Катарина Томашевић

Гостушки и српска музикологија

Introduction

Гостушки и српска музикологија. Истражите рад Војислава Вучковића Гостушког и његов допринос српској музикологији. Сазнајте више о историји и развоју музичке науке у Србији.

Abstract

Review

The submitted manuscript, titled "Гостушки и српска музикологија" (Gostuški and Serbian Musicology), promises a potentially significant contribution to the field of Serbian musicology. The title itself immediately suggests an exploration of the work and impact of Dragoslav Gostuški, a pivotal figure in 20th-century Serbian musical thought, in relation to the broader discipline. However, a crucial element for a comprehensive review – the abstract – is entirely absent. This severely limits the ability to assess the paper's specific scope, methodology, findings, or original contribution, as the core arguments and research questions remain undefined. Despite the lack of an abstract, the chosen topic holds inherent academic merit. Dragoslav Gostuški's multifaceted legacy as a composer, theoretician, and musicologist makes him a rich subject for scholarly inquiry. A paper examining his relationship with, or influence on, Serbian musicology could shed light on various aspects: the development of specific theoretical frameworks, the evolution of national musical identity, or the intersection of creative practice and academic research within the Serbian context. Such a study could be historical, analytical, or even critical, offering new perspectives on the intellectual landscape of Serbian musicology by exploring his specific theories, pedagogical impact, or role in shaping institutional practices. In conclusion, while the title points to a relevant and promising area of research within musicology, the absence of an abstract makes it impossible to provide a substantive review of the paper's content, quality, or originality. For the manuscript to be properly evaluated, it is imperative that the authors provide a clear and concise abstract. This abstract should ideally outline the specific research question(s) addressed, the methodological approach employed, the key arguments presented, and the main conclusions or contributions to the existing body of knowledge regarding Gostuški and Serbian musicology. Without this fundamental summary, the potential of this work cannot be adequately assessed, and its place within contemporary scholarship remains undefined.

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