Music Examples
1.1(a) Dragutin Gostuški, Igra Br. 1 [Dance no. 1], from Dve Igre za klavir (1954) [Two dances for piano].
(b) Dragutin Gostuški, Igra Br. 2 [Dance no. 2], from Dve Igre za klavir (1954) [Two dances for piano].
2.1(a) Stevan Stojanović Mokranjac, Осмогласник [Octoechos], the third melodic pattern of the first mode.
(b) Ljubica Marić, Октоиха 1 [Octoicha 1] for symphony orchestra (1958–1959), the first movement (Improvisation), the clarinet part.
2.2Ljubica Marić, Византијски концерт [Byzantine concerto] (1959), the third movement, piano part in mm. 25–26.
3.1Rajko Maksimović, Three Haiku, I. On the Sandy Beach (1967), two measures before section E.
5.2Ludmila Frajt, Figure u pokretu [Figures in motion] (1978), autograph score, p. 1.
5.3Vladan Radovanović, Taktizon–pokret–zvuk [Tactility–movement–sound] (1957).
5.4Vladan Radovanović, Varijacije za TV [Variations for TV] (1977, realized in 1985), a page from the audiovisual score.
6.2Zoran Erić, Abnormalni udarci Dogona [The abnormal beats of the Dogon] (1991), graphic score, 138–161.
7.2Vladimir Tošić, Mélange (1975) for piatto, gong, timpani, and piano, the first page of the score.
8.1Miloš Raičković, Permutations I, “Little Peaceful Music” (1976), the first line.
8.2Milimir Drašković, Muzika u Beogradu [Music in Belgrade] (1978).
8.3Miodrag Lazarov Pashu, Vreme 2 [Time 2] for piano (1981), first two pages of the score.
8.4Miroslav Savić, ABC Music for Conga (1983), the first page of the score.
8.7Vladimir Tošić’s minimalist/reductionist methods. (a) Di/fuzija [Di/fusion] for two pianos (1982), Reh. H.; (b) Arios for cello and piano (1986), mm. 66–71.
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