Page 360 - Weiss, Jernej, ur./ed. 2026 Skladateljska društva nekoč in danes.../Composers’ Societies Past and Present...

Skladateljska društva nekoč in danes | Composers’ Societies Past and Present
role of art music in diplomatic and cultural exchanges during the Cold War.
The study situates Yugoslav-Soviet musical relations within the broader so-
cio-political context of post-World War II diplomacy, highlighting the im-
pact of the 1948 Cominform resolution, the 1955 Belgrade and Moscow Dec-
larations, and the liberalizing cultural policies of the 1960s. In this paper,
we examined in greater detail the context of SAKOJ’s and UKS’s activities,
and then, based on specific examples, illustrate how intercultural coopera-
tion between Yugoslavia and the Soviet Union functioned. We highlighted
the key problematic aspects of these relations, specifically through exam-
ples of music cooperation, exchange, and cultural transfer from the 1950s to
the 1970s, such as the mechanisms of exchange of cultural workers and the
principles of establishing copyright. We emphasized the significance of op-
erating through institutional structures, and the role of associations in this
process. Based on our research, it could be concluded that the SAKOJ/UKS
adopted a strategic and interest-given relation to the Soviet Union. With re-
spective members, presidents, and secretaries, and other board members,
profiled cooperation with the Soviet Union was proposed by exchange of
delegates for guest composers and music writers, as well as through perfor-
mance and promotion of Yugoslav and Soviet repertoire.
Keywords: Yugoslavia, Soviet Union, SAKOJ, UKS, cultural exchange,
classical music

Jernej Weiss
The Slavko Osterc Ensemble (1961–1981): The Principal Promoter of the Creativity
of the Society of Slovene Composers Abroad
The 1960s saw the formation throughout Europe of numerous groups spe-
cialising in the performance of New Music. Unlike classical ensembles,
these groups were able to adapt their instrumental line-ups as required,
and were particularly receptive to experimentation of every kind. In Slo-
venia they included both the Collegium musicum society, founded in 1957
by Pavel Šivic under the aegis of the Composers’ Club, and the Slavko Os-
terc Ensemble, founded in 1961 by members of the composers’ group Pro
musica viva as a vehicle for the performance of their own works. The spir-
itus agens and conductor of the latter ensemble was Ivo Petrić (1931–2018).
Petrić, who headed the DSS’s publishing arm Edicije Društva slovenskih
skladateljev from 1970 until 2002, was also the ensemble’s artistic director
from the outset. The ensemble’s activities encouraged the creation of nu-
merous new compositions and contributed to the affirmation of Slovene

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