Teaching staff

Biography

Marija Masnikosa, musicologist, associate professor at the Department of Musicology of Faculty of Music of the University of Arts in Belgrade and at the Department of Interdisciplinary Master and Doctoral Studies at the University of Arts in Belgrade. She was also lecturer of music history at the Faculty of Philology and Arts in Kragujevac (Serbia). Marija Masnikosa studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). She is the  author and co-author of 4 books, over 40 studies in collective volumes, international and national journals, proceedings of international conferences in the country and abroad.

Areas of competence:
• American and Serbian minimalism and postminimalism
• musical semiotics
• Serbian postminimalist music
• Serbian Music between the two World Wars

Didactic competences:
• History of Renaissance Music
• History of Serbian Music between the Two World Wars
• Musical Semiotics

TEACHING EXPERIENCES

History of Renaissance Music, since 2013, Faculty of Music in Belgrade

Description of the course:

The course is focused on the music in the cultural context of inter-world war Serbia when the first professional musical institutions appeared. The main nucleus of the course contains the opuses of the four most important composers of the period: Petar Konjović, Miloje Milojević, Stevan Hristić and Josip Slavenski. Their achievements are discussed in detail, and with the special stress to the influence of the European contemporary music on their opuses. Theoretically, the course focuses both romanticist and modernist characteristics of the discussed composers’ achievements.

Applied Musical Semiotics, since 2013, Faculty of Music in Belgrade

Description of the course:

The course is focused on the main theoretical approaches in contemporary musical semiotics. Theories of the significant theoreticians in the field are discussed. The main topics of the course are: history of musical semiotics, the notion of musical sign, intonation theory, musical narrativity, musical discourse theory, theories of musical topoi, gestures theory in music, etc. The second part of the course is devoted to the analysis and interpretation of the Serbian postminimalist music using the musical semiotics as the main analytical and theoretical tool.

National History of Music: Musical Postmodernism in Serbia, since 2017, Faculty of Music in Belgrade

Description of the course:

The course is focused both on the different theoretical approaches to musical postmodernism, and to the achievements of postmodernist music in contemporary Serbia (period of the last quarter of 20th, and first decades of 21st centuries). The main representatives of the Serbian musical postmodernism are: Vlastimir Trajković, Vuk Kulenović, Zoran Erić, Srđan Hofman, Milan Mihajlović, Ivana Stefanović, and others, and their most representative compositions are discussed in the context of contemporary European (postmodernist) music. Since postmodernism is a global cultural and artistic phenomenon, this course considers Serbian musical postmodernism as a cultural/artistic introduction of Serbian art /culture in the process of European integration in the field of art and culture.

OTHER ACTIVITIES

Member in the project team:

• Serbian Music and European Music Heritage, Faculty of Music, Belgrade, Serbia;2001-2005.
• World Chronotopes of Serbian music, Faculty of Music, Belgrade, Serbia;2006-2010.
• Serbian postminimalist music
• Jean Monnet Module “Music Identities and European Perspective – an Interdisciplinary Approach“, Faculty of Music, Belgrade, Serbia.2014-2017.
• The Identities of Serbian Music in the Global Cultural Context, Faculty of Music, Belgrade, Serbia.2011-present

Member of:

• International Musicological Society (IMS – 2012);
• President of the Managing Board of the Serbian Musicological Society (SMS which is a member of International Musicological Society (2015–present);
• Society for Minimalist Music (2007–present);
• Editorial Board of the musicological journal Musical Wave and the Editorial Board of the Ars Musica Series (between 1994 and 2010), Clio, Belgrade.

Other

• Peer reviewer of the scientific journals New Sound and The Matica Srpska Journal of Stage Art and Music.

Biography

Ivana Perković, musicologist, full-time professor at the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. Vice dean of the Faculty of Music. She was also the lecturer in history of music at the Department of Musicology and Ethnomusicology of the Academy of Arts in Novi Sad (Serbia). Ivana Perković studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). She is the author and co-author of 5 books, over 50 articles in national and international journals and in proceedings of the international conferences in the country and abroad. Editor of volume devoted to Musical identities in European Perspective, to be published by Peter Lang Verlag in 2017.

Areas of competence:
• history of Western music up to 18th century
• music and religion
• medieval poetics
• musical libraries
• musical archives

Didactic competences:
• Medieval music in Orthodox countries
• History of European music – Antique Period, Middle Ages, Renaissance, Baroque, Classical period
• Serbian Chant
• Music and Theology

TEACHING EXPERIENCES

History of Western Music: Antiquity, Medieval Times, Baroque, Classicism, 2013-2014, Faculty of Music in Belgrade

Description of the course:

The course combines historical and cultural contextualization of European music through its’ long history from ancient times to 18th century. The evolution of music genres is presented from the perspective of intercultural dialogue.

Classicism in Music, since 2008, Faculty of Music in Belgrade

Description of the course:

This course is designed to engage students in music listening, analysis, reading and critical thinking. Cultural context of music styles, ideas, events, movements, composers and musicians in the second half of the 18^th century in Vienna, Mannheim, Berlin, Dresden, France, England, etc.

Music of the Eastern Countries in the Medieval Time, since 2009, Faculty of Music in Belgrade

Description of the course:

The aim of this course is to introduce historical, religious, cultural and other influences on musical forms, techniques and styles in use in the medieval period in Byzantium and Slavic countries. Sources and other kinds of contemporary evidence relating to music are taken into consideration.

OTHER ACTIVITIES

Member of several national and international associations:

• Musicological Society (active member of the Cantus Planus group)
• The International Society for Orthodox Church Music, Serbian Musicological Society (the first president of the Managing Board)
• Composers’ Association of Serbia

Other

• Participant of four national research project (since 1996, up to the present)
• Member of the international project on hymnology (The Canterbury Dictionary of Hymnology, since 2004)
• Postdoctoral research, Institut für Musikwissenschaft der Universität, Wien, 2005
• Coordinator of the research project funded by British Library (2006/07): research and archival work on endangered musical archives in Zemun
• Vice dean of the Faculty of Music in Belgrade in 2010/11
• Responsible for the application of the TEMPUS project (Introducing interdisciplinarity in music studies in the Western Balkans in line with European perspective) and the first project coordinator (in 2012).
• Participant of the project Jean Monnet Module Music Identities and European Perspective – an Interdisciplinary Approach, Faculty of Music, Belgrade, Serbia (2014-2017).

Biography

Tijana Popović Mladjenović, musicologist, full-time professor at the Department of Musicology of the  Faculty of Music, at the Department of Interdisciplinary studies at the University of Arts in Belgrade (study program: Theory of Arts and Media), and at the Department of Musicology and Ethnomusicology of the Academy of Arts in Novi Sad. She was also a visiting lecturer at the  Department of Musicology of the Faculty of Philosophy, University of Ljubljana (Slovenia), at the Academy of Music of the University of Sarajevo (Bosnia and Herzegovina) and at the Academy of Music of the University of Montenegro.
Popović Mladjenović studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/), and attended a specialization courses in contemporary French music at the University of Paris IV – Sorbonne (France). She is an author and co-author of 5 books, over 100 studies in collective volumes, international and national journals,proceedings of international conferences in the country and abroad; editor of a 15 different musicological and music volumes (books, scores, CDs). Popović Mladjenović was an editor member of the Editorial Board of the musicological journal Musical Wave and the Editorial Board of the Ars Musica Series published by Clio (Belgrade). She contributed to The New Grove Dictionary of Music and Musicians (second edition), Grove Music Online, and Die Musik in Geschichte und Gegenwart (second edition). Tijana Popović Mladjenović was the editor for music entries of the Serbian edition of Le Grand Larousse Illustré (translation and supplementation), and participates in the preparation of the Serbian Encyclopedia. She is also an editor of a number of international monographs, member of several international conference committees, and peer reviewer of the international and national scientific journals (New Sound and The Matica Srpska Journal of Stage Art and Music). Currently, Popović–Mladjenović is a participant of the national research project Identities of Serbian Music in the World Cultural Context.

Areas of competence:
• her main research interests include the fin de siècle European Music
• contemporary music, aesthetics and philosophy of music
• the issues concerning thinking in music
• interdisciplinary musicology and science of arts

Didactic competences:
• History of European Music

• Antique Period
• Middle Ages
• Renaissance
• Baroque
• Classical Period
• Romanticism
• Impressionism
• Expressionism
• Avant-Garde
• History of Serbian Music – 19^th and 20^th century
• Fin de siècle Music
• Fantasy and Ballad Principle in Music
• Music Interpretation and Creative Approach to Music Text
• Phenomenon of Fantasy in Arts
• General Theory of Contemporary Arts

TEACHING EXPERIENCES

History of Ancient and Medieval Music, since 2013, Faculty of Music in Belgrade

Description of the course:

The various musical systems that were developed across Mesopotamia, Egypt, India, and China; music in ancient Greece – music and philosophy, poetry, science; music theory and writing; music and tragedy; music in ancient Rome; ancient Jewish music; ancient Islamic music. Medieval music: Ambrosian, Gallican, Mozarabic, and  Old Roman chant; Gregorian chant; Tropes, Sequences, and Liturgical Drama; early medieval polyphony; development of medieval music theory and writing; secular medieval music

History of Serbian music in Romanticism, since 2013, Faculty of Music in Belgrade

Description of the course:

Consideration of the specificity and importance of the creative works of Stevan Mokranjac and Josif Marinković in the context of: 1) the historical, socio-political and cultural upheavals of the 19th century in Serbia; 2) the need to establish a solid foundation of Serbian art music which, based on the inseparable connection to musical folklore, could rapidly compensate those missed phases,or the entire periods in the development of Western European art music, 3) acquisition of conditions for the definitive determination of the nationaldirection of the Serbian art music, and 4) characteristics of individual poetics and their direct or indirect influence on the subsequent Serbian art music.

Fin de siècle Music, since 2014, Faculty of Music in Belgrade

Description of the course:

Defining the concept and the historical period of fin de siècle as the space in-between; consideration of the cultural context and the philosophical and aesthetic endeavours, as well as of “paradigmatic change” which includes general subjectivization and consequent destabilization of knowledge; detecting important phenomena of psychoanalysis; insight into the basic assumptions of the humanities and natural science of the time, and general artistic tendencies. Western European fin de siècle music is observed and interpreted as a musical-historical period with its own peculiarities and separate rights. It is also points to the extreme heterogeneity of the technical repertoire of divergent analytical positions and a plurality of music and music-analytical and psychological theories which appeared the same time. It is specifically discusses and highlights the phenomenon of quite specific experience of time (in musical creation, interpretation, perception and reception) as emergent properties of the music of this period in the opuses of Mahler, Richard Strauss, Reger, Wolf, Debussy, Ravel, Scriabin etc.

OTHER ACTIVITIES

Member of several national and international associations:

• Musicological Society (active member of the Cantus Planus group)
• The International Society for Orthodox Church Music, Serbian Musicological Society (the first president of the Managing Board)
• Composers’ Association of Serbia

Member of:

• International Musicological Society (IMS)
• Serbian Musicological Society (SMS which is a member of International Musicological Society) – she is the former President of the Managing Board
• Managing Board of the Composers’ Association of Serbia (CAS)
• Board of the Matica Srpska Department of Stage Art and Music
• International Advisory Board of the journal for music culture Music, Musicological Society of the Federation of Bosnia and Herzegovina, Sarajevo, FBiH
• Editorial Board of the musicological journal Musical Wave (between 1994 and 2010), Clio, Belgrade
• Editorial Board of the Ars musica Series (between 1994 and 2010), Clio, Belgrade

Participant of the:

• ERASMUS + Programme BE-OPEN Project. Boosting Engagement of Serbian Universities in Open Science
• ERASMUS+ Jean Monnet Мodule Musical Identities and European Perspective: an Interdisciplinary Approach
• TEMPUS Project InMusWB (Introducing Interdisciplinarity in Music Studies in the Western Balkans in Line with the European Perspective)
• International Project on Musical Signification (IPMS)
• International Editorial Board of the Project Ljubljansko glasbeno življenje do 1918 – osebnosti in ustanove, Univerza v Ljubljana, Filozofska fakulteta, Oddelek za muzikologijo, Slovenia
• SUNBEAM Project, Interdisciplinary Doctoral Studies, University of Arts in Belgrade
• National Project Identities of Serbian Music in the World Cultural Context, Department of Musicology, Faculty of Music, University of Arts in Belgrade, Faculty of Music, Belgrade

She contributed to:

• New Grove Dictionary of Music and Musicians (second edition, 1999-2001)
• Grove Music Online (2014)
• TEMPUS Project InMusWB (Introducing Interdisciplinarity in Music Studies in the Western Balkans in Line with the European Perspective)
• Die Musick in Geschichte und Gegenwart (second edition, 1998-2000)
• Serbian edition of Le Grand Larousse Illustré (2010-2011) – she was the editor for music entries (translation and supplementation)
• Serbian Encyclopedia

Visiting professor:

• TEMPUS Project InMusWB ExchangeTeacher at the Department of Musicology, University in Ljubljana (2013)
• Music Academy of the University in Sarajevo (2015)
• ERASMUS + Exchange Teacher at the Lithuanian Academy of Music and Theatre in Vilnius – International staff mobility for teaching (2016)

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Biography

Ana Stefanović, musicologist, full-time professor of Music History at the Faculty of Music, Department of Musicology. Associate researcher at IreMus, Paris. She also teach on the Interdiciplinary Doctoral studies at the University of Arts in Belgrade. She is studied in Belgrade (Faculty of Music, University of Arts /bachelor and master degree/) and Paris (Université Paris-IV Sorbonne, Ph.D. degree). She has published two books and an Anthology and numerous articles in national and international journals in musicology and music theory, as well as in collected papers. She edited several issues of collected papers and organized several international conferences. She is a member of several international and national research projects.

Areas of competence:
• History of music of the 17^th et 18^th centuries
• Baroque opera
• Relationship between music and verbal text
• Theory and analysis of music style
• Musical hermeneutics

Didactic competences:
• History of music of the 17^th et 18^th centuries
• Baroque opera
• Serbian Chant
• Theory and analysis of music style

TEACHING EXPERIENCES

Baroque Music, Instrumental and Vocal Genres , Faculty of Music in Belgrade

Description of the course:

1. Baroque: aesthetic and theoretical assumptions of the emergence of a new style, the causes of breaks in relation to the music of the 16th century (concepts of nuove musiche, stile moderno), as well as the general conditions of stylistic homogeneity of the period; Early Baroque − Monteverdi: from Renaissance to concertato madrigal; 2. Early baroque: instrumental music in Italy (Frescobaldi and contemporaries / music for keyboard instruments and canzona) and Northern Europe (Virginalists / England /; Sweelinck / Netherlands/; 3. Middle Baroque in Italy (genres of sonata da chiesa and sonata da camera, sonata for the ensemble, solo sonata): schools in Bologna, Venice and Modena; 4. Middle and high baroque, concerto grosso and the strengtheningof tonality: the creation of Corelli; 5. The creativity of Antonio Vivaldi (solo concerto and concerto grosso); 6. Oratorio of the Middle Baroque in Italy: composers in Rome (Carissimi), Venice, Modena and Bologna; 7. The chamber cantata of the middle and high baroque in Italy: Rome, Venice, Bologna, Scarlatti and its successors in Naples; 8. Music for harpsichord in Italy in the first half of the 18^th century: Naples school; 9. Music of the 17^th and the first half of the 18^th century in England (consort music, music for keyboard instruments); 10. Music for lute and clavecin in France in 17^th and the first half of the 18th century (style galant); 11. Ecclesiastical music of middle and high Baroque: oratorio and motet in France, ode, anthem and song in England, church cantata in Germany; 12. Organ music in Germany in the second half of the 17^th and early 18^th centuries (three organ schools of the Middle Baroque, choral at the beginning of the 18^th century); 13. Music for the harpsichord in Germany in since 2013; 14. The Middle Baroque (Froberger’s creation); 14. The creation of G. F. Handel; 15. The creation of J. S. Bach.

Baroque Opera, Faculty of Music in Belgrade

Description of the course:

1. Origin of baroque opera in the sixteenth century; 2. The conflict of “old” and “new”: the aesthetic assumptions of the genre of la drama per musica: the rhetorical model of music and the presentation of affections; 3. Florentine camera and opera in Rome at the beginning of the 17^th century; monodic style; 4. Monteverdi’s opera; 5. Venetian opera school: Cavali, Frequent and their contemporaries; representatives of comic opera 6. Scenes genres in the 17^th century in France and their representatives before Lully; 7. Theoretical and creative confrontation of the Italian and French style; 8. Lully: tragédie en musique – comédie ballet – ballet; Lily’s setting of tragedy in music; 9. Opera in England in the second half of the 17^th century (opera of Henry Purcell) and the first half of the 18^th century; 10. French composers of opera and ballet between Lully and Rameau; 11. The Opera of Alessandro Scarlatti; 12. Opera seria and opera buffa: Naples and Venetian schools in the first half of the 18^th century; 13. Baroque “clashes” around the opera: “Alceste conflict” (1674), “conflict between Lilist and Ramiz” (1733), “Buffonist conflict” (1752); the theoretical conception of opera and creation of J. J. Rousseau; the clash of opera aesthetics of Rameau and Rousseau; 14. Ramo’s opera: tragédie lyrique – opéra ballet – comédie ballet; Ramo’s conception of tragedy in music; anticipation of Gluck’s reform; 15. Handel’s Opera: Italian Continuity and Difference to the Naples Opera Series.

Aspects of Musical Style Analysis, Faculty of Music in Belgrade

Description of the course:

Semio-stylistic approaches – general assumptions; Aspects of the relation of style and meaning in contemporary musicological approaches; Rhetorical aspects of musical style; Elements of the relation of style and meaning (topics and theory of topics, functions and meaning of the stylistic feature, relation of syntactic and semantic plane in topical theory); Hermeneutic approachesto music style – general assumptions; Musical style and interpretation of the symbolic field of musical work; Musical sign and symbol: elements of methodological delimitations; Aspects of style and interpretation with contemporary approaches; Theory of tropes and windows; Specific semiotic and hermeneutical aspects of the manifestation of musical style; Style and discourse; Style and text; Style and work; Style and genre; Style and “expression”.

Musical Style and Signification: Narrative and Rhetorical Strategies (course on doctoral studies), Faculty of Music in Belgrade

Description of the course:

Methodologies of narrative analysis: different approaches to narrative analysis in contemporary researches; Connection of narrative programs with stylistic “fields”; Analysis of a narrative chain at more stylistic levels; Rhetorical, topical and modal aspects of musical narrative.

OTHER ACTIVITIES

Member in the project team:
• The Identities of Serbian Music in the Global Cultural Context, 2011-present, Faculty of Music, Belgrade.
• Associate researcher at IreMus, Paris, 2014-present.

Biography

Dr. Dragana Stojanović-Novičić, musicologist, full-time professor at the Department of Musicology of Faculty of Music of the University of Arts in Belgrade, and chair of the Department of Musicology’s Council. She has studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). Stojanović-Novičić also accomplished a postdoctoral specializaton at Paul Sacher Foundation in Basel (Switzerland).She is the author and co-author of several books, many studies in international musicological journals, collective monographs and proceedings of international musicological conferences in Serbia and abroad. Stojanović-Novičić participated at around forty colloquia, symposia and conferences in Serbia, region, Switzerland, United Kingdom, European Union and USA. In 2011 she has contributed (with the article The Carter-Nancarrow Correspondence) to the spring issue of American Music. Dr. Dragana Stojanović-Novičić has taught a course Music of the European Avant-Garde at Bard College in NY, US (2016) as a Fulbright scholar and professor.

Areas of competence:
• History of contemporary Serbian Music
• History of Contemporary European Music (subspecialization: Edgard Varèse),
• History of American Music (subspecialisation: Conlon Nancarrow)
• European Musical Avant-Garde (subspecialisation: Vinko Globokar)

Didactic competences:
• Contemporary European Music
• Serbian and American Music

TEACHING EXPERIENCES

French 20^th-Century Music, 2013-2014, Faculty of Music in Belgrade

Description of the course:

The intention of the course is to offer a survey of the creative results of some of the leading composers of the 20^th century in France. The compositional careers of Edgar Varèse, Olivier Messiaen, Piere Boulez, Iannis Xenakis and Vinko Globokar are included. Some of them (Xenakis and Globokar) were not of the French origin, and some (Varèse) left France and developed a further career in USA.

Serbian Music during Socialist Realism, 2013-2014, Faculty of Music in Belgrade

Description of the course:

A connection between politics and music is especially emphasized. The directions of specific kind of political repression are analyzed. There was an important influence of the cultural orientation of the then USSR. In the first years after the WWII, certain genres were intensively written: cantatas, choral pieces etc.

Serbian Music during Sixties of the 20th Century, 2012-2013, Faculty of Music in Belgrade

Description of the course:

In the sixties, important changes of the musical trends can be detected in Serbian music. Some of the European Avant-Garde features were attractive to many Serbian composers, who were decisive in their wish to act in accordance with current European trends. The musical form, the harmonic language, the genres, all these were under a certain creative “reconstruction”.

OTHER ACTIVITIES

• Lectures on Serbian music at Bard College, New York, April 2009
• Postdoctoral scholarship from Ministry of Science of Republic of Serbia for perfection abroad (2008/2009), Paul Sacher Foundation, Basel, Switzerland
• Grant from Paul Sacher Stiftung, Basel, Switzerland, 2006/2007
• Award from Ministry of Science of Republic of Serbia for best young scholars, 2002

Biography

Vesna Mikić, musicologist, full-time professor at the Department of Musicology of the Faculty of Music of the University of Arts in Belgrade. She studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). Vesna Mikić has more than 20 years of the teaching experience. She thought courses at all degrees of different academic programs, and at different schools in Serbia, Montenegro, Republic of Srpska. To this specific project her skills in teaching popular culture and popular music courses at the doctoral level, as well as her experience in participation in ESC and “New Europe” project (2009-2011), would combine in realization of the unique musicological approach to Eurovision Song Contest in the context of the European studies.

TEACHING EXPERIENCES

Theories of Popular Culture and Arts, since 2005, Faculty of Music in Belgrade

Description of the course:

Theoretical positions ranging from Frankfurt school, via structuralism/poststructualism, postmodernism, media and cultural studies and concerning popular culture phenomena and products are the subject matter of the course.

Popular music – Theories, since 2009, Faculty of Music in Belgrade

Description of the course:

Course deals with various theoretical approaches and issues to the popular music practices of production, distribution, and reception.

Popular music – Genres, since 2012, Faculty of Music in Belgrade

Description of the course:

The course combines historical and cultural contextualization perspectives in studying popular music genres.

Biography

Biljana Leković, musicologist, finished her Master of Musicology in 2008 at the Faculty of Music,
University of Arts, in Belgrade, with the Master’s thesis entitled Modernist project of Pierre Schaeffer. In 2014,
at the same department and faculty, she defended her PhD thesis in musicology entitled Critical musicological research
of the arts of sound: music and sound art (under the supervision of Dr. Vesna Mikic, full-time professor). In 2010 she
became an assistant lecturer at the Department of Musicology, Faculty of Music in Belgrade, and in 2015 an assistant
professor. Her fields of interest include: contemporary music, new media practices, sound art, sound studies, acoustic ecology.

TEACHING EXPERIENCES

Theory and Practice of Media in Musicology, since 2015, Faculty of Music in Belgrade

Description of the course:

Focusing on music and media connection, course mixes media and cultural studies theories with musicological expertise aiming
at critical interpretation of the statuses and functions of musicology in contemporary media culture.

History of Vocal Art, since 2015, Faculty of Music in Belgrade

Description of the course:

The course deals with the concept of vocal art of 20^th century – its context, the most important directions, composing
techniques, vocal techniques, individual creative contributions in the field of vocal and instrumental musical genres.

General Theory of Contemporary Art, since 2015, Faculty of Music in Belgrade

Description of the course:

The course explores a range of theoretical perspectives dedicated to contemporary art and media practices.

Biography

Sonja Marinković, musicologist, full time professor at the Department of Musicology at the Faculty of Music, Belgrade, Serbia, teaches history of music (romanticism, Russian music, Slavic music) and research methodology, as well as in the Department of Interdisciplinary studies at the University of Arts in Belgrade, teaches writing technique of the theoretical and scientific paper (study program: Theory of Arts and Media). She was a guest professor at the several higher education institutions in the country and the region:  Faculty of Music in Prishtina, Faculty of Arts and Philology in Kragujevac (Serbia), Academiy of Fine Arts in Belgrade, Academy of Arts in Banja Luka (Republika Srpska), and Music Academy in Cetinje (Montenegro).Sonja Marinković is a member of Editorial Board of the International Magazin for Music New Sound; Editor-in-chief of magazin Mokranjac; director of XIV and XV Review of Composers in Belgrade (2005–2006). She is engaged in research work concerning the Serbian and Montenegrian history of music of the 19^th and 20^th century, especially dealing with the problem of relation between folklore and composers’ creativity (her doctoral theses was National Music Features in Serbian Music in the First Half of the 20^th Century), as well as the problem of social art, researching methods of Russian musicology (the concept of integral analysis), symphonism (symphonic principle as composing method) and opera dramaturgy.

TEACHING EXPERIENCES

Twenty-Century Opera, since 2011, Faculty of Music in Belgrade

Description of the course:

Opera in 20^th-century music; pro and contra Wagner; death of opera; avant-garde and opera; Russian and Soviet opera; opera and film.

Romanticism – Slavic Music of 19^th Century 1 , since 2008, Faculty of Music in Belgrade

Description of the course:

National schools and national style in the 19^th century music; composer and folklore, Glinka and foundation of Russian music school; Dargomizsky; Czech opera: Smetana; national opera in Poland; South Slaves in the 19^th century music.

Romanticism – Slavic Music of 19^th Century 2, since 2008, Faculty of Music in Belgrade

Description of the course:

Russian music in the second half of the 19^th century (Mussorgsky, Borodin, Rimsky-Korsakov, Tchaikovsky); Czech music (Dvořak, Janáček), Slovak, Serbian, Bulgarian, Croats, Slovenian traditions.

OTHER ACTIVITIES

Member of:
• Member of Editorial board of New Sound. International Journal for Music (1993–present)
• Member of Board of music magazine Mokranjac (2000–2007)
• Member of Board of Composers Association of Serbia (2007–2009)

Other
• Director of The International Review of Composers in Belgrade (2005–2006)
• Editor-in-Chief of music magazine Mokranjac (2007–present)
• Vice-dean for education and science at the Faculty of Music in Belgrade (2007–2009)

Biography

Dragana Jeremić-Molnar, musicologist, full-time professor in the Department of Musicology at the Faculty of Music and in the Department of Interdisciplinary studies (study program: Theory of Arts and Media) at the University of Arts in Belgrade. She also taught music history at the Academy of Arts in Novi Sad and was visiting lecturer at the Belgrade Open School  (module: The Idea of ​​Europe in Art and Literature). Jeremić-Molnar studied in Belgrade (Faculty of Music and Alternative Academic Educational Network) and Munich (Institut für Musikwissenschaft, Ludwig-Maximillian Universität). She is DAAD Alumna. Dragana Jeremić-Molnar is author and co-author of nine books. She has published numerous articles in national and international journals in music, sociology, philosophy, cultural studies and literature, as wall as papers in proceedings of the international conferences in the country and abroad. Recently she has contributed (with the article Adorno, Schubert, Mimesis) to the summer issue of 19^thCentury Music.

Areas of competence:
• History of 19^th-Century Western music
• sociology of music
• aesthetic of music
• applied psychoanalysis, music and politics, with particular emphasis on the long 19^th century in Germany and Austria

Didactic competences:
• Western European music in the first half of 19^th-century
• Opera in 19^th-Century Western Europe
• Opera in 19^th-Century Russia
• (Political) Festivals and Arts.

TEACHING EXPERIENCES

19^th-Century Western European Music, since 2007, Faculty of Music in Belgrade

Description of the course:

Romantic music and 19^th-century music; socio-political context; questions of style; questions of aesthetic – aesthetic of feelings, aesthetic of instrumental music and Wagner’s, Nietzsche’s and Hanslik’s idea of absolute music; Liszt’s idea of programme music; New German school; Ars Galica; dominant compositional techniques – Lisztian motive/thematic transformation, Brahmsian developing variations, French cyclic form; piano music; Lied; symphony; second age of symphony.

Western European Opera in the Second Half of 19^th Century, since 2007, Faculty of Music in Belgrade

Description of the course:

Opera in Germany – the basic postulates of Wagner’s artistic poetics; analysis of differences between his short text “On German Opera” and autobiographical essay “A Communication to my Friends”; Wagner’s understanding of myth; Wagner’s interpretation of Greek dramatic legacy; poetic, dramatic, and musical means of Wagner’s creative process (Verdichtung and Verwirklichung); circumpolar opera world after Wagner.
Opera in Italy – changes in the opera after the revolution(s); place of opera in the emerging unified Italy; Verdi’s “years in the galley“; patriotic discourse in Verdi’s oeuvre; Opera in France – lyric drama; reception of Wagner.

Festivals and Arts, since 2011, Faculty of Music in Belgrade

Description of the course:

Origin, role and types of festivals; the phenomena of festival in the theories of Emil Durkheim, Sigmund Freud, Roger Caillois and René Girard; the festivals in primitive and archaic societies; desacaralization of festival through art; Great Athenian Dionysia; the politicization of the festival; medieval festivals and court ceremonies; regeneration through political festival; festivals and celebrations in revolutionary France; desacaralization of dramatic/artistic festival; Richard Wagner’s Bayreuther Festispiele; the festivals in totalitarian regimes.

19^th-Century Opera and Revolution in European Context , since 2017, Faculty of Music in Belgrade

Description of the course:

Revolutionary politics of liberals in 1830: France and Netherlands; Revolutionary politics of radical republicans in 1848/1849: France and Germany; Revolutionary opera in Paris and Bruxelles (1830): Auber’s La Muette de Portici; Wagner’s Reception of Auber’s La Muette de Portici; Revolutionary opera in nuce in Dresden (1848/1849): Wagner’s Siegfrids Tod; Revolutionary consequences of right-wing extremist politics in German Reich; Wagner’s Der Ring des Nibelungen in Bayreuth 1876: German and European Context; Wagner’s Parsifal in Bayreuth 1882: German and European Context.

OTHER ACTIVITIES

Member in the project team:
• Serbian Music and European Music Heritage, Faculty of Music, Belgrade, Serbia. 2001-2005.
• European Identity in the Modern World, Inter-University Centre, Dubrovnik, Croatia. 2002.
• World Chronotopes of Serbian music, Faculty of Music, Belgrade, Serbia. 2006-2010.
• Politics of Social Memory and National Identity: Regional and European Context, Institute for Philosophy and Social Theory, Belgrade, Serbia. 2011.
• Jean Monnet Module “Music Identities and European Perspective – an Interdisciplinary Approach“, Faculty of Music, Belgrade, Serbia. 2014-2017.
• The Identities of Serbian Music in the Global Cultural Context, Faculty of Music, Belgrade, Serbia. 2011-present

Biography

Nevena Daković, PhD in drama arts, full-time professor of Film Theory (Department of History and Theory of Faculty of Drama Arts of the University of Arts in Belgrade. ). Nevena Daković studied in Belgrade (Faculty of Drama Arts,University of Arts /bachelor, master and PhD degree/; Faculty of Philology /Group for Comparative Literature/, University of Belgrade /bachelor degree/). Currently, she is the Head of PhD Studies of Dramatic Arts, Media and Popular Culture at Faculty of Drama Arts and of the Interdisciplinary PhD Art and Media.

Areas of competence:
• Film theory
• Method of the Film Analysis
• Film and Screen media studies

TEACHING EXPERIENCES

FILM THEORY 1-4, undergraduate studies

Description of the course:

History of the film theories and main theories (linguistic, aesthetics, psychoanalysis, semiotic).

METHODS OF THE FILM ANALYISIS, MA course

Description of the course:

Main methods of the film analysis is /the analysis of the film  texts.

FILM AND SCREEN MEDIA STUDIES, PhD course

Description of the course:

Development of film  studies, main trends and domains,  with the focus on screen media and theories of hypertext and digitext.

OTHER ACTIVITIES

Memberships:
• Member of the Senate of the University of Arts, 2015
• Member of the Advisory Board of Routledge Remapping World Cinema: Regional and Global Transformations, 2016
• COST Action IS1203 In search of transcultural memory in Europe-MC substitute, 2013-201.
• COST Action IS 1007 Investigating Cultural Sustainability, 2011-2015.
• Member of the Advisory Board of the journal Studies in Eastern European Cinema, 2010-present
• Member of the Council of the University of Arts in Belgrade, 2010-2015
• Head of the project Identity and Memory: TransculturalTexts of Dramatic Arts and Media (Serbia 1989–2014) (Ministry of Education, Science and Technological Development of Serbia), 2010-2015.
• WFP Women Film Pioneer University of Columbia, USA, 2008-present
• Member of the Scientific Council for Languages and Literature, Ministry of Education, Science and Technological Development of Serbia, 2000-2017.
• Head of Belgrade`s team and member of the consortium of Coordinator of the Tempus CD JEP 18086 – 2003 Assisting Democracy – Restructuring Postgraduate Programs in Art and Media (Consortium members: University of Malmö, University of Edinburgh and University of Sienna)

International courses, lectures and grants:
• The Ninth Circle La Shoah en Europe du Sud-Est 1941-1945 (Serbie, Croatie et Bosnie-Herzégovine), 2014
• Cinematic Memories: Between Trauma and Nostalgia, University of Vienna, Institut für Slawistik, 2012.
• Parallels to Native Dispossession in Eastern Europe, Alpbach FORUM, Seminar: Dispossession and the Search for Justice and Identity in Native American Literature and Film, 2011
• Belgrade`s Cityscape, Balkan Studies, MA Program, University of Vienna, 2011
• Images from the Fringes, Balkan Studies, MA Program, University of Vienna
• Melodrama, ISH, MA program, Ljubljana, 2003-2007
• Syllabi Reform Art and Media Studies University of Oslo, 2000
• Imagining the Balkans MA Course, Bilgi University, Istanbul, 2000

Biography

Nikola Šuica, art historian, full-time professor and Head of Department for Theory, Faculty of Fine Arts Belgrade. His research interest is based on imagery related to remembrance and memory within art historical concerns, both regional and global. He focuses on early Modernism and contemporary Arts relate to the impact of media disciplines. Nikola Šuica studied in Belgrade (Faculty of Philosophy Department of Art History /bachelor degree/; University of Arts /PhD degree/) and Warwick, Great Britany (Univesrityof Warwick /Master studies of International Performance Research/. Šuica had numerous public lectures and presentations relevant for the civil society, contributions to the programmes of The British Council in Belgrade, Cinema Rex Radio B92, Center for Cultural decontamination, Jewish community Belgrade; Instituto Cervantes, Goethe Institute Belgrade. He was a participating member of Outside Project Studio Arts Center International workshops with several lectures in Florence 2005–2009.

Areas of competence:
• Art of Remembrance and Archiving
• Holocaust and memorialisation in Arts
• Video and Photography ambient settings
• Writing for radio and screen

TEACHING EXPERIENCES

Archive in Modern and Contemporary Visual Arts, 2016

Description of the course:

One semester course envisaged for master students of the final year of Faculty of Fine Arts. Consists of a survey of tracing the origin of the changing facets of archiving as an artistic but also academic discipline that became a contemporary cultural phenomenon.

Artistic Modernism within National Framework: Causes and Effects, 2016

Description of the course:

Survey of a case studies of visual arts of South Slavic region held in interpretative range of cultural and theoretical approach. The timeline between modernism and current state of arts and social and psychological interpretations is displayed inside selected media outcomes.

Phenomena of Artistic and Cultural Contemporaneity, 2015

Description of the course:

Course for students of doctoral artistic research of Faculty of Fine Arts covers up and examines subjects, habits, and procedures in the recent last two decades of artistic autonomy, especially its European origin and transformations.