{"id":1816,"date":"2025-04-10T20:01:33","date_gmt":"2025-04-10T18:01:33","guid":{"rendered":"https:\/\/cs-embe.ro\/nr-7-1-2023\/retrospections-and-reflections-of-the-ethnomusicological-work-of-vlad%d0%be-s-milosevic\/"},"modified":"2025-06-03T22:48:29","modified_gmt":"2025-06-03T20:48:29","slug":"retrospections-and-reflections-of-the-ethnomusicological-work-of-vlad%d0%be-s-milosevic","status":"publish","type":"page","link":"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/retrospections-and-reflections-of-the-ethnomusicological-work-of-vlad%d0%be-s-milosevic\/","title":{"rendered":"RETROSPECTIONS AND REFLECTIONS OF THE ETHNOMUSICOLOGICAL WORK OF VLAD\u041e S. MILO\u0160EVI\u0106"},"content":{"rendered":"

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Dragica PANI\u0106 KA\u0160ANSKI:<\/strong> RETROSPECTIONS AND REFLECTIONS OF THE ETHNOMUSICOLOGICAL WORK OF VLAD\u041e S. MILO\u0160EVI\u0106<\/p>\n

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DOI: 10.63702\/csembe.2024.1.7.11<\/strong><\/p>\n

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Keywords: <\/strong>Days of Vlado S. Milo\u0161evi\u0107; Musicological Society of the Republic of Srpska; Tradition on Stage;
<\/strong><\/p>\n

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Abstract:
<\/strong>Vlado Milo\u0161evi\u0107 is a complex creative personality of the 20th century, who devoted his entire working life to music. History remembers him as an ethnomusicologist, visionary, erudite and educator, composer, pedagogue and choirmaster. Such a rich activity was based on an understanding of musical roots, rich research fieldwork, melographing and ethnomusicological analysis of urban and rural music. Along with the study of folk music heritage, he studied and knew the creative and performance principles of Western European music. This approach created the conditions for his artistic contribution. The Academy of Arts of the University of Banja Luka and the Musicological Society of the Republic of Srpska, on the occasion of celebrating the centenary of his birth, founded the “Days of Vlado Milo\u0161evi\u0107” 25 years ago. The purpose of his complex multi-day manifestation is the promotion and development of artistic and scientific creativity, the preservation of tradition through the figure and work of this great men, but also the promotion of contemporary creativity. Also, this paper deals with other projects and programs that represent retrospections and reflections of Milo\u0161evi\u0107’s ethnomusicological and other creativity in the context of tradition as inspiration.<\/p>\n

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References:
<\/strong>– \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0412\u043b\u0430\u0434\u043e, (1954) \u0411\u043e\u0441\u0430\u043d\u0441\u043a\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u0435 \u043f\u0458\u0435\u0441\u043c\u0435 I, \u041d\u0430\u0440\u043e\u0434\u043d\u0438 \u043c\u0443\u0437\u0435\u0458 (\u041e\u0434\u0458\u0435\u0459\u0435\u045a\u0435 \u0437\u0430
\u043c\u0443\u0437\u0438\u0447\u043a\u0438 \u0444\u043e\u043b\u043a\u043b\u043e\u0440) \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0412\u043b\u0430\u0434\u043e, (1956) \u0411\u043e\u0441\u0430\u043d\u0441\u043a\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u0435 \u043f\u0458\u0435\u0441\u043c\u0435 II, \u041d\u0430\u0440\u043e\u0434\u043d\u0438 \u043c\u0443\u0437\u0435\u0458 (\u041e\u0434\u0458\u0435\u0459\u0435\u045a\u0435 \u0437\u0430
\u043c\u0443\u0437\u0438\u0447\u043a\u0438 \u0444\u043e\u043b\u043a\u043b\u043e\u0440) \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0412\u043b\u0430\u0434\u043e, (1961) \u0411\u043e\u0441\u0430\u043d\u0441\u043a\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u0435 \u043f\u0458\u0435\u0441\u043c\u0435 III, \u041d\u0430\u0440\u043e\u0434\u043d\u0438 \u043c\u0443\u0437\u0435\u0458 (\u041e\u0434\u0458\u0435\u0459\u0435\u045a\u0435 \u0437\u0430
\u043c\u0443\u0437\u0438\u0447\u043a\u0438 \u0444\u043e\u043b\u043a\u043b\u043e\u0440) \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0412\u043b\u0430\u0434\u043e, (1959) \u041a\u0440\u0430\u0458\u0438\u0448\u043a\u0435 \u0431\u043e\u0440\u0431\u0435\u043d\u0435 \u043f\u0458\u0435\u0441\u043c\u0435, \u041d\u0430\u0440\u043e\u0434\u043d\u0438 \u043c\u0443\u0437\u0435\u0458 \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0412\u043b\u0430\u0434\u043e, (1961) \u041a\u0440\u0430\u0458\u0438\u0448\u043a\u0435 \u0431\u043e\u0440\u0431\u0435\u043d\u0435 \u043f\u0458\u0435\u0441\u043c\u0435 II, \u041d\u0430\u0440\u043e\u0434\u043d\u0438 \u043c\u0443\u0437\u0435\u0458 \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0412\u043b\u0430\u0434\u043e, (1964) \u0411\u043e\u0441\u0430\u043d\u0441\u043a\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u0435 \u043f\u0458\u0435\u0441\u043c\u0435 IV, \u041d\u0430\u0440\u043e\u0434\u043d\u0438 \u043c\u0443\u0437\u0435\u0458 (\u041e\u0434\u0458\u0435\u0459\u0435\u045a\u0435 \u0437\u0430
\u043c\u0443\u0437\u0438\u0447\u043a\u0438 \u0444\u043e\u043b\u043a\u043b\u043e\u0440) \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0412\u043b\u0430\u0434\u043e, (1964) \u0421\u0435\u0432\u0434\u0430\u043b\u0438\u043d\u043a\u0430, \u041d\u0430\u0440\u043e\u0434\u043d\u0438 \u043c\u0443\u0437\u0435\u0458 \u0411\u043e\u0441\u0430\u043d\u0441\u043a\u0435 \u043a\u0440\u0430\u0458\u0438\u043d\u0435, \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0412\u043b\u0430\u0434\u043e, (1984) \u0420\u0430\u0432\u043d\u0430 \u043f\u0458\u0435\u0441\u043c\u0430, \u041d\u0430\u0440\u043e\u0434\u043d\u0438 \u043c\u0443\u0437\u0435\u0458 \u0411\u043e\u0441\u0430\u043d\u0441\u043a\u0435 \u043a\u0440\u0430\u0458\u0438\u043d\u0435, \u0411\u0430\u045a\u0430
\u041b\u0443\u043a\u0430
– \u0414\u0435\u0432\u0438\u045b, \u0414\u0440\u0430\u0433\u043e\u0441\u043b\u0430\u0432, (1976) \u201c\u0412\u043b\u0430\u0434\u043e \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b- \u043c\u0435\u043b\u043e\u0433\u0440\u0430\u0444 \u0438 \u0435\u0442\u043d\u043e\u043c\u0443\u0437\u0438\u043a\u043e\u043b\u043e\u0433\u201d, \u0443:
\u041f\u0443\u0442\u0435\u0432\u0438, \u0447\u0430\u0441\u043e\u043f\u0438\u0441 \u0437\u0430 \u043a\u045a\u0438\u0436\u0435\u0432\u043d\u043e\u0441\u0442 \u0438 \u043a\u0443\u043b\u0442\u0443\u0440\u0443. XXII\/5
– \u0420\u0438\u0441\u043e\u0458\u0435\u0432\u0438\u045b, \u0420\u0430\u043d\u043a\u043e, (1976), \u201e\u0411\u0438\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0430 \u0412\u043b\u0430\u0434\u0435 \u0421. \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b\u0430\u201c, \u041f\u0443\u0442\u0435\u0432\u0438, \u0447\u0430\u0441\u043e\u043f\u0438\u0441 \u0437\u0430
\u043a\u045a\u0438\u0436\u0435\u0432\u043d\u043e\u0441\u0442 \u0438 \u043a\u0443\u043b\u0442\u0443\u0440\u0443 XXII, \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430, 427\u2212475.
– \u041a\u0435\u045a\u0430\u043b\u043e\u0432\u0438\u045b, \u041c\u0438\u043b\u043e\u0440\u0430\u0434, (2002), \u0412\u043b\u0430\u0434\u043e \u0421. \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b \u0415\u0442\u043d\u043e\u043c\u0443\u0437\u0438\u043a\u043e\u043b\u043e\u0433, \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430,
\u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0458\u0430 \u0443\u043c\u0458\u0435\u0442\u043d\u043e\u0441\u0442\u0438
– \u010cavlovi\u0107, Ivan,(2011\u0430), \u201eKompozitorstvo u Bosni i Hercegovini\u201c, u: Muzika, XV\/2 (38),
Sarajevo, 36\u221254.
– \u041f\u0443\u043f\u0430\u0446, \u0421\u0430\u045a\u0430, (2014\u0430), \u0416\u0438\u0432\u043e\u0442 \u043f\u0440\u043e\u0442\u043a\u0430\u043d \u043d\u043e\u0442\u0430\u043c\u0430 \u2212 \u0412\u043b\u0430\u0434\u043e \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0458\u0430
\u0443\u043c\u0458\u0435\u0442\u043d\u043e\u0441\u0442\u0438, \u0408\u0423 \u041c\u0443\u0437\u0435\u0458 \u0420\u0435\u043f\u0443\u0431\u043b\u0438\u043a\u0435 \u0421\u0440\u043f\u0441\u043a\u0435, \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u041f\u0443\u043f\u0430\u0446, \u0421\u0430\u045a\u0430,(2014\u0431), \u201e\u0417\u0430\u043e\u0441\u0442\u0430\u0432\u0448\u0442\u0438\u043d\u0430 \u0430\u043a\u0430\u0434\u0435\u043c\u0438\u043a\u0430 \u0412\u043b\u0430\u0434\u0435 \u0421. \u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b\u0430 \u0441\u0430\u0433\u043b\u0435\u0434\u0430\u043d\u0430
\u043a\u0440\u043e\u0437 \u043d\u043e\u0442\u043d\u0443 \u0433\u0440\u0430\u0452\u0443, \u043a\u043e\u0458\u0430 \u0441\u0435 \u0447\u0443\u0432\u0430 \u0443 \u041c\u0443\u0437\u0435\u0458\u0443 \u0420\u0435\u043f\u0443\u0431\u043b\u0438\u043a\u0435 \u0421\u0440\u043f\u0441\u043a\u0435\u201c, \u0443: \u0412\u043b\u0430\u0434\u043e \u0421.
\u041c\u0438\u043b\u043e\u0448\u0435\u0432\u0438\u045b, \u0435\u0442\u043d\u043e\u043c\u0443\u0437\u0438\u043a\u043e\u043b\u043e\u0433, \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0442\u043e\u0440 \u0438 \u043f\u0435\u0434\u0430\u0433\u043e\u0433 \u2013 \u0422\u0440\u0430\u0434\u0438\u0446\u0438\u0458\u0430 \u043a\u0430\u043e
\u0438\u043d\u0441\u043f\u0438\u0440\u0430\u0446\u0438\u0458\u0430, \u0422\u0435\u043c\u0430\u0442\u0441\u043a\u0438 \u0437\u0431\u043e\u0440\u043d\u0438\u043a, \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430: \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0458\u0430 \u0443\u043c\u0458\u0435\u0442\u043d\u043e\u0441\u0442\u0438,
\u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0458\u0430 \u043d\u0430\u0443\u043a\u0430 \u0438 \u0443\u043c\u0458\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u0420\u0421, \u041c\u0443\u0437\u0438\u043a\u043e\u043b\u043e\u0448\u043a\u043e \u0434\u0440\u0443\u0448\u0442\u0432\u043e \u0420\u0421, 374\u2212387
– \u0421\u0430\u045a\u0430 \u041f\u0443\u043f\u0430\u0446, (2019), \u0417\u0430\u0431\u043e\u0440\u0430\u0432\u0459\u0435\u043d\u0438 \u0437\u0432\u0443\u043a \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u0438\u0445 \u043c\u0443\u0437\u0438\u0447\u043a\u0438\u0445 \u0438\u043d\u0441\u0442\u0440\u0443\u043c\u0435\u043d\u0430\u0442\u0430,
\u041c\u0443\u0437\u0435\u0458 \u0420\u0435\u043f\u0443\u0431\u043b\u0438\u043a\u0435 \u0421\u0440\u043f\u0441\u043a\u0435, \u0411\u0430\u045a\u0430 \u041b\u0443\u043a\u0430
– \u0414\u043e\u0434\u0438\u043a, \u0421\u0430\u043d\u0434\u0430, (2024) \u0424\u0435\u0441\u0442\u0438\u0432\u0430\u043b \u041c\u0443\u0437\u0438\u0447\u043a\u0438 \u0435\u0434\u0438\u043a\u0442 \u0443 \u041d\u0438\u0448\u0443, \u0443: \u041d\u043e\u0432\u0430 \u0421\u0442\u0432\u0430\u0440\u043d\u043e\u0441\u0442, \u0411\u0430\u045a\u0430
\u041b\u0443\u043a\u0430, 125-129<\/p>\n

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Dragica PANI\u0106 KA\u0160ANSKI: RETROSPECTIONS AND REFLECTIONS OF THE ETHNOMUSICOLOGICAL WORK OF VLAD\u041e S. MILO\u0160EVI\u0106DOI: 10.63702\/csembe.2024.1.7.11Keywords: Days of Vlado S. Milo\u0161evi\u0107; Musicological Society of the Republic of Srpska; Tradition on Stage;Abstract:Vlado Milo\u0161evi\u0107 is a complex creative personality of the 20th century, who devoted his entire working life to music. History remembers him as an ethnomusicologist, visionary, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1501,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-1816","page","type-page","status-publish","hentry"],"yoast_head":"\nRETROSPECTIONS AND REFLECTIONS OF THE ETHNOMUSICOLOGICAL WORK OF VLAD\u041e S. 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