Faculty of Music

Ivana Perković, PhD

Professor of Musicology
+ 381 11 362 11 70

Ivana Perković, musicologist, associate professor at the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. She was also the lecturer in history of music at the Department of Musicology and Ethnomusicology of the Academy of Arts in Novi Sad (Serbia). Ivana Perković studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). She is the author and co-author of 5 books, over 50 articles in national and international journals and in proceedings of the international conferences in the country and abroad.
Areas of Competence: history of Western music up to 18th century, music and religion, music and literature, medieval poetics, musical libraries, musical archives.
Didactic competences: Medieval music in Orthodox countries, History of European music – Antique Period, Middle Ages, Renaissance, Baroque, Classical period, Serbian Chant, Music and Theology.

Serbian Medieval Music, Belgrade, University of Arts, 1998. (Co-authors: Roksanda Pejović, Tatjana Marković and Marija Masnikosa)
Music of Serbian Oktoechos, Belgrade, Faculty of Music, 2004.
From Angel Chant to Choral Art, Belgrade, Faculty of Music, 2008.
Interdisciplinary Approach to Music: Listening, Performing, Composing, Belgrade, Faculty of Music (Tempus project), 2014. (Co-authors: Tijana Popović Mladjenović and Blanka Bogunović)

Articles in journals and papers in monographs
„Koje ću pesme da zapevam smrti Tvojoj, Milostivi?“ – pesme za večernje bogosluženje na Veliki petak u stvaralaštvu srpskih kompozitora, Muzički talas, 2001, 28, 18-33.
„Александар Дамњановић: Рождество за женски хор“, Нови звук. Интернационални часопис за музику, 2003, 22, 58-61.
“Choral Church Music in Serbia before 1914 and its’ Sociocultural Context“, Българско музикознание, 2003, 4, 92-102.
“Liturgievertonungen in der serbischen Musik der Romantik. Ein Betrag zur Erforschung der Musiksprache“, Die Kirchenmusik in Südosteuropa, Tutzing, Hans Schneider, 2003, 160-168.
“The Splendor of Harmonized Singing. Russian influence on the Serbian Musical Performance at the end of 19th and beginning of the 20th centuries“, Music and Networking, Faculty of Music, Belgrade, 2005, 221–231.
“Serbian Choral Societies before 1914 and their Church Musical Repertory“, Musik als interkultureller Dialog. Das Banat als euroregionaler Klangraum, Tutzing, Hans Schneider, 2005, 17–25.
“Serbian Traditional Church Chant and Choral Church Music in the 19th Century“, Cantus Planus, Budapest, Institute for Musicology of the Hungarian Academy of Sciences, 2006, 187–196.
„Muzika i pravoslavno bogosluženje. Pitanje termina“, u: Dragana Jeremić-Molnar, Ivana Stamatović (ur.), Muzikološke i etnomuzikološke refleksije, Beograd, Fakultet muzičke umetnosti, 2006, 57-70.
“Classification of Signs in Serbian Orthodox Church Music“, in: Eero Tarasti (ed.), Music and the Arts 1. Proceedings from ICMS 7, Imatra, International Semiotics Institute, Helsinki, Semiotical Society of Finland, 2006.
„Стара музика”, у: Мирјана Веселиновић-Хофман (ур.), Историја српске музике. Српска музика и европско музичко наслеђе [Old Serbian Music, in: The History of Serbian Music. Serbian Music and European musical Heritage], Београд, Завод за уџбенике, 2007, 29-62.
“Harmonizing Self-representation: Serbian Religious Music in the 19th Century and the Introduction of Polyphony“, Selbstdarstellung/Emergence 4: Self-Representation, Vienna, January 11-13, 2007, http://www.kakanien.ac.at/beitr/emerg/IPerkovic-Radak1/ “Hero(es) of Serbian libraries and music collections. The case of Ludwig van Beethoven“, Тематски потенцијали лексикографских јединица о музичким институцијама, [Thematic Possibilities in Lexicographic Units on Musical Institutions], Beograd, Факултет музичке уметности, 2009, 81-101.
“Music History Courses Following Revised Program of Studies for First Year Undergraduate Students at the Faculty of Music in Belgrade: Teaching Concepts“, 12th International Conference „Educational Research and School Practice“ – Quality and Efficiency of Teaching in Learning Society,Institute for Educational Research and Volgograd Pedagogical University, Beograd, 240, 2009. (Co-authors: Marija Masnikosa and Tijana Popović Mlađenović) “Battle in the Ballroom? Expressive Genres in Mozart’s Contredance La Battaille K535“, Beograd, 7th Annual Conference of the Department of Music Theory, Faculty of Music, University of Arts in Belgrade, 2009, 16-17.
Ivana Perković Radak, “W. A. Mozart’s Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response“, Journal of Interdisciplinary Music Studies, 2009, 3, 1–2, 95–117. (Co-authors: Tijana Popović Mladjenović, Blanka Bogunović and Marija Masnikosa) “Theatrical Expressivity of Berio’s Sequenza for Viola: Levels of Communication“, Journal of Interdisciplinary Music Studies, Fall 2010, vol. 4, issue 2, 55–84. (Co-authors: Tijana Popović Mladjenović and Blanka Bogunović) “Approaches to Serbian Orthodox Music: A Case Study of Stevan Stojanović Mokranjac’s Complete Works“, in: Leon Stefanija/Nico Schüler (eds.), Approaches to Music Research. Between Practice and Epistemology, Peter Lang GmbH, Internationaler Verlag der Wissenschaften, Frankfurt am Main, 2011, 129-135.
“Musical references in Serbian hagiography (žitija) and liturgical poetry (Srbljak) “, in: Robert Klugseder, James Borders, Christelle Cazaux-Kowalski, Lori Kruckenberg, Frank Lawrence, Jeremy Llewellyn, Christian Troelsgard, Anna Vildera and Hanna Zuhlke (eds.), Cantus planus, Österreichische Akademie der Wissenschaften, Kommission für Musikforschung, Wien, 2012, 316–320.
“Musical symbols in Serbian liturgical poetry (Srbljak) “, Unity and Variety in Orthodox Music: Theory and Practice, International Society for Orthodox Church Music & University of Joensuu, Finland, 2013, 191-198.
“Arvo Pärt’s Trisagion: 1+1=1. The Intersection of Orthodoxy and Modernism”, in: Sonja Marinković and Sanda Dodik (eds.), Tradition as Inspiration. Days of Vlado Milošević, conference proceedings, Banja Luka, 2014, 186-202. (Co-author: Marija Masnikosa)

Member of several national and international associations: International Musicological Society (active member of the Cantus Planus group), The International Society for Orthodox Church Music, Serbian Musicological Society (the first president of the Managing Board), and Composers’ Association of Serbia;
Participant of four national research project (since 1996, up to the present).
Member of the international project on hymnology (The Canterbury Dictionary of Hymnology, since 2004);
Postdoctoral research, Institut für Musikwissenschaft der Universität, Wien, 2005;
Coordinator of the research project funded by British Library (2006/07): research and archival work on endangered musical archives in Zemun;
Vice dean of the Faculty of Music in Belgrade in 2010/11;
Responsible for the application of the TEMPUS project (Introducing interdisciplinarity in music studies in the Western Balkans in line with European perspective) and the first project coordinator (in 2012).