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Summary

Chapter 2 focuses on a new, distinct style of postwar avant-garde emerging in Yugoslavia in the 1950s – modernist music that incorporates Byzantine chants and a system of eight modes. Serbian composer Stevan Stojanović Mokranjac, one of the first transcribers of Byzantine chants and their classification into eight modes – or Octoechos – opened the door for the reemergence of Orthodox Christian liturgical choral music at the turn of the twentieth century. However, in 1956, Ljubica Marić introduced a new style of modernism in Yugoslav music that featured Byzantine and folk motives interspersed with contemporary techniques. As the first professional woman composer in Yugoslavia, Marić paved the way for new generations of women and composers who were searching for ways to express their Serbian heritage through music at a time when the country was redefining its national identity. Furthermore, she also set the stage for composers like Miloš Petrović, who developed a distinct, experimental style by combining Western (jazz, improvisation, and popular genres) with Eastern (Byzantine Orthodox Christian chants).

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2 - Looking Back to Byzantium

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2 - Looking Back to Byzantium

Summary