27.
https://hdl.handle.net/21.15107/rcub_dais_6197

Весић И. Концепт југословенске интеграције у јавним активностима југословенских музичара (1918-1941). in Међународни научни скуп Југословенска идеја у/о музици, Нови Сад, 25-26.05.2019.. 2019;:26-27.
https://hdl.handle.net/21.15107/rcub_dais_6197 .

Весић, Ивана, "Концепт југословенске интеграције у јавним активностима југословенских музичара (1918-1941)" in Међународни научни скуп Југословенска идеја у/о музици, Нови Сад, 25-26.05.2019. (2019):26-27,
https://hdl.handle.net/21.15107/rcub_dais_6197 .