121. 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: 376; Prenosov: 11
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122. 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: 304; Prenosov: 13
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123. 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: 428; Prenosov: 5
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124. 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: 359; Prenosov: 5
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125. 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: 339; Prenosov: 10
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126. 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: 356; Prenosov: 6
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127. 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: 386; Prenosov: 12
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128. Über den Bezirksverband Leipzig des Verbandes der Komponisten und Musikwissenschaftler der DDRHelmut Loos, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: Nur ein Jahr nach der Gründung des Verbandes der Komponisten und Musikwissenschaftler der DDR (VKM) am 6. April 1951 konstituierte sich (im Frühjahr 1952) der Arbeitskreis Leipzig unter dem Vorsitz von Max Dehnert. Zu Komponisten und Musikwissenschaftlern wurden ab 1963 auch Interpreten und ab 1965 auch Musikerzieher in den Verband aufgenommen. Struktur und Funktion des Bezirksverbands Leipzig werden näher betrachtet. Als einer der regionalen Gliederungen des Verbandes der Komponisten und Musikwissenschaftler der DDR (VKM) existierte der Bezirksverband von 1951 bis 1990. Grundsätzlich hatte der Bezirksverband Leipzig, wie alle regionalen Verbände des VKM, die Aufgabe, die musikalische Kultur vor Ort zu pflegen und zu fördern. Zu den zentralen Aufgaben gehörten die Förderung von Komponisten und Musikwissenschaftlern in der Region, die Beratung und Unterstützung freischaffender Musiker, die Organisation von Veranstaltungen und die Zusammenarbeit mit staatlichen und kulturellen Einrichtungen wie dem Ministerium für Kultur, lokalen Konzerthäusern und der Universität Leipzig, insbesondere bei der Programmgestaltung und der Ausrichtung von Konzerten.
Ključne besede: Sozialistischer Realismus, RundfunkSinfonieorchesters Leipzig, SED-Parteigruppe, Friedrich Schenker, Gruppe Neue Musik Hanns Eisler
Objavljeno v RUP: 10.03.2026; Ogledov: 229; Prenosov: 11
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129. Aktivitäten der Lviver Abteilung des Komponistenverbandes der Ukrainischen SSR in der Konfrontation mit der sowjetischen IdeologieLuba Kijanovska, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: Im Jahr 1940, kurz nach der sowjetischen Besetzung Galiziens, wurde die Lviver Sektion des sowjetischen Komponistenverbandes der Ukraine gegründet. Damit wurden die galizischen Musiker in die zentralisierte Struktur des Komponistenverbandes der UdSSR eingebunden, dessen Hauptaufgabe in der ideologischen Kontrolle der Künstler bestand, um „nationalistische“ oder „modernistische“ Abweichungen zu verhindern. Für die Lviver Komponisten war eine derartige Funktionsweise eines künstlerischen Verbandes völlig inakzeptabel. Daher war der neue modus vivendi für sie ein Schock, den die Lviver Künstler aushielten und dann nach einem Ausweg suchten. Ein bedeutender Teil von Musikern emigrierte in den Westen. Andere, wie Vasyl Barwinskyj, wurden verhaftet und zur Zwangsarbeit nach Sibirien geschickt. Diejenigen, die blieben: Stanislav Ludkevytsch, Mykola Kolessa, Anatol Kos-Anatolskyj und andere – mussten sich anpassen, fanden die Formen des Widerstands gegen den kommunistischen Einfluss. Man könnte dieses halbe Jahrhundert der sowjetischen Okkupation Galiziens und der Tätigkeit des Lviver Komponistenverbandes unter dem ideologischen Druck kurz verallgemeinern. Das diplomatische Talent der Vorsitzenden und der Mitglieder des Vorstandes, ihre Fähigkeit, politisch gefährliche Situationen richtig einzuschätzen und zu korrigieren, oft doch mit der Hilfe der unentbehrlichen Zugeständnisse an das kommunistische Regime, erlaubte es mehreren Musikern einfach zu überleben. Diese Opfer verschafften den Lviver Komponisten gewisse existentielle Vorteile, schränkten jedoch gleichzeitig unter den Bedingungen strenger ideologischer Kontrolle ihre kreative Freiheit erheblich ein, provozierten den intellektuellen Provinzialismus, die Angst vor den neuen kompositorischen Ausdrucksmitteln, die zu jener Zeit weitverbreitet wurden.
Ključne besede: Lviver Komponistenverband, der kommunistische Einfluss, der ideologische Druck, die künstlerische Freiheit, ukrainische Musik
Objavljeno v RUP: 10.03.2026; Ogledov: 311; Prenosov: 5
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130. Vor dem Fall des Eisernen Vorhangs : die unvollendeten Geschichten ukrainischer Komponistenverbände der 1920–30er JahreLidia Melnyk, 2026, samostojni znanstveni sestavek ali poglavje v monografski publikaciji Opis: Die Komponistenverbände in den Republiken der Sowjetunion werden heute zu Recht in erster Linie als ideologisches Instrument der Kommunistischen Partei zur Unterdrückung und Kontrolle kreativer Prozesse gesehen. Die Impulse, die zur Gründung der ersten Künstlervereinigungen führten, werden in der Forschung weitaus seltener berücksichtigt. Das Ziel des vorliegenden Beitrags ist es, die vielschichtige, aber immer noch fast unbekannte Geschichte – oder sogar mehrere Geschichten – darzustellen, die der Gründung des Komponistenverbandes der Ukrainischen Sozialistischen Sowjetrepublik vorausging. An der Wende vom ersten zum zweiten Jahrzehnt des 20. Jahrhunderts, gelang es dem Komponisten Kyrylo Stetsenko, zusammen mit einer großen Gruppe Gleichgesinnter an der Organisation des Komitees zum Gedenken an M. Leontowytsch mitzuwirken, das am 1. Februar 1921 als Reaktion auf den verbrecherischen Mord an Leontowytsch gegründet und im April 1921 von den Behörden genehmigt wurde. Bald darauf, am 26. Februar 1922, wurde das Komitee in die Allukrainische Mykola-LeontowytschMusikgesellschaft (MLM) umbenannt. Es war de facto der erste Musikerverband der Ukraine. Die Gründung der MLM fiel in die Zeit der sogenannten „Ukrainisierung“, einer Politik der Bolschewiki in den 1920er Jahren, die die ukrainische Kultur, Wissenschaft und Bildung förderte. Obwohl diese Politik wichtige Fortschritte ermöglichte und die Gründung von Künstlerverbänden begünstigte, diente sie primär den pragmatischen Interessen der neuen Macht. Die MLM wuchs schnell und wurde mit der Einbeziehung zahlreicher Persönlichkeiten aus Kultur und Wissenschaft zur einflussreichsten Künstlervereinigung der Ukraine. Eines ihrer größten Verdienste war die Gründung der Zeitschrift „Muzyka“, des ersten Fachblatts für Musik in ukrainischer Sprache, im Jahr 1924, sowie die Organisation des ukrainischen Sektors auf der Frankfurter Weltausstellung der Musik im Jahr 1927. Im Februar 1928 wurde die Mykola-Leontowytsch-Musikgesellschaft schließlich auf Regierungsebene aufgelöst. Ihre Rolle wurde von der Allukrainischen Gesellschaft revolutionärer Musiker und der Assoziation der revolutionären Komponisten der Ukraine übernommen, die eine klare ideologische und parteitreue Linie verfolgten. Der berühmte Beschluss des Zentralkomitees der Kommunistischen Partei der Bolschewiki „Über den Umbau der literarisch-künstlerischen Organisationen“ von 1932 bedeutete de facto das jähe Ende all dieser ideologisch unterschiedlichen Organisationen. Bald darauf wurde der Komponistenverband der UdSSR gegründet, und das Jahr 1932 wurde jahrzehntelang unkritisch als sein Gründungsjahr angesehen. Erst in jüngster Zeit konnte sich die historische Wahrheit wieder durchsetzen.
Ključne besede: Kulturpolitik in der UdSSR, Komponistenverband der Ukraine, Mykola-Leontowytsch-Musikgesellschaft, „Ukrainisierung“
Objavljeno v RUP: 10.03.2026; Ogledov: 353; Prenosov: 5
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