Ivana Miladinović Prica
Biographic Data
| ID | 1379316 |
|---|---|
| NAME | Ivana Miladinović Prica |
| GIVEN NAMES | Ivana Miladinović |
| FAMILY NAME | Prica |
| SIGNATURE | PRICA I M |
| AFFILIATIONS | University of Arts in Belgrade |
| ORCID | 0000-0002-9041-7840 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
The Landscapes of Yugoslav Minimalism through the Lens of the Ensemble for Different New Music (1977–1987)
Since its foundation in 1977 under the auspices of the Student Cultural Centre (SKC) in Belgrade, The Ensemble for Different New Music (ADNM) has played a significant role in the development of minimalist music in Serbia and Yugoslavia. Its experimental approach to performance practice reveals unique traits in the model of minimalism pursued in Yugoslavia, as well as a series of causations and appropriations with American minimalism and experimen…
“Different New Music in Yugoslavia”
Some of Yugoslavia’s most radical musical manifestations unfolded during the 1970s and 1980s. Aided by postwar Yugoslav cultural programs, the iconic Student Cultural Center (SKC) in Belgrade – a student-managed “safe space” for free expression and creativity – opened its doors in 1971 and instantly became a magnet for experimental musicians throughout the Western and Eastern Blocs. A group of rebellious composers and performers – Opus 4 and the …
Augmented sonic reality
Underneath, a piece for hyperorgan by Jasna Veličković was commisioned by Orgelpart in Amsterdam, for a project dedicated to the modern organ, which essentially incorporates new scientific and technological achievements. In this work, Veličković found a way to continue her "open project" based on conducting experiments in acoustic technology and amplifying electromagnetic fields. She introduced the technological into the tradition of organ music …
Beyond the Divide
Archival materials for the Different New Music Festival, which was held in the mid-1980s under the auspices of the Students’ Cultural Centre (SKC) in Belgrade, reveal the multi-layered interplay of culture, politics, and ideologies of socialist and non-aligned Yugoslavia. A young generation of composers in Belgrade, who served on the Music Editorial Team of the SKC, organised three annual editions of the Different New Music Festival (1984–1986), …
The Cage Effect from a Serbian Perspective
John Cage, a key figure and leading exponent of the experimental paradigm in twentieth century music, and in the performing and visual arts, was a reference point for testing the cultural openness of socialist countries during the Cold War. His influence appeared in various forms in Serbian music and art, primarily in the field of extended media, performance art, and musical minimalism. This paper discusses the reception of John Cage’s works in S…
Like in the old days
The article offers a discussion of ...and I need a room... (2013), a piece for large chamber ensemble by Serbo-Canadian composer Ana Sokolović (Ana Sokolović), inspired by songs by the former Belgrade rock band Ekatarina Velika (EKV, Ekatarina Velika, EKV; "Catherine the Great"). Dedicated to the 1980s urban generations of former Yugoslavia, the work occupies a unique place in its author's oeuvre, by virtue of opening, on the one hand, a world of…
Beyond the Divide
Archival materials for the Different New Music Festival, which was held in the mid-1980s under the auspices of the Students’ Cultural Centre (SKC) in Belgrade, reveal the multi-layered interplay of culture, politics, and ideologies of socialist and non-aligned Yugoslavia. A young generation of composers in Belgrade, who served on the Music Editorial Team of the SKC, organised three annual editions of the Different New Music Festival (1984–1986), …
The Cage Effect from a Serbian Perspective
John Cage, a key figure and leading exponent of the experimental paradigm in twentieth century music, and in the performing and visual arts, was a reference point for testing the cultural openness of socialist countries during the Cold War. His influence appeared in various forms in Serbian music and art, primarily in the field of extended media, performance art, and musical minimalism. This paper discusses the reception of John Cage’s works in S…
Like in the old days
The article offers a discussion of ...and I need a room... (2013), a piece for large chamber ensemble by Serbo-Canadian composer Ana Sokolović (Ana Sokolović), inspired by songs by the former Belgrade rock band Ekatarina Velika (EKV, Ekatarina Velika, EKV; "Catherine the Great"). Dedicated to the 1980s urban generations of former Yugoslavia, the work occupies a unique place in its author's oeuvre, by virtue of opening, on the one hand, a world of…
The Cage Effect from a Serbian Perspective
John Cage, a key figure and leading exponent of the experimental paradigm in twentieth century music, and in the performing and visual arts, was a reference point for testing the cultural openness of socialist countries during the Cold War. His influence appeared in various forms in Serbian music and art, primarily in the field of extended media, performance art, and musical minimalism. This paper discusses the reception of John Cage’s works in S…
Beyond the Divide
Archival materials for the Different New Music Festival, which was held in the mid-1980s under the auspices of the Students’ Cultural Centre (SKC) in Belgrade, reveal the multi-layered interplay of culture, politics, and ideologies of socialist and non-aligned Yugoslavia. A young generation of composers in Belgrade, who served on the Music Editorial Team of the SKC, organised three annual editions of the Different New Music Festival (1984–1986), …
Augmented sonic reality
Underneath, a piece for hyperorgan by Jasna Veličković was commisioned by Orgelpart in Amsterdam, for a project dedicated to the modern organ, which essentially incorporates new scientific and technological achievements. In this work, Veličković found a way to continue her "open project" based on conducting experiments in acoustic technology and amplifying electromagnetic fields. She introduced the technological into the tradition of organ music …
“Different New Music in Yugoslavia”
Some of Yugoslavia’s most radical musical manifestations unfolded during the 1970s and 1980s. Aided by postwar Yugoslav cultural programs, the iconic Student Cultural Center (SKC) in Belgrade – a student-managed “safe space” for free expression and creativity – opened its doors in 1971 and instantly became a magnet for experimental musicians throughout the Western and Eastern Blocs. A group of rebellious composers and performers – Opus 4 and the …
The Landscapes of Yugoslav Minimalism through the Lens of the Ensemble for Different New Music (1977–1987)
Since its foundation in 1977 under the auspices of the Student Cultural Centre (SKC) in Belgrade, The Ensemble for Different New Music (ADNM) has played a significant role in the development of minimalist music in Serbia and Yugoslavia. Its experimental approach to performance practice reveals unique traits in the model of minimalism pursued in Yugoslavia, as well as a series of causations and appropriations with American minimalism and experimen…
Balkan and Eastern European Studies (5 works) · History (4 works) · Art (3 works) · Balkans: History, Politics, Society (3 works) · Diverse Musicological Studies (3 works) · Philosophy (3 works) · Visual arts (3 works) · Acoustics (2 works) · Aesthetics (2 works) · Art history (2 works)