Marija E. Dinov Vasić

Distinctive and interesting music of Claude Debussy represents an inspiring
heuristic challenge for artists and theoreticians of music even nowadays. Today,one hundred years after the composer’s death, his complex and multi-layered music has been explored using an interdisciplinary approach. This approach allows a deeper and more comprehensive insight into the essence of the art of the first significant modern composer.

The paper explored the traces that could point to the inspiration and processes of
musical thinking inherent to the composer. The piano preludeLa fille aux cheveux de
lin is a paradigmatic example of Debussy’s sound aesthetics which in a specific way incorporates the common aspirations of Symbolist poets and Impressionist painters.

Consequently, one of the most popular works in piano literature can be properly
interpreted through different artistic and media dimensions that in their mutual
correlation and correspondence constitute a unique aesthetics of this music. This work focuses on the perception of Debussy’s music, i.e. the sound of debussism, not only through musicological methodology, but also through the analytical framework
of history of art, as an image of The Girl with flaxen hair, initially artistically painted
and sounded in the poem of the same name written by Leconte de Lisle.
The result of the research leads to the conclusion that Debussy’s sound aesthetics cannot be properly understood without a profound research of the relationship between music and other forms of art. This relation defined a unique concept of artistic thinking during the period known as fin de siecle.



Vojin Jagličić

As a pronounced antiacademist, Claude Debussy was searching the inspiration for his works in the arts of oriental peoples, deliberately rejecting the main principles of Western, and especially French school of composing. Тhe specific use of different unconventional music scales greatly contributed to the construction of his own impressionistic style. This presentation will show the full variety of functions that these scales exert in the musical language of C. Debussy, and particularly in his piano opus. One part of this paper is dedicated to the historical context in which these works were created.



Sylvie Nicephor

Playing the 24 preludes of Debussy in concert in specific places, or making a recording for a wider audience, more diffuse and less well defined, raise the question of the interpretative approach of this work. How to approach it, with what tools and methods? While unveiling my methods and my relationship with this score, I’ll also propose lines of research and reflection around the composer / performer relationship.


Nebojša Todorović, PhD musicologist
Professor at Faculty of Arts in Niš

Dejan Despić and his early piano music
(Not every miniature is the real one according also to its content – Marko Tajčević)
The piano work of the Serbian composer Dejan Despić (Belgrade, 1930) dates from the earliest of his artistic periods: he wrote his first piano pieces in the high school benches. The master of the miniature, Despić devoted most of his piano works to these genres.
Three early cycles of piano miniatures — The Three Preludes op.2, The Moods op.4 and The Miniatures op.9, are the fruit of early creative inspirations and the examination of the creative potential of the young composer at the beginning of his originative work. Dejan Despić did not give up these miniatures and they are included in a representative collection of his piano pieces 77 Miniatures (Belgrade, 1989).
Among his early piano works, a special place belongs to the popular Nocturno Op. 5. This peace was most often performed of all piano compositions of Despić, and gained the greatest popularity among the performers.
The central place among the early works belongs to Humorous etudes op.26, a cycle that takes a significant place in the development of Serbian piano music.
If he was not a pianist in the true sense of the word, Dejan Despić, like his professor Marko Tacevic, contributed greatly to the development of Serbian piano music in the second half of the 20th century, bringing in a modern and original pianistic invoice into the Serbian pianist repertoire. His piano music is a standard pianist and pedagogical repertoire – a phenomenon that every composer can desire!

Zoran Jančić (Sarajevo, 1956) is a Bosnian Serb pianist.
He was educated at Primary and Secondary Music School. He gave his first recital at the age of twelve. He was also educated at the Zagreb Academy of Music (Croatia) and graduated with First Class Honours in Music Performances. He subsequently completed his Postgraduate Studies (MA) at the end of 1983. Jančić’s music and teaching have a living pulse directly linked with former pupils of Franz Liszt through his piano teacher Pavica Gvozdić, whose predecessor Svetislav Stančić studied with Liszt’s pupils Y. Barth and Conrad Ansorge in Berlin. Jančić also took part in master classes conducted by Evgeny Timakin, Rudolf Kerrer, Arbo Valdma, Leonid Brunberg and Pierre Barbisett, prominent figures within 20th century’s Russian and French school of thought 1979-1982.
Jančić became Professor of Piano Studies at the Academy of Music in Sarajevo (Bosnia and Herzegovina) and was one of the last staff to continue teaching despite of the war. At great personal risk he continued to give performances during the siege of Sarajevo until he left the city in the spring 1993. “It was experience of a lifetime to teach and perform in such life threatening conditions,” he said. Jančić’s competitions successes include winning First Prize in the 13th Competitions for Young Musicians of Yugoslavia 1979, than the First Prize in The Greatest Musical Talent Competition. His many awards include Outstanding European Musician and the Croatian Institute of Music Awards for the Best Interpretation of Beethoven (Sonata op. 110 in A flat major). He was also finalist at the International Pianists Competition in Udine – Italy. Jančić was frequently invited to participate in major music festivals within his native homeland including Ohrid and Dubrovnik International Music Festivals.
His engagements included numerous performances as a soloist with the leading orchestras there. He was the first among his peers to perform complete cycles of works by Frédéric Chopin (4 Ballades, 24 Etudes op. 10 and op. 25, the Waltzes, 21 Nocturnes, 4 Rondos) and Isaac Albéniz’s (Suite española). The audiences of the former Yugoslavia were also treated to the first performance ever of the complete cycle by Enrique Granados – Goyescas. His other engagements also included solo recitals and tours in Germany, Italy, France, Ireland, United Kingdom and Denmark. He has entranced audiences internationally with his sensitive and versatile playing and received rapturous critical acclaim.
Critics have cited his rich, warm tones, his magnificent dynamism and his exquisite sensitivity to the nuances of the music he performs. His affinity with the music of Ravel, Debussy and Franck has merited commendations from the acclaimed Marcelle de la Cour, Director of the Conservatoire Superiere de Musique in Paris. It is only by his performances that one can unequivocally appreciate the true talent he has to offer the music world. He is currently teaching at Faculty of Arts in the city of Niš, Serbia, and he is also head of piano department.
He is currently a full-time professor of piano at the Music Academy in East Sarajevo.