Arhiv sećanja na Vesnu Mikić
Ovu stranicu posvećujemo sećanju na dr Vesnu Mikić (1967–2019), redovnu profesorku Fakulteta muzičke umetnosti i osnivačicu i direktorku Centra za istraživanje popularne muzike. Osnivanjem Centra ona je nama, njenim studentima i mlađim kolegama, želela da pruži profesionalno utočište i da podsticaj za dalja istraživanja u oblasti popularne muzike, čineći tako pionirske poduhvate u ovoj oblasti u našoj sredini. U znak zahvalnosti i sećanja na njenu pojavu i delo, a povodom godišnjice od njenog tužnog odlaska, pokrećemo ovaj digitalni, multimedijalni arhiv, u kojem će se naći različiti podaci i materijali (sećanja) vezani za njen život i rad. Na taj način, želimo da očuvamo uspomene na nju, ali i istaknemo značaj njenog rada za institucionalizaciju studija popularne muzike na ovim prostorima.
Podsećamo da je Vesna Mikić proučavanje popularne muzike (kulture) uvela u domaće akademske okvire. U fokusu njenog insteresovanja bili su konkretni izvođači i žanrovi sagledani kroz mehanizme produkcije/reprodukcije/postprodukcije i distribucije muzike (muzičke industrije i tržišta), uvek sa svešću o društvenim okvirima u kojima postoje i deluju. Dok se, s jedne strane, Vesna Mikić bavila konkretnim studijama slučaja, sa druge je pokušavala da teorijski sistematizuje i dijahronijski problematizuje neka opšta pitanja i pojmove vezane za studije (domaće) popularne muzike u akademskom diskursu, u cilju intitucionalnog ustoličenja ovog polja, postavljanja osnova za njegovu akademsku, naučnu obradu (ovo je paralelno činila i u sferi svog pedagoškog delovanja, a i šire, osnivanjem Centra za istraživanje popularne muzike, 2013. godine), ali i promocije domaće popularne muzičke scene i prakse (budući da su njeni tekstovi iz obe oblasti objavljeni i u prestižnim inostranim izdanjima). U okviru studija popularne muzike koje je razvijala, čini se da najznačanije mesto zauzimaju studije Evrovizije (takmičenja za Pesmu Evrovizije), manifestacije koju je pasionirano pratila od tinejdžerskih dana i proučavala, a koju je nastojala da sagleda u kontekstu pisane reči, kao i kroz pedagoški rad. Među njenim tekstovima o popularnoj muzici upravo su najbrojniji oni posvećeni ovom fenomenu, spektaklu, praksi u okviru kojih se prelamaju političke, tržišne, nacionalne, rodne, geografske i druge koordinate, potvrđujući tezu koju je Vesna Mikić od svojih prvih naučnih ostvarenja demonstrirala – a to je da muzika postoji i deluje u složenom sistemu različitih odnosa.
Saradnici Centra za istraživanje popularne muzike
Podsećamo da je Vesna Mikić proučavanje popularne muzike (kulture) uvela u domaće akademske okvire. U fokusu njenog insteresovanja bili su konkretni izvođači i žanrovi sagledani kroz mehanizme produkcije/reprodukcije/postprodukcije i distribucije muzike (muzičke industrije i tržišta), uvek sa svešću o društvenim okvirima u kojima postoje i deluju. Dok se, s jedne strane, Vesna Mikić bavila konkretnim studijama slučaja, sa druge je pokušavala da teorijski sistematizuje i dijahronijski problematizuje neka opšta pitanja i pojmove vezane za studije (domaće) popularne muzike u akademskom diskursu, u cilju intitucionalnog ustoličenja ovog polja, postavljanja osnova za njegovu akademsku, naučnu obradu (ovo je paralelno činila i u sferi svog pedagoškog delovanja, a i šire, osnivanjem Centra za istraživanje popularne muzike, 2013. godine), ali i promocije domaće popularne muzičke scene i prakse (budući da su njeni tekstovi iz obe oblasti objavljeni i u prestižnim inostranim izdanjima). U okviru studija popularne muzike koje je razvijala, čini se da najznačanije mesto zauzimaju studije Evrovizije (takmičenja za Pesmu Evrovizije), manifestacije koju je pasionirano pratila od tinejdžerskih dana i proučavala, a koju je nastojala da sagleda u kontekstu pisane reči, kao i kroz pedagoški rad. Među njenim tekstovima o popularnoj muzici upravo su najbrojniji oni posvećeni ovom fenomenu, spektaklu, praksi u okviru kojih se prelamaju političke, tržišne, nacionalne, rodne, geografske i druge koordinate, potvrđujući tezu koju je Vesna Mikić od svojih prvih naučnih ostvarenja demonstrirala – a to je da muzika postoji i deluje u složenom sistemu različitih odnosa.
Saradnici Centra za istraživanje popularne muzike
Radovi prof. dr Vesne Mikić o popularnoj muzici
“The first and the last – Zdravko Colic – ‘a guru’ of pop ballade” (“Први и последњи – Здравко Чолић – 'гуру' поп баладе”), New Sound, 30, II, 2007, 105–113.
“Eurovision Song Contest – Serbian Victory”, Nutida Musik, 2007/3, 2007, 32–38.
“Тhe Way We (Just Me, Myself and I) Were: Recycling (National) Identities in Recent Popular Music”, Musical Culture & Memory, Musicological Studies: Proceedings No. 2, Tatjana Marković and Vesna Mikić (Eds.), Department of Musicology, Faculty of Music, University of Arts in Belgrade, 2008, 173–182.
“Folklore as a Vehicle for (Re)Construction of ‘Unified Space’ or How to Turn a Fawn into a Wolf and Then into a Dove and not to end up with some kind of Mythological Creature?”, Musical Folklore as a Vehicle?, Mirjana Veselinović-Hofman (Ed.), Serbian Musicological Society, Department of Musicology and Depratment of Ethnomusicology, Faculty of Music in Belgrade, 2008, 69-77.
“Institutionalization of Popular Music Genre within SMAO” (“Институционализација жанра популарне музике у оквиру СОКОЈ-а”), Thematic Potentials of Lexicographic Units on Music Instituions (Тематски потенцијали лексикографских јединица о музичким институцијама), Musicological Studies – Annual Papers, Vesna Mikic and Tijana Popovic-Mladjenovic (Eds.), Belgrade, Musicology Department FMA, 2009, 115–123.
“Migrating without moving and vice versa: the case of popular music of former Yugoslavia’s countries”, Paper presented at the Migrating Music Conference. Media, Politics, and Style (Open University, SOAS, London), 2009.
“Romantic Notions in the Popular Music Discourses: Several Examples from Serbia”, Approaches to Music Research. Between Practice and Epistemology, Leon Stefanija/Nico Schuler (Eds.), Frankfurt am Main, etc., Peter Lang Verlag, 2011, 191–199.
“Ex-Yu nostalgia, nExt-Yu Realities? Some popular music strategies in former Yugoslavia spaces”, Between Nostalgia, Utopia, and Realities, Musicological Studies: Collestion of Papers, vol 4, Vesna Mikic, Ivana Perkovic, Tijana Popovic Mladjenovic, Mirjana Veselinovic-Hofman (Eds.), Belgrade, Department of Musicology, Faculty of Music, University of Arts, 2012, 394–600.
“Whose are these songs? Greek and Serbian input in creating Balkan popular music”, Crossroads.Greece as an intercultural pole of musical thought and creativity, Eva-Nika Sampskon, Giorgos Sakallieros, Maria Alexandru, Girgos Kitsios, Emmanouil Giannopouls (Eds.), Electronicaly published by School of Music Studies, Aristotle University of Thessaloniki, 2013, 599–607.
“There’s a time for us: practices of re/post production in Serbian popular music” (“Има времена за нас: праксе ре/пост продукције у српској популарној музици), Vlado S. Milosevic – ethnomusicologist, composer, pedagogist: Tradition as Inspiration (Владо С. Милошевић – етномузиколог, композитор, педагог: Традиција као инспирација), Sonja Marinkovic and Sanda Dodik (Eds.), Academy of Arts, University of Banja Luka, Musicological Association of the Republic of Srpska, 2014, 252–258.
“Urban and Popular music since 1945, 2”, “Guca”; “Djordje Marjanovic”; “Djordje Balasevic”; “Momcilo Bajagic-Bajaga”; “Zdravko Colic”; “Zeljko Joksimovic”; “Riblja corba”; “Svetlana Raznatovic”; “Ekatarina Velika”; “Turbofolk”, GMO -– Grove Music Online, 2014.
“The Age of the Festival, the Golden Age of Popular Music” (“Vreme festivala: Zlatno doba zabavne muzike”), Anthology of Serbian Popular Song, The Age of the Festival (Antologija srpske popularne pesme, Vreme festivala), Dragoljub Ilic (Ed.), II Book, Belgrade, Composers’ Association of Serbia, 2015, 8–14.
“Stuart Hall's 'Double Articulation' in Theorising Yugoslav Popular Music”, European Theories in Former Yugoslavia: Trans-theory Relations between Global and Local Discourses, Misko Suvaković, Zarko Cvejic, Andrija Filipovic (Eds.), Cambridge, Cambridge Scholars Publishing, 2015, 92–100.
“Neither/Nor: Articulating Constant/Continuous Transition in Serbian Popular Music”, Music: Transitions / Continuities (Musicological Studies: Monographs) Mirjana Veselinović-Hofman, Vesna Mikić, Ivana Perković, Tijana Popović Mladjenović (Eds.), Belgrade, Department of Musicology, Faculty of Music, 2016, 267–275.
“‘Delusional’ Bambi – Transformations of tradition/identity rearticulation in the newest production by Zeljko Joksimovic: from ‘brotherhood and unity’ to ‘good neighbourly relationships’” (“‘Заблудело’ Лане – трансформације традиције/идентитетске реартикулације у најновијој продукцији Жељка Јоксимовића: од ‘братства и јединства’ до ‘добросуседских односа’”), Vlado S. Milosevic – ethnomusicologist, composer, and pedagogist: Tradition as an Inspiration (Владо Милошевић: етномузиколог, композитор и педагог: Традиција као инспирација), Sonja Marinkovic, Sanda Dodik, and Dragica Panic Kasanski (Eds.), Banja Luka, Banja Luka University, the Academy of Art, Republic of Srpska Academy of Science and Art and the Association of Musicologists, 2016, 297–307.
“(Foot)Notes on Music: An Interview with Kornelije Bata Kovač“, New Sound, 47, 2016/I, 5–17.
“Rock me Lane moje – European Identifications of Transitory Yugoslav/West Balkans’ Identities at the Eurovision Song Contest”, Musical Identities and European Perspectives: an Interdisciplinary Approach, Ivana Perkovic and Franco Fabri (Eds), Frankfurt am Main, etc., Peter Lang Verlag, 2017, 127–143.
“Recycled/Remediated/Reformatted: Goran Bregović's appropriation of MI strategies in pop song (post)production”, New Sound, 50, 2017/II, 258–267.
“Zabavna muzika” (“Entertainment music”), Popular Music of the World, Volumes VIII-XIV: Genres, Volume XI. Europe, David Horn i John Shepherd (Eds.), New York, London, Bloomsbury Academic, 2017, 828–832.
“Songs beneath Images – Trans-positions of Popo Songs in Grey's Anatomy TV series” (with Adriana Sabo), MUSIC/IMAGE: transpositions, translations, transformations... Mirjana Veselinovic Hofman, Vesna Mikic, Tijana Popovic Mladjenovic and Ivana Perkovic (Eds.), Belgrade, Department of Musicology, Faculty of Music, 215–231.
“Eurovision Song Contest through Serbian Lenses or A T(rading) T(ransitional) T(ransnational) Syndrome”, nije objavljen.
“The Making of Post-Western Europe / The (Re)Making of Post-Yugoslav West Balkans – three ‘samples’ from the Eurovision Song Contest”, nije objavljen.
“Songs becomings and music for Kusturica's Underground - Remediation in the age of Postproduction”, nije objavljen.
“Eurovision Song Contest – Serbian Victory”, Nutida Musik, 2007/3, 2007, 32–38.
“Тhe Way We (Just Me, Myself and I) Were: Recycling (National) Identities in Recent Popular Music”, Musical Culture & Memory, Musicological Studies: Proceedings No. 2, Tatjana Marković and Vesna Mikić (Eds.), Department of Musicology, Faculty of Music, University of Arts in Belgrade, 2008, 173–182.
“Folklore as a Vehicle for (Re)Construction of ‘Unified Space’ or How to Turn a Fawn into a Wolf and Then into a Dove and not to end up with some kind of Mythological Creature?”, Musical Folklore as a Vehicle?, Mirjana Veselinović-Hofman (Ed.), Serbian Musicological Society, Department of Musicology and Depratment of Ethnomusicology, Faculty of Music in Belgrade, 2008, 69-77.
“Institutionalization of Popular Music Genre within SMAO” (“Институционализација жанра популарне музике у оквиру СОКОЈ-а”), Thematic Potentials of Lexicographic Units on Music Instituions (Тематски потенцијали лексикографских јединица о музичким институцијама), Musicological Studies – Annual Papers, Vesna Mikic and Tijana Popovic-Mladjenovic (Eds.), Belgrade, Musicology Department FMA, 2009, 115–123.
“Migrating without moving and vice versa: the case of popular music of former Yugoslavia’s countries”, Paper presented at the Migrating Music Conference. Media, Politics, and Style (Open University, SOAS, London), 2009.
“Romantic Notions in the Popular Music Discourses: Several Examples from Serbia”, Approaches to Music Research. Between Practice and Epistemology, Leon Stefanija/Nico Schuler (Eds.), Frankfurt am Main, etc., Peter Lang Verlag, 2011, 191–199.
“Ex-Yu nostalgia, nExt-Yu Realities? Some popular music strategies in former Yugoslavia spaces”, Between Nostalgia, Utopia, and Realities, Musicological Studies: Collestion of Papers, vol 4, Vesna Mikic, Ivana Perkovic, Tijana Popovic Mladjenovic, Mirjana Veselinovic-Hofman (Eds.), Belgrade, Department of Musicology, Faculty of Music, University of Arts, 2012, 394–600.
“Whose are these songs? Greek and Serbian input in creating Balkan popular music”, Crossroads.Greece as an intercultural pole of musical thought and creativity, Eva-Nika Sampskon, Giorgos Sakallieros, Maria Alexandru, Girgos Kitsios, Emmanouil Giannopouls (Eds.), Electronicaly published by School of Music Studies, Aristotle University of Thessaloniki, 2013, 599–607.
“There’s a time for us: practices of re/post production in Serbian popular music” (“Има времена за нас: праксе ре/пост продукције у српској популарној музици), Vlado S. Milosevic – ethnomusicologist, composer, pedagogist: Tradition as Inspiration (Владо С. Милошевић – етномузиколог, композитор, педагог: Традиција као инспирација), Sonja Marinkovic and Sanda Dodik (Eds.), Academy of Arts, University of Banja Luka, Musicological Association of the Republic of Srpska, 2014, 252–258.
“Urban and Popular music since 1945, 2”, “Guca”; “Djordje Marjanovic”; “Djordje Balasevic”; “Momcilo Bajagic-Bajaga”; “Zdravko Colic”; “Zeljko Joksimovic”; “Riblja corba”; “Svetlana Raznatovic”; “Ekatarina Velika”; “Turbofolk”, GMO -– Grove Music Online, 2014.
“The Age of the Festival, the Golden Age of Popular Music” (“Vreme festivala: Zlatno doba zabavne muzike”), Anthology of Serbian Popular Song, The Age of the Festival (Antologija srpske popularne pesme, Vreme festivala), Dragoljub Ilic (Ed.), II Book, Belgrade, Composers’ Association of Serbia, 2015, 8–14.
“Stuart Hall's 'Double Articulation' in Theorising Yugoslav Popular Music”, European Theories in Former Yugoslavia: Trans-theory Relations between Global and Local Discourses, Misko Suvaković, Zarko Cvejic, Andrija Filipovic (Eds.), Cambridge, Cambridge Scholars Publishing, 2015, 92–100.
“Neither/Nor: Articulating Constant/Continuous Transition in Serbian Popular Music”, Music: Transitions / Continuities (Musicological Studies: Monographs) Mirjana Veselinović-Hofman, Vesna Mikić, Ivana Perković, Tijana Popović Mladjenović (Eds.), Belgrade, Department of Musicology, Faculty of Music, 2016, 267–275.
“‘Delusional’ Bambi – Transformations of tradition/identity rearticulation in the newest production by Zeljko Joksimovic: from ‘brotherhood and unity’ to ‘good neighbourly relationships’” (“‘Заблудело’ Лане – трансформације традиције/идентитетске реартикулације у најновијој продукцији Жељка Јоксимовића: од ‘братства и јединства’ до ‘добросуседских односа’”), Vlado S. Milosevic – ethnomusicologist, composer, and pedagogist: Tradition as an Inspiration (Владо Милошевић: етномузиколог, композитор и педагог: Традиција као инспирација), Sonja Marinkovic, Sanda Dodik, and Dragica Panic Kasanski (Eds.), Banja Luka, Banja Luka University, the Academy of Art, Republic of Srpska Academy of Science and Art and the Association of Musicologists, 2016, 297–307.
“(Foot)Notes on Music: An Interview with Kornelije Bata Kovač“, New Sound, 47, 2016/I, 5–17.
“Rock me Lane moje – European Identifications of Transitory Yugoslav/West Balkans’ Identities at the Eurovision Song Contest”, Musical Identities and European Perspectives: an Interdisciplinary Approach, Ivana Perkovic and Franco Fabri (Eds), Frankfurt am Main, etc., Peter Lang Verlag, 2017, 127–143.
“Recycled/Remediated/Reformatted: Goran Bregović's appropriation of MI strategies in pop song (post)production”, New Sound, 50, 2017/II, 258–267.
“Zabavna muzika” (“Entertainment music”), Popular Music of the World, Volumes VIII-XIV: Genres, Volume XI. Europe, David Horn i John Shepherd (Eds.), New York, London, Bloomsbury Academic, 2017, 828–832.
“Songs beneath Images – Trans-positions of Popo Songs in Grey's Anatomy TV series” (with Adriana Sabo), MUSIC/IMAGE: transpositions, translations, transformations... Mirjana Veselinovic Hofman, Vesna Mikic, Tijana Popovic Mladjenovic and Ivana Perkovic (Eds.), Belgrade, Department of Musicology, Faculty of Music, 215–231.
“Eurovision Song Contest through Serbian Lenses or A T(rading) T(ransitional) T(ransnational) Syndrome”, nije objavljen.
“The Making of Post-Western Europe / The (Re)Making of Post-Yugoslav West Balkans – three ‘samples’ from the Eurovision Song Contest”, nije objavljen.
“Songs becomings and music for Kusturica's Underground - Remediation in the age of Postproduction”, nije objavljen.
O Vesni Mikić
Sonja Marinković
In Remembrance of Vesna Mikić (30 May 1967 – 30 October 2019)
New Sound International Journal of Music Vol. 55 No. I (2020)
Adriana Sabo
Pedagogical Work of Vesna Mikić
New Sound International Journal of Music Vol. 55 No. I (2020)
Biljana Leković
Musicological Discourse of Vesna Mikić (1967–2019) – Characteristics, Effects, and Achievements
New Sound International Journal of Music Vol. 55 No. I (2020)
Bojana Radovanović
In memoriam: Vesna Mikić (Beograd, 30. maj 1967 – Beograd, 30. oktobar 2019)
Časopis Muzikologija, Časopis Muzikološkog instituta SANU, 28 (I/2020)
Biljana Leković
IN MEMORIAM: STEPS AND TRACES OF VESNA MIKIĆ (1967-2019)
INSAM Journal of Contemporary Music, Art and Technology, No. 3, Vol. II, December 2019
Marija Maglov
IN MEMORIAM Dr Vesna Mikić (1967–2019)
AM Journal of Art and Media Studies (19.11.2019)
Ličnosti – Vesna Mikić
Emisija Trećeg programa Radio Beograda posvećena Vesni Mikić
Urednica emisije Ivana Neimarević
In Remembrance of Vesna Mikić (30 May 1967 – 30 October 2019)
New Sound International Journal of Music Vol. 55 No. I (2020)
Adriana Sabo
Pedagogical Work of Vesna Mikić
New Sound International Journal of Music Vol. 55 No. I (2020)
Biljana Leković
Musicological Discourse of Vesna Mikić (1967–2019) – Characteristics, Effects, and Achievements
New Sound International Journal of Music Vol. 55 No. I (2020)
Bojana Radovanović
In memoriam: Vesna Mikić (Beograd, 30. maj 1967 – Beograd, 30. oktobar 2019)
Časopis Muzikologija, Časopis Muzikološkog instituta SANU, 28 (I/2020)
Biljana Leković
IN MEMORIAM: STEPS AND TRACES OF VESNA MIKIĆ (1967-2019)
INSAM Journal of Contemporary Music, Art and Technology, No. 3, Vol. II, December 2019
Marija Maglov
IN MEMORIAM Dr Vesna Mikić (1967–2019)
AM Journal of Art and Media Studies (19.11.2019)
Ličnosti – Vesna Mikić
Emisija Trećeg programa Radio Beograda posvećena Vesni Mikić
Urednica emisije Ivana Neimarević
Intervju sa prof. dr Vesnom Mikić, redovnim profesorom Fakulteta muzičke umetnosti, snimljen juna 2018. godine, povodom obeležavanja 70 godina od osnivanja Katedre za muzikologiju Fakulteta muzičke umetnosti.
