Manolis Kalomiris (1883-1962), the leader of the Greek National School of composers, continuously sought to express his ideas through both music and words. This paper examines the formation of his ideology up to 1910, focusing on his writings (articles, the 1908 “program-manifesto”) and his orchestral Romeic Suite (1907/1910). Musical and textual co-examination under semantic codes reveals external influences, symbolic meanings, and ideological identity of the composer and his work. It is asserted that within the historical context of the early 1910s, Kalomiris used intertextual discourse to convey his ideological codes to Greek literary, political, and musical audiences of the time.
This paper analyses the radiophonic work Lacrimosa (1993) by Serbian composer Ivana Stefanovic (1948-). More specifically, the work is interpreted from several thematic cores, as it addresses antiwar protests, exile, and motherhood, while echoing the lament as practice of expressing grief and loss. These topics are shaped in the framework of radio art, using various sound sources as building materials, from archive and field recordings to quotations of well-known music pieces. The interpretation of these interpolated materials is framed by the accounts on the creation and reception of the piece.
This study investigates the genesis and development of a popular music style, Serbian gypsy jazz, utilizing Radoslav & Dstrok;oki & cacute;'s sociological theory of cultural hybrids and paradigmatic transformations. This theoretical framework is already established in Serbian ethnomusicology and musicology. In the Serbian context, the term gypsy jazz encompasses two discernible traditions: one stemming from the original French jazz manouche or jazz tsigane of Django Reinhardt, and the other an authentic local hybrid genre. This research focuses specifically on the latter - the indigenous Serbian hybrid. The methodology involves analyzing the origins of Serbian gypsy jazz and tracing its four distinct stages of evolution, supported by various musical examples. To illustrate the final stage, I concentrate on the output of the versatile Serbian singer, composer, and multi-instrumentalist, Ljubi & scaron;a Stojanovi & cacute; Louis (1952-2011).
This article examines the “Lives in Musicology” column in Acta Musicologica (introduced in 2017 by Federico Celestini and Philip V. Bohlman) as a lens for reflecting on the discipline of musicology. Eight renowned scholars - including pioneers in musicology, ethnomusicology, and music theory - from the United States, Europe, East Asia, Africa, and Australia - revisited their careers, revealing the construction and trajectory of the field. Their autobiographical accounts, analyzed through the theory of autobiography by Jaume Aurell, trace the discipline’s expansion from the Western canon to diverse research areas, the establishment of new concepts, and the radical shift in Acta Musicologica editorial policy from conservative positivism focused on the Germanic canon toward a pluricultural and multilingual global musicology.
This article examines music journal publishing in Turkiye through Pierre Bourdieu’s field theory. While briefly outlining developments since the nineteenth century, its primary analytical focus is the post-1980 period, marked by the institutionalization of academia and the rise of peer review culture. The article specifically traces post-2000 transformations driven by digitization, open access, and indexing systems, showing how standardized editorial workflows formalize relationships between journals and symbolic capital. It conceptualizes editorial networking as a field-level practice through which language policy, reviewer mobility, and networked authorship operate as instruments of internationalization.
