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This was at the same time the first narrowly spe- cialized ethnomusicology symposium in Serbia, and consequently, in front of you is the first proceedings of such profile published in our country.2 The substantial support received from the SASA Department of fine arts and music and the acknowledgement of the significance of such a meeting by the Ministry 1 Today, the Institute employs four ethnomusicologists, a number which could be consid- ered abundant compared to the equalling total number of ethnomusicologists employed full-time at this institution between 19482010 (without external associates).

These data appear relevant for perceiving opportunities and possibilities for research production of small ethnomusicologies, as more elaborated in the Introduction to this volume.

Editing of this extensive and comprehensive publication presented a unique experience.

We would like to thank all of the authors for submitting their papers and for their cooperation.

40 Lozanka Peycheva, Ethnomusicology connected to Bulgaria a view of the field of fieldwork ............................................................... 67 -, : ................................................... 85 Olga Pashina, Area studies in ethnomusicology: on the problem of identification of musical dialects ....................................................... 97 Rodna Velikovska, Areal investigation and typological systematization of the Macedonian traditional ritual folk singing ..................................

.............................................................................. 66 Danka Laji-Mihajlovi, Ethnomusicological research of the guslars memory: a pilot study ..........................................................

119 , Schwebungs-Diaphonie: ............................................................................................... 147 Athena Katsanevaki, Traditional singing: field research or a performing art? 165 Vesna Peno, Methodological contribution to the research of the Serbian church chant in the context of Balkan vocal music .............................. 181 Jelena Jovanovi, Identities expressed through practice of kaval playing and building in Serbia in 1990s ........................................................... 202 Sanja Radinovi, Notes on physiognomy and identity of songs from Hektorovis Fishing and fishermen talk ....................................

41 , ........................................................... 53 Mirjana Zaki, The application of the semiotic theory by Ch. Peirce in ethnomusicology ................................................................................ 99 , ............................................................... 117 Daiva Vyinien, Relationships between Lithuanian and Balkan Schwebungs-Diaphonie: interdisciplinary search key .........................

The increase in number of eth- nomusicologists employed by the Institute1 resulted in an initiative to celebrate the SASA 170th anniversary by organizing an ethnomusicology conference, in the footsteps of a number of similar professional meetings coordinated by the Institutes musicologists.These, so to speak, general needs, were reinforced in circumstances of the growth of the ethnomusicology in Serbia, particularly in recent decades.The interests in traditional folk music expressed through writings, nota- tion, and recording of the same, followed by the first research studies by edu- cated musiciansmainly composers, became institutionalized in Serbia (only) in 1948 with foundation of the Institute of musicology of Serbian academy of sciences (today Serbian academy of sciences and arts SASA).281 , ............................................. 294 Rastko Jakovljevi, The fearless vernacular: reassessment of the Balkan music between tradition and dissolution............................................... 311 Ventsislav Dimov, A contribution to the research of the media music of the Balkans: A view from the tavern tables to some relation between the musical cultures in the Balkans in the field of media music during the first half of twentieth century ....................................313 , : XX ....................................................... 324 Ahmed Tohumcu, Gonca Girgin Tohumcu, Merve Eken Kkaksoy, Dynamics of performance practice in Turkey: three cases .................. 332 Mladen Markovi, Ethno-music in Serbia as a product of tradition false or true? ...................................................................................... 344 Marija Dumni, This is the Balkans: constructing positive stereotypes about the Balkans and autobalkanism ................................................. 356 Contributors / ..................................................................................... 357 DVD Contents / ..................................................................... 363 FOREWORD This book is comprised of studies presented at the international sympo- sium Musical practices in the Balkans: ethnomusicological perspectives, held in November 2011 in Belgrade, Serbia.

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The Symposium immediate logistics duties were helpfully shared primarily with our colleagues, the Institute ethnomusicologists, Rastko Jakovljevi and Marija Dumni.