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Melita Milin

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Melita Milin, Ph.D.
Principal Research Fellow


Melita Milin (Belgrade, 1953) is senior fellow of the Institute of Musicology in Belgrade, Serbia. She graduated musicology at the Faculty of Music in Belgrade and obtained her PhD degree from the Philosophical faculty in Ljubljana. She was member of international projects on musicians’ correspondences („Musikerbriefe als Spiegel ueberregionaler Kulturbeziehungen in Mittel- und Osteuropa“, 2001–2003) and migrating musicians („Musica migrans“ I, 2007–2008), both organized by Prof. Helmut Loos, University of Leipzig. She was also leader of the Serbian team on the bilateral project „Serbian and Greek art music. Basic research for a comparative study“, 2005–2007 (the leader of the whole project was Prof. Romanou, University of Athens). From 2010 to 2017 she was leader of the main project of the Institute of Musicology: Serbian musical identities within local and global frameworks: traditions, changes, challenges. Melita Milin was one of the founders and editor-in-chief of the first five issues of the international journal Muzikologija (2001–2005) and was member of its editorial staff until 2017. She was vice-president of the Serbian musicological society (2006–2012) and is presently member of its main committee. She was director of the Institute of Musicology from March 2013 to March 2017. Since the beginning of 2014 she has been member of the editorial staff of the Serbian Encyclopaedia.

Melita Milin’s research is focused on 20th-century Serbian music in the context of contemporary musical developments in Europe. Special attention is devoted to the oeuvre of Ljubica Marić, then to Serbian music between the two world wars, and also to the most recent art music production. Her investigations include the study of influences of dominant ideologies (national and political) on composers’ works and their relations to aesthetical programs and practices elswhere in the world.


„The Russian Musical Emigration in Yugoslavia after 1917 ”, Musicology, 3, 2003, 65–80.

„The National Idea in Serbian Music of the 20th Century”, Nationale Musik im 20. Jahrhundert Jahrhundert. Konferenzbericht Leipzig 2002, Hrsg. H. Loos i S. Keym, Leipzig 2004, 31–45.

„Les compositeurs serbes et le nationalisme musical. L'évolution des approches créatrices aux XIXe et XXe siècles”, Etudes balkaniques, Paris, 2006 (tematski broj: Création musicale et nationalismes dans le Sud-Est européen), 127–146.

„Inventing Yugoslav identity in art music”, Musical folklore as a vehicle?, Belgrade, Serbian musicological Society, IMS and Faculty of music, Belgrade 2008, 21–30.

„The Music of Ljubica Marić: The National and the Universal in Harmony“, in: Katy Romanou (ed.), Serbian and Greek Art Music. A Patch to Western Music History, Intellect, Bristol–Chicago 2009, 69–80.

„Serbian Music of the Second Half of the 20th Century: From Socialist Realism to Postmodernism“, in: Katy Romanou (ed.), Serbian and Greek Art Music. A Patch to Western Music History, Intellect, Bristol–Chicago 2009, 83–96.

„Dictatorship and Serbian music in the 20th century“, in: R. Illiano and M. Sala (eds.), Music and Dictatorship in Europe and Latin America, Turnhout, Brepols 2009, 425–447.

„Writing National Histories in a Multinational State“, in: Melita Milin and Jim Samson (eds), Serbian Music: Yugoslav Contexts, Institute of Musicology of the Serbian Academy of Sciences and Arts, Belgrade 2014, 29–46.

„Cultural isolation of Yugoslavia 1944–1960 and its impact on the sphere of music: the case of Serbia“, Muzikološki zbornik LI/2, 2015, 149–162.

„Orthodox Sacred Music as an Undesirable Segment of Tradition in Communist Yugoslavia“, in: Musikgeschichte zwischen Ost und West: von der 'musica sacra' bis zur Kunstreligion. Festschrift für Helmut Loos zum 65. Geburtstag, hrsg. von Stefan Keym und Stephan Wünsche, Leipzig: Leipziger Universitätsverlag 2015, S. 225-234.

„Continuities and Discontinuities in Serbian Music, 1930–1950“, in: Music in Dark Times: Europe East and West 1930-1950, ed. by Valentina Sandu-Dediu, Editura Universității Naționale de Muzică București, Bucuresti 2016, 155-168.

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