No abstract

The question of the relation between the written and oral media of communication finds its application not only in linguistics, but also in philosophy, sociology, ethnology and other areas. Other possibilities for applying this theory in musicology were noted some fifty years ago, but when it comes to church music, such issues have not yet been subject to wider examination. This text considers the musicological implications of orality, literacy and "secondary literacy" in the collection of Serbian church chant transcribed and published by Stevan Stojanović Mokranjac. Psychodynamic elements of the oral-written/ literal paradigm, with a special emphasis on the latter, are analyzed, with the aim of defining a different context for the understanding of Mokranjac's specific approach to chanting tradition.

Уни вер зи тет у Кра гу јев цу, Фи ло ло шко-умет нич ки фа кул тет Јо ва на Цви ји ћа б.б., Кра гу је вац, Ср би ја bi lja na.man

In this paper we deal with Kosta Manojlović's engagement in the field of church music education, especially within curricula of the Pravoslavno-bogoslovski fakultet [Faculty of Orthodox Theology] in Belgrade, aiming to answer two research question: one, regarding different aspects of Manojlović's work at the between 1923 and 1937, and the other, dealing with ways in which his writings on the Serbian Orthodox church music were affected by the historical, social, and cultural milieu of the interwar period. An analysis of Manojlović's teaching catalogues for the Faculty of Orthodox Theology between 1923/24 and 1936/37, showed three basic models in syllabus organisation: in his early teaching career, he was teaching two subjects "Octoechos" and "History of Serbian Orthodox Church Singing Church Choral Music" (in 1923/24); as mid-career teacher (between 1924/25 and 1934/35) he was teaching "Octoechos" and "Strano pjenije", while in the last years spent at the school Manojlović's teaching subjects were "History of Church Music" and "Octoechos and General Chant". However, the most important aspects of Manojlović's teaching philosophy are not available in syllabus of his courses. For that reasons, we turned to his published writings, having in mind his plans for introducing more research tools into curricula of the Faculty of Orthodox Theology. He advocated the introduction of scientific methods: in his opinion, this was the only acceptable and credible method for an academic approach to Serbian sacred music. Among many subjects in the field of Serbian Orthodox music, Kosta P. Manojlović wrote about the relevance of Serbian medieval literature, and he was one of the first authors who recognized the importance of this subject for expanding the horizon of otherwise modest knowledge of medieval music. We explain the ways in which some of his readings of the genre of žitije (vita), the life of a saint, were influenced by the discourse of svetosavlje and the idea of emphasizing the ethnic as part of the Christian, without taking into account the process of idealization, which is a canonical element of the genre of žitije. The picture of Kosta Manojlović's teaching practice presented in this article is generally more detailed and enriched with new data and analysis of certain aspects of his work. Unfortunately, it was not possible to follow the long-term effects of his interventions and actions at the Univerzitet u Beogradu [University of Belgrade] as the Faculty of Orthodox Theology was split from the University in 1952. Manojlović had the difficult task of building his career as a university teacher in an environment that was not always supportive of his efforts, especially when it came to his integration of research into teaching, but he did accomplish his task by integrating his knowledge, acting and being. His integration of research and practical work in the field of Serbian chant, even if we may not agree with all his conclusions, was visionary and is still a valid, and the most preferred, approach to the subject.

A legendary figure not only in Serbian musicology but on a much broader scale, Roksanda Pejović celebrates her 85 th birthday this year. Now, after almost six decades of a dedicated pursuit of musicology, we are talking to her about her perceptions of her education, key figures in her professional life, her career, scholarly work, as well as some personal questions.Her tirelessness in studying the musical past and publishing her research results is perhaps best illustrated by the fact that over the last ten years alone, Pejović published as many as ten books. The topics of her research range from the general history of music, via the iconography of musical instruments from medieval Serbia (both in Serbian and English), Serbian music performance in the interwar period, to writing on Serbian music, MUSICOLOGIST SPEAKS