{"id":39853,"date":"2026-03-27T21:12:02","date_gmt":"2026-03-27T20:12:02","guid":{"rendered":"https:\/\/www.maticasrpska.org.rs\/?page_id=39853"},"modified":"2026-03-30T12:34:32","modified_gmt":"2026-03-30T11:34:32","slug":"zmssu_73","status":"publish","type":"page","link":"https:\/\/www.maticasrpska.org.rs\/en\/zmssu_73\/","title":{"rendered":"\u0417\u0431\u043e\u0440\u043d\u0438\u043a \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435 \u0437\u0430 \u0441\u0446\u0435\u043d\u0441\u043a\u0435 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438, \u0441\u0432\u0435\u0441\u043a\u0430 73, \u0433\u043e\u0434\u0438\u043d\u0430 2025."},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\u0421\u0410\u0414\u0420\u0416\u0410\u0408<\/td>\n\u00a0<\/td>\nCONTENTS<\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\u0421\u0422\u0423\u0414\u0418\u0408\u0415, \u0427\u041b\u0410\u041d\u0426\u0418, \u0420\u0410\u0421\u041f\u0420\u0410\u0412\u0415<\/td>\n\u00a0<\/td>\nSTUDIES, ARTICLES, TREATISES<\/td>\n<\/tr>\n
\n

\u0414\u0440 \u0411\u041e\u0408\u0410\u041d\u0410 \u0421. \u0420\u0410\u0414\u041e\u0412\u0410\u041d\u041e\u0412\u0418\u040b \u0428\u0423\u041f\u0423\u0422
\u0423\u0441\u0432\u0430\u0458\u0430\u045a\u0435 \u0442\u0443\u0452\u0438\u0446\u0430 \u0443 \u0432\u043e\u043a\u0430\u043b\u043d\u043e\u0458 \u043c\u0443\u0437\u0438\u0447\u043a\u043e\u0458 \u0442\u0435\u0440\u043c\u0438\u043d\u043e\u043b\u043e\u0433\u0438\u0458\u0438 \u0443 \u0441\u0440\u043f\u0441\u043a\u043e\u043c \u0458\u0435\u0437\u0438\u043a\u0443: \u043e\u0434 \u0431\u0435\u043b\u043a\u0430\u043d\u0442\u0430 \u0434\u043e \u0441\u043a\u0440\u0438\u043c\u0430
9<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

BOJANA S. RADOVANOVI\u0106 \u0160UPUT, PhD
Adoption of Loanwords in Vocal Music Terminology in the Serbian Language: From Bel Canto to Scream
12<\/p>\n<\/td>\n<\/tr>\n

\n

\u0414\u0440 \u0410\u041b\u0415\u041a\u0421\u0410\u041d\u0414\u0410\u0420 \u041d. \u0412\u0410\u0421\u0418\u040b
\u041d\u0435\u043f\u043e\u0437\u043d\u0430\u0442\u0438 \u043a\u0440\u0438\u0442\u0438\u0447\u0430\u0440\u0441\u043a\u0438 \u0440\u0430\u0434 \u041c\u0430\u0440\u043a\u0430 \u0422\u0430\u0458\u0447\u0435\u0432\u0438\u045b\u0430
33<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

ALEKSANDAR N. VASI\u0106
Marko Taj\u010devi\u0107\u2019s Unknown Critical Work
49<\/p>\n<\/td>\n<\/tr>\n

\n

\u0414\u0440 \u0413\u041e\u0420\u0410\u041d \u0422. \u0413\u0410\u0412\u0420\u0418\u040b
\u0422\u0435\u043c\u0430 \u043a\u043e\u0441\u043c\u043e\u0441\u0430 \u0438 \u045a\u0435\u043d\u0438 \u0438\u0437\u0432\u043e\u0440\u0438 \u0443 \u043f\u043e\u0437\u043e\u0440\u0438\u0448\u0442\u0443
51<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

GORAN T. GAVRI\u0106, PhD
The Theme of the Cosmos and Its Sources in Theatre
63<\/p>\n<\/td>\n<\/tr>\n

\n

\u0414\u0440 \u0421\u0420\u0402\u0410\u041d \u0414. \u0410\u0422\u0410\u041d\u0410\u0421\u041e\u0412\u0421\u041a\u0418
\u201e\u041f\u0430\u0434\u0430\u0458 \u0441\u0438\u043b\u043e. \u0422\u0435\u0437\u0435 \u0437\u0430 \u043f\u0440\u043e\u043b\u0435\u0433\u043e\u043c\u0435\u043d\u0443 \u0440\u0435\u0432\u043e\u043b\u0443\u0446\u0438\u043e\u043d\u0430\u0440\u043d\u043e\u0458 \u043f\u0458\u0435\u0441\u043c\u0438\u201c \u0421\u0438\u043b\u0432\u0438\u0458\u0430 \u0411\u043e\u043c\u0431\u0430\u0440\u0434\u0435\u043b\u0438\u0458\u0430: \u0438\u0434\u0435\u043e\u043b\u043e\u0448\u043a\u0430 \u043a\u0440\u0438\u0442\u0438\u043a\u0430 \u0438 \u043c\u0443\u0437\u0438\u0447\u043a\u043e\u0438\u0441\u0442\u043e\u0440\u0438\u0458\u0441\u043a\u0430 \u043c\u0430\u0440\u0433\u0438\u043d\u0430\u043b\u0438\u0437\u0430\u0446\u0438\u0458\u0430 \u0440\u0435\u0432\u043e\u043b\u0443\u0446\u0438\u043e\u043d\u0430\u0440\u043d\u0435 \u043f\u0435\u0441\u043c\u0435
65<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

SR\u0110AN D. ATANASOVSKI, PhD
\u201cPadaj silo. Theses for a Prolegomenon to the Revolutionary Song\u201d by Silvije Bombardelli: Ideological Critique and the Music-Historical Marginalization of the Revolutionary Song
78<\/span>
<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u041c\u0441\u0440 \u041c\u0410\u0420\u0418\u0408\u0410 M. \u041c\u0418\u041b\u0422\u041e\u0408\u0415\u0412\u0418\u040b \u0438 \u0434\u0440 \u041c\u0418\u041e\u041c\u0418\u0420\u0410 \u041c. \u0402\u0423\u0420\u0402\u0410\u041d\u041e\u0412\u0418\u040b
\u0420\u0430\u0434\u0438\u043e \u041d\u0438\u0448 \u0438 \u043f\u043e\u043f\u0443\u043b\u0430\u0440\u0438\u0437\u0430\u0446\u0438\u0458\u0430 \u043c\u0443\u0437\u0438\u0447\u043a\u0435 \u043a\u0443\u043b\u0442\u0443\u0440\u0435 (1951\u20131952)
79<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

MARIJA M. MILTOJEVI\u0106, MA and MIOMIRA \u041c. \u0110UR\u0110ANOVI\u0106, PhD
Radio Ni\u0161 and the Popularization of Musical Culture (1951\u20131952)
92<\/p>\n<\/td>\n<\/tr>\n

\n

\u0414\u0440 \u041c\u0410\u0420\u0418\u0408\u0410 \u0422. \u041c\u0410\u0413\u041b\u041e\u0412 \u0438\u00a0 \u0434\u0440 \u041c\u041e\u041d\u0418\u041a\u0410 \u0408. \u041d\u041e\u0412\u0410\u041a\u041e\u0412\u0418\u040b
\u041f\u0440\u0438\u043c\u0435\u045a\u0435\u043d\u0430 \u043c\u0443\u0437\u0438\u043a\u0430 \u0412\u043b\u0430\u0434\u0430\u043d\u0430 \u0420\u0430\u0434\u043e\u0432\u0430\u043d\u043e\u0432\u0438\u045b\u0430
93<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

MARIJA T. MAGLOV, PhD and MONIKA J. NOVAKOVI\u0106, PhD
Incidental music by Vladan Radovanovi\u0107
107<\/span>
<\/span><\/p>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\u0421\u0415\u040b\u0410\u040a\u0410, \u0413\u0420\u0410\u0402\u0410, \u041f\u0420\u0418\u041b\u041e\u0417\u0418<\/td>\n\u00a0<\/strong><\/td>\nMEMOIRS, MATERIALS, CONTRIBUTIONS<\/td>\n<\/tr>\n
\n

\u0414\u0440 \u0414\u0410\u0412\u0418\u0414 \u0414. \u041f\u041e\u041a\u0420\u0410\u0408\u0410\u0426, \u0421\u0410\u0428\u0410 \u0421\u041f\u0410\u0421\u041e\u0408\u0415\u0412\u0418\u040b \u0438 \u043c\u0441\u0440 \u041d\u0418\u041a\u041e\u041b\u0410 \u041f. \u0417\u0415\u041a\u0418\u040b
\u0421\u043e\u0444\u043a\u0430 \u041d\u0438\u043a\u043e\u043b\u0438\u045b: \u0436\u0438\u0432\u043e\u0442 \u0438 \u043a\u0430\u0440\u0438\u0458\u0435\u0440\u0430 (\u043f\u043e\u0432\u043e\u0434\u043e\u043c 120. \u0433\u043e\u0434\u0438\u0448\u045a\u0438\u0446\u0435 \u0440\u043e\u0452\u0435\u045a\u0430)
109<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

DAVID D. POKRAJAC, PhD, SA\u0160A SPASOJEVI\u0106 and NIKOLA P. ZEKI\u0106, MA
Sofka Nikoli\u0107: Life and Career (On the Occasion of Her 120th Birth Anniversary)
125<\/span>
<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u0414\u0440 \u0410\u041c\u0420\u0410 \u0417. \u041b\u0410\u0422\u0418\u0424\u0418\u040b
\u0408\u0435\u043b\u0435\u043d\u0430 \u041f\u043e\u0459\u0430\u043a\u043e\u0432\u0430: \u043f\u043e\u0447\u0435\u0442\u0430\u043a \u0431\u0430\u043b\u0435\u0442\u0441\u043a\u0435 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u0443 \u0411\u0435\u043e\u0433\u0440\u0430\u0434\u0443
127<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

AMRA Z. LATIFI\u0106, PhD
International Ballet Experience of Elena Poliakova as the Basis of Origin of Ballet Art in Belgrade
137<\/span>
<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

\u041c\u0440 \u0410\u041b\u0415\u041a\u0421\u0410\u041d\u0414\u0420\u0410 M. \u041c\u0418\u041b\u041e\u0428\u0415\u0412\u0418\u040b
\u0420\u0438\u0437\u043d\u0438\u0446\u0430 \u043f\u043e\u0437\u043e\u0440\u0438\u0448\u043d\u0435 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438: 75 \u0433\u043e\u0434\u0438\u043d\u0430 \u041c\u0443\u0437\u0435\u0458\u0430 \u043f\u043e\u0437\u043e\u0440\u0438\u0448\u043d\u0435 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u0421\u0440\u0431\u0438\u0458\u0435
139<\/p>\n<\/td>\n

\"\"<\/a><\/em><\/strong><\/td>\n\n

ALEKSANDRA M. MILO\u0160EVI\u0106, Msc
The Treasury of the theatrical art: 75 years of The Museum of Theatrical Arts of Serbia
145<\/span>
<\/span><\/p>\n<\/td>\n<\/tr>\n

\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\u041f\u0420\u0418\u041a\u0410\u0417\u0418<\/td>\n\u00a0<\/strong><\/td>\nREVIEWS<\/td>\n<\/tr>\n
\u0414\u0440 \u0421\u0412\u0415\u041d\u041a\u0410 \u041b. \u0421\u0410\u0412\u0418\u040b
\u0412\u0435\u0441\u043d\u0430 \u041a\u0440\u0447\u043c\u0430\u0440, \u0409\u0443\u0431\u0438\u0446\u0430 \u0420\u0430\u0432\u0430\u0441\u0438 \u2013 \u043e\u0442\u0435\u0442\u0430 \u043e\u0434 \u0437\u0430\u0431\u043e\u0440\u0430\u0432\u0430. \u041d\u043e\u0432\u0438 \u0421\u0430\u0434: \u041c\u0430\u0442\u0438\u0446\u0430 \u0441\u0440\u043f\u0441\u043a\u0430, 2024.
147

\"\"<\/a><\/em><\/strong><\/td>\n<\/tr>\n
\u041c\u0410\u0420\u0418\u0408\u0410 \u0410. \u0410\u0414\u0410\u041c\u041e\u0412
\u0421\u043d\u0435\u0436\u0430\u043d\u0430 \u041d\u0438\u043a\u043e\u043b\u0430\u0458\u0435\u0432\u0438\u045b, \u041c\u043e\u0437\u0430\u0438\u043a \u0441\u0435\u045b\u0430\u045a\u0430: \u0417\u043e\u0440\u0430\u043d \u0425\u0440\u0438\u0441\u0442\u0438\u045b. \u0411\u0435\u043e\u0433\u0440\u0430\u0434: \u0420\u0422\u0421 \u0438\u0437\u0434\u0430\u0432\u0430\u0448\u0442\u0432\u043e. \u0415\u0434\u0438\u0446\u0438\u0458\u0430 \u201e\u0422\u0412 \u043f\u043e\u043b\u0438\u0446\u0430\u201c; \u0411\u0438\u0431\u043b\u0438\u043e\u0442\u0435\u043a\u0430 \u201e\u041c\u043e\u043d\u043e\u0433\u0440\u0430\u043c\u201c, \u043a\u045a\u0438\u0433\u0430 \u0442\u0440\u0435\u045b\u0430, 2021.
152

\"\"<\/a><\/em><\/strong><\/td>\n<\/tr>\n
\u0414\u0440 \u041d\u0415\u041c\u0410\u040a\u0410 \u041d. \u0421\u041e\u0412\u0422\u0418\u040b
\u041c\u0438\u043b\u0435\u043d\u043a\u043e \u041f\u0430\u0443\u043d\u043e\u0432\u0438\u045b, Divina tragoedia. \u041a\u0440\u0438\u0442\u0438\u0447\u043a\u043e \u043d\u043e\u0442\u043d\u043e \u0438\u0437\u0434\u0430\u045a\u0435. \u0423\u0440\u0435\u0434\u043d\u0438\u0446\u0430 \u0411\u0438\u0459\u0430\u043d\u0430 \u041c\u0438\u043b\u0430\u043d\u043e\u0432\u0438\u045b. \u0411\u0435\u043e\u0433\u0440\u0430\u0434: \u041c\u0443\u0437\u0438\u043a\u043e\u043b\u043e\u0448\u043a\u0438 \u0438\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u0421\u0410\u041d\u0423, 2023.
157

\"\"<\/a><\/em><\/strong><\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
IN MEMORIAM<\/td>\n<\/tr>\n
\u041c\u0440 \u041c\u0418\u041b\u0410\u041d\u0410 M. \u0421\u0422\u041e\u0408\u0410\u0414\u0418\u041d\u041e\u0412\u0418\u040b \u041c\u0418\u041b\u0418\u040b:
\u0414\u0435\u0458\u0430\u043d \u0414\u0435\u0441\u043f\u0438\u045b (\u0411\u0435\u043e\u0433\u0440\u0430\u0434, 11. \u043c\u0430\u0458 1930. \u2013 \u0411\u0435\u043e\u0433\u0440\u0430\u0434, 16. \u043d\u043e\u0432\u0435\u043c\u0431\u0430\u0440 2024)
161

\"\"<\/a><\/em><\/strong><\/td>\n<\/tr>\n
\u0414\u0440 \u0417\u041e\u0420\u0410\u041d \u041c. \u041c\u0410\u041a\u0421\u0418\u041c\u041e\u0412\u0418\u040b:
\u041c\u0438\u0440\u043e\u0441\u043b\u0430\u0432 \u0420\u0430\u0434\u043e\u045a\u0438\u045b (\u0423\u0436\u0438\u0446\u0435, 15. \u0430\u0432\u0433\u0443\u0441\u0442 1936. \u2013 \u041d\u043e\u0432\u0438 \u0421\u0430\u0434, 19. \u0444\u0435\u0431\u0440\u0443\u0430\u0440 2025)
171

\"\"<\/a><\/em><\/strong><\/td>\n<\/tr>\n
\u0414\u0440 \u0421\u0412\u0415\u041d\u041a\u0410 \u041b. \u0421\u0410\u0412\u0418\u040b:
\u0414\u0443\u0431\u0440\u0430\u0432\u043a\u0430 (\u0410\u043d\u0442\u043e\u043d\u0438\u0458\u0435\u0432\u0438\u045b) \u041c\u0430\u043b\u0435\u0442\u0438\u045b (\u0411\u0435\u043e\u0433\u0440\u0430\u0434, 15. \u0458\u0443\u043b 1939. \u2013 15. \u0430\u043f\u0440\u0438\u043b 2025)
175

\"\"<\/a><\/em><\/strong><\/td>\n<\/tr>\n
\u0413\u0410\u0411\u0420\u0418\u0415\u041b\u0410 \u0422\u0415\u0413\u041b\u0410\u0428\u0418 \u0408\u041e\u0408\u041a\u0418\u040b:
\u0416\u0430\u0440\u043a\u043e \u041c\u0438\u043b\u0435\u043d\u043a\u043e\u0432\u0438\u045b (\u0414\u0435\u0441\u043f\u043e\u0442\u043e\u0432\u0430\u0446, 2. \u0430\u0432\u0433\u0443\u0441\u0442 1928. \u2013 \u041d\u043e\u0432\u0438 \u0421\u0430\u0434, 4. \u0441\u0435\u043f\u0442\u0435\u043c\u0431\u0430\u0440 2025)
177

\"\"<\/a><\/em><\/strong><\/td>\n<\/tr>\n
\u041c\u0441\u0440 \u0413\u041e\u0420\u0410\u041d \u0418\u0411\u0420\u0410\u0408\u0422\u0415\u0420:
\u0417\u043e\u0440\u0430\u043d \u0402\u0435\u0440\u0438\u045b (1960\u20132024)
180

\"\"<\/a><\/em><\/strong><\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\u0418\u041c\u0415\u041d\u0421\u041a\u0418 \u0420\u0415\u0413\u0418\u0421\u0422\u0410\u0420<\/td>\n\"\"<\/a><\/em><\/strong><\/td>\nREGISTER OF NAME<\/td>\n<\/tr>\n
183<\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\u0423\u041f\u0423\u0422\u0421\u0422\u0412\u041e \u0417\u0410 \u0410\u0423\u0422\u041e\u0420\u0415<\/td>\n\"\"<\/a><\/em><\/strong><\/td>\nINSTRUCTIONS FOR AUTHORS<\/td>\n<\/tr>\n
193<\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\u0420\u0415\u0426\u0415\u041d\u0417\u0415\u041d\u0422\u0418<\/td>\n\"\"<\/a><\/em><\/strong><\/td>\nREVIEWERS<\/td>\n<\/tr>\n
199<\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\u0418\u041c\u041f\u0420\u0415\u0421\u0423\u041c<\/td>\n\"\"<\/a><\/em><\/strong><\/td>\nIMPRESUM<\/td>\n<\/tr>\n
200<\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n
\u0426\u0415\u041b\u041e \u0418\u0417\u0414\u0410\u040a\u0415<\/td>\n\"\"<\/a><\/em><\/strong><\/td>\nFULL EDDITION<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

\u0421\u0410\u0414\u0420\u0416\u0410\u0408 \u00a0 CONTENTS \u00a0 \u00a0 \u00a0 \u0421\u0422\u0423\u0414\u0418\u0408\u0415, \u0427\u041b\u0410\u041d\u0426\u0418, \u0420\u0410\u0421\u041f\u0420\u0410\u0412\u0415 \u00a0 STUDIES, ARTICLES, TREATISES \u0414\u0440 \u0411\u041e\u0408\u0410\u041d\u0410 \u0421. \u0420\u0410\u0414\u041e\u0412\u0410\u041d\u041e\u0412\u0418\u040b \u0428\u0423\u041f\u0423\u0422\u0423\u0441\u0432\u0430\u0458\u0430\u045a\u0435 \u0442\u0443\u0452\u0438\u0446\u0430 \u0443 \u0432\u043e\u043a\u0430\u043b\u043d\u043e\u0458 \u043c\u0443\u0437\u0438\u0447\u043a\u043e\u0458 \u0442\u0435\u0440\u043c\u0438\u043d\u043e\u043b\u043e\u0433\u0438\u0458\u0438 \u0443 \u0441\u0440\u043f\u0441\u043a\u043e\u043c \u0458\u0435\u0437\u0438\u043a\u0443: \u043e\u0434 \u0431\u0435\u043b\u043a\u0430\u043d\u0442\u0430 \u0434\u043e \u0441\u043a\u0440\u0438\u043c\u0430 9 BOJANA S. RADOVANOVI\u0106 \u0160UPUT, PhDAdoption of Loanwords in Vocal Music Terminology in the Serbian Language: From Bel Canto to Scream 12 \u0414\u0440 \u0410\u041b\u0415\u041a\u0421\u0410\u041d\u0414\u0410\u0420 \u041d.… Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n\n\n\n\n\n\n\n\n\n\n\n\t\n