Tekst je posvećen zaostavštini kompozitora Mihovila Logara koja je pohranjena u Odboru za zaštitu srpske muzičke baštine SANU. Krajem 2018. godine, članovi i saradnici Odbora postigli su dogovor sa Logarovom porodicom i naslednicima zaostavštine i autorskih prava -ćerkom Svetlanom i sinom Mihovilom -i potpisali ugovor o poklanjanju ove građe Odboru. Tom prilikom, Odboru su na čuvanje, sa idejom dalje prezervacije, pripali rukopisi, štampane partiture i kopije Logarovih kompozicija. U pitanju su dela različitih žanrova: solistička (kompozicije za klavir, flautu, gitaru), solo pesme, horska, kamerna, koncertna, orkestarska i scenska muzika (opere, balet, muzika za pozorište). Ovaj tekst ima za cilj da predstavi ovu građu široj naučnoj javnosti u godini obeležavanja godišnjice rođenja Mihovila Logara, te najavi njenu digitalizaciju u saradnji sa Audiovizuelnim arhivom i centrom za digitalizaciju SANU, koja će ovaj vredan materijal približiti kako istraživačima i proučavaocima, tako i zainteresovanoj publici svih profila. Poseban doprinos ovog rada dat je u vidu kompletnog i detaljnog popisa svih jedinica iz Logarove zaostavštine u Odboru.

The interwar period brought about a number of modernist tendencies in the heterogeneous cultural context of the Kingdom of Yugoslavia, which is particularly salient in the works of the young composers belonging to the so-called "Prague group." Having completed their studies, dozens of composers and conductors, including Ljubica Marić (1909-2003), Stanojlo Rajičić (1910-2000) and Milan Ristić (1908-1982) contributed to the establishment of the new movement in the conservative milieu of interwar Belgrade. After World War II, socialist realism became, in effect, the only approved style for the artists of the period. However, only a decade after the Tito-Stalin split, modernist tendencies reappeared fullblown in the output of Yugoslav composers. It is therefore of the greatest interest to analyse and present the way in which modernist music managed to find its way back to Yugoslav composers, performers and audiences in such a short period of time (the 1950s). To do so, we have chosen three piano concertos, written at the very beginning, in the middle, and at the very end of this period. This overview

Franz Liszt's cosmopolitan spirit, extroverted character and philosophical approach to creation are fully evident in his compositions. In contrast, the opus of his close friend Charles-Valentin Alkan, the relatively neglected "Berlioz of the Piano", shows the traces of his introverted and seemingly misanthropic temperament. In the 19 th century, the solo concerto acquired new characteristics, reflected both in the performer's technique and in the general creative approach. It is generally known that Liszt's Piano Concerto No. 1 in E-Flat Major is an important evolutionary step forward in this genre, while Alkan's Concerto for Solo Piano represents a cross-genre hybrid of a kind. In this paper we will attempt to answer the question whether it is possible to find common ground between these two extraordinary composers, and if so, determine what it is. In addition, we will try to identify the reciprocal influences between them, the existence of which might be inferred from the historical and biographical data.

After the October Revolution, the Russian tradition of spiritual and folk choral singing was introduced to the whole world by the active work of choirs that appeared in exile. The Don Cossack Choir Sergei Jaroff and the Metropolitan Choir of Alexander Nevsky Cathedral in Paris under Nikolai Afonsky, were two unique choirs that stood out over time. During the interwar period Jaroff?s Choir performed ten times in Belgrade with great success. The capital?s press announced them with great enthusiasm and the first Belgrade concert attracted the attention of significant critics such as Miloje Milojevic, Branko Dragutinovic,Viktor Novak, Jovan Dimitrijevic and Petar Bingulac. The day after their first concert in Belgrade in January 1929, The Don Cossack Choir Serge Jaroff attended a reception at the King Alexander?s Court, who honored them on this occasion. The study of their performances in the 1920s and 1930s in Belgrade is based on domestic periodicals of that time and archival material from the Archives of Yugoslavia.

The Association of Serbian Singing Societies in Sombor started the magazine ?Gusle? in May 1911. It was a monthly magazine with each issue sixteen pages long. In the introductory place in each issue ?Gusle? brought extensive texts dedicated to the problems in the work of Serbian singing societies. One column followed the work of the Association, and one brought news from the life of singing societies. The magazine was concluded by notes and advertisements. The out?break of the First World War stopped the publication of this magazine. The last issue was published in April 1914. This is the first study dedicated to the magazine ?Gusle?, its structure, content and ideological profile. In the appendix, the paper brings an integral bibliography of the journal, which did not exist until now.