1. The Slovene Composer Ivo Petrić and Društvo slovenskih skladateljevNiall O’Loughlin, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: After the Second World War Slovene composers formed a society to organise and coordinate all their activities. Gradually the progress in publishing and making Slovene music available for performance was considerable. In 1972 the composer Ivo Petrić was appointed to Secretary of the Society of Slovene Composers (Društvo slovenskih skladateljev, abbreviated to DSS). He was active in increasing the numbers of works published, the large library of orchestral works for hire and later the recording of numerous works. Petrić was a very important model for his colleagues. Not only did he work tirelessly for all the composers of the society, but he also formed the Slavko Osterc Ensemble to perform mostly new Slovene chamber ensemble works and to record them. As a composer he produced many interesting and impressive works. Early symphonies taking some influence from Hindemith and Prokofiev were followed by a period using techniques from the Polish avant-garde. Later he returned to more traditional techniques. His contribution to the development of serious Slovene music has been very important, with DSS now thriving in all its aspects.
Ključne besede: Composers societies, Society of Slovene Composers, Društvo slovenskih skladateljev, Ivo Petrić, Slavko Osterc Ensemble, Edicije DSS, Music in Slovenia
Objavljeno v RUP: 10.03.2026; Ogledov: 82; Prenosov: 3
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2. To be or not to be a civil association?Máté Hollós, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: Before 1989, the Association of Hungarian Musicians was the only professional organisation for all kinds of musicianship in the country. Departments for composers, performing artists, musicologists, experts in education as well as popular music worked on a more or less reasonable level. Music was not a real subject of interest in politics, unlike, for instance, literature, so a relative and growing freedom could be realised from the 1970s on. No amount of financing can ever be enough for the arts, but solid support was given for concerts, radio recordings, and publishing, with the record label financing contemporary works from its own income. Since 1989 other music societies started to be established, and one of the first was the Hungarian Composers’ Union (HCU). Most of these gathered within the framework of Hungarian Music Council. The Composers’ Union did not join the Council, stating that its voice in the overall music scene had to be louder than some of the smaller societies. In line with Hungarian “tradition”, another umbrella organisation was soon founded, with a political motive, called the Hungarian Music Chamber, and later renamed the Forum of Hungarian Musicians. The HCU did not join this, either. This independence came in useful, as when the government wanted to engage with the Hungarian music scene its partners became the Council, the Forum and the HCU. In the three and a half decades of civil democracy the struggle for financing has become more and more difficult: the National Cultural Fund has decreased, and according to the changes in copyright law the CMOs, mainly Artisjus, now have to finance composers’ work. At the same time, the role of civil society has decreased in Hungary, and the governmental authorities show no interest in contacting independent music societies. After 35 years of the Hungarian Composers’ Union, the following question remains open: What is our future in the coming decades?
Ključne besede: contemporary music scene, composers’ societies, changing of the system in Central Europe
Objavljeno v RUP: 10.03.2026; Ogledov: 68; Prenosov: 3
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3. The Sarajevo Period of Dane Škerl’s Artistic ActivityFatima Hadžić, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: Dane Škerl (Ljubljana, 1931–Bovec, 2002) was a Slovenian composer, conductor and professor. He graduated in Composition in 1952 from the Academy of Music, University of Ljubljana in the class of Lucijan Marija Škerjanc. Afterwards, Škerl headed for further specialisation to Austria and Germany, where he was active as a conductor and music teacher. From 1960 to 1970, he worked at the Academy of Music in Sarajevo as a professor, after which he returned to Slovenia, where he worked as a professor of composition at the Academy of Music in Ljubljana until his retirement in 1995. The paper strives to describe and contextualise the Škerl’s 10 years of activity in the cultural life of Sarajevo, with special reference to his activity as a composer in terms of the compositional technique and stylistic tendencies. Besides his pedagogical role, he was strongly involved in the social and cultural life of Sarajevo as a collaborator with Radio Sarajevo (serving as advisor, recording engineer, and conductor), a member of various juries, forums, and associations, and artistic councils – particularly with the Opera and the Sarajevo Philharmonic. During this period, Škerl composed over 20 works, mostly symphonic, concertante and vocal-instrumental. The genre diversity of the Škerl’s opus is emphasised through directing the focus of analytical attention to three compositions written in three different points of time, showing the evolution of his compositional style: Pet skladb [Five Pieces] for clarinet and string orchestra (1961), Symphony No. 2 (1963) and Bagatele [Bagatelles] for piano (1968), indicating the persistence of the Neoclassical orientation as a firm stylistic ground based on an evident adherence to a particular harmonic centre and thematic way of shaping the material, but also the emergence of expressionistic tendencies manifested through serialism. Although Škerl remained faithful to the “middle path” between the tendencies, it is important to consider the historical context: since neither Bosnian-Herzegovinian composers nor those from the other Yugoslav republics had strongly expressed contemporary, much less avant-garde tendencies at the time, during the Sarajevo artistic period Škerl demonstrated boldness by opening new perspectives in musical composition and contributing to the burgeoning trend of musical experimentation.
Ključne besede: Dane Škerl, Slovenian Composers, Music Culture in Sarajevo, Neoclassical Style, Expressionism Tendencies
Objavljeno v RUP: 10.03.2026; Ogledov: 66; Prenosov: 5
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4. Yugoslav-Soviet Union relations from the 1950s to 1970s : Cooperation, Exchange, and Cultural Transfer through the Composers’ Association of Serbia (UKS) and the Union of Yugoslav Composers (SAKOJ)Maja Vasiljević, Biljana Leković, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: This study researches the cultural-music relations between Yugoslavia and the Soviet Union from the 1950s to the 1970s, focusing on institutional cooperation led by Yugoslav composers’ associations – SAKOJ and UKS. While previous scholarship has largely overlooked classical composers and focused on macro-level cultural policies, this research addresses the underexplored role of art music in diplomatic and cultural exchanges during the Cold War. The study situates Yugoslav-Soviet musical relations within the broader socio-political context of post-World War II diplomacy, highlighting the impact of the 1948 Cominform resolution, the 1955 Belgrade and Moscow Declarations, and the liberalizing cultural policies of the 1960s. In this paper, we examined in greater detail the context of SAKOJ’s and UKS’s activities, and then, based on specific examples, illustrate how intercultural cooperation between Yugoslavia and the Soviet Union functioned. We highlighted the key problematic aspects of these relations, specifically through examples of music cooperation, exchange, and cultural transfer from the 1950s to the 1970s, such as the mechanisms of exchange of cultural workers and the principles of establishing copyright. We emphasized the significance of operating through institutional structures, and the role of associations in this process. Based on our research, it could be concluded that the SAKOJ/UKS adopted a strategic and interest-given relation to the Soviet Union. With respective members, presidents, and secretaries, and other board members, profiled cooperation with the Soviet Union was proposed by exchange of delegates for guest composers and music writers, as well as through performance and promotion of Yugoslav and Soviet repertoire.
Ključne besede: Yugoslavia, Soviet Union, SAKOJ, UKS, cultural exchange, classical music
Objavljeno v RUP: 10.03.2026; Ogledov: 70; Prenosov: 3
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5. The Composer’s Association of Macedonia in the past and present : combining professionalism and nationalityNataša Didenko, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: With the establishment of the Composers Association of Macedonia in 1947 in Skopje as an artistic professional organisation, the construction and development of Macedonian musical creativity began. The challenges posed by different historical periods have encouraged the Composers Association of Macedonia to undertake various activities in order to stimulate the development of musical creation and science, but also to define the importance of its members in the preservation and promotion of Macedonian musical culture. Hence, in the paper, through the methods of historical, analytical and comparative research, we gain knowledge about the constant growth of the Composers Association of Macedonia, which over the past eight decades has been a driver of musical life in Macedonia and a focal point of progressive creative ideas.
Ključne besede: Composers Association of Macedonia, productive and reproductive music culture, publishing activity, Days of Macedonian music, Struga Music Autumn
Objavljeno v RUP: 10.03.2026; Ogledov: 59; Prenosov: 3
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6. Between Music and Politics : The Role of Composers in Musical Societies in Continental Croatia in the 19th CenturyPetra Babić, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: The 19th century in Croatia was the time of the first institutionalisation of musical culture – the first music institutes were organised, as well as the first music schools (independent of the “main schools”), and somewhat later numerous music societies (singing, instrumental, mixed). The dynamics of their emergence is closely linked to the contemporary political situation, and the activity within a particular society itself – in terms of public engagement – meant more than just enjoying desirable entertainment, finding solace in music making or the possibility of making musical education more accessible to wider social strata. This paper will present different types of music societies/associations founded throughout the 19th century in continental Croatia, examine the dependence of their establishment in relation to the then ruling political authorities, and in particular examine the perception and role of composers in those societies. The research for this paper was financed by the Croatian Science Foundation with project IP-2020-02- 4277 “Institutionalization of modern bourgeois musical culture in the 19th century in civil Croatia and Military Border – MusInst19”.
Ključne besede: 19th century music in Croatia, music institutions, music and politics, Croatian composers
Objavljeno v RUP: 10.03.2026; Ogledov: 52; Prenosov: 3
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7. The Composers’ Guild of Great Britain and “unofficial” musical diplomacy in Eastern EuropeJoanna Bullivant, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: The Composers’ Guild of Great Britain was founded in 1945 with respectable patronage from grandees like Ralph Vaughan Williams and a business-like set of aims towards promoting the careers and rights of working composers and forming links with similar groups in other countries. Consequently, its role in Cold War diplomacy has understandably been overlooked in comparison with efforts like the legendary officially-sponsored visits of Benjamin Britten to the Soviet Union between 1963 and 1971. Nevertheless, as this paper will demonstrate, the Guild played an intriguing unofficial diplomatic role in the early postwar period. Composer and British communist Alan Bush, Chair of the Guild in 1947-8, used extensive travels in Eastern Europe to attempt to draw the Guild into diplomatic alliances associated with the Soviet sphere of influence. While his efforts ultimately failed, his connections remained important into the early 1960s with the successful 1960 visit to the USSR by Bush and then-Chair Elizabeth Maconchy. By tracing Bush’s unofficial diplomacy in these years and his influence upon the Guild, this paper will show the nuanced political role a national composers’ society could play, even in the face of an official national position far less receptive to relations with Eastern Europe.
Ključne besede: Alan Bush, Composers’ Guild of Great Britain, diplomacy, Yugoslavia, music and politics
Objavljeno v RUP: 10.03.2026; Ogledov: 56; Prenosov: 4
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8. How Music Works : Film Composers, Labour, and the Screen Composers Association in Mid-Twentieth-Century AmericaIngeborg Zechner, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: Film music composition emerged as one of the most prolific domains of musical creation in twentieth-century America. Beyond offering vast professional opportunities, Hollywood film music occupied a unique aesthetic and institutional position: situated between popular and art music, it was shaped by the medium of film and received ambivalent receptions from audiences and scholars alike. In the 1940s and 1950s, Hollywood composers habitually undertook diverse musical tasks – composing, arranging, conducting – within a highly industrialised division of labour that lacked a comprehensive legal framework. While actors, directors, and writers formed powerful guilds, the distinctive position of film composers, caught between creative authorship and industrial labour, required a dedicated professional body. Founded in 1945, the Screen Composers Association (SCA) sought to address this gap by supporting the specific professional needs of film composers. Despite its significance, the SCA’s history has received little scholarly attention. This article examines the SCA’s formative years to illuminate the complex intersections of composition, labour, and industry in Hollywood. Drawing on archival records of the SCA preserved at the Margaret Herrick Library and related materials in US archives, I contextualise the society’s activities within the broader networks of film and music organisations. This perspective highlights how composer societies like the SCA collectively shaped the working lives of film composers, from negotiating performance rights and addressing challenges of international distribution to fostering professional solidarity.
Ključne besede: Hollywood film music, film composers, Screen Composers Association (SCA), copyright law, labour law, performing rights
Objavljeno v RUP: 10.03.2026; Ogledov: 50; Prenosov: 3
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10. Role of music therapy in the development of language skills in children with autism spectrum disorder : a systematic literature reviewLucija Mlakar, Vesna Posavčević, 2026, pregledni znanstveni članek Opis: Autism Spectrum Disorder (ASD) is a complex neurodevelopmental condition that typically emerges in early childhood, marked by difficulties in communication, social interaction, behaviour, and emotional regulation. Despite these challenges, many children with ASD demonstrate exceptional musical abilities, making music a powerful medium for enhancing self-expression, fostering social bonds, and supporting neurological development crucial for speech and social skills. Historically, minimally verbal children with ASD were often excluded from research due to the difficulty of assessment using standardised tools; however, recent advancements have enabled more inclusive studies. Over the past decade, naturalistic approaches have gained prominence, with music therapy emerging as a particularly promising intervention. A systematic literature review, based on original research sourced from PubMed, Sage, and ScienceDirect, examined six studies involving children aged two to twelve years with minimal verbal abilities and a clinical diagnosis of autism. These studies consistently found that music therapy significantly supports the development of language and social communication skills, while also enhancing fronto-temporal brain connectivity. The review contributes valuable insights into the current state of research, underscores the importance of early intervention and parental involvement, and lays the groundwork for further exploration into the role of music therapy in language development for children with ASD.
Ključne besede: autism spectrum disorder, children, minimal language abilities, social communication, fronto-temporal brain connectivity, music therapy, non-music therapy
Objavljeno v RUP: 28.01.2026; Ogledov: 332; Prenosov: 12
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