This paper deals with the problem of the treatment of traditional music at the Dragačevo Trumpet Festival, one of the most important folk music festivals in Serbia. In over half a century of its existence, the Festival has developed from a local event into an international spectacle with a programme scheme which reflects the growing tendency towards multiculturalism, also obvious at the national contest, which refers conceptually to the national folk music tradition. The effects of 'festivalization' are analysed on the example of the 50 th contest (2010), as a paradigm of the modern treatment of the folk music tradition at the Festival. The complexity of the web of the Festival's protagonists (musicians, organizers, the members of the jury, the audience), requires a consideration of the issue through different domains which represent their participation in the (re)creation of tradition.

Since 1964, the Institute of Musicology of the Serbian Academy of Sciences and Arts has been cherishing the official archive of the academician Ljubica Jankovic, ethnochoreologist, which originates from her service at the Ethnographic Museum in Belgrade (1939-1951). The legacy contains documentation about the activity of the Folk Dance Section of the Ethnographic Museum in Belgrade, and extensive data on folk dances in Yugoslavia from the first half of the twentieth century. This paper presents part of the archival documentation relating to the establishment and activity of the Folk Dance Section. It was the first state institution to collect primary and secondary research sources relating to folk dance structure and to the social context of a rural dance practice. Apart from that, it was the institution for education on folk dance preservation and staging. The focus of the paper is on the fundamental documents of ethnochoreological cultural and research policy in Serbia, manuscripts The Draft for Work at the Folk Dance Section of the Ethnographic Museum in Belgrade [Nacrt za rad u Otseku narodnih igara pri Etnografskom muzeju u Beogradu] (1939) and The Program for Work at the Department for Intangible Culture with the Sections: 1) Folk Dances and Folk Music; 2) Folk Literature; 3) Folk Art and Ornamentation; 4) Folk Customs and Religion; 5) Folk Medicine [Program rada u Odeljenju za duhovnu kulturu sa Otsecima: 1) za narodne igre i narodnu muziku; 2) za narodnu knjizevnost; 3) za narodnu likovnu umetnost i ornamentiku; 4) za narodne obicaje i veru; 5) za narodnu medicinu] (1946). The aim of this study is to contribute to the history of ethnochoreology in Serbia by introducing the ideas of Ljubica Jankovic concerning folk dance research and preservation strategies because of their importance for the interpretation of numerous ethnochoreological and ethnomusicological theoretical and analytical results, mostly achieved in cooperation with her sister, Danica Jankovic. In addition, we indicate the applicability of the first official ethnochoreological ideas for current folk dance research in Serbia. [Projekat Ministarstva nauke Republike Srbije, br. 177004: Identiteti srpske muzike od lokalnih do globalnih okvira: tradicije, promene, izazovi]

Phonographic recordings made on wax plates by composer Kosta P. Manojlovic and ethnologist Borivoje Drobnjakovic from 1930 to 1932 represent the oldest collection of field sound recordings in Serbia. The biggest part of the collection is preserved at the Institute of Musicology SASA. In 2017 digitalization of the recordings from those plates was completed, which made the sound content of the collection finally available to researchers. This paper presents and analyses the collection as an anthology of historical sound documents, as an incentive for contemporary ethnomusicological research and as an addition to studying the history of ethnomusicology in Serbia. After an elaboration on the prehistory of documentary field recordings of traditional music, it has been pointed to procurement of a phonograph for the Ethnographic Museum in Belgrade in 1930. There were two major expeditions, organized in 1931 and 1932 in what was then known as ?Southern Serbia?, administratively the Vardar Banovina, a province of the Kingdom of Yugoslavia (now Republic of Macedonia and the Autonomous Province of Kosovo and Metohija of the Republic of Serbia). 180 plates were made, less than a third by Drobnjakovic, and all the others by Manojlovic. Further recordings were suspended due to certain problems with masters printing; even some later attempts of dubbing did not give a complete solution. In 1964 the Institute of Musicology SASA was given an incomplete collection. Today it is comprised of 140 wax plates. It has been pointed that, primarily, traditional secular music was recorded, followed by few examples of church music. The collection is represented by the acoustic source, performance formation, repertoire, genre, style. Additionally, gender, age and professions of the singers and players were also discussed. It has been pointed to the potentials of the collection and its relevancy for the research of music and identity relation, music and migration relation, for studies of heritage and activities at the field of preserving traditional music. Given the specificity of the area from which the collection predominantly originates, it can have a significant value for social engagement in overcoming conflicts with music. Finally, the attainability of wax plates now serves as an incentive for reassessing the role of Kosta P. Manojlovic in cultural history and research of traditional music in Serbia and in the region.

In this paper, learning to sing with the accompaniment of the gusle is reconsidered within the concept of the preservation of traditional folk music as an intangible cultural heritage, that is, as a specific form of music education. Having dealt with a traditional way of providing continuity in the practice of guslars` (i. e. gusle players) - which is learning by observing and imitating more experienced family members or guslars from nearby surrounding - some crucial moments in the history of singing with the accompaniment of the gusle, which also influenced the process of transmitting this skill, are demonstrated. In recent times, singing with the accompaniment of the gusle has been mastered not only within family circles but also in associations of guslars, at private schools of music, and lately there has also been an opportunity to learn this skill at some state schools of music. Accordingly, interviews with the members of an Association of guslars association that is particularly distinguished by the fostering young guslars, and interviews with gusle teachers and pupils who attend schools of music were used as primary sources for this paper, together with the specific experience of the author as a president of the jury in a young guslars? competition. Since the poetic content of the songs is primarily learnt from printed collections or audio recordings, future guslars in fact master the musical skills of playing and singing along the instrument, that is, the skill of the vocal interpretation of a chosen written poetic text. Concerning these, some programmes and methods are discussed, as well as their effects on young guslars? competence, principally from the point of style and aesthetics. Attention is particularly drawn to flaws in the teaching concept of future gusle players at state schools of music. In conclusion, the necessity of applying ethnomusicological findings to activities concerning the preservation of an intangible cultural heritage, in other words, the necessity of including teams of professionals in reforming the educational system and national cultural policy is established.

Оригинални научни рад Д a н к а Ла ј и ћ М и х а ј л о в и ћ и Ми р ја н а З а к и ћ * 1 Овај текст резултат је рада на пројектима Идентитети српске музике од локалних до глобалних оквира: традиције, промене, изазови (бр. 177004), Музиколошког института САНУ, као и Музичка и играчка традиција мултиетничке и мултикултуралне Србије (бр. 177024), Факултета музичке уметности у Београду, финансираних од стране Министарства за просвету и науку Републике Србије.