{:sr}Tijana Popović-Mladjenović{:}{:en}Tijana Popović-Mladjenović{:}

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Tijana Popović-Mladjenović
Muzikolog

Redovni je profesor i šef Katedre za muzikologiju Fakulteta muzičke umetnosti Univerziteta umetnosti u Beogradu. Bila je gostujući profesor Jerusalimske Akademije za muziku i ples, Departmana za muzikologiju Filozofskog fakulteta Univerziteta u Ljubljani, Litvanske Akademije za muziku i pozorište u Viljnusu, kao i Muzičke akademije Univerziteta u Sarajevu. Područja njenog naučnog interesovanja jesu evropska muzika fin de siècle-a, poetika i stilistika savremene muzike (usavršavala se na Université Paris IV – Sorbonne u oblasti savremene francuske muzike), estetika i filozofija muzike, kao i problematika muzičkog mišljenja. Autor je šest knjiga: Muzičko pismo (Muzičko pismo i svest o muzičkom jeziku sa posebnim osvrtom na avangardnu muziku druge polovine XX veka; 1996 [2015]), knjige prikazane u Music and Letters; E lucevan le stelle (1997)Klod Debisi i njegovo doba (2008)Procesi panstilističkog muzičkog mišljenja (2009)Interdisciplinary Approach to Music: Listening, Performing, Composing (2014), prikazane u Musicae Scientiae; i The Musical Text and the Ontology of the Musical Work (2017).

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Musicologist, full-time Professor and Head of the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. She has been a visiting professor at the Jerusalem Academy of Music and Dance, the University in Ljubljana, the Lithuanian Academy of Music and Theatre, and the Music Academy in Sarajevo. Her main research interests include the European music of the fin de siècle, contemporary music (she specialized in contemporary French music at the University of Paris IV Sorbonne), aesthetics and philosophy of music, and issues concerning thinking in music. She is author of six books: Musical Writing (1996 [2015]), reviewed in Music and Letters; E lucevan le stelle (1997); Claude Debussy and His Time (2008); Processes of Panstylistic Musical Thinking (2009); Interdisciplinary Approach to Music: Listening, Performing, Composing (2014), reviewed in Musicae Scientiae; and The Musical Text and the Ontology of the Musical Work (2017).

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