Dejan Despić and " Ahistorical History": An auditory mosaic in the composition Miniatures for Flobarp Trio for flute, oboe, and harp

This paper analyses Dejan Despić's Miniatures for Flobarp Trio, linking it to Mirjana Veselinović-Hofman's use of the concept of "ahistorical history". In these ten miniatures, Despić crafts an auditory mosaic by subtly compressing Baroque and Impressionistic stylistic references, reducing them to their archetypal essence. Unlike postmodernist citation, Despić synthesises elements into a fluid, functional whole, striving for conciseness and universal classicism. His elitist yet highly communicative approach positions him firmly within a contemporary context. The pastoral modus, a deep, atemporal quality of Despić's music, allows his "ahistorical history" to be understood as key to its relevant contribution and belonging to contemporary Serbian music.