Nadežda B Mosusova

(Subotica, 4th August, 1928), musicologist and composer, worked at the Institute of Musicology in Belgrade and taught music history at the Faculty of Music (she has now retired). She received a doctorate from the Faculty of Philosophy in Ljubljana, with the thesis Influence of folklore elements on romantic structures in Serbian music. She also attended specialist courses in Germany and Austria and was, for many years, the senior scientific assistant at the Music Institute of the Serbian Academy of Arts and Sciences and from 1977 onwards professor in the Faculty of Music in Belgrade. The main themes of her research include musical nationalism in Serbian and Slavic cultures, opera and ballet in the 19th and 20th centuries and the works of Petar Konjović and Stevan Hristić. She prepared the critical edition of the correspondence between Petar Konjović and Zdeněk Chalabala (Leipzig, 2003). She is the author of numerous studies: Stravinsky’s “Petrushka”: From Street Entertainment to Diaghilev’s Seasons, Operas of Petar Konjović in the Light of Janaček’s Dramatic Principles and the Theory of Sprechgesang, Russian Artists-Emigrés and the Music Theatre in Yugoslavia between the Two World Wars, Symbolism and Theatre of Masques: the Deathly Carnival of La Belle Epoque, etc... Her main compositions are: Symphonic prelude (1953), Poem, for strings (1956, later incorporated into Introduction and Largo from 1969), String quartet, in F sharp minor (1952), Fantasy, for clarinet and piano quartet (1967), Piano trio (1972), Variations, for piano (1950), Meditations, for piano and harpsichord (1963), and many songs.