Jasmina Mitrušić

(Belgrade, 14th April, 1964) finished her studies in composition at the Academy of Arts in Novi Sad with Dušan Radić. She has written works in various genres – from sacred vocal pieces, to large scale vocal and instrumental compositions, chamber music, and music for film and theatre as well as for environmental installations. Her music has been performed for NOMUS (Novi Sad music festival) in 1986 and 1987 and BEMUS (Belgrade music festival). During the nineties she often performed her works with the Metatonija chamber ensemble and with a choir of the same name she presents her own works and those of other contemporary composers. In the mid eighties she was active in Luna band, a unique representative of new wave described as dark art or post punk. Jasmina played synthesizers and sang backing vocals in the 1984 album, Nestvarne stvari. Her compositions include: Skarabej, for harpsichord (1988), Alkiona, for flute (1994), Pauk varijacije, variations for piano (2009), sextet Smrt jednog lutka (1995), Eolije, flute trio (1996), Kvaternion, for wind quartet (2003), Stidljiva lokna, for chamber sextet (2007) and Bogorodice Djevo (2005). She teaches harmony, polyphony and introduction to composition at the Isidor Bajić Music High School in Novi Sad and is a member of SOKOL.

Jelena Milenković Živković

(Belgrade, 12th February, 1944) finished her composition studies in the Faculty of Music in Belgrade with Predrag Milošević and received a degree in piano from the same faculty after studies with Stanka Vrinjanin. Her postgraduate studies were completed under the guidance of Stanojlo Rajičić in 1973, with the composition Tri pokreta (Three movements), for orchestra. This work received the second prize at the BEMUS festival in 1973. She has presented her works at festivals across the former Yugoslavia (Opatija, Ljubljana, Zagreb and Sarajevo) and has developed her own style inspired by the aesthetics of Bela Bartok. In her catalogue of works there are many instrumental compositions: Sonata for flute and piano Symphony, Tri pokreta, for orchestra (1973), String quartet, Concert for piano and orchestra (1967-1969) and Studies, for strings (1982). She has also taught harmony, counterpoint and piano in the Stanković music school.

Katarina Miljković

(Leskovac, 12 th January, 1959) graduated and finished her postgraduate studies in the Faculty of Music in Belgrade with Vlastimir Trajković. She later moved to Boston, where she finished her Ph.D. studies at the New England Conservatory of Music where she is now teaching. She investigates the interaction between science, music and nature through collaborative musical performance and has presented her exploration in this new field for innumerable conferences in the USA, Canada and Germany. Her interest in the relationship between science, nature and music led her to mathematician Benoit Mandelbrot’s essay The Fractal Geometry of Nature and to similar complex structures, resulting in a cycle, Forest for two prepared pianos and percussion, released by Sachimay Records. Musical works by Katarina Miljković have been presented at many prestigious festivals such as BEMUS, Music in Serbia, International Review of Composers in Belgrade, the Music Biennial in Zagreb as well as in China, Greece, Hungary, Bulgaria, Italy, Russia and Great Britain. She won the Josip Slavenski and Vasilije Mokranjać awards from the University of Belgrade and the October Prize from the city of Belgrade. Her works are for various ensembles including saxophone quartet, rock and funk bands, percussion, prepared pianos and electronics. She has written: E Silentio, for alto, prepared piano, string orchestra, electronics (1987), Awakening, for violin and piano (2006), Waltz for Nada, for piano (2006), Crescent, for amplified saxophone (2007), nkScape, for any instrument or a group of instruments, electronics, video (2008), White City, for amplified violin, electronics, video (2008).