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In this paper we focused on investigating how the sphere of musical amateurism functioned in Yugoslavia in the decades following the end of WWII. Observing through changes in the role and significance of amateur music ensembles, specifically choirs, in Yugoslav society from the late 1940s until the late 1960s/early 1970s that were manifest in their de-massification, gradual professionalisation and extensive use in cultural diplomacy, we sought to explain that this involved multiple factors - above all, the shifts in Yugoslav international policy after the confrontation with the Soviet Union in 1948, and, consequently, the revisions of its cultural policies. Their influence was observed through a detailed examination of the activities of the Beogradski madrigalisti choir, from its foundation in 1951 until the late 1960s/early 1970s. Although it was unique among Yugoslav choirs in many respects, the early history of this ensemble clearly reflected the demand for excellence in the sphere of amateur performance from the 1950s onwards, one of the most prominent indicators of its deep structural transformation.

The structural transformation of the sphere of musical amateurism in socialist Yugoslavia: A case study of the Beogradski madrigalisti choir