Authors

Verica Grmuša¹;  ¹ Independent Scholar, UK

Discussion

In this paper, I argue for a methodological shift in the study of South Slav vocal music, incorporating performance studies and multidisciplinary approaches that are long overdue. My research into South Slav art song began with the works of Serbian composers Petar Konjović (1883-1970) and Miloje Milojević (1884-1946). Initially focused on their song output, my perspective shifted as a performer, revealing that each composer’s work required a different vocal approach. This discovery led me to investigate the historical context and revealed that their contrasting styles were influenced by collaborations with two sopranos, Maja Strozzi-Pečić (1882–1962) and Ivanka Milojević (1881–1975), rather than the previously theorized shared Yugoslav ideals.

My work combines performance and historical research, incorporating gender studies due to the prominence of these female performers and stardom studies, given one’s opera celebrity status. This approach not only challenges existing musicological narratives but also broadens the national discourse by highlighting the pivotal roles of these sopranos in shaping regional musical identity and advancing new gender roles.

Expanding this study to other composers and genres, I examined gender representation within the Kosovo Myth—a symbol of the South Slav “Golden Age”—at the turn of the twentieth century. My research identified a transition from traditional heroic male figures to prominent female characters in music, particularly the Jugović Mother, as a central inspiration. My current work further explores South Slav vocal music, focusing on female characters beyond the Golden Age. It aims to spark discussions on opening musicology to new fields, including audience studies, translation, media, and technology. This expanded scope intends to reshape understanding of gender representation in South Slav music, both within and beyond the national framework.