"DUBRAVKA JOVICIC is a personality of extremely wide interests, a personality of endless curiosity, the searching spirit which, in the act of investigation experiences the real joy of musicianship, the artist who is omnipresented in our cultural milieu. As a person of an outstanding searching curiosity and energy, with a great knowledge of an complementary arts and literature in 1991 Dubravka Jovicic got a PhD. Degree in literature at the Faculty of Philology in Belgrade."

PUBLISHED PAPERS

• "L'Interpretation musicale en relation avec la creativite et l'education musicale", (in French with abstracts in English and Arab), Passage No.4, Orchestre des Jeunes de la Mediterranee, Conseil de l'Europe, Strassbourg, France, 1998.***

• "Musical Interpretation and Time", Symposium on Art, Nature and Technology, The Serbian Aesthetic Society, Belgrade, 1996.

• "The Water as the Inspiration in Piano Music by Claude Debussy", text written for the program of  D. Jovicic's recital held on November 26, 1992 in Belgrade.

• "International Congress of EPTA in London", PRO MUSICA, No.147, Belgrade, 1992.

• "Literary-theoretical and aesthetical aspects of musicological works of Romain Rolland", a doctoral thesis (in Serbian with abstract in English), Belgrade, 1991.***

• "Piano pedagogue – Pierre Sancan", "Sounds" (Tonovi), Nos.11-12, Zagreb, Croatia, 1990.

• "Scriabin's Piano Music", Builten of the Festival "Music Days", Herceg Novi, 1990.

• "Portrait of an artist – Andres Segovia", PRO MUSICA, No.107, Belgrade, 1981.

CONFERENCES

• "The Story of Piano", TV production, RTS, February, 2000.

• "Piano Concerto by Jugoslav Bosnjak", Tribune "New Compositions", Association of Composers of Serbia, December 15, 1999.

• "The Hymn dedicated to Saint Sava", TV production, RTS, January 27, 1997 (repeated on the same date in 1998, 1999, 2000, and 2001)

• "Dr Jovan Pacu", Radio Belgrade production, January 3, 1997.

• "Dr Jovan Pacu and his Cercle", promotion of the book written by Dr Aleksandar Vlaskalin, published by Biblioteka grada Beograda, Matica srpska, Zelnid, Belgrade – Novi Sad, 1996, Kragujevac, Festival OKTOH, 1996.

• "The Interpretation as Creativity", three conferences held at Kolarac Gallery in Belgrade on February 16, March 16, and April 20, 1994.

• "The Syntheses of Prof. Dr Radoslav Josimovic", in: Hommage a Radoslav Josimovic, Belgrade, November 3, 1993.

• "The spatial and time (des)orientation of Sergei Rachmaninoff", Radio Belgrade Round Table, March 21, 1993.

• "The Time of music – Maurice Ravel", Radio Belgrade production, March 16, 1990.

• "Piano Music by Maurice Ravel", Round table of the International Music Festival.

• "Romain Rolland - pianist", in: Hommage a Romain Rolland, Society for cultural collaboration Yugoslavia – France, Belgrade, December 26, 1984.

***L'Interpretation musicale en relation avec la creativite et l'education musicale

***Musical Interpretation in Teaching and Composition Today

Musical creation covers a vast area comprising much more than simple musical composition. According to research done my Madame Gisele Brelet*, " creative interpretation" remains outside the notion of creation despite efforts already made by aestheticians and interpreters to reassert the value of the creative side of musical interpretation. There are enough elements of musical creation to enable us to speak of creative interpretation (organization of tempo through the passage of sound, organization of dynamic relations, agogic movements, phrasing and much more).

Musical interpretation and creation are closely related and one might question the existing relationship between these two with respect to today's creative tendencies. This relationship is to be found on several levels, covering works influenced by traditional music, those which include new dynamic and agogic links between melody, harmony and rhythm, and finally, ultra modern works which transcend the element of music and demand a new mode of musical reflection of the interpreter.

These relationships pose several problems: first, the problem of communication between composers and interpreters, that is, the problem of notation – which has the most important role when it comes to interpretation – and the problem of putting across the creative ambience sought by the composer. Then, there are the problems associated with technical direction, which result directly or indirectly in the need for adequate educational literature, etc. Current attempts to introduce a feeling of improvisation to composition – a sort of musical "happening" – reveal other problems than confirm the need to revitalize the composer\interpreter relationship as in the past.

The search for a common solution brings findings on new aspects of interpretation that one can apply generally to all music literature.

"Gisele Brelet, Esthetique et creation, Paris, PUF, 1947, and Interpretation creatrice"

"The musicianship of the famous writer and Nobel Prize Winner, Romain Rolland, was very rarely the subject of the scientific exploration, although the music as the essence of his artistic person was wowed in his very thought. Rolland began his creativity with the doctoral thesis about the history of the opera in Europe until Lully's and Scarlatti's appearance on the musical scene and about decadence of the Italian painting in XVI century. Connecting his education of the historian and his great love for the music, Rolland had tried since his first deed to prove thesis about the complexity of all human activities and their close causal relations. The place of the history of music in the modern history as much as the problem of decadence, and the role of the genius in the process of development of the fine arts, were for Rolland important social problems. The opera, as a specific synthesis of several fine arts, was very interesting for him and he thought that it was the mirror of the social life. It was also the perfect union of Rolland's personal inclinations: the dramatic literate expression and musical vocation. Tracing for the appearance of dramatics in the music through the development of opera, Rolland came to Beethoven. In his compositions Rolland found the sublimation of the dramatic musical expression. Rolland's monography of Beethoven was written in the last years of his life, and was also the kind of his autobiography and testament, but also the possibility of reexamine all the important problems of fine arts, society, and life in whole, he already put in front of himself during his life.

Rolland's musical thought has been presented in almost all studies and encyclopedias although his musicianship was partly in the shadow of his literary art. The purpose of this work was our honest try to point out the constant value of Rolland's musical thoughts, and permanent contribution to the musicological science."