Tatjana Markovic

PHD

Telephone
(+43 1) 51581 – 3722

E-Mail
tatjana.markovic(at)oeaw.ac.at

I was born, studied and received my Ph.D. (Musicology, 2005) at the University of Arts in Belgrade, Yugoslavia. I was teaching (associate professor, 1993–2015) at the same department, at the universities in Graz (2010/11), Ljubljana (2012) and at the IMI, MDW (2013–2019). Has been a chief/member of numerous international projects from New York to Almaty. Currently working on the FWF project at the ÖAW, Dpt. of Musicology and finishing my habilitation. Have been chair of the IMS Study Group “Music and Cultural Studies”; (co)editor of the open-access journal TheMA (Vienna), a member of the editorial team of the journals Glasbeno-pedagoški zbornik (Ljubljana) and Zbornik radova Akademije umetnosti (Novi Sad); a member of MGG Advisory board for Southeast Europe, as well as of the Academic Studies Press, Studies in History and Sociology of Music, Brighton, Massachusetts; a researcher at the Don Juan Archiv Wien. Have been published on the 18th–21th-century music, mainly on Southeast European opera and music historiography. I published 5 books, edited numerous books and journal issues, and my papers have been presented and published internationally in Europe, USA, Asia.

Full CV


Publications

  • Tatjana Markovic,, and Misko Suvakovic, eds. 2019. TheMA - Theatre, Music, Arts, vol 6 (open-access research journal): "Transdisciplinarity and new theoretical genres: Cultural turns". Transdisciplinarity and new theoretical genres: Cultural turns (TheMA vol. 6). Wien: Hollitzer.
  • Markovic, Tatjana. 2019. Transforming torment into ‘happiness’: Ironic national self-portrayal in the rap-opera ‘Zemja sreće’ (Land of happiness, 2007). Czech and Slovak Journal of Humanities: Special issue on MusicologyCzech and Slovak Journal of Humanities: Special issue on Musicology 2 (2019) 2 (2019): 84–91.
  • Tatjana Markovic,. 2019. Staatsoper und das südöstliche Europa: Politische, soziale und kulturelle Vernetzungen. In Geschichte der Oper in Wien, vol. 2: Von 1869 bis zur Gegenwart, ed. C. G. Barbara Boisits Clemens Hellsberg, 154-181. Wien: Molden.
  • Tatjana Markovic,, ed. 2014. Cultural memory building in south-eastern Europe at the eve of modernity. Hans Ernst Weidinger Matthias Pernerstorfer Michael Hüttler. TheMA, Open access journal for theatre, music, arts, Vienna. Vol. 2/1. Wien: Hollitzer.
  • Tatjana Markovic,. 2014. Editorial: Building cultural memory in south-eastern Europe at the eve of modernity. TheMA, Open access journal for theatre, music, arts 2: 1-4.
  • Tatjana Markovic,, ed. 2014. Re/Constructing collective memory musically. Panos Vlagopoulos. Mousikos Logos (online musicological jornal). Corfu: The Ionian University.
  • Tatjana Markovic,. 2014. Editorial Re/Constructing collective memory musically. Mousikos Logos 2: online.
  • Markovic, Tatjana (2013) Le(s) rhytme(s) des Balkans. In: Jordi Saval, Sergi Grau Torras (Hrsg.), Voix de la Mémoire – Voices of Memory. Bal·Kan: Miel et Sang – Honey and Blood; Bellaterra, Cerdanyola del Vallès: Alia Vox, S. 32-37.
  • Tatjana Markovic,. 2013. In the rhythm(s) of the Balkans. In Voix de la Mémoire – Voices of Memory. Bal·Kan: Miel et Sang – Honey and Blood, eds. Jordi Savall and Sergi Grau Torras, 75–79.. Bellaterra, Cerdanyola del Vallès: Alia Vox.
  • Tatjana Markovic,. 2013. The Ottoman past in the romantic opera’s present: The Ottoman Other in Serbian, Croatian, and Montenegrin opera. In Ottoman intimacies, Balkan music realities, eds. Risto Pekka Pennanen, Panagiotis C. Poulos,, and Aspasia Theodosiou, 71-86. Papers And Monographs Of The Finnish Institute At Athens 19. Helsinki: Suomen Ateenan-instituutin säätiö (Foundation of the Finnish Institute at Athens).
  • Tatjana Markovic,. 2013. Franjo Ksaver Kuhač and mapping south Slavic musical culture. In Franjo Ksaver Kuhač (1834–1911). Glazbena historiografija i identitet/Musical historiography and identity, eds. Vjera Katalinić and Stanislav Tuksar, tran. Stanislav Tuksar Vjera Katalinić, 121-138. Muzikološki Zbornici 16. Zagreb: Croatian Musicological Society.
  • Tatjana Markovic,. 2013. Franjo Kuhač i zamisao o zemljovidu južnoslavenske glazbene kulture. Arti musices 44: 237-255.
  • Tatjana Markovic,. 2013. Balkan music historiography as moving back to the ‚national roots’ and ‚authenticity’. In Die Rückkehr der Denkmäler. Aktuelle retrospektive Tendenzen der Musikwissenschaft, eds. Markus Grassl and Cornelia Szabó-Knotik, tran. Manfred Permoser, 117-127. Musikkontext 6. Wien: Milletre. doi:10.2307/j.ctvdjrntn.9.
  • Tatjana Markovic,, and Andreas Holzer. 2013. Galina Ivanovna Ustvol'skaja. Komponieren als Obsession. Annette Kreutziger-Herr Melanie Unseld. Galina Ivanovna Ustvol'skaja. Komponieren als Obsession. Europäische Komponistinnen 8. Wien-Köln-Weimar: Böhlau. doi:10.7788/boehlau.9783412211776.
  • Markovic, Tatjana. 2013. East of the east: the orient of imperial Russia in the comic opera Fevej (1786) by Vasilij Aleksejevič Paškevič. Thema: Theatre, Music, Arts. Open Access Research Journal I/1 (2012): 65-82.
  • Markovic, Tatjana (2012) Harems- und Volkstänze auf der Opernbühne als Identitätssignifikanten in Opern aus Serbien, Kroatien und Montenegro. Österreichische Musikzeitschrift, Bd. (2012/5), S. 40-51.
  • Markovic, Tatjana (2012) Identity under construction: The foundation of Serbian Music historiography. In: Seebass, Tilman; Veselinovic-Hofman, Mirjana (Hrsg.), Identities: The World of Music in Relation to Itself; Belgrad: Faculty of Music in Belgrade, S. 51-80.
  • Markovic, Tatjana. 2012. How much is opera inter/national?. Muzikološki zbornik/Musicological Annual 1 (2012): 91-107. doi:10.4312/mz.48.1.91-107.
  • Markovic, Tatjana. 2012. Nostalgia and utopia and/in music: …hold me, neighbor, in this storm… (2007) by Aleksandra Vrebalov. In Muzikološki zbornik/Musicological AnnualMusik, Raum, Akkord, Bild: Festschrift zum 65. Geburtstag von Dorothea Baumann, ed. Antonio Baldassarre, 1 (2012):443-458. Bern etc.: Peter Lang. doi:10.3726/978-3-0351-0320-5.
  • Tatjana Markovic,. 2011. The Myth on the "First national Opera": The Cases of Serbia and Croatia. Studia Musicologica 52 (2011): 165-177.