TY  - CONF
AU  - Атанасовски, Срђан
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/15875
AB  - Више од тридесет година након рођења „нове музикологије”, у написима аутора попут Џозефа Кермана, Сузан Меклери, као и чувене дебате Лоренса Крамера и Герија Томилсона, музикологија се наизглед не налази на раскршћима. Док су дебате о самој природи дисциплине скоро потпуно усахнуле, оно што посебно забрињава јесте својеврсно одсуство теоретизације чак и у водећим студијама. Наиме, кључна питања која остају отворена у нашој дисциплини, попут питања ауторства, значења и вредновања, не само што нису тема засебних дебата, већ се најчешће сасвим прећуткују. Упоредо с тим, сведоци смо трендова који проширују поље проучавања музикологије (студије популарне музике, студије звука и слично), али и репертоар „позајмљених” метода за којима музиколози посежу. Ови трендови којима се неретко претендује да се разреше одређене контрадикције у дисциплини, по правилу их само продубљују. Коначно, нови облици финансирања науке, па и хуманистичких дисциплина, како у свету тако и у земљи, истовремено делују „центрифугално” – вреднујући музиколошке доприносе у збиру са у најмању руку наукама друштвеног поља и инсистирајући на неретко механичком умрежавању и „изласку из дисциплине” – и „центрипетално” – са својеврсним новим позитивизмом у техничком ажурирању резултата – те такође не остављају простора за промишљање саме дисциплине. У овом раду покушаћу да одговоре на ову својеврсну кризу потражим посежући за музиколошким опусом Драгутина Гостушког. Активан управо у периоду када су у музикологији отпочињала велике расправе о природи дисциплине и подстакнут новим пољима истраживања, Гостушки је био један од пионира музичке семиотике. Поред тога, кроз својеврсну антиципацију описане кризе, Гостушки је благовремено упозоравао истраживаче у пољу музикологије на важност критичког става према теоријама и методама које се позајмљују из других дисциплина, те на очување кључних музиколошких компетенција. Коначно, за Гостушког, активног и као критичара, али и својеврсног јавног интелектуалца, музиколошки рад био је неодвојив од процеса вредновања музике, како у пољу музике, тако и у ширем друштвеном пољу. Да ли су ово аспекти мисли Драгутина Гостушког које музикологија исувише наивно одбацује као анахронизме, те који нам могу понудити могући излаз из кризе – питање је на које ћу покушати да понудим одговор.
AB  - More than thirty years after the emergence of the “new musicology”, in the writings of authors such as Joseph Kerman and Susan McClary, as well as the famous debate between Lawrence Kramer and Gary Thomlinson, musicology does not seem to be at a crossroads. While debates about the very nature of the discipline have almost completely dried up, what is particularly troubling is a kind of absence of theorization even in leading studies. Not only that the key questions that remain open in our discipline, such as questions of authorship, meaning and valuation are no longer the subjects of separate debates, but they are almost completely hushed. At the same time, we are witnessing trends that expand the field of study of musicology (popular music studies, sound studies, etc.), but also the repertoire of “borrowed” methods that musicologists use. As a rule, these trends, which are often intended to resolve certain contradictions in the discipline, actually only deepen them. Finally, new forms of financing science, and humanistic disciplines in generals, both globally and in Serbia, act both “centrifugally” – by evaluating musicological contributions together with at least social sciences and insisting on often mechanical networking and “exiting the discipline” – and “centripetally” – with a kind of new positivism in the technical updating of results – which again leaves no room for reflections on the discipline itself. In this paper, I will try to find answers to this kind of crisis by reaching for Dragutin Gostuški’s musicological output. Active precisely in the period when major discussions about the very nature of the discipline were initiated in musicology and encouraged by new fields of research, Gostuški was one of the pioneers of musical semiotics. Furthermore, through a kind of anticipation of the described crisis, Gostuški timely warned researchers in the field of musicology about the importance of a critical attitude towards theories and methods borrowed from other disciplines, and about preserving key musicological competencies. Finally, for Gostuški, who was active both as a critic and a kind of public intellectual, musicological work was inseparable from the process of evaluating music, both in the field of music and in the wider social realm. I will try to offer an answer to the question of whether these aspects of Dragutin Gostuški’s thinking, which musicology too naively rejects as anachronisms, can offer us a possible way out of the crisis.
PB  - Београд : Музиколошки институт САНУ
C3  - Искошени угао Драгутина Гостушког, национални научни скуп с међународним учешћем. Књижица апстраката / Dragutin Gostuški's Oblique Angle, National Scientific Conference with International Participation. Book of Abstracts
T1  - Криза музикологије и Драгутин Гостушки
T1  - The Crisis of Musicology and Dragutin Gostuški
SP  - 33
EP  - 36
UR  - https://hdl.handle.net/21.15107/rcub_dais_15875
ER  - 

@conference{
author = "Атанасовски, Срђан",
year = "2023",
abstract = "Више од тридесет година након рођења „нове музикологије”, у написима аутора попут Џозефа Кермана, Сузан Меклери, као и чувене дебате Лоренса Крамера и Герија Томилсона, музикологија се наизглед не налази на раскршћима. Док су дебате о самој природи дисциплине скоро потпуно усахнуле, оно што посебно забрињава јесте својеврсно одсуство теоретизације чак и у водећим студијама. Наиме, кључна питања која остају отворена у нашој дисциплини, попут питања ауторства, значења и вредновања, не само што нису тема засебних дебата, већ се најчешће сасвим прећуткују. Упоредо с тим, сведоци смо трендова који проширују поље проучавања музикологије (студије популарне музике, студије звука и слично), али и репертоар „позајмљених” метода за којима музиколози посежу. Ови трендови којима се неретко претендује да се разреше одређене контрадикције у дисциплини, по правилу их само продубљују. Коначно, нови облици финансирања науке, па и хуманистичких дисциплина, како у свету тако и у земљи, истовремено делују „центрифугално” – вреднујући музиколошке доприносе у збиру са у најмању руку наукама друштвеног поља и инсистирајући на неретко механичком умрежавању и „изласку из дисциплине” – и „центрипетално” – са својеврсним новим позитивизмом у техничком ажурирању резултата – те такође не остављају простора за промишљање саме дисциплине. У овом раду покушаћу да одговоре на ову својеврсну кризу потражим посежући за музиколошким опусом Драгутина Гостушког. Активан управо у периоду када су у музикологији отпочињала велике расправе о природи дисциплине и подстакнут новим пољима истраживања, Гостушки је био један од пионира музичке семиотике. Поред тога, кроз својеврсну антиципацију описане кризе, Гостушки је благовремено упозоравао истраживаче у пољу музикологије на важност критичког става према теоријама и методама које се позајмљују из других дисциплина, те на очување кључних музиколошких компетенција. Коначно, за Гостушког, активног и као критичара, али и својеврсног јавног интелектуалца, музиколошки рад био је неодвојив од процеса вредновања музике, како у пољу музике, тако и у ширем друштвеном пољу. Да ли су ово аспекти мисли Драгутина Гостушког које музикологија исувише наивно одбацује као анахронизме, те који нам могу понудити могући излаз из кризе – питање је на које ћу покушати да понудим одговор., More than thirty years after the emergence of the “new musicology”, in the writings of authors such as Joseph Kerman and Susan McClary, as well as the famous debate between Lawrence Kramer and Gary Thomlinson, musicology does not seem to be at a crossroads. While debates about the very nature of the discipline have almost completely dried up, what is particularly troubling is a kind of absence of theorization even in leading studies. Not only that the key questions that remain open in our discipline, such as questions of authorship, meaning and valuation are no longer the subjects of separate debates, but they are almost completely hushed. At the same time, we are witnessing trends that expand the field of study of musicology (popular music studies, sound studies, etc.), but also the repertoire of “borrowed” methods that musicologists use. As a rule, these trends, which are often intended to resolve certain contradictions in the discipline, actually only deepen them. Finally, new forms of financing science, and humanistic disciplines in generals, both globally and in Serbia, act both “centrifugally” – by evaluating musicological contributions together with at least social sciences and insisting on often mechanical networking and “exiting the discipline” – and “centripetally” – with a kind of new positivism in the technical updating of results – which again leaves no room for reflections on the discipline itself. In this paper, I will try to find answers to this kind of crisis by reaching for Dragutin Gostuški’s musicological output. Active precisely in the period when major discussions about the very nature of the discipline were initiated in musicology and encouraged by new fields of research, Gostuški was one of the pioneers of musical semiotics. Furthermore, through a kind of anticipation of the described crisis, Gostuški timely warned researchers in the field of musicology about the importance of a critical attitude towards theories and methods borrowed from other disciplines, and about preserving key musicological competencies. Finally, for Gostuški, who was active both as a critic and a kind of public intellectual, musicological work was inseparable from the process of evaluating music, both in the field of music and in the wider social realm. I will try to offer an answer to the question of whether these aspects of Dragutin Gostuški’s thinking, which musicology too naively rejects as anachronisms, can offer us a possible way out of the crisis.",
publisher = "Београд : Музиколошки институт САНУ",
journal = "Искошени угао Драгутина Гостушког, национални научни скуп с међународним учешћем. Књижица апстраката / Dragutin Gostuški's Oblique Angle, National Scientific Conference with International Participation. Book of Abstracts",
title = "Криза музикологије и Драгутин Гостушки, The Crisis of Musicology and Dragutin Gostuški",
pages = "33-36",
url = "https://hdl.handle.net/21.15107/rcub_dais_15875"
}

Атанасовски, С.. (2023). Криза музикологије и Драгутин Гостушки. in Искошени угао Драгутина Гостушког, национални научни скуп с међународним учешћем. Књижица апстраката / Dragutin Gostuški's Oblique Angle, National Scientific Conference with International Participation. Book of Abstracts
Београд : Музиколошки институт САНУ., 33-36.
https://hdl.handle.net/21.15107/rcub_dais_15875

Атанасовски С. Криза музикологије и Драгутин Гостушки. in Искошени угао Драгутина Гостушког, национални научни скуп с међународним учешћем. Књижица апстраката / Dragutin Gostuški's Oblique Angle, National Scientific Conference with International Participation. Book of Abstracts. 2023;:33-36.
https://hdl.handle.net/21.15107/rcub_dais_15875 .

Атанасовски, Срђан, "Криза музикологије и Драгутин Гостушки" in Искошени угао Драгутина Гостушког, национални научни скуп с међународним учешћем. Књижица апстраката / Dragutin Gostuški's Oblique Angle, National Scientific Conference with International Participation. Book of Abstracts (2023):33-36,
https://hdl.handle.net/21.15107/rcub_dais_15875 .

TY  - GEN
AU  - Atanasovski, Srđan
PY  - 2023
UR  - https://www.mdw.ac.at/forschungsf%c3%b6rderung/isascience/
UR  - https://dais.sanu.ac.rs/123456789/15052
AB  - In this lecture, I will trace two possible histories of workers’ songs: a history of music practices of workers’ communities, or organized parts of the working class, and a history of representation of working class in songs. The statement that the labour movement is on its historic low has become a common statement across the political spectrum. Though not the loudest, a cultural argument has been one of the most widespread to address this phenomenon – that the communal experience of the working class, from trade unions activities, benefit societies, to cultural institutions and shared urban quarters, have all but disappeared. However, by tracing histories of workers’ songs I will show that disregarding workers’ communities as living practices is not only a contemporary phenomenon. I will particularly argue how the ideas of “socialism from above” and conflating workers’ movement with antifascist movement have contributed to a readiness to substitute practice for representation. Finally, I will discuss how we can reflect these lessons
to current music practices in the organizing on the left.
PB  - Vienna : University of Music and Performing Arts Vienna
T2  - Sonic Ties: Rethinking Communities and Collectives
T1  - Histories of Workers’ Songs: Between Communities and Representations
SP  - 19
UR  - https://hdl.handle.net/21.15107/rcub_dais_15052
ER  - 

@misc{
author = "Atanasovski, Srđan",
year = "2023",
abstract = "In this lecture, I will trace two possible histories of workers’ songs: a history of music practices of workers’ communities, or organized parts of the working class, and a history of representation of working class in songs. The statement that the labour movement is on its historic low has become a common statement across the political spectrum. Though not the loudest, a cultural argument has been one of the most widespread to address this phenomenon – that the communal experience of the working class, from trade unions activities, benefit societies, to cultural institutions and shared urban quarters, have all but disappeared. However, by tracing histories of workers’ songs I will show that disregarding workers’ communities as living practices is not only a contemporary phenomenon. I will particularly argue how the ideas of “socialism from above” and conflating workers’ movement with antifascist movement have contributed to a readiness to substitute practice for representation. Finally, I will discuss how we can reflect these lessons
to current music practices in the organizing on the left.",
publisher = "Vienna : University of Music and Performing Arts Vienna",
journal = "Sonic Ties: Rethinking Communities and Collectives",
title = "Histories of Workers’ Songs: Between Communities and Representations",
pages = "19",
url = "https://hdl.handle.net/21.15107/rcub_dais_15052"
}

Atanasovski, S.. (2023). Histories of Workers’ Songs: Between Communities and Representations. in Sonic Ties: Rethinking Communities and Collectives
Vienna : University of Music and Performing Arts Vienna., 19.
https://hdl.handle.net/21.15107/rcub_dais_15052

Atanasovski S. Histories of Workers’ Songs: Between Communities and Representations. in Sonic Ties: Rethinking Communities and Collectives. 2023;:19.
https://hdl.handle.net/21.15107/rcub_dais_15052 .

Atanasovski, Srđan, "Histories of Workers’ Songs: Between Communities and Representations" in Sonic Ties: Rethinking Communities and Collectives (2023):19,
https://hdl.handle.net/21.15107/rcub_dais_15052 .

TY  - BOOK
AU  - Atanasovski, Srđan
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/15180
AB  - Kako su sva Šubertova dela projekta „Betoven” u potpunosti određena svojim žanrom i tonalitetom, oznake Dojča (Otto Erich Deutsch) navodio sam samo na mestu kada se prvi put uvode u rad. Redukovao sam i navođenje broja opusa i pri učestalom upućivanju na dela drugih
kompozitora. Ostala Šubertova dela, posebno rana dela i pesme, uvek sam navodio sa Dojčovom oznakom. U numerisanju Šubertovih simfonija vladaju nesuglasice između anglosaksonskih i nemačkih muzikologa, koje dovode do toga da se o Velikoj simfoniji D. 944 govori i kao o sedmoj, i kao o osmoj i kao o devetoj Šubertovoj simfoniji. Mišljenja sam da je u slučaju Velike simfonije
najmudrije odbaciti uobičajeni manir hronološkog numerisanja dela jednog kompozitora u okviru određenog žanra, i nazivati je jednostavno „Velikom simfonijom”, pogotovu ako imamo u vidu da je za Šuberta, u jednom periodu, ona uistinu bila njegova prva „prava” simfonija. Odlučio sam se i da o Šubertovoj Simfoniji u h-molu D. 759 govorim jednostavno kao o Nedovršenoj simfoniji. Za Šubertove rane simfonije zadržao sam nazive sa numeracijom, koja u ovom slučaju nije problematična.
PB  - Novi Sad : Akademska knjiga
PB  - Beograd : Muzikološki institut SANU
T1  - Šubert i rivalstvo kao stvaralački princip
UR  - https://hdl.handle.net/21.15107/rcub_dais_15180
ER  - 

@book{
author = "Atanasovski, Srđan",
year = "2023",
abstract = "Kako su sva Šubertova dela projekta „Betoven” u potpunosti određena svojim žanrom i tonalitetom, oznake Dojča (Otto Erich Deutsch) navodio sam samo na mestu kada se prvi put uvode u rad. Redukovao sam i navođenje broja opusa i pri učestalom upućivanju na dela drugih
kompozitora. Ostala Šubertova dela, posebno rana dela i pesme, uvek sam navodio sa Dojčovom oznakom. U numerisanju Šubertovih simfonija vladaju nesuglasice između anglosaksonskih i nemačkih muzikologa, koje dovode do toga da se o Velikoj simfoniji D. 944 govori i kao o sedmoj, i kao o osmoj i kao o devetoj Šubertovoj simfoniji. Mišljenja sam da je u slučaju Velike simfonije
najmudrije odbaciti uobičajeni manir hronološkog numerisanja dela jednog kompozitora u okviru određenog žanra, i nazivati je jednostavno „Velikom simfonijom”, pogotovu ako imamo u vidu da je za Šuberta, u jednom periodu, ona uistinu bila njegova prva „prava” simfonija. Odlučio sam se i da o Šubertovoj Simfoniji u h-molu D. 759 govorim jednostavno kao o Nedovršenoj simfoniji. Za Šubertove rane simfonije zadržao sam nazive sa numeracijom, koja u ovom slučaju nije problematična.",
publisher = "Novi Sad : Akademska knjiga, Beograd : Muzikološki institut SANU",
title = "Šubert i rivalstvo kao stvaralački princip",
url = "https://hdl.handle.net/21.15107/rcub_dais_15180"
}

Atanasovski, S.. (2023). Šubert i rivalstvo kao stvaralački princip. 
Novi Sad : Akademska knjiga..
https://hdl.handle.net/21.15107/rcub_dais_15180

Atanasovski S. Šubert i rivalstvo kao stvaralački princip. 2023;.
https://hdl.handle.net/21.15107/rcub_dais_15180 .

Atanasovski, Srđan, "Šubert i rivalstvo kao stvaralački princip" (2023),
https://hdl.handle.net/21.15107/rcub_dais_15180 .

TY  - CONF
AU  - Atanasovski, Srđan
PY  - 2022
UR  - https://dais.sanu.ac.rs/123456789/13471
AB  - U posljednjoj deceniji na naše razumijevanje kasne karijere Franza Schuberta utjecao je koncept “projekta Beethoven”, kojeg je iznio John M. Gingerich u svojoj doktorskoj tezi (1996), te kasnijoj monografiji (2014). Osnovna ideja “projekta Beethoven” je da se Schubert na specifičan način bavi žanrovima gudačkog kvarteta, simfonije itd, kao i određenim izvođačima i institucijama u Beču, kako bi preoblikovao svoju karijeru i pozicionirao se, slično Beethovenu, kao profesionalni kompozitor instrumentalne muzike. U ovom radu iznosim tezu da postoje značajne, a još neistražene, posljedice “projekta Beethoven” na Schubertove kompozicione odluke, kao i da nam je potrebna suptilnija i otvorenija analiza kako bismo utvrdili na koji su način ove Schubertove praktične namjere postale duboko usađene u njegovo pisanje muzike. U ovoj analizi moramo reinterpretirati i utjecaj i neznanje kao strateške izbore u oblikovanju ovog rivalstva, te dati prioritet razumijevanju zvučnih efekata u određenim istorijskim okolnostima izvedbe. Govorit ću o tome kako se Schubertovo pisanje oblikovalo ulaskom u rivalstvo s Beethovenovim remek-djelima, navodeći primjere iz Velike simfonije D 944 i Gudačkog kvarteta D 810 “Smrt i djevojka”.
PB  - Sarajevo : Muzikološko društvo FBiH, Univerzitet u Sarajevu – Muzička akademija
C3  - 13. međunarodni simpozij "Muzika u društvu" / 13th International Symposium "Music in Society"
T1  - O jednom rivalstvu u muzici. Schubertove kompozicijske odluke i koncept “projekta Beethoven”
T1  - Addressing a Rivalry in Music. Schubert’s Compositional Choices and the Concept of the “Beethoven Project”
SP  - 46
EP  - 47
UR  - https://hdl.handle.net/21.15107/rcub_dais_13471
ER  - 

@conference{
author = "Atanasovski, Srđan",
year = "2022",
abstract = "U posljednjoj deceniji na naše razumijevanje kasne karijere Franza Schuberta utjecao je koncept “projekta Beethoven”, kojeg je iznio John M. Gingerich u svojoj doktorskoj tezi (1996), te kasnijoj monografiji (2014). Osnovna ideja “projekta Beethoven” je da se Schubert na specifičan način bavi žanrovima gudačkog kvarteta, simfonije itd, kao i određenim izvođačima i institucijama u Beču, kako bi preoblikovao svoju karijeru i pozicionirao se, slično Beethovenu, kao profesionalni kompozitor instrumentalne muzike. U ovom radu iznosim tezu da postoje značajne, a još neistražene, posljedice “projekta Beethoven” na Schubertove kompozicione odluke, kao i da nam je potrebna suptilnija i otvorenija analiza kako bismo utvrdili na koji su način ove Schubertove praktične namjere postale duboko usađene u njegovo pisanje muzike. U ovoj analizi moramo reinterpretirati i utjecaj i neznanje kao strateške izbore u oblikovanju ovog rivalstva, te dati prioritet razumijevanju zvučnih efekata u određenim istorijskim okolnostima izvedbe. Govorit ću o tome kako se Schubertovo pisanje oblikovalo ulaskom u rivalstvo s Beethovenovim remek-djelima, navodeći primjere iz Velike simfonije D 944 i Gudačkog kvarteta D 810 “Smrt i djevojka”.",
publisher = "Sarajevo : Muzikološko društvo FBiH, Univerzitet u Sarajevu – Muzička akademija",
journal = "13. međunarodni simpozij "Muzika u društvu" / 13th International Symposium "Music in Society"",
title = "O jednom rivalstvu u muzici. Schubertove kompozicijske odluke i koncept “projekta Beethoven”, Addressing a Rivalry in Music. Schubert’s Compositional Choices and the Concept of the “Beethoven Project”",
pages = "46-47",
url = "https://hdl.handle.net/21.15107/rcub_dais_13471"
}

Atanasovski, S.. (2022). O jednom rivalstvu u muzici. Schubertove kompozicijske odluke i koncept “projekta Beethoven”. in 13. međunarodni simpozij "Muzika u društvu" / 13th International Symposium "Music in Society"
Sarajevo : Muzikološko društvo FBiH, Univerzitet u Sarajevu – Muzička akademija., 46-47.
https://hdl.handle.net/21.15107/rcub_dais_13471

Atanasovski S. O jednom rivalstvu u muzici. Schubertove kompozicijske odluke i koncept “projekta Beethoven”. in 13. međunarodni simpozij "Muzika u društvu" / 13th International Symposium "Music in Society". 2022;:46-47.
https://hdl.handle.net/21.15107/rcub_dais_13471 .

Atanasovski, Srđan, "O jednom rivalstvu u muzici. Schubertove kompozicijske odluke i koncept “projekta Beethoven”" in 13. međunarodni simpozij "Muzika u društvu" / 13th International Symposium "Music in Society" (2022):46-47,
https://hdl.handle.net/21.15107/rcub_dais_13471 .

TY  - CHAP
AU  - Atanasovski, Srđan
PY  - 2020
UR  - https://dais.sanu.ac.rs/123456789/10395
AB  - In the interwar period, France was seen as the main military and diplomatic ally of the Kingdom of Serbs, Croats and Slovenes (SCS), later Kingdom of Yugoslavia, and the defender of the fragile Versailles Peace Treaty. This relationship resulted in a clear French influence in the realm of art and culture in Yugoslavia. Moreover, the triumph of the French cultural influence was also interpreted in the light of the simmering conflict between Serbian and Croat elites in Yugoslavia, as Serbian intellectuals traditionally gravitated toward Paris and France, unlike the Croat (and Slovene) ones, which had been part of the Central European and Austro-Hungarian cultural sphere. This article analyzes the French cultural influence through the musical activities of the Cvijeta Zuzorić Association of Friends of Art. The organization was established to promote modern art and the endeavors of young artists. It was firmly latched onto various mechanisms of state support, and participated in promoting the dominant ideology of the Karađorđević royal dynasty. The paper follows the association’s musical activates through its three phases: the initial period, marked by annual artistic soirées, the middle period and the activities of the Narodni konzervatorijum (National Conservatory), which included weekly concerts of varying quality, and the final period of open music competitions. The article maps a clear picture of French artistic influences, which notably included open modeling of certain commissioned and awarded compositions on famous French pieces.
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  - Allies in Music: French Influences and Role Models in the Cvijeta Zuzorić Association of Friends of Arts
SP  - 77
EP  - 92
DO  - 10.18485/music_diplomacy.2020.ch6
UR  - https://hdl.handle.net/21.15107/rcub_dais_10395
ER  - 

@inbook{
author = "Atanasovski, Srđan",
year = "2020",
abstract = "In the interwar period, France was seen as the main military and diplomatic ally of the Kingdom of Serbs, Croats and Slovenes (SCS), later Kingdom of Yugoslavia, and the defender of the fragile Versailles Peace Treaty. This relationship resulted in a clear French influence in the realm of art and culture in Yugoslavia. Moreover, the triumph of the French cultural influence was also interpreted in the light of the simmering conflict between Serbian and Croat elites in Yugoslavia, as Serbian intellectuals traditionally gravitated toward Paris and France, unlike the Croat (and Slovene) ones, which had been part of the Central European and Austro-Hungarian cultural sphere. This article analyzes the French cultural influence through the musical activities of the Cvijeta Zuzorić Association of Friends of Art. The organization was established to promote modern art and the endeavors of young artists. It was firmly latched onto various mechanisms of state support, and participated in promoting the dominant ideology of the Karađorđević royal dynasty. The paper follows the association’s musical activates through its three phases: the initial period, marked by annual artistic soirées, the middle period and the activities of the Narodni konzervatorijum (National Conservatory), which included weekly concerts of varying quality, and the final period of open music competitions. The article maps a clear picture of French artistic influences, which notably included open modeling of certain commissioned and awarded compositions on famous French pieces.",
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 = "Allies in Music: French Influences and Role Models in the Cvijeta Zuzorić Association of Friends of Arts",
pages = "77-92",
doi = "10.18485/music_diplomacy.2020.ch6",
url = "https://hdl.handle.net/21.15107/rcub_dais_10395"
}

Atanasovski, S.. (2020). Allies in Music: French Influences and Role Models in the Cvijeta Zuzorić Association of Friends of Arts. in The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century)
Belgrade : Institute of Musicology SASA., 77-92.
https://doi.org/10.18485/music_diplomacy.2020.ch6
https://hdl.handle.net/21.15107/rcub_dais_10395

Atanasovski S. Allies in Music: French Influences and Role Models in the Cvijeta Zuzorić Association of Friends of Arts. in The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). 2020;:77-92.
doi:10.18485/music_diplomacy.2020.ch6
https://hdl.handle.net/21.15107/rcub_dais_10395 .

Atanasovski, Srđan, "Allies in Music: French Influences and Role Models in the Cvijeta Zuzorić Association of Friends of Arts" in The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century) (2020):77-92,
https://doi.org/10.18485/music_diplomacy.2020.ch6 .,
https://hdl.handle.net/21.15107/rcub_dais_10395 .

TY  - CONF
AU  - Atanasovski, Srđan
PY  - 2020
UR  - https://dais.sanu.ac.rs/123456789/11824
AB  - In his last book, Elements de rythmanalyse (1992), French Marxists sociologist and philosopher Henri Lefebvre described a figure of “rhythmanalyst” as a researcher who is “always ‘listening out’, but […] does not only hear words, discourses, noises and sounds; [she or] he is capable of listening to a house, a street, a town as one listens to a symphony, an opera”. Notwithstanding usual interpretations along these lines as an allegorical description, in this paper I will explore how we can use Lefebvre’s rhythmanalysis as a guide to expand the purview of traditional musicology and engage with wider social issues. In the last decades it was usually musicology which was invaded by novel methods, ranging from semiotics and discourse analysis, to cognitive psychology, to which it merely offered the object of its investigation – that is, the music itself...
PB  - Zagreb : University of Zagreb, Academy of Music, Department of Musicology
C3  - Musicology and Its Future in Times of Crises
T1  - Rhythmanalysis and (Post)Musicology: From horror silentii to Social Distancing
SP  - 19
EP  - 20
UR  - https://hdl.handle.net/21.15107/rcub_dais_11824
ER  - 

@conference{
author = "Atanasovski, Srđan",
year = "2020",
abstract = "In his last book, Elements de rythmanalyse (1992), French Marxists sociologist and philosopher Henri Lefebvre described a figure of “rhythmanalyst” as a researcher who is “always ‘listening out’, but […] does not only hear words, discourses, noises and sounds; [she or] he is capable of listening to a house, a street, a town as one listens to a symphony, an opera”. Notwithstanding usual interpretations along these lines as an allegorical description, in this paper I will explore how we can use Lefebvre’s rhythmanalysis as a guide to expand the purview of traditional musicology and engage with wider social issues. In the last decades it was usually musicology which was invaded by novel methods, ranging from semiotics and discourse analysis, to cognitive psychology, to which it merely offered the object of its investigation – that is, the music itself...",
publisher = "Zagreb : University of Zagreb, Academy of Music, Department of Musicology",
journal = "Musicology and Its Future in Times of Crises",
title = "Rhythmanalysis and (Post)Musicology: From horror silentii to Social Distancing",
pages = "19-20",
url = "https://hdl.handle.net/21.15107/rcub_dais_11824"
}

Atanasovski, S.. (2020). Rhythmanalysis and (Post)Musicology: From horror silentii to Social Distancing. in Musicology and Its Future in Times of Crises
Zagreb : University of Zagreb, Academy of Music, Department of Musicology., 19-20.
https://hdl.handle.net/21.15107/rcub_dais_11824

Atanasovski S. Rhythmanalysis and (Post)Musicology: From horror silentii to Social Distancing. in Musicology and Its Future in Times of Crises. 2020;:19-20.
https://hdl.handle.net/21.15107/rcub_dais_11824 .

Atanasovski, Srđan, "Rhythmanalysis and (Post)Musicology: From horror silentii to Social Distancing" in Musicology and Its Future in Times of Crises (2020):19-20,
https://hdl.handle.net/21.15107/rcub_dais_11824 .

TY  - CONF
AU  - Атанасовски, Срђан
PY  - 2019
UR  - https://dais.sanu.ac.rs/handle/123456789/5992
UR  - https://dais.sanu.ac.rs/123456789/6636
PB  - Београд : Музиколошки институт САНУ / Belgrade : Institute of Musicology SASA
C3  - Међународна научна конференција Трагом звука и депеше. Музика и дипломатија у земљама jугоисточне Европе (19-21. век) / International Conference The tunes of diplomatic and music notes. Music and diplomacy in Southeast Europe (19th-21st century)
T1  - Music allies: French influences and role models in ‘Cvijeta Zuzorić’ Society of Friends of Art
VL  - 26
UR  - https://hdl.handle.net/21.15107/rcub_dais_6636
ER  - 

@conference{
author = "Атанасовски, Срђан",
year = "2019",
publisher = "Београд : Музиколошки институт САНУ / Belgrade : Institute of Musicology SASA",
journal = "Међународна научна конференција Трагом звука и депеше. Музика и дипломатија у земљама jугоисточне Европе (19-21. век) / International Conference The tunes of diplomatic and music notes. Music and diplomacy in Southeast Europe (19th-21st century)",
title = "Music allies: French influences and role models in ‘Cvijeta Zuzorić’ Society of Friends of Art",
volume = "26",
url = "https://hdl.handle.net/21.15107/rcub_dais_6636"
}

Атанасовски, С.. (2019). Music allies: French influences and role models in ‘Cvijeta Zuzorić’ Society of Friends of Art. in Међународна научна конференција Трагом звука и депеше. Музика и дипломатија у земљама jугоисточне Европе (19-21. век) / International Conference The tunes of diplomatic and music notes. Music and diplomacy in Southeast Europe (19th-21st century)
Београд : Музиколошки институт САНУ / Belgrade : Institute of Musicology SASA., 26.
https://hdl.handle.net/21.15107/rcub_dais_6636

Атанасовски С. Music allies: French influences and role models in ‘Cvijeta Zuzorić’ Society of Friends of Art. in Међународна научна конференција Трагом звука и депеше. Музика и дипломатија у земљама jугоисточне Европе (19-21. век) / International Conference The tunes of diplomatic and music notes. Music and diplomacy in Southeast Europe (19th-21st century). 2019;26.
https://hdl.handle.net/21.15107/rcub_dais_6636 .

Атанасовски, Срђан, "Music allies: French influences and role models in ‘Cvijeta Zuzorić’ Society of Friends of Art" in Међународна научна конференција Трагом звука и депеше. Музика и дипломатија у земљама jугоисточне Европе (19-21. век) / International Conference The tunes of diplomatic and music notes. Music and diplomacy in Southeast Europe (19th-21st century), 26 (2019),
https://hdl.handle.net/21.15107/rcub_dais_6636 .

TY  - CHAP
AU  - Атанасовски, Срђан
PY  - 2019
UR  - http://www.maticasrpska.org.rs/stariSajt/casopisi/ZMSSU_61.pdf
UR  - https://dais.sanu.ac.rs/123456789/10748
AB  - Предмет истраживања су праксе путовања српских академских певачких дружина, пре свега Академског певачког друштва „Обилић“ из Београда и Академско пјевачко-тамбурашког клуба „Балкан“ из Загреба. Посебна пажња посвећена је особеностима академских дружина у односу на друга певачка друштва, пре свега на плану рода, мобилности и политичко-идеолошког деловања. Домовинска путовања „Обилића“ и „Балкана“ расветљена су како као идеолошки пројекти, тако и као афективне, искуствене праксе. На основу сведочанства учесника, показује се на који начин се идеја уједињења српске националне територије провлачи кроз праксе путовања певачких дружина.
PB  - Нови Сад : Матица српска, Одељење за сценске уметности и музику
T2  - Зборник Матице српске за сценске уметности и музику
T1  - Путовања српских академских певачких дружина
T1  - Travels of the Serbian Academic Choral Societies
SP  - 69
EP  - 85
IS  - 61
UR  - https://hdl.handle.net/21.15107/rcub_dais_10748
ER  - 

@inbook{
author = "Атанасовски, Срђан",
year = "2019",
abstract = "Предмет истраживања су праксе путовања српских академских певачких дружина, пре свега Академског певачког друштва „Обилић“ из Београда и Академско пјевачко-тамбурашког клуба „Балкан“ из Загреба. Посебна пажња посвећена је особеностима академских дружина у односу на друга певачка друштва, пре свега на плану рода, мобилности и политичко-идеолошког деловања. Домовинска путовања „Обилића“ и „Балкана“ расветљена су како као идеолошки пројекти, тако и као афективне, искуствене праксе. На основу сведочанства учесника, показује се на који начин се идеја уједињења српске националне територије провлачи кроз праксе путовања певачких дружина.",
publisher = "Нови Сад : Матица српска, Одељење за сценске уметности и музику",
journal = "Зборник Матице српске за сценске уметности и музику",
booktitle = "Путовања српских академских певачких дружина, Travels of the Serbian Academic Choral Societies",
pages = "69-85",
number = "61",
url = "https://hdl.handle.net/21.15107/rcub_dais_10748"
}

Атанасовски, С.. (2019). Путовања српских академских певачких дружина. in Зборник Матице српске за сценске уметности и музику
Нови Сад : Матица српска, Одељење за сценске уметности и музику.(61), 69-85.
https://hdl.handle.net/21.15107/rcub_dais_10748

Атанасовски С. Путовања српских академских певачких дружина. in Зборник Матице српске за сценске уметности и музику. 2019;(61):69-85.
https://hdl.handle.net/21.15107/rcub_dais_10748 .

Атанасовски, Срђан, "Путовања српских академских певачких дружина" in Зборник Матице српске за сценске уметности и музику, no. 61 (2019):69-85,
https://hdl.handle.net/21.15107/rcub_dais_10748 .

TY  - CHAP
AU  - Atanasovski, Srđan
PY  - 2019
UR  - https://dais.sanu.ac.rs/123456789/11837
AB  - This chapter looks at travel writing about “Old Serbia”, a specific 19th-century literary genre and production mechanism of territorial aspirations of Serbian nationalism. In the period when the described territories were under Ottoman rule, they were seen as both inaccessible to the vast portion of the Serbian population and a substantive part of their national territory. Thus, such travel writing was a unique way to present the public with firsthand information regarding these regions. After a brief historic overview of the development of the genre, the text provides an analysis of the literary mechanisms by which these territories were decisively marked as Serbian. Particular emphasis is placed on the importance of presenting scientific data in travelogues, such as those concerning language, customs etc.
PB  - London and New York: Routlidge
T2  - Rethinking Serbian-Albanian Relations. Figuring out the Enemy
T1  - Producing Old Serbia: in the footsteps of travel writers, on the path to folklore
SP  - 22
EP  - 38
DO  - 10.4324/9781351273169
UR  - https://hdl.handle.net/21.15107/rcub_dais_11837
ER  - 

@inbook{
author = "Atanasovski, Srđan",
year = "2019",
abstract = "This chapter looks at travel writing about “Old Serbia”, a specific 19th-century literary genre and production mechanism of territorial aspirations of Serbian nationalism. In the period when the described territories were under Ottoman rule, they were seen as both inaccessible to the vast portion of the Serbian population and a substantive part of their national territory. Thus, such travel writing was a unique way to present the public with firsthand information regarding these regions. After a brief historic overview of the development of the genre, the text provides an analysis of the literary mechanisms by which these territories were decisively marked as Serbian. Particular emphasis is placed on the importance of presenting scientific data in travelogues, such as those concerning language, customs etc.",
publisher = "London and New York: Routlidge",
journal = "Rethinking Serbian-Albanian Relations. Figuring out the Enemy",
booktitle = "Producing Old Serbia: in the footsteps of travel writers, on the path to folklore",
pages = "22-38",
doi = "10.4324/9781351273169",
url = "https://hdl.handle.net/21.15107/rcub_dais_11837"
}

Atanasovski, S.. (2019). Producing Old Serbia: in the footsteps of travel writers, on the path to folklore. in Rethinking Serbian-Albanian Relations. Figuring out the Enemy
London and New York: Routlidge., 22-38.
https://doi.org/10.4324/9781351273169
https://hdl.handle.net/21.15107/rcub_dais_11837

Atanasovski S. Producing Old Serbia: in the footsteps of travel writers, on the path to folklore. in Rethinking Serbian-Albanian Relations. Figuring out the Enemy. 2019;:22-38.
doi:10.4324/9781351273169
https://hdl.handle.net/21.15107/rcub_dais_11837 .

Atanasovski, Srđan, "Producing Old Serbia: in the footsteps of travel writers, on the path to folklore" in Rethinking Serbian-Albanian Relations. Figuring out the Enemy (2019):22-38,
https://doi.org/10.4324/9781351273169 .,
https://hdl.handle.net/21.15107/rcub_dais_11837 .

TY  - CONF
AU  - Атанасовски, Срђан
PY  - 2017
UR  - https://dais.sanu.ac.rs/123456789/11829
AB  - Жанр масовне песме представља један од темељних феномена у естетици и пракси социјалистичког реализма. Масовне песме не само што су компоноване тако да њихов израз буде приступачан и отворен за партиципацију музичких аматера, већ су кроз институције државног социјализма постале једно од важних механизама за нормализацију одређених идеолошких садржаја...
PB  - Нови Сад : Матица српска, Академија уметности
C3  - Међународни научни скуп "Живот и дело Рудолфа Бручија: композитор у процепу између естетика и идеологија"
T1  - Масовне песме у идеологији југословенског социјализма и стваралаштву Рудолфа Бручија
SP  - 21
EP  - 21
UR  - https://hdl.handle.net/21.15107/rcub_dais_11829
ER  - 

@conference{
author = "Атанасовски, Срђан",
year = "2017",
abstract = "Жанр масовне песме представља један од темељних феномена у естетици и пракси социјалистичког реализма. Масовне песме не само што су компоноване тако да њихов израз буде приступачан и отворен за партиципацију музичких аматера, већ су кроз институције државног социјализма постале једно од важних механизама за нормализацију одређених идеолошких садржаја...",
publisher = "Нови Сад : Матица српска, Академија уметности",
journal = "Међународни научни скуп "Живот и дело Рудолфа Бручија: композитор у процепу између естетика и идеологија"",
title = "Масовне песме у идеологији југословенског социјализма и стваралаштву Рудолфа Бручија",
pages = "21-21",
url = "https://hdl.handle.net/21.15107/rcub_dais_11829"
}

Атанасовски, С.. (2017). Масовне песме у идеологији југословенског социјализма и стваралаштву Рудолфа Бручија. in Међународни научни скуп "Живот и дело Рудолфа Бручија: композитор у процепу између естетика и идеологија"
Нови Сад : Матица српска, Академија уметности., 21-21.
https://hdl.handle.net/21.15107/rcub_dais_11829

Атанасовски С. Масовне песме у идеологији југословенског социјализма и стваралаштву Рудолфа Бручија. in Међународни научни скуп "Живот и дело Рудолфа Бручија: композитор у процепу између естетика и идеологија". 2017;:21-21.
https://hdl.handle.net/21.15107/rcub_dais_11829 .

Атанасовски, Срђан, "Масовне песме у идеологији југословенског социјализма и стваралаштву Рудолфа Бручија" in Међународни научни скуп "Живот и дело Рудолфа Бручија: композитор у процепу између естетика и идеологија" (2017):21-21,
https://hdl.handle.net/21.15107/rcub_dais_11829 .

TY  - CONF
AU  - Atanasovski, Srđan
PY  - 2017
UR  - https://dais.sanu.ac.rs/handle/123456789/4073
UR  - https://dais.sanu.ac.rs/123456789/6634
PB  - Belgrade : Institute of Musicology SASA
C3  - The Future Of Music History; International conference Serbian Academy of Sciences and Arts Belgrade, 28–30 September ; Book of Abstracts
T1  - The challenge of soundscape studies: Towards postmusicology
VL  - 32
UR  - https://hdl.handle.net/21.15107/rcub_dais_6634
ER  - 

@conference{
author = "Atanasovski, Srđan",
year = "2017",
publisher = "Belgrade : Institute of Musicology SASA",
journal = "The Future Of Music History; International conference Serbian Academy of Sciences and Arts Belgrade, 28–30 September ; Book of Abstracts",
title = "The challenge of soundscape studies: Towards postmusicology",
volume = "32",
url = "https://hdl.handle.net/21.15107/rcub_dais_6634"
}

Atanasovski, S.. (2017). The challenge of soundscape studies: Towards postmusicology. in The Future Of Music History; International conference Serbian Academy of Sciences and Arts Belgrade, 28–30 September ; Book of Abstracts
Belgrade : Institute of Musicology SASA., 32.
https://hdl.handle.net/21.15107/rcub_dais_6634

Atanasovski S. The challenge of soundscape studies: Towards postmusicology. in The Future Of Music History; International conference Serbian Academy of Sciences and Arts Belgrade, 28–30 September ; Book of Abstracts. 2017;32.
https://hdl.handle.net/21.15107/rcub_dais_6634 .

Atanasovski, Srđan, "The challenge of soundscape studies: Towards postmusicology" in The Future Of Music History; International conference Serbian Academy of Sciences and Arts Belgrade, 28–30 September ; Book of Abstracts, 32 (2017),
https://hdl.handle.net/21.15107/rcub_dais_6634 .

TY  - CONF
AU  - Atanasovski, Srđan
PY  - 2017
UR  - https://dais.sanu.ac.rs/handle/123456789/3649
UR  - https://dais.sanu.ac.rs/123456789/6625
AB  - In this article I will discuss interwar narratives on “Southern Serbia” in the context of music practices, specifically referring to the activities of Kosta Manojlović as music scholar, collector of folk songs, and composer. I will firstly show how narratives on “Southern Serbia” connect with prewar narratives on “Old Serbia” and what their role was in establishing new modes of governing in the territories which were annexed by the Kingdom of Serbia in the aftermath of the Balkan Wars. I will then analyze Manojlović’s writings – articles on ethnography and folk music analysis – which spanned a decade (1925–1935) and contributed to this discourse.
PB  - Belgrade : Institute of Musicology SASA
C3  - Kosta P. Manojlović (1890 - 1949) and the Idea of Slavic and Balkan Cultural Unification
T1  - Kosta P. Manojlović and Narratives on “Southern Serbia”
SP  - 109
EP  - 126
UR  - https://hdl.handle.net/21.15107/rcub_dais_6625
ER  - 

@conference{
author = "Atanasovski, Srđan",
year = "2017",
abstract = "In this article I will discuss interwar narratives on “Southern Serbia” in the context of music practices, specifically referring to the activities of Kosta Manojlović as music scholar, collector of folk songs, and composer. I will firstly show how narratives on “Southern Serbia” connect with prewar narratives on “Old Serbia” and what their role was in establishing new modes of governing in the territories which were annexed by the Kingdom of Serbia in the aftermath of the Balkan Wars. I will then analyze Manojlović’s writings – articles on ethnography and folk music analysis – which spanned a decade (1925–1935) and contributed to this discourse.",
publisher = "Belgrade : Institute of Musicology SASA",
journal = "Kosta P. Manojlović (1890 - 1949) and the Idea of Slavic and Balkan Cultural Unification",
title = "Kosta P. Manojlović and Narratives on “Southern Serbia”",
pages = "109-126",
url = "https://hdl.handle.net/21.15107/rcub_dais_6625"
}

Atanasovski, S.. (2017). Kosta P. Manojlović and Narratives on “Southern Serbia”. in Kosta P. Manojlović (1890 - 1949) and the Idea of Slavic and Balkan Cultural Unification
Belgrade : Institute of Musicology SASA., 109-126.
https://hdl.handle.net/21.15107/rcub_dais_6625

Atanasovski S. Kosta P. Manojlović and Narratives on “Southern Serbia”. in Kosta P. Manojlović (1890 - 1949) and the Idea of Slavic and Balkan Cultural Unification. 2017;:109-126.
https://hdl.handle.net/21.15107/rcub_dais_6625 .

Atanasovski, Srđan, "Kosta P. Manojlović and Narratives on “Southern Serbia”" in Kosta P. Manojlović (1890 - 1949) and the Idea of Slavic and Balkan Cultural Unification (2017):109-126,
https://hdl.handle.net/21.15107/rcub_dais_6625 .

TY  - JOUR
AU  - Hofman, Ana
AU  - Atanasovski, Srđan
PY  - 2017
UR  - https://dais.sanu.ac.rs/123456789/3766
AB  - We discuss the political implications of the noise/silence dialectic in order to
reflect on the urban and social materialities of sonic memory activism in the postYugoslav
space. We see the privatization of public space as one of the defining
issues of current socio-political tensions and we strive to offer a more nuanced
model for thinking about grassroots practices of musicking and listening in the
context of resistance and power and control redistribution. Discussing sonic
interventions in Ljubljana and Belgrade enables us both to uncover how important
global processes are reflected in these local contexts and to locate diversity of
present practices of resistance.
AB  - У овом чланку расправљамо о политичким импликацијама дијалектике буке
и тишине како бисмо се осврнули на урбани и друштвени значај активизма
који се темељи на звуку и сећању у пост-југословенском простору. Услед
постсоцијалистичких трансформација и агресивног увођења неолибералног
капитализма, приватизација урбаних јавних простора постала је свеприсутна,
те не изненађује што су градови постали најистакнутији простор борбе у постјугословенским
друштвима. Звучне интервенције у јавном простору разматрамо
као ревитализацију маргинализованих историја, група и појединаца, те
сећања на друштвене аспекте јавног (заједничког) простора. Студије случаја о
културалној и симболичкој реконституцији града које представљамо показују
важност успостављања осећања припадности и солидарности и нових начина
присвајања моћи кроз звук. Самоорганизоване групе, укључујући колективе
као што су Жене у црном и хорове Kомбинат и З’борке, структуриране кроз
хоризонталну архитекстуру инфра-моћи, као и хетерогени савези који се
конституишу кроз јавне протесте, могу понудити визују друштва сарадње,
заједништва и солидарности. Главни потенцијал интервенција које овде
описујемо је стварање колективитета који је подстакнут интензитетом самог
звучног искуства. На тај начин колективно искуство стварања музике или
звука, или чак стварања новог, политичког простора тишине у јавном простору,
представља основу за изградњу нових врста заједница (и заједништва).
PB  - Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts
T2  - Музикологија / Musicology
T1  - Sonic Memory Interventions against Politics of Urban Silencing
T1  - Звук и сећање као интервенција против политика урбаног утишавања
SP  - 89
EP  - 101
VL  - I
IS  - 22
DO  - 10.2298/MUZ1722089H
UR  - https://hdl.handle.net/21.15107/rcub_dais_3766
ER  - 

@article{
author = "Hofman, Ana and Atanasovski, Srđan",
year = "2017",
abstract = "We discuss the political implications of the noise/silence dialectic in order to
reflect on the urban and social materialities of sonic memory activism in the postYugoslav
space. We see the privatization of public space as one of the defining
issues of current socio-political tensions and we strive to offer a more nuanced
model for thinking about grassroots practices of musicking and listening in the
context of resistance and power and control redistribution. Discussing sonic
interventions in Ljubljana and Belgrade enables us both to uncover how important
global processes are reflected in these local contexts and to locate diversity of
present practices of resistance., У овом чланку расправљамо о политичким импликацијама дијалектике буке
и тишине како бисмо се осврнули на урбани и друштвени значај активизма
који се темељи на звуку и сећању у пост-југословенском простору. Услед
постсоцијалистичких трансформација и агресивног увођења неолибералног
капитализма, приватизација урбаних јавних простора постала је свеприсутна,
те не изненађује што су градови постали најистакнутији простор борбе у постјугословенским
друштвима. Звучне интервенције у јавном простору разматрамо
као ревитализацију маргинализованих историја, група и појединаца, те
сећања на друштвене аспекте јавног (заједничког) простора. Студије случаја о
културалној и симболичкој реконституцији града које представљамо показују
важност успостављања осећања припадности и солидарности и нових начина
присвајања моћи кроз звук. Самоорганизоване групе, укључујући колективе
као што су Жене у црном и хорове Kомбинат и З’борке, структуриране кроз
хоризонталну архитекстуру инфра-моћи, као и хетерогени савези који се
конституишу кроз јавне протесте, могу понудити визују друштва сарадње,
заједништва и солидарности. Главни потенцијал интервенција које овде
описујемо је стварање колективитета који је подстакнут интензитетом самог
звучног искуства. На тај начин колективно искуство стварања музике или
звука, или чак стварања новог, политичког простора тишине у јавном простору,
представља основу за изградњу нових врста заједница (и заједништва).",
publisher = "Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts",
journal = "Музикологија / Musicology",
title = "Sonic Memory Interventions against Politics of Urban Silencing, Звук и сећање као интервенција против политика урбаног утишавања",
pages = "89-101",
volume = "I",
number = "22",
doi = "10.2298/MUZ1722089H",
url = "https://hdl.handle.net/21.15107/rcub_dais_3766"
}

Hofman, A.,& Atanasovski, S.. (2017). Sonic Memory Interventions against Politics of Urban Silencing. in Музикологија / Musicology
Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts., I(22), 89-101.
https://doi.org/10.2298/MUZ1722089H
https://hdl.handle.net/21.15107/rcub_dais_3766

Hofman A, Atanasovski S. Sonic Memory Interventions against Politics of Urban Silencing. in Музикологија / Musicology. 2017;I(22):89-101.
doi:10.2298/MUZ1722089H
https://hdl.handle.net/21.15107/rcub_dais_3766 .

Hofman, Ana, Atanasovski, Srđan, "Sonic Memory Interventions against Politics of Urban Silencing" in Музикологија / Musicology, I, no. 22 (2017):89-101,
https://doi.org/10.2298/MUZ1722089H .,
https://hdl.handle.net/21.15107/rcub_dais_3766 .

TY  - CONF
AU  - Atanasovski, Srđan
AU  - Dumnić, Marija
AU  - Hofman, Ana
AU  - Kovačić, Mojca
AU  - Petrović, Tanja
AU  - Sweers, Britta
PY  - 2017
UR  - https://dais.sanu.ac.rs/123456789/11833
AB  - In  this  roundtable we present the trilateral project City Sonic Ecology  –  Urban Soundscapes of Bern, Ljubljana and Belgrade which brings together the capital cities of Switzerland, Slovenia and 
Serbia. The project merges the approaches of urban ethnomusicology, soundscape research, and affect theory in order to investigate into ways people living in the city employ their hearing capacities in identification practices and modes of political engagement. By examining three European capitals which are differently perceived on the imaginary West-East axis (Bern as ‘West’, Belgrade as ‘East’ and Ljubljana as ‘West of the East’ / ‘East of the West’) we focus on three broad themes: sounds of religion, commodification processes, and political participation.
PB  - Tokyo : University of the Arts
C3  - Musicology: Theory and Practice, East and West
T1  - City Sonic Ecology: Urban Soundscapes of Bern, Ljubljana and Belgrade
SP  - 108
EP  - 109
UR  - https://hdl.handle.net/21.15107/rcub_dais_11833
ER  - 

@conference{
author = "Atanasovski, Srđan and Dumnić, Marija and Hofman, Ana and Kovačić, Mojca and Petrović, Tanja and Sweers, Britta",
year = "2017",
abstract = "In  this  roundtable we present the trilateral project City Sonic Ecology  –  Urban Soundscapes of Bern, Ljubljana and Belgrade which brings together the capital cities of Switzerland, Slovenia and 
Serbia. The project merges the approaches of urban ethnomusicology, soundscape research, and affect theory in order to investigate into ways people living in the city employ their hearing capacities in identification practices and modes of political engagement. By examining three European capitals which are differently perceived on the imaginary West-East axis (Bern as ‘West’, Belgrade as ‘East’ and Ljubljana as ‘West of the East’ / ‘East of the West’) we focus on three broad themes: sounds of religion, commodification processes, and political participation.",
publisher = "Tokyo : University of the Arts",
journal = "Musicology: Theory and Practice, East and West",
title = "City Sonic Ecology: Urban Soundscapes of Bern, Ljubljana and Belgrade",
pages = "108-109",
url = "https://hdl.handle.net/21.15107/rcub_dais_11833"
}

Atanasovski, S., Dumnić, M., Hofman, A., Kovačić, M., Petrović, T.,& Sweers, B.. (2017). City Sonic Ecology: Urban Soundscapes of Bern, Ljubljana and Belgrade. in Musicology: Theory and Practice, East and West
Tokyo : University of the Arts., 108-109.
https://hdl.handle.net/21.15107/rcub_dais_11833

Atanasovski S, Dumnić M, Hofman A, Kovačić M, Petrović T, Sweers B. City Sonic Ecology: Urban Soundscapes of Bern, Ljubljana and Belgrade. in Musicology: Theory and Practice, East and West. 2017;:108-109.
https://hdl.handle.net/21.15107/rcub_dais_11833 .

Atanasovski, Srđan, Dumnić, Marija, Hofman, Ana, Kovačić, Mojca, Petrović, Tanja, Sweers, Britta, "City Sonic Ecology: Urban Soundscapes of Bern, Ljubljana and Belgrade" in Musicology: Theory and Practice, East and West (2017):108-109,
https://hdl.handle.net/21.15107/rcub_dais_11833 .

TY  - CONF
AU  - Atanasovski, Srđan
PY  - 2017
UR  - https://dais.sanu.ac.rs/123456789/11825
AB  - As a former imperial capital, Vienna has attracted immigrants throughout the second half of the 20th century, providing not only a space of life, but also a space where various cultural organizations could be established. Throughout the Cold War, its role as a gate towards the West additionally contributed to its urban melting pot environment. One of the important phenomena in Viennese immigrant history are guest workers (Gastarbeiter) coming from bordering socialist Yugoslavia. In 2016 the 50th anniversary of the contract between the Republic of Austria and the Socialist Federal Republic of Yugoslavia regulating voluntary migration of Yugoslav workers, was marked by an exhibition entitled Ajnhajtclub and held in frei__raum Q21 exhibition space in Museumsquartier in Vienna. Curated by Bogomir Doringer, exhibition presented an array of artistic installations which problematized the status of Yugoslav guest workers in Austrian capital and their (guest) culture. Importantly, an integral part of the exhibition was also the official opening, which featured a performance of Hor 29. Novembar, an amateur selforganized choir initially founded as a choir of Yugoslav guest workers in Vienna with a pronounced left and inclusive political platform. Following Bojana Kunst's essay on the "artist at work" (2015), in this paper I will analyze this exhibition, particularly focusing on the preparatory stage and rehearsals of the opening performance of the choir and their interaction with the "art in making". I will show how the idea of "inclusion" dissipated through the process of the "staging" of the performance engulfed with bureaucratic issues and artistic pretensions, but also through the permeative presence of social and symbolic borders which are part and parcel of the Yugoslav community itself. I will particularly emphasize the choir's own self-reflectivity of this political situation and their struggle to use their position as "amateurs at work" in order to act political subjects and escape the "proximity of art and capitalism", which Kunst convincingly traces in her study.
PB  - Gottingen : Max Planck Institute for the Study of Religious and Ethnic Diversity
C3  - Ambivalent Legacies: Memory and Amnesia in Post-Habsburg and Post-Ottoman Cities
T1  - Artists, Amateurs and Bureaucrats at Work: Sonic Inclusion and "Die [Gast]Arbeiter von Wien"
UR  - https://hdl.handle.net/21.15107/rcub_dais_11825
ER  - 

@conference{
author = "Atanasovski, Srđan",
year = "2017",
abstract = "As a former imperial capital, Vienna has attracted immigrants throughout the second half of the 20th century, providing not only a space of life, but also a space where various cultural organizations could be established. Throughout the Cold War, its role as a gate towards the West additionally contributed to its urban melting pot environment. One of the important phenomena in Viennese immigrant history are guest workers (Gastarbeiter) coming from bordering socialist Yugoslavia. In 2016 the 50th anniversary of the contract between the Republic of Austria and the Socialist Federal Republic of Yugoslavia regulating voluntary migration of Yugoslav workers, was marked by an exhibition entitled Ajnhajtclub and held in frei__raum Q21 exhibition space in Museumsquartier in Vienna. Curated by Bogomir Doringer, exhibition presented an array of artistic installations which problematized the status of Yugoslav guest workers in Austrian capital and their (guest) culture. Importantly, an integral part of the exhibition was also the official opening, which featured a performance of Hor 29. Novembar, an amateur selforganized choir initially founded as a choir of Yugoslav guest workers in Vienna with a pronounced left and inclusive political platform. Following Bojana Kunst's essay on the "artist at work" (2015), in this paper I will analyze this exhibition, particularly focusing on the preparatory stage and rehearsals of the opening performance of the choir and their interaction with the "art in making". I will show how the idea of "inclusion" dissipated through the process of the "staging" of the performance engulfed with bureaucratic issues and artistic pretensions, but also through the permeative presence of social and symbolic borders which are part and parcel of the Yugoslav community itself. I will particularly emphasize the choir's own self-reflectivity of this political situation and their struggle to use their position as "amateurs at work" in order to act political subjects and escape the "proximity of art and capitalism", which Kunst convincingly traces in her study.",
publisher = "Gottingen : Max Planck Institute for the Study of Religious and Ethnic Diversity",
journal = "Ambivalent Legacies: Memory and Amnesia in Post-Habsburg and Post-Ottoman Cities",
title = "Artists, Amateurs and Bureaucrats at Work: Sonic Inclusion and "Die [Gast]Arbeiter von Wien"",
url = "https://hdl.handle.net/21.15107/rcub_dais_11825"
}

Atanasovski, S.. (2017). Artists, Amateurs and Bureaucrats at Work: Sonic Inclusion and "Die [Gast]Arbeiter von Wien". in Ambivalent Legacies: Memory and Amnesia in Post-Habsburg and Post-Ottoman Cities
Gottingen : Max Planck Institute for the Study of Religious and Ethnic Diversity..
https://hdl.handle.net/21.15107/rcub_dais_11825

Atanasovski S. Artists, Amateurs and Bureaucrats at Work: Sonic Inclusion and "Die [Gast]Arbeiter von Wien". in Ambivalent Legacies: Memory and Amnesia in Post-Habsburg and Post-Ottoman Cities. 2017;.
https://hdl.handle.net/21.15107/rcub_dais_11825 .

Atanasovski, Srđan, "Artists, Amateurs and Bureaucrats at Work: Sonic Inclusion and "Die [Gast]Arbeiter von Wien"" in Ambivalent Legacies: Memory and Amnesia in Post-Habsburg and Post-Ottoman Cities (2017),
https://hdl.handle.net/21.15107/rcub_dais_11825 .

TY  - JOUR
AU  - Atanasovski, Srđan
PY  - 2017
UR  - http://fmkjournals.fmk.edu.rs/index.php/AM/article/view/185
UR  - https://dais.sanu.ac.rs/123456789/6618
AB  - The genre of the mass song is one of the fundamental phenomena in aesthetics
and practice of socialist realism. Mass songs are supposed not only to be accessible to the lay
audience, but also to be composed in a way that invites the participation of amateurs. Importantly,
the institutions which have been disseminating the mass song under state socialism, such
as various institutions of education, culture and art, have also served as mechanisms for the
normalization of its ideological content. This article summarizes important aspects of the concept
of the mass song in general and offers a multifaceted exemplification, before proceeding to
discuss the history of mass songs in socialist Yugoslavia (including, by and large, what is usually
referred to as partisan songs), with emphasis on the institutional framework through which they
were practiced and disseminated, and on specificities that the genre had accrued within the Yugoslav framework. This historical framework of practicing mass songs in Yugoslavia provides a
platform for opening the question of intrinsic incompatibility between the project of a classless
society and the institution of art. In regards to this, article discusses contemporary practice of
Yugoslav mass songs as practiced by self-organized choirs and their new political potential.
PB  - Belgrade : Faculty of Media and Communications, Singidunum University
T2  - AM Journal of Art and Media Studies
T1  - Socialism or Art: Yugoslav Mass Song and Its Institutionalizations
SP  - 31
EP  - 42
VL  - 13
DO  - 10.25038/am.v0i13.185
UR  - https://hdl.handle.net/21.15107/rcub_dais_6618
ER  - 

@article{
author = "Atanasovski, Srđan",
year = "2017",
abstract = "The genre of the mass song is one of the fundamental phenomena in aesthetics
and practice of socialist realism. Mass songs are supposed not only to be accessible to the lay
audience, but also to be composed in a way that invites the participation of amateurs. Importantly,
the institutions which have been disseminating the mass song under state socialism, such
as various institutions of education, culture and art, have also served as mechanisms for the
normalization of its ideological content. This article summarizes important aspects of the concept
of the mass song in general and offers a multifaceted exemplification, before proceeding to
discuss the history of mass songs in socialist Yugoslavia (including, by and large, what is usually
referred to as partisan songs), with emphasis on the institutional framework through which they
were practiced and disseminated, and on specificities that the genre had accrued within the Yugoslav framework. This historical framework of practicing mass songs in Yugoslavia provides a
platform for opening the question of intrinsic incompatibility between the project of a classless
society and the institution of art. In regards to this, article discusses contemporary practice of
Yugoslav mass songs as practiced by self-organized choirs and their new political potential.",
publisher = "Belgrade : Faculty of Media and Communications, Singidunum University",
journal = "AM Journal of Art and Media Studies",
title = "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations",
pages = "31-42",
volume = "13",
doi = "10.25038/am.v0i13.185",
url = "https://hdl.handle.net/21.15107/rcub_dais_6618"
}

Atanasovski, S.. (2017). Socialism or Art: Yugoslav Mass Song and Its Institutionalizations. in AM Journal of Art and Media Studies
Belgrade : Faculty of Media and Communications, Singidunum University., 13, 31-42.
https://doi.org/10.25038/am.v0i13.185
https://hdl.handle.net/21.15107/rcub_dais_6618

Atanasovski S. Socialism or Art: Yugoslav Mass Song and Its Institutionalizations. in AM Journal of Art and Media Studies. 2017;13:31-42.
doi:10.25038/am.v0i13.185
https://hdl.handle.net/21.15107/rcub_dais_6618 .

Atanasovski, Srđan, "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations" in AM Journal of Art and Media Studies, 13 (2017):31-42,
https://doi.org/10.25038/am.v0i13.185 .,
https://hdl.handle.net/21.15107/rcub_dais_6618 .

TY  - CONF
AU  - Atanasovski, Srđan
PY  - 2016
UR  - https://dais.sanu.ac.rs/123456789/11828
AB  - In this paper I address the commemorative practices of the Belgrade feminist and anti-war group Women in Black (Zene u crnom) from the perspective of urban soundscape studies and a Rancierian analysis of the political. Established as a part of the international movement, the group rose to prominence during the early 1990s, uncompromisingly confronting the belligerent politics and rampant violent nationalism of the Milosevic regime. Women in Black adopt silent vigils as the main form of their protests and they regularly engage with performance art as a strategy of gaining greater visibility in the public space. I will analyse the protests held by Women in Black which took place in Belgrade in 2014 and 20] 5, focusing on their commemoration of the Srebrenica genocide. I will argue that by producing a space of silence, these interventions offer a rupture in the fabric of the neoliberal sonic phantasmagoria and open the possibility of the political, understood in Jacques Ranciere's sense. However, I will also discuss the seemingly "non-violent" approach taken by the forces of the police, arguing that this in itself represents a form of violence, curbing the circumference and the visibility of the vigils.
PB  - Belgrade : Faculty of Music, Department of Musicology
C3  - Transpositions: Music/Image
T1  - The Telling Silence of the Belgrade Vigils and the Space of the Political
SP  - 26
EP  - 27
UR  - https://hdl.handle.net/21.15107/rcub_dais_11828
ER  - 

@conference{
author = "Atanasovski, Srđan",
year = "2016",
abstract = "In this paper I address the commemorative practices of the Belgrade feminist and anti-war group Women in Black (Zene u crnom) from the perspective of urban soundscape studies and a Rancierian analysis of the political. Established as a part of the international movement, the group rose to prominence during the early 1990s, uncompromisingly confronting the belligerent politics and rampant violent nationalism of the Milosevic regime. Women in Black adopt silent vigils as the main form of their protests and they regularly engage with performance art as a strategy of gaining greater visibility in the public space. I will analyse the protests held by Women in Black which took place in Belgrade in 2014 and 20] 5, focusing on their commemoration of the Srebrenica genocide. I will argue that by producing a space of silence, these interventions offer a rupture in the fabric of the neoliberal sonic phantasmagoria and open the possibility of the political, understood in Jacques Ranciere's sense. However, I will also discuss the seemingly "non-violent" approach taken by the forces of the police, arguing that this in itself represents a form of violence, curbing the circumference and the visibility of the vigils.",
publisher = "Belgrade : Faculty of Music, Department of Musicology",
journal = "Transpositions: Music/Image",
title = "The Telling Silence of the Belgrade Vigils and the Space of the Political",
pages = "26-27",
url = "https://hdl.handle.net/21.15107/rcub_dais_11828"
}

Atanasovski, S.. (2016). The Telling Silence of the Belgrade Vigils and the Space of the Political. in Transpositions: Music/Image
Belgrade : Faculty of Music, Department of Musicology., 26-27.
https://hdl.handle.net/21.15107/rcub_dais_11828

Atanasovski S. The Telling Silence of the Belgrade Vigils and the Space of the Political. in Transpositions: Music/Image. 2016;:26-27.
https://hdl.handle.net/21.15107/rcub_dais_11828 .

Atanasovski, Srđan, "The Telling Silence of the Belgrade Vigils and the Space of the Political" in Transpositions: Music/Image (2016):26-27,
https://hdl.handle.net/21.15107/rcub_dais_11828 .

TY  - CONF
AU  - Atanasovski, Srđan
PY  - 2016
UR  - https://dais.sanu.ac.rs/handle/123456789/4034
UR  - https://dais.sanu.ac.rs/123456789/6632
PB  - Belgrade : Institute of Musicology SASA
C3  - International conference Kosta P. Manojlović and the Idea of Slavic and Balkan Cultural Unification (1918-1941): book of abstracts
T1  - Kosta P. Manojlović and the Narratives on ‘Southern Serbia’
SP  - 16
EP  - 17
UR  - https://hdl.handle.net/21.15107/rcub_dais_6632
ER  - 

@conference{
author = "Atanasovski, Srđan",
year = "2016",
publisher = "Belgrade : Institute of Musicology SASA",
journal = "International conference Kosta P. Manojlović and the Idea of Slavic and Balkan Cultural Unification (1918-1941): book of abstracts",
title = "Kosta P. Manojlović and the Narratives on ‘Southern Serbia’",
pages = "16-17",
url = "https://hdl.handle.net/21.15107/rcub_dais_6632"
}

Atanasovski, S.. (2016). Kosta P. Manojlović and the Narratives on ‘Southern Serbia’. in International conference Kosta P. Manojlović and the Idea of Slavic and Balkan Cultural Unification (1918-1941): book of abstracts
Belgrade : Institute of Musicology SASA., 16-17.
https://hdl.handle.net/21.15107/rcub_dais_6632

Atanasovski S. Kosta P. Manojlović and the Narratives on ‘Southern Serbia’. in International conference Kosta P. Manojlović and the Idea of Slavic and Balkan Cultural Unification (1918-1941): book of abstracts. 2016;:16-17.
https://hdl.handle.net/21.15107/rcub_dais_6632 .

Atanasovski, Srđan, "Kosta P. Manojlović and the Narratives on ‘Southern Serbia’" in International conference Kosta P. Manojlović and the Idea of Slavic and Balkan Cultural Unification (1918-1941): book of abstracts (2016):16-17,
https://hdl.handle.net/21.15107/rcub_dais_6632 .

TY  - JOUR
AU  - Atanasovski, Srđan
PY  - 2016
UR  - http://hdl.handle.net/10077/15546
UR  - https://dais.sanu.ac.rs/123456789/11835
AB  - For decades, songs by the Yugoslav Partisans and masses have been something of an ostracised topic in musicology and ethnomusicology. Even before the break-up of socialist Yugoslavia, a tide of laudatory essays praising the role of these songs in the liberation and rebuilding of the country was largely ignored by scholars, as neither their historical impact nor aesthetic value were deemed
worthy of thorough scholarly treatment. And once new national borders were eventually imposed on the Yugoslav space, and new parochial agendas were introduced in the humanities of the new
countries, a renewal of the scholarly interest in the Partisan songs seemed almost impossible. However, Ana Hofman’s book Novi život partizanskih pesama (The New Life of the Partisan Songs), which was just published by the renowned Belgrade publishing house Biblioteka XX vek, proves not only that the Partisan songs are a viable research topic but also that it is possible to swim against the mainstream and actually pursue the topic. The book itself comes from Hofman’s ethnographic research in the practices of post-Yugoslav self-organised choirs from Skopje, Belgrade, Zagreb, Ljubljana, Pula, Vienna and elsewhere. The book published in Serbian is largely based on Hofman’s Slovenian book Glasba, politika, afekt: Novo življenje partizanskih pesmi v Sloveniji (Music, Politics, Affect: The New Life of the Partisan Songs in Slovenia), which appeared in 2015 with the publishing house of the Research Centre of the Slovenian Academy of Sciences
and Arts and focuses on the Ljubljana-based self-organised choir Kombinat. However, through the prism of this case study Hofman manages not only to speak about the importance of reviving the repertoire of the Partisan songs in the ex-Yugoslav space but also to address wider questions of the politics of empathy in the conditions of neoliberal capitalism.
PB  - Trieste : EUT Edizioni Università
T2  - Slavica Tergestina, European Slavic Studies Journal
T1  - On the New Life of the Partisan Songs in ex-Yugoslavia: The Yugoslav Partisan Art
SP  - 172
EP  - 177
VL  - 17
UR  - https://hdl.handle.net/21.15107/rcub_dais_11835
ER  - 

@article{
author = "Atanasovski, Srđan",
year = "2016",
abstract = "For decades, songs by the Yugoslav Partisans and masses have been something of an ostracised topic in musicology and ethnomusicology. Even before the break-up of socialist Yugoslavia, a tide of laudatory essays praising the role of these songs in the liberation and rebuilding of the country was largely ignored by scholars, as neither their historical impact nor aesthetic value were deemed
worthy of thorough scholarly treatment. And once new national borders were eventually imposed on the Yugoslav space, and new parochial agendas were introduced in the humanities of the new
countries, a renewal of the scholarly interest in the Partisan songs seemed almost impossible. However, Ana Hofman’s book Novi život partizanskih pesama (The New Life of the Partisan Songs), which was just published by the renowned Belgrade publishing house Biblioteka XX vek, proves not only that the Partisan songs are a viable research topic but also that it is possible to swim against the mainstream and actually pursue the topic. The book itself comes from Hofman’s ethnographic research in the practices of post-Yugoslav self-organised choirs from Skopje, Belgrade, Zagreb, Ljubljana, Pula, Vienna and elsewhere. The book published in Serbian is largely based on Hofman’s Slovenian book Glasba, politika, afekt: Novo življenje partizanskih pesmi v Sloveniji (Music, Politics, Affect: The New Life of the Partisan Songs in Slovenia), which appeared in 2015 with the publishing house of the Research Centre of the Slovenian Academy of Sciences
and Arts and focuses on the Ljubljana-based self-organised choir Kombinat. However, through the prism of this case study Hofman manages not only to speak about the importance of reviving the repertoire of the Partisan songs in the ex-Yugoslav space but also to address wider questions of the politics of empathy in the conditions of neoliberal capitalism.",
publisher = "Trieste : EUT Edizioni Università",
journal = "Slavica Tergestina, European Slavic Studies Journal",
title = "On the New Life of the Partisan Songs in ex-Yugoslavia: The Yugoslav Partisan Art",
pages = "172-177",
volume = "17",
url = "https://hdl.handle.net/21.15107/rcub_dais_11835"
}

Atanasovski, S.. (2016). On the New Life of the Partisan Songs in ex-Yugoslavia: The Yugoslav Partisan Art. in Slavica Tergestina, European Slavic Studies Journal
Trieste : EUT Edizioni Università., 17, 172-177.
https://hdl.handle.net/21.15107/rcub_dais_11835

Atanasovski S. On the New Life of the Partisan Songs in ex-Yugoslavia: The Yugoslav Partisan Art. in Slavica Tergestina, European Slavic Studies Journal. 2016;17:172-177.
https://hdl.handle.net/21.15107/rcub_dais_11835 .

Atanasovski, Srđan, "On the New Life of the Partisan Songs in ex-Yugoslavia: The Yugoslav Partisan Art" in Slavica Tergestina, European Slavic Studies Journal, 17 (2016):172-177,
https://hdl.handle.net/21.15107/rcub_dais_11835 .

TY  - JOUR
AU  - Pavlović, Aleksandar
AU  - Atanasovski, Srđan
PY  - 2016
UR  - https://hunghist.org/issue-current/83-articles/375-2016-2-pavlovic
UR  - https://dais.sanu.ac.rs/123456789/11821
AB  - In this article, we argue that the nineteenth-century Serbian scholars had a pivotal role in establishing Kosovo as the crucial subject of Serbian literature, culture, and politics. By revisiting the formation of the Kosovo epic in the collections of Vuk Karadžić, the founder of modern Serbian culture, we trace his role in making Kosovo the foundational myth of the whole Serbian nation from the nineteenth-century surge in Romantic nationalism onwards. In particular, we scrutinize Karadžić’s editorial procedures as parts of a process of cultural inscription representing a cultural transformation that made the Kosovo epic an instance of the invention of national tradition in Eric Hobsbawm’s terms.
PB  - Budapest : Institute of History, Research Centre for the Humanities, Hungarian Academy of Sciences
T2  - Hungarian Historical Review
T1  - From Myth to Territory: Vuk Karadžić, Kosovo Epics and the Role of Nineteenth-Century Intellectuals in Establishing National Narratives
SP  - 357
EP  - 376
VL  - 5
IS  - 2
UR  - https://hdl.handle.net/21.15107/rcub_dais_11821
ER  - 

@article{
author = "Pavlović, Aleksandar and Atanasovski, Srđan",
year = "2016",
abstract = "In this article, we argue that the nineteenth-century Serbian scholars had a pivotal role in establishing Kosovo as the crucial subject of Serbian literature, culture, and politics. By revisiting the formation of the Kosovo epic in the collections of Vuk Karadžić, the founder of modern Serbian culture, we trace his role in making Kosovo the foundational myth of the whole Serbian nation from the nineteenth-century surge in Romantic nationalism onwards. In particular, we scrutinize Karadžić’s editorial procedures as parts of a process of cultural inscription representing a cultural transformation that made the Kosovo epic an instance of the invention of national tradition in Eric Hobsbawm’s terms.",
publisher = "Budapest : Institute of History, Research Centre for the Humanities, Hungarian Academy of Sciences",
journal = "Hungarian Historical Review",
title = "From Myth to Territory: Vuk Karadžić, Kosovo Epics and the Role of Nineteenth-Century Intellectuals in Establishing National Narratives",
pages = "357-376",
volume = "5",
number = "2",
url = "https://hdl.handle.net/21.15107/rcub_dais_11821"
}

Pavlović, A.,& Atanasovski, S.. (2016). From Myth to Territory: Vuk Karadžić, Kosovo Epics and the Role of Nineteenth-Century Intellectuals in Establishing National Narratives. in Hungarian Historical Review
Budapest : Institute of History, Research Centre for the Humanities, Hungarian Academy of Sciences., 5(2), 357-376.
https://hdl.handle.net/21.15107/rcub_dais_11821

Pavlović A, Atanasovski S. From Myth to Territory: Vuk Karadžić, Kosovo Epics and the Role of Nineteenth-Century Intellectuals in Establishing National Narratives. in Hungarian Historical Review. 2016;5(2):357-376.
https://hdl.handle.net/21.15107/rcub_dais_11821 .

Pavlović, Aleksandar, Atanasovski, Srđan, "From Myth to Territory: Vuk Karadžić, Kosovo Epics and the Role of Nineteenth-Century Intellectuals in Establishing National Narratives" in Hungarian Historical Review, 5, no. 2 (2016):357-376,
https://hdl.handle.net/21.15107/rcub_dais_11821 .

TY  - CHAP
AU  - Atanasovski, Srđan
PY  - 2016
UR  - https://www.hsozkult.de/journal/id/zeitschriftenausgaben-10227?language=en
UR  - https://dais.sanu.ac.rs/123456789/6624
AB  - In this article I explore the sonic and music practices in the experience of the NATO bombing of Belgrade, focusing particularly on their role in the governmental apparatuses both of the NATO forces and of Milošević’s regime. Drawing on aff ect studies, I discuss sound and music not only as text, but as sheer intensity, as a vibrational body and force. I argue that the sonic element of the experience of NATO bombing proved important as it provided the surface area, the somatic layer of the war machine, on which the apparatuses of governance could operate and eff ectuate the production of meaning.
PB  - München : Oldenbourg Verlag
T2  - Südosteuropa. Journal of Politics and Society: Memories and Narratives of the 1999 NATO Bombing in Serbia
T1  - ‘The Song Has Kept Us’: Soundscape of Belgrade during the NATO Bombing
SP  - 482
EP  - 499
VL  - 64
IS  - 4
DO  - 10.1515/soeu-2016-0043
UR  - https://hdl.handle.net/21.15107/rcub_dais_6624
ER  - 

@inbook{
author = "Atanasovski, Srđan",
year = "2016",
abstract = "In this article I explore the sonic and music practices in the experience of the NATO bombing of Belgrade, focusing particularly on their role in the governmental apparatuses both of the NATO forces and of Milošević’s regime. Drawing on aff ect studies, I discuss sound and music not only as text, but as sheer intensity, as a vibrational body and force. I argue that the sonic element of the experience of NATO bombing proved important as it provided the surface area, the somatic layer of the war machine, on which the apparatuses of governance could operate and eff ectuate the production of meaning.",
publisher = "München : Oldenbourg Verlag",
journal = "Südosteuropa. Journal of Politics and Society: Memories and Narratives of the 1999 NATO Bombing in Serbia",
booktitle = "‘The Song Has Kept Us’: Soundscape of Belgrade during the NATO Bombing",
pages = "482-499",
volume = "64",
number = "4",
doi = "10.1515/soeu-2016-0043",
url = "https://hdl.handle.net/21.15107/rcub_dais_6624"
}

Atanasovski, S.. (2016). ‘The Song Has Kept Us’: Soundscape of Belgrade during the NATO Bombing. in Südosteuropa. Journal of Politics and Society: Memories and Narratives of the 1999 NATO Bombing in Serbia
München : Oldenbourg Verlag., 64(4), 482-499.
https://doi.org/10.1515/soeu-2016-0043
https://hdl.handle.net/21.15107/rcub_dais_6624

Atanasovski S. ‘The Song Has Kept Us’: Soundscape of Belgrade during the NATO Bombing. in Südosteuropa. Journal of Politics and Society: Memories and Narratives of the 1999 NATO Bombing in Serbia. 2016;64(4):482-499.
doi:10.1515/soeu-2016-0043
https://hdl.handle.net/21.15107/rcub_dais_6624 .

Atanasovski, Srđan, "‘The Song Has Kept Us’: Soundscape of Belgrade during the NATO Bombing" in Südosteuropa. Journal of Politics and Society: Memories and Narratives of the 1999 NATO Bombing in Serbia, 64, no. 4 (2016):482-499,
https://doi.org/10.1515/soeu-2016-0043 .,
https://hdl.handle.net/21.15107/rcub_dais_6624 .

TY  - CHAP
AU  - Atanasovski, Srđan
PY  - 2016
UR  - https://revije.ff.uni-lj.si/MuzikoloskiZbornik/article/view/7127
UR  - https://dais.sanu.ac.rs/123456789/6622
AB  - Employing Henri Lefebvre’s concept of rhythmanalysis I argue for an ecological turn in practicing soundscape studies, which would entail putting the subject – the listener, or “rhythmanalysist” – in the centre of research. I offer a critical (post-Marxist) “rhythmanalysis” of soundscape of landscape of “policing” (concept developed following Jacques Rancie`re).
AB  - Na podlagi koncepta analize ritma, katerega avtor je Henri Lefebvre, zagovarjam ekološki preobrat pri izvajanju študij zvočnih krajin, kar naj bi zagotovilo subjektu – poslušalcu oziroma analizatorju ritma – osrednji položaj v sklopu raziskave. Ponujam kritično (pomarksistično) »analizo ritma« zvočne pokrajine pejsaža »policinga«, kot ga je definiral Jacques Rancie`re.
PB  - Ljubljana : Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani
T2  - Muzikološki zbornik / Musicological Annual
T1  - Rhythmanalysis of the Policescape: The Promise of an Ecological Turn in the Practice of Soundscape Studies
T1  - Analiza ritma policijske krajine: obljuba ekološkega preobrata v praksi študija zvočnih krajin
SP  - 11
EP  - 23
VL  - 52
IS  - 2
DO  - 10.4312/mz.52.2.11-23
UR  - https://hdl.handle.net/21.15107/rcub_dais_6622
ER  - 

@inbook{
author = "Atanasovski, Srđan",
year = "2016",
abstract = "Employing Henri Lefebvre’s concept of rhythmanalysis I argue for an ecological turn in practicing soundscape studies, which would entail putting the subject – the listener, or “rhythmanalysist” – in the centre of research. I offer a critical (post-Marxist) “rhythmanalysis” of soundscape of landscape of “policing” (concept developed following Jacques Rancie`re)., Na podlagi koncepta analize ritma, katerega avtor je Henri Lefebvre, zagovarjam ekološki preobrat pri izvajanju študij zvočnih krajin, kar naj bi zagotovilo subjektu – poslušalcu oziroma analizatorju ritma – osrednji položaj v sklopu raziskave. Ponujam kritično (pomarksistično) »analizo ritma« zvočne pokrajine pejsaža »policinga«, kot ga je definiral Jacques Rancie`re.",
publisher = "Ljubljana : Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani",
journal = "Muzikološki zbornik / Musicological Annual",
booktitle = "Rhythmanalysis of the Policescape: The Promise of an Ecological Turn in the Practice of Soundscape Studies, Analiza ritma policijske krajine: obljuba ekološkega preobrata v praksi študija zvočnih krajin",
pages = "11-23",
volume = "52",
number = "2",
doi = "10.4312/mz.52.2.11-23",
url = "https://hdl.handle.net/21.15107/rcub_dais_6622"
}

Atanasovski, S.. (2016). Rhythmanalysis of the Policescape: The Promise of an Ecological Turn in the Practice of Soundscape Studies. in Muzikološki zbornik / Musicological Annual
Ljubljana : Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani., 52(2), 11-23.
https://doi.org/10.4312/mz.52.2.11-23
https://hdl.handle.net/21.15107/rcub_dais_6622

Atanasovski S. Rhythmanalysis of the Policescape: The Promise of an Ecological Turn in the Practice of Soundscape Studies. in Muzikološki zbornik / Musicological Annual. 2016;52(2):11-23.
doi:10.4312/mz.52.2.11-23
https://hdl.handle.net/21.15107/rcub_dais_6622 .

Atanasovski, Srđan, "Rhythmanalysis of the Policescape: The Promise of an Ecological Turn in the Practice of Soundscape Studies" in Muzikološki zbornik / Musicological Annual, 52, no. 2 (2016):11-23,
https://doi.org/10.4312/mz.52.2.11-23 .,
https://hdl.handle.net/21.15107/rcub_dais_6622 .

TY  - JOUR
AU  - Atanasovski, Srđan
PY  - 2015
UR  - https://brill.com/view/journals/seeu/39/2/article-p237_5.xml?lang=en
UR  - https://dais.sanu.ac.rs/123456789/6619
AB  - In this paper I analyze the contemporary practice of Serbian pilgrimages to Kosovo, which have been on the rise in the aftermath of the Kosovo Declaration of Independence. Designating the Serbian pilgrimage to Kosovo as a hybrid affective experience, I investigate how sentiments of religion and nation interact through the media of sound and music, pointing out the role of the shared lived experience of the community. I discuss how affects, which are alternately produced by the social machines of religion and of nation, become hybridized and synergistically reinforced
in situ, not only relying on discursive games and strategies, but also on the immediacy of the lived ‘truth’. I emphasize in particular the role of musical experience in this process, showing how music activates mnemonic processes and provokes affects in the community as it is uncritically inscribed on the bodies of the individuals through both communal music-listening and music-making.
PB  - Leiden : Brill (Koninklijke Brill NV)
T2  - Southeastern Europe
T1  - Hybrid Affects of Religious Nationalism: Pilgrimages to Kosovo and the Soundscapes of the Utopian Past
SP  - 237
EP  - 263
VL  - 39
IS  - 2
DO  - 10.1163/18763332-03902005
UR  - https://hdl.handle.net/21.15107/rcub_dais_6619
ER  - 

@article{
author = "Atanasovski, Srđan",
year = "2015",
abstract = "In this paper I analyze the contemporary practice of Serbian pilgrimages to Kosovo, which have been on the rise in the aftermath of the Kosovo Declaration of Independence. Designating the Serbian pilgrimage to Kosovo as a hybrid affective experience, I investigate how sentiments of religion and nation interact through the media of sound and music, pointing out the role of the shared lived experience of the community. I discuss how affects, which are alternately produced by the social machines of religion and of nation, become hybridized and synergistically reinforced
in situ, not only relying on discursive games and strategies, but also on the immediacy of the lived ‘truth’. I emphasize in particular the role of musical experience in this process, showing how music activates mnemonic processes and provokes affects in the community as it is uncritically inscribed on the bodies of the individuals through both communal music-listening and music-making.",
publisher = "Leiden : Brill (Koninklijke Brill NV)",
journal = "Southeastern Europe",
title = "Hybrid Affects of Religious Nationalism: Pilgrimages to Kosovo and the Soundscapes of the Utopian Past",
pages = "237-263",
volume = "39",
number = "2",
doi = "10.1163/18763332-03902005",
url = "https://hdl.handle.net/21.15107/rcub_dais_6619"
}

Atanasovski, S.. (2015). Hybrid Affects of Religious Nationalism: Pilgrimages to Kosovo and the Soundscapes of the Utopian Past. in Southeastern Europe
Leiden : Brill (Koninklijke Brill NV)., 39(2), 237-263.
https://doi.org/10.1163/18763332-03902005
https://hdl.handle.net/21.15107/rcub_dais_6619

Atanasovski S. Hybrid Affects of Religious Nationalism: Pilgrimages to Kosovo and the Soundscapes of the Utopian Past. in Southeastern Europe. 2015;39(2):237-263.
doi:10.1163/18763332-03902005
https://hdl.handle.net/21.15107/rcub_dais_6619 .

Atanasovski, Srđan, "Hybrid Affects of Religious Nationalism: Pilgrimages to Kosovo and the Soundscapes of the Utopian Past" in Southeastern Europe, 39, no. 2 (2015):237-263,
https://doi.org/10.1163/18763332-03902005 .,
https://hdl.handle.net/21.15107/rcub_dais_6619 .

TY  - CONF
AU  - Атанасовски, Срђан
PY  - 2015
UR  - https://dais.sanu.ac.rs/123456789/11834
AB  - Наступајући тридесетих година ХХ века у јавности као музички писац и критичар, Предраг Милошевић суочио се са питањима модерне опере, разматрајући како примере водећих европских композитора тог времена (при чему је симпатије гајио према такозваној Zeitoper која је била актуелна у Вајмарској Немачкој), тако и остварења домаћих композитора, попут Петра Коњовића. Иако сам није био активан као оперски стваралац, Милошевићу се 1938. године наизглед указала прилика да непосредно утиче на оперску продукцију у Краљевини Југославији, као члан жирија Удружења пријатеља уметности Цвијета Зузорић на конкурсу за нову југословенску оперу. Једногласном оценом жирија, награђена је опера Саблазан у долини Шентфлоријанској Миховила Логара, која, упркос настојањима управе, није била изведена у целости, као што је било предвиђено. У раду анализирам објављене Милошевићеве написе о модерној опери, (необјављени) реферат који је поднео Удружењу Цвијета Зузорић, те саму оперу Саблазан у долини Шентфлоријанској Миховила Логара не бих ли одговорио на следећа питања: шта је била визија модерне опере Предрага Милошевића, те у којој мери је Логарова опера испунила Милошевићева очекивања.
PB  - Београд : Музиколошко друштво Србије, Катедра за музикологију Факултета музичке уметности у Београду
C3  - Многострука уметничка делатност композитора Предрага Милошевића (1904–1988): поводом 110. годишњице од рођења
T1  - Визије модерне опере Предрага Милошевића и Саблазан у долини Шентфлоријанској Миховила Логара
SP  - 65
EP  - 78
UR  - https://hdl.handle.net/21.15107/rcub_dais_11834
ER  - 

@conference{
author = "Атанасовски, Срђан",
year = "2015",
abstract = "Наступајући тридесетих година ХХ века у јавности као музички писац и критичар, Предраг Милошевић суочио се са питањима модерне опере, разматрајући како примере водећих европских композитора тог времена (при чему је симпатије гајио према такозваној Zeitoper која је била актуелна у Вајмарској Немачкој), тако и остварења домаћих композитора, попут Петра Коњовића. Иако сам није био активан као оперски стваралац, Милошевићу се 1938. године наизглед указала прилика да непосредно утиче на оперску продукцију у Краљевини Југославији, као члан жирија Удружења пријатеља уметности Цвијета Зузорић на конкурсу за нову југословенску оперу. Једногласном оценом жирија, награђена је опера Саблазан у долини Шентфлоријанској Миховила Логара, која, упркос настојањима управе, није била изведена у целости, као што је било предвиђено. У раду анализирам објављене Милошевићеве написе о модерној опери, (необјављени) реферат који је поднео Удружењу Цвијета Зузорић, те саму оперу Саблазан у долини Шентфлоријанској Миховила Логара не бих ли одговорио на следећа питања: шта је била визија модерне опере Предрага Милошевића, те у којој мери је Логарова опера испунила Милошевићева очекивања.",
publisher = "Београд : Музиколошко друштво Србије, Катедра за музикологију Факултета музичке уметности у Београду",
journal = "Многострука уметничка делатност композитора Предрага Милошевића (1904–1988): поводом 110. годишњице од рођења",
title = "Визије модерне опере Предрага Милошевића и Саблазан у долини Шентфлоријанској Миховила Логара",
pages = "65-78",
url = "https://hdl.handle.net/21.15107/rcub_dais_11834"
}

Атанасовски, С.. (2015). Визије модерне опере Предрага Милошевића и Саблазан у долини Шентфлоријанској Миховила Логара. in Многострука уметничка делатност композитора Предрага Милошевића (1904–1988): поводом 110. годишњице од рођења
Београд : Музиколошко друштво Србије, Катедра за музикологију Факултета музичке уметности у Београду., 65-78.
https://hdl.handle.net/21.15107/rcub_dais_11834

Атанасовски С. Визије модерне опере Предрага Милошевића и Саблазан у долини Шентфлоријанској Миховила Логара. in Многострука уметничка делатност композитора Предрага Милошевића (1904–1988): поводом 110. годишњице од рођења. 2015;:65-78.
https://hdl.handle.net/21.15107/rcub_dais_11834 .

Атанасовски, Срђан, "Визије модерне опере Предрага Милошевића и Саблазан у долини Шентфлоријанској Миховила Логара" in Многострука уметничка делатност композитора Предрага Милошевића (1904–1988): поводом 110. годишњице од рођења (2015):65-78,
https://hdl.handle.net/21.15107/rcub_dais_11834 .

TY  - CHAP
AU  - Атанасовски, Срђан
PY  - 2015
UR  - http://www.maticasrpska.org.rs/stariSajt/casopisi/ZMSSU_53.pdf
UR  - https://dais.sanu.ac.rs/123456789/10750
AB  - Делатност Исидора Бајића постављена је у контекст српског националистичког дискурса о Старој Србији и Маћедонији. Размотрене су његове обраде песама из руковети Стевана Мокрањца, његово путовање на Свету Гору 1911, рад на записивању народних песама, те композиција Песме српских комита (у две верзије). Закључци упућују на то да је Бајићев портрет фолклора ових крајева симплификован и склон стереотипима. Поред тога, Бајић је покушавао да елементе фолклора Старе Србије и Маћедоније интегрише у свакодневне музичке праксе српског грађанства у Аустроугарској, као што је кућно – салонско музицирање. Бајић стога припада ауторима који су градили слику фолклора Старе Србије и Маћедоније као нераскидиво и органски повезаног са српским фолклором уопште.
PB  - Нови Сад : Матица српска, Одељење за сценске уметности и музику
T2  - Зборник Матице српске за сценске уметности и музику
T1  - Исидор Бајић и Стара Србија
T1  - Isidor Bajić аnd Old Serbia
SP  - 191
EP  - 209
IS  - 53
UR  - https://hdl.handle.net/21.15107/rcub_dais_10750
ER  - 

@inbook{
author = "Атанасовски, Срђан",
year = "2015",
abstract = "Делатност Исидора Бајића постављена је у контекст српског националистичког дискурса о Старој Србији и Маћедонији. Размотрене су његове обраде песама из руковети Стевана Мокрањца, његово путовање на Свету Гору 1911, рад на записивању народних песама, те композиција Песме српских комита (у две верзије). Закључци упућују на то да је Бајићев портрет фолклора ових крајева симплификован и склон стереотипима. Поред тога, Бајић је покушавао да елементе фолклора Старе Србије и Маћедоније интегрише у свакодневне музичке праксе српског грађанства у Аустроугарској, као што је кућно – салонско музицирање. Бајић стога припада ауторима који су градили слику фолклора Старе Србије и Маћедоније као нераскидиво и органски повезаног са српским фолклором уопште.",
publisher = "Нови Сад : Матица српска, Одељење за сценске уметности и музику",
journal = "Зборник Матице српске за сценске уметности и музику",
booktitle = "Исидор Бајић и Стара Србија, Isidor Bajić аnd Old Serbia",
pages = "191-209",
number = "53",
url = "https://hdl.handle.net/21.15107/rcub_dais_10750"
}

Атанасовски, С.. (2015). Исидор Бајић и Стара Србија. in Зборник Матице српске за сценске уметности и музику
Нови Сад : Матица српска, Одељење за сценске уметности и музику.(53), 191-209.
https://hdl.handle.net/21.15107/rcub_dais_10750

Атанасовски С. Исидор Бајић и Стара Србија. in Зборник Матице српске за сценске уметности и музику. 2015;(53):191-209.
https://hdl.handle.net/21.15107/rcub_dais_10750 .

Атанасовски, Срђан, "Исидор Бајић и Стара Србија" in Зборник Матице српске за сценске уметности и музику, no. 53 (2015):191-209,
https://hdl.handle.net/21.15107/rcub_dais_10750 .