Šutnja straha, strahom utišano i strah od šutnje

Although the aim of this paper is primarily to provide a theoretical contribution to our understanding of silence, it is also based on an ethnographic study conducted in Lika, a region of Croatia marked by a history of conflict and violence. Silence, in addition to having diverse functions and effects, is also characterised by different durations (it can be measured in seconds as well as in decades). It can be, and often is, filled with other potentially communicable non-verbal aspects (emotions and affects, gestures, sounds, etc.). It can also be more or less dependent on – and even steered by – the opinions, experiences and viewpoints of other individuals and communities. In short, this paper deals with the silences found in the course of the research within the framework of numerous typologies of silence, focusing on contextually dependent and ambivalent effects of silence, its “emptiness”, duration and actors (both individuals and communities). This paper deals with silences and silencing at the macrolevel (which includes their affective and social functions), as well as their effect at the microlevel of interpersonal interaction, everyday life and fieldwork encounters. The effects of the network of silences on the public presentation of the findings resulting from studying silence will also be discussed.Iako je rad zamišljen kao teorijski prilog razumijevanju različitih praksi šutnje koje su povezane s poviješću konflikta i nasilja, on se temelji na istraživanju koje je provedeno u Lici, hrvatskoj regiji koju autorica prepoznaje kao lokalitet koji je rezervoar strahova, anksioznosti, trauma i njima pripadajućih šutnji s dugom povijesti. Osim što šutnja ima različite funkcije i učinke, ona ima i vrlo raznoliku trajnost (može se mjeriti sekundama, ali i desetljećima), može biti i često jest popunjena drugim potencijalno komunikabilnim neverbalnim aspektima (emocijama i afektima, gestama, zvukovima i sl.) te može biti više ili manje ovisna o mišljenjima, iskustvima i stavovima drugih pojedinaca i zajednica te upravljana njima. Ukratko, u tekstu se šutnje zabilježene tijekom istraživanja promatraju u okviru brojnih tipologija šutnje te se pomnije razmatraju kontekstualno ovisni i ambivalentni učinci šutnje, njezine “praznine”, trajanje i njezini akteri (pojedinci i zajednice). U tekstu se raspravlja o šutnjama i utišavanjima na makrorazini te njihovim afektivnim i društvenim funkcijama kao i o njihovim učincima na mikrorazini u interpersonalnim interakcijama i svakodnevnom životu, etnografskim susretima. Raspravlja se i o reperkusijama mreže šutnji na javnu prezentaciju rezultata istraživanja šutnje

Ubojite šutnje? Mržnja, strah i njihove šutnje

This paper focuses on providing answers to three basic research questions on the basis of political discourse in Croatia (which produces fear through the use of explicit and implicit speech of exclusion and often also hate speech) and research into marginalized groups’ personal narratives of fear and anxiety. First, how is hate narratively shaped in public discourse and personal narratives? Second, how does the language of hate affect those who are designated as objects of hate? Third, can and to what degree do the subjects of anxiety/fear (i.e. the explicit object of hate) narrate their experience and emotional response to hate? The author is interested in the places in which hate (which is itself marked by silence) generates fear and silence, the places in which hate erodes the subjects’ need for intersubjectivity and leads to a deep sense of isolation and being silent, and which also sometimes leads to articulated resistance.Na primjeru političkog diskursa u Hrvatskoj koji eksplicitnim i implicitnim govorom isključivanja, a često i mržnje proizvodi strah te istraživanja osobnog pripovijedanja straha i tjeskobe marginaliziranih skupina autorica želi ponuditi odgovor na tri temeljna istraživačka pitanja. Prvo, kako se mržnja narativno oblikuje, podjednako u javnom diskursu i osobnim pripovijestima? Drugo, kako jezik mržnje utječe na one koji su označeni kao objekti mržnje? Treće, može li i do koje mjere subjekt anksioznosti/straha (koji je eksplicitni objekt mržnje) pripovijedati svoj doživljaj i emocionalni odgovor na mržnju? Autorica se zanima za mjesta u kojima mržnja (koja je i sama obilježena šutnjom) proizvodi strah i šutnju, odnosno mjesta na kojima mržnja doprinosi potkopavanju potrebe subjekta za intersubjektivnošću i proizvodi duboki osjećaj izolacije i bivanja u šutnji, ali katkada i artikulirani otpor

Osobna pripovijest, teorije zavjere i (ne)pripadanje: iskustva rata, izmještanja i otuđenja

The goal of this paper is to examine affective responses to institutionalised narratives on the genesis, course and consequences of the 1990s conflict in Croatia, which coexist with subjugated knowledge, usually taking the form of conspiracy theories. The paper is based on recent fieldwork research. The author examines the ways of forming different personal narratives dominated by the motifs of home, displacement, (not) belonging, and narratives close to conspiracy theories which are incorporated into personal accounts. The author sees conspiracy theories as an attempt to understand the gravity and ambivalence of every (post) war experience, as a possible loosening of the knot that emerged at the intersection between the personal and the collective, the cognitive and the emotional, ethnic identity (be it majority or minority) and citizenship, the desirable and the undesirable, home and leaving home.Na osnovi etnografskoga terenskog istraživanja na području Hrvatske cilj je istražiti afektivne odgovore na institucionalizirane narative o genezi, tijeku i posljedicama sukoba 1990-ih godina u Hrvatskoj koji supostoje s podčinjenim, popularnim znanjima najčešće oblikovanim u obliku teorija zavjere. Autorica promatra načine oblikovanja različitih osobnih pripovijesti u kojima dominiraju motivi doma, izbjeglištva, (ne)pripadnosti te pripovijesti bliskih teorijama zavjere koje se upisuju u osobne pripovijesti. Teorije zavjere autorica promatra kao pokušaj razumijevanja težine i ambivalentnosti svakoga (po)ratnog iskustva, kao moguće razrješenje čvora nastalog na sjecištu osobnoga i kolektivnoga, kognitivnoga i emocionalnoga, etničkoga (većinskog, manjinskog) i građanskoga, poželjnoga i nepoželjnoga, doma i njegova napuštanja

THE SCALE AND EFFECT OF PUBLIC INVESTMENTS IN FLOOD CONTROL INFRASTRUCTURE IN SERBIA FROM 2009 TO 2021

Flood control structures play an important role in saving lives and property during floods, especially due to climate change issues. The construction, reconstruction, and rehabilitation of hydraulic structures are compliant with their maintenance and are performed periodically and preventively in order to achieve their required functional safety. However, over the years, investments in flood protection, i.e. the reduction of possible damage caused by the harmful effects of water, mostly implied investments in embankments. Investments in high dams are insufficient in terms of their importance, structure complexity, and failure risk

Predrag Milošević - portret muzičkog stvaraoca

Predrag Milošević (1904–1988) was a composer, conductor, pianist, professor, music writer and organizer. A multitalented and versatile creative music figure, he enriched and contributed to the musical life in Serbia in the inter-war and post-war periods in many ways. His compositional oeuvre – although relatively small – represents a valuable milestone in the history of Serbian music, most no-tably with the genres of chamber and symphonic music. The monograph Predrag Milošević – Portrait of the Music Artist, highlights all of his versatile artistic ac-tivities. Milošević was born in Knjaževac, Serbia in 1904. He started piano studies at the Academie der Tonkunst in Munich (with Professor Eduard Bah) from 1922– 24, then continued studies of piano, and also composition and conducting at the State Conservatory in Prague, where he studied with professors Jaroslav Křička (composition) and Pavel Dědeček (conducting). Milošević mastered composi-tion with Josef Suk at the Meister School in Prague, and also attended a master class in conducting with Nikolai Malko. The central position in his professional trajectory was occupied by con-ducting, which lasted for several decades and gave fruitful results. He started as a choir conductor already in his student days in Prague, leading the choir “Hlahol” which was quite famous and internationally recognized at that time. After returning to his homeland, Milošević was engaged as the Opera conductor in the Belgrade National Theater (from 1932 to 1941), conducting over twenty opera and ballet premieres of both international and domestic works. He was the only Serbian conductor of that time who had five of the most important Mozart’s operas on the repertoire (The Magic Flute, Cosi fan tutte, Don Giovanni, The Abduction from the Seraglio , Le nozze di Figaro). At the same time, he also acted as the choir-leader of the Belgrade Singing Society (Beogradsko pevačko društvo), performing well known cantatas, oratorios and church choir music by Dvořák, Handel, Verdi, Mokranjac and others. This important domain of his work is presented in a separate chapter (III. PERIOD OF RISING – VERSATILE CONTRIBUTIONS TO THE MUSIC LIFE OF BELGRADE 1932–1941, III.1, III.2. III.3) and documented with many excerpts from reviews published in daily newspapers and periodicals from the inter-war period. During the Second World War, Milošević was imprisoned in camps in Warburg, Nürnberg and Hamelburg in Germany. In difficult times and condi-tions, he still managed to organize quite a rich music life, establishing a “Music Section” with a choir, chamber orchestra, giving performances, organizing lec-tures in various fields of music theory. A separate chapter of this book is dedicated to this period of hardship in Milošević’s life, based on the memoirs that he published in a joint collection of memories Muzika iza bodljikavih žica / Music behind Barbed Wires. After the war, Milošević continued with his engagement as the opera con-ductor at The National Theater in Belgrade (1945–55), then at the Serbian National Theater in Novi Sad (1955–60), where he acted also as the director for two years. From 1945, Predrag Milošević was employed as the professor of com-position at the Music Academy; from 1948 he also led a class of conducting, and from 1960–67 was the Dean of this institution. Among his versatile activities, the book also gives an insight to Milošević as a pianist, lecturer and music writer. For many years, he published music reviews in periodicals. Being the most long-standing and central area of his artistic career, conduct-ing was perhaps the reason why Milošević did not manage to compose more. Namely, Sonatina for piano, String Quartet and Symphonietta – which he com-posed during his studies, are his only three significant works, but their quality positions Milošević as an important figure in the history of Serbian music. The value and significance of these three compositions are not only historical in the sense of documenting a period in Serbian music history; these works are highly professional, showcasing a skillful compositional technique, individually round-ed, fresh in ideas, expression and sound even today. As such, they rightfully de-serve to be thoroughly analyzed and that is why the sixth chapter is the longest and most important part of this monograph. The encompassing results of precise analytical interpretation of his compositional oeuvre – presented here – are the first of this kind in our musicological-theoretical literature. The interesting point in Milošević’s compositional expression is that he start-ed with impressionism in the Sonatina, and then stylistically turned to neo-ba-roque and neoclassicism in the String Quartet and Symphonietta. Like many of his fellow composers who studied in Prague (known as The “Prague Group”) and brought some of the new, contemporary tendencies from Prague back home – thus enriching Serbian music, Milošević turned to these new tendencies, but they were filtered through his own artistic prism. Thus, the stylistic turn from impressionism to neoclassicism in such a short period (1926–30) and within only a few compositions, was even more compact and strikingly successful. The main characteristics of Milošević’s compositional style are: a distinc-tive linear-melodic flow paired with skillful transformations of motifs, leading to thematic unity; polyphonic textures, also displaying his mastery in counter-point techniques; well-orchestrated rhythmic and harmonic ostinatos, and spe-cific sense for rhythmic movement and metric diversity. Harmonic features in the Sonatina show impressionistic obscuring of tonal functions, which evolve to free tonality in the Quartet and atonality in Symphonietta with dissonant chordblocks built of fourths, bi-chords, and “mini-clusters”. Milošević’s treatment of form, on the one hand, shows a traditional starting point (sonata form, rondo, fugue, ternary forms), but it is enriched with individual interventions on the other hand, which lead to merging of different formal patterns. The sonata cy-cle of the String Quartet introduces baroque forms of each movement: Preludio, Passacaglia, Fugue, merging a compressed sonata form of the first movement with imitative and fugato-like sections; the third movement is a rondo form but in a manner of the fugue. The polyphonic texture as being logical in the neo-baroque Quartet, is linked not only to this composition; it is also present in Symphonietta as the result of various counterpoint techniques which Milošević masterly employs, and can be observed as one of the defining characteristics of his own compositional style. The use of block-type ostinatos and static ostina-tos with a resulting coloristic effect, the emerging of thematic material from the mutual core, the “synthetic” principle in section building, along with the harsh and dissonant harmonic structures, fourth-chord blocks, bi-tonal and poly-tonal plains – all these combined stand as the most significant features of Milošević’s compositional style in Symphonietta. Sonatina, String Quartet and Symphonietta, despite being his student (and graduation) compositions, show all the attributes of a mature author. Characterized by the richness of thematic ideas, original melodic profile, undu-lating metro-rhythmic sculpting and compositional proficiency, these composi-tions stand not only as his personal creative peak, but represent exemplary pieces in the anthology of Serbian music.Kompozitor, dirigent, pijanista, muzički pisac, pedagog, redovni profesor i dekan Fakulteta muzičke umetnosti, prevodilac, organizator muzičkog života, društveno angažovan poslenik, sve su to bila profesionalne okupacije vezane za ime samo jedne ličnosti – Predraga Miloševića, čije je sveukupno stvaralačko zračenje ostavilo dubokog traga u izgrađivanju srpske muzičke kulture i umnogome ga na osoben način obogatilo. Predrag Milošević rođen je 11. februara 1904. godine u Knjaževcu, malom mestu istočne Srbije; preminuo je januara 1988. godine u Beogradu. Autorka ove monografije imala je čast i zadovoljstvo da lično upozna Predraga Miloševića 1986. godine. Susreti sa njim su se odvijali u prijatnoj poslovnoj atmosferi u njegovom domu u Gogoljevoj ulici na Banovom Brdu. Pričao je o svojoj mladosti i dolasku u Beograd, evocirao sećanja sa školovanja, studija, putovanja, o vremenu provedenom u logoru za vreme Drugog svetskog rata. Govorio je o dirigentskoj i pedagoškoj karijeri. Iako sa izuzetno raznolikim i bogatim životnim i profesionalnim iskustvom, pripovedao je skromno ali sa žarom, zanimljivo i živo, sa puno duhovitih dosetki. U to vreme, iako u poodmaklim godinama, Milošević je radio na svojoj knjizi „O drugima – o sebi”. Nažalost, u delu zaostavštine Predraga Miloševića, poklonjenom Fakultetu muzičke umetnosti u Beogradu, nije nađen trag o ovom rukopisu i nije poznato da li ga je završio. U to vreme je i dalje aktivno pisao i prevodio, i sa budnom pažnjom pratio sva značajnija događanja u svim oblastima kulturnog života, često uzimajući i sam učešća u njima. Iako tako mnogostranog umetničkog profila, celokupna delatnost Predraga Miloševića nije do sada bila predmet šireg, sveobuhvatnog sagledavanja, koji po značaju svakako zaslužuje, te ova monografija ima za cilj da osvetli stvaralački doprinos i ostvareni kvalitet u svim domenima njegovog delovanja

Applicability of linearized Dusty Gas Model for multicomponent diffusion of gas mixtures in porous solids

The transport of gaseous components through porous media could be described according to the well-known Fick model and its modifications. It is also known that Fick’s law is not suitable for predicting the fluxes in multicomponent gas mixtures, excluding binary mixtures. This model is still frequently used in chemical engineering because of its simplicity. Unfortunately, besides the Fick’s model there is no generally accepted model for mass transport through porous media (membranes, catalysts etc.). Numerous studies on transport through porous media reveal that Dusty Gas Model (DGM) is superior in its ability to predict fluxes in multicomponent mixtures. Its wider application is limited by more complicated calculation procedures comparing to Fick’s model. It should be noted that there were efforts to simplify DGM in order to obtain satisfactory accurate results. In this paper linearized DGM, as the simplest form of DGM, is tested under conditions of zero system pressure drop, small pressure drop, and different temperatures. Published experimental data are used in testing the accuracy of the linearized procedure. It is shown that this simplified procedure is accurate enough compared to the standard more complicated calculations

Nostalgija kao (ne)ozbiljna emocija: igre i igračke kao podobjekt nostalgije u svakodnevnim narativnim praksama o djetinjstvu

This paper analyzes the contemporary context of nostalgia, recollection and narration of childhood events on the basis of field notes collected by means of different methodological techniques. The narrative quest for the past produces interpretations of past events and experiences and opens the space to the feeling of nostalgia, or nostalgic stories. This paper aims to present a small portion of the captured everyday life in which games and toys appear as any other subobject or pseudoobject of nostalgia, but with a distance from one’s own childhood experience. We utilize Donald Braid’s approach which opens the space for observing the transmission of oral personal narratives and the transmission of emotions in and through language.This paper analyzes the contemporary context of nostalgia, recollection and narration of childhood events on the basis of field notes collected by means of different methodological techniques. The narrative quest for the past produces interpretations of past events and experiences and opens the space to the feeling of nostalgia, or nostalgic stories. This paper aims to present a small portion of the captured everyday life in which games and toys appear as any other subobject or pseudoobject of nostalgia, but with a distance from one’s own childhood experience. We utilize Donald Braid’s approach which opens the space for observing the transmission of oral personal narratives and the transmission of emotions in and through language

Značaj združenih useva u organskoj proizvodnji lekovitog i aromatičnog bilja

Organic production of medicinal and aromatic plants is consistent with numerous regulations; hence it is under strict legal control. It implies a production system that does not disturb the naturally consistent balance of ecosystems in which plants are grown, taking into account the preservation of healing properties of derivatives obtained by further processing thereof. This production can be established on virgin lands, or those used for agricultural production but without the application of synthetic chemicals, for a period of at least two years. The main cultivated medicinal and aromatic plants in Serbia are: rosemary, coriander, chamomile, peppermint, lemon balm, valerian, thyme, etc. Weeds are the most serious problem in the organic production system of these plants, while damages caused by diseases are not economically significant. Intercropping in the organic cultivation of medicinal and aromatic plants is the simplest and, at the same time, a very efficient method to reduce the occurrence of pests and diseases, since the use of pesticides is not allowed in the organic production system. Plant cultivation in this system, in relation to continuous cropping, contributes to increased biodiversity, better utilisation of natural resources, higher yields of many plants and reduced abundance of weeds and pests. Moreover, it is very important to emphasise that the effects of intercropping on the quality of an agroecosystem and plants themselves are great, which further leads to a more efficient ability of plants to develop resistance to insects and numerous pathogens.Organska proizvodnja lekovitog i aromatičnog bilja usklađena je sa brojnim regulativama, te se nalazi pod strogom zakonskom kontrolom. Podrazumeva takav sistem proizvodnje koji neće narušiti prirodno usklađenu ravnotežu ekosistema u kome se bilje gaji, vodeći pritom računa o očuvanju lekovitosti derivata koji se dobijaju daljom preradom istih. Organska proizvodnja lekovitog i aromatičnog bilja može se zasnivati na devičanskim zemljištima ili zemljištima iz poljoprivredne proizvodnje na kojima nije bilo upotrebe sintetičkih hemikalija u periodu od najmanje dve godine. Među gajenim vrstama lekovitog i aromatičnog bilja u Srbiji, najveću proizvodnju zauzimaju ruzmarin, korijander, kamilica, nana, matičnjak, valerijana, majčina dušica, a od samoniklih vrsta kantarion, hajdučka trava, žalfija, kleka, lovor, smilje, bor i druge vrste. Najveći problem u organskom sistemu proizvodnje ovog bilja predstavljaju korovi, dok bolesti ne čine ekonomski značajne štete. Primena združenih useva u organskom uzgoju lekovitog i aromatičnog bilja najjednostavniji je, a pritom veoma efikasan način da se redukuje pojava štetočina i bolesti, s obzirom na to da u organskom sistemu proizvodnje nije dozvoljena upotreba pesticida. Uzgojem biljaka u ovom sistemu, u odnosu na monokulturu, povećava se biodiverzitet, bolje se iskorišćavaju resursi iz prirodnog okruženja, povećava se prinos mnogih biljaka, smanjuje brojnost korova i štetočina, a takođe, što je veoma bitno istaći, združeni usevi imaju veći uticaj na kvalitet agroekosistema i samih biljaka, što dalje utiče na efikasniju sposobnost biljaka u stvaranju otpornosti prema insektima i mnogim patogenima

Structural and Antioxidative Features of Chlorogenic Acid

This work contributes to the structure clarification of chlorogenic acid (5-O-caffeoylquinic acid, 5CQA) by comparing the experimental and simulated IR, Raman, 1H-NMR, 13C-NMR, and UV-vis spectra. The lowest-energy conformers in the gas-phase and solution were used for all calculations. Very good agreement between all experimental and simulated spectra indicates correct arrangement of the atoms in the 5CQA molecule. In addition, the bond dissociation enthalpies, proton affinities, electron transfer enthalpies, ionization potentials, and proton dissociation enthalpies for 5CQA were used for thermodynamic consideration of the major antioxidative mechanisms: HAT (Hydrogen Atom Transfer), SPLET (Sequential Proton-Loss Electron-Transfer), and SET-PT (Single Electron Transfer – Proton Transfer). It was found that HAT may be the predominant mechanism in nonpolar solvents, while HAT and SPLET are competitive pathways in polar media. All quantum-chemical calculations were carried out by means of the MN12-SX method. Its performance is similar to those of the B3LYP-D2, B3LYP-D3, and M06-2X functionals. This work is licensed under a Creative Commons Attribution 4.0 International License

Bibliografija Predraga Miloševića

Predrag Milošević (1904–1988) was a composer, conductor, pianist, professor, music writer and organizer. A multitalented and versatile creative music figure, he enriched and contributed to the musical life in Serbia in the inter-war and post-war periods in many ways. His compositional oeuvre – although relatively small – represents a valuable milestone in the history of Serbian music, most no-tably with the genres of chamber and symphonic music. The monograph Predrag Milošević – Portrait of the Music Artist, highlights all of his versatile artistic ac-tivities. Milošević was born in Knjaževac, Serbia in 1904. He started piano studies at the Academie der Tonkunst in Munich (with Professor Eduard Bah) from 1922– 24, then continued studies of piano, and also composition and conducting at the State Conservatory in Prague, where he studied with professors Jaroslav Křička (composition) and Pavel Dědeček (conducting). Milošević mastered composi-tion with Josef Suk at the Meister School in Prague, and also attended a master class in conducting with Nikolai Malko. The central position in his professional trajectory was occupied by con-ducting, which lasted for several decades and gave fruitful results. He started as a choir conductor already in his student days in Prague, leading the choir “Hlahol” which was quite famous and internationally recognized at that time. After returning to his homeland, Milošević was engaged as the Opera conductor in the Belgrade National Theater (from 1932 to 1941), conducting over twenty opera and ballet premieres of both international and domestic works. He was the only Serbian conductor of that time who had five of the most important Mozart’s operas on the repertoire (The Magic Flute, Cosi fan tutte, Don Giovanni, The Abduction from the Seraglio , Le nozze di Figaro). At the same time, he also acted as the choir-leader of the Belgrade Singing Society (Beogradsko pevačko društvo), performing well known cantatas, oratorios and church choir music by Dvořák, Handel, Verdi, Mokranjac and others. This important domain of his work is presented in a separate chapter (III. PERIOD OF RISING – VERSATILE CONTRIBUTIONS TO THE MUSIC LIFE OF BELGRADE 1932–1941, III.1, III.2. III.3) and documented with many excerpts from reviews published in daily newspapers and periodicals from the inter-war period. During the Second World War, Milošević was imprisoned in camps in Warburg, Nürnberg and Hamelburg in Germany. In difficult times and condi-tions, he still managed to organize quite a rich music life, establishing a “Music Section” with a choir, chamber orchestra, giving performances, organizing lec-tures in various fields of music theory. A separate chapter of this book is dedicated to this period of hardship in Milošević’s life, based on the memoirs that he published in a joint collection of memories Muzika iza bodljikavih žica / Music behind Barbed Wires. After the war, Milošević continued with his engagement as the opera con-ductor at The National Theater in Belgrade (1945–55), then at the Serbian National Theater in Novi Sad (1955–60), where he acted also as the director for two years. From 1945, Predrag Milošević was employed as the professor of com-position at the Music Academy; from 1948 he also led a class of conducting, and from 1960–67 was the Dean of this institution. Among his versatile activities, the book also gives an insight to Milošević as a pianist, lecturer and music writer. For many years, he published music reviews in periodicals. Being the most long-standing and central area of his artistic career, conduct-ing was perhaps the reason why Milošević did not manage to compose more. Namely, Sonatina for piano, String Quartet and Symphonietta – which he com-posed during his studies, are his only three significant works, but their quality positions Milošević as an important figure in the history of Serbian music. The value and significance of these three compositions are not only historical in the sense of documenting a period in Serbian music history; these works are highly professional, showcasing a skillful compositional technique, individually round-ed, fresh in ideas, expression and sound even today. As such, they rightfully de-serve to be thoroughly analyzed and that is why the sixth chapter is the longest and most important part of this monograph. The encompassing results of precise analytical interpretation of his compositional oeuvre – presented here – are the first of this kind in our musicological-theoretical literature. The interesting point in Milošević’s compositional expression is that he start-ed with impressionism in the Sonatina, and then stylistically turned to neo-ba-roque and neoclassicism in the String Quartet and Symphonietta. Like many of his fellow composers who studied in Prague (known as The “Prague Group”) and brought some of the new, contemporary tendencies from Prague back home – thus enriching Serbian music, Milošević turned to these new tendencies, but they were filtered through his own artistic prism. Thus, the stylistic turn from impressionism to neoclassicism in such a short period (1926–30) and within only a few compositions, was even more compact and strikingly successful. The main characteristics of Milošević’s compositional style are: a distinc-tive linear-melodic flow paired with skillful transformations of motifs, leading to thematic unity; polyphonic textures, also displaying his mastery in counter-point techniques; well-orchestrated rhythmic and harmonic ostinatos, and spe-cific sense for rhythmic movement and metric diversity. Harmonic features in the Sonatina show impressionistic obscuring of tonal functions, which evolve to free tonality in the Quartet and atonality in Symphonietta with dissonant chordblocks built of fourths, bi-chords, and “mini-clusters”. Milošević’s treatment of form, on the one hand, shows a traditional starting point (sonata form, rondo, fugue, ternary forms), but it is enriched with individual interventions on the other hand, which lead to merging of different formal patterns. The sonata cy-cle of the String Quartet introduces baroque forms of each movement: Preludio, Passacaglia, Fugue, merging a compressed sonata form of the first movement with imitative and fugato-like sections; the third movement is a rondo form but in a manner of the fugue. The polyphonic texture as being logical in the neo-baroque Quartet, is linked not only to this composition; it is also present in Symphonietta as the result of various counterpoint techniques which Milošević masterly employs, and can be observed as one of the defining characteristics of his own compositional style. The use of block-type ostinatos and static ostina-tos with a resulting coloristic effect, the emerging of thematic material from the mutual core, the “synthetic” principle in section building, along with the harsh and dissonant harmonic structures, fourth-chord blocks, bi-tonal and poly-tonal plains – all these combined stand as the most significant features of Milošević’s compositional style in Symphonietta. Sonatina, String Quartet and Symphonietta, despite being his student (and graduation) compositions, show all the attributes of a mature author. Characterized by the richness of thematic ideas, original melodic profile, undu-lating metro-rhythmic sculpting and compositional proficiency, these composi-tions stand not only as his personal creative peak, but represent exemplary pieces in the anthology of Serbian music.Kompozitor, dirigent, pijanista, muzički pisac, pedagog, redovni profesor i dekan Fakulteta muzičke umetnosti, prevodilac, organizator muzičkog života, društveno angažovan poslenik, sve su to bila profesionalne okupacije vezane za ime samo jedne ličnosti – Predraga Miloševića, čije je sveukupno stvaralačko zračenje ostavilo dubokog traga u izgrađivanju srpske muzičke kulture i umnogome ga na osoben način obogatilo. Predrag Milošević rođen je 11. februara 1904. godine u Knjaževcu, malom mestu istočne Srbije; preminuo je januara 1988. godine u Beogradu. Autorka ove monografije imala je čast i zadovoljstvo da lično upozna Predraga Miloševića 1986. godine. Susreti sa njim su se odvijali u prijatnoj poslovnoj atmosferi u njegovom domu u Gogoljevoj ulici na Banovom Brdu. Pričao je o svojoj mladosti i dolasku u Beograd, evocirao sećanja sa školovanja, studija, putovanja, o vremenu provedenom u logoru za vreme Drugog svetskog rata. Govorio je o dirigentskoj i pedagoškoj karijeri. Iako sa izuzetno raznolikim i bogatim životnim i profesionalnim iskustvom, pripovedao je skromno ali sa žarom, zanimljivo i živo, sa puno duhovitih dosetki. U to vreme, iako u poodmaklim godinama, Milošević je radio na svojoj knjizi „O drugima – o sebi”. Nažalost, u delu zaostavštine Predraga Miloševića, poklonjenom Fakultetu muzičke umetnosti u Beogradu, nije nađen trag o ovom rukopisu i nije poznato da li ga je završio. U to vreme je i dalje aktivno pisao i prevodio, i sa budnom pažnjom pratio sva značajnija događanja u svim oblastima kulturnog života, često uzimajući i sam učešća u njima. Iako tako mnogostranog umetničkog profila, celokupna delatnost Predraga Miloševića nije do sada bila predmet šireg, sveobuhvatnog sagledavanja, koji po značaju svakako zaslužuje, te ova monografija ima za cilj da osvetli stvaralački doprinos i ostvareni kvalitet u svim domenima njegovog delovanja