prof. Ljiljana Nestorovska, MMus
Phone: + 381 11 362 11 70
Artistic and teaching activities are the main strongholds of Professor Ljiljana Nestorovskaendeavors. Her work embodiesthat rare and precious blend of artistic talent, performance qualities and teaching skills. Professor Nestorovska is a top-level pedagogue who not only brought about the Faculty of Music’s harp class to the highest-ranked one in the region and one of the best in Europe, but also vastly raised interest in this instrument in Serbia and neighboring countries by enhancing the methods of harp teaching and corresponding subjects. Her work significantly contributes to the prestige of the Faculty of music in country and abroad. She is the double recipient of the Acknowledgement for the exceptional contribution to the Faculty of Music’s development (1999 and 2013), as well as the University of Arts in Belgrade Silver Medal (2003).
Ljiljana Nestorovska MMus has been working at the Faculty of Music since 1997, when she was elected as the assistant professor for harp and chamber music, and since 2010 she is acting as a full time professor.During this time, over 20 students earned their bachelor degree in her class, while 6 got their master’s, 2 specialized and 4 magister degrees. Seven students of these were awarded Ministry of education scholarship for scientific and artistic youth. Ljiljana Nestorovska’s students won over 130 awards at national and international competitions. Majority of her former students and pupils are successful orchestra musicians or harp professors in the country and abroad, whilemore than 10 of them had been awarded prestigious international scholarship grants for postgraduate studies.
Alongside her pedagogic work Ljiljana Nestorovska has realized a very successful concert career. Among her numerous performances, the following ones can be particularly singled out: World Harp Congresses in Geneva, Vancouver and Sidney, Northern Lyre Festival in St. Petersburg International Review of Composers, concerts at International Harp Festival in Belgrade, Harp Festival in Rio de Janeiro, festivals BEMUS, NOMUS, NIMUS in Belgrade, Novi Sad and Niš respectively, Festival “Baš-čaršijske noći“in Sarajevo, Dubrovnik Summer Festival, and many others. As a soloist, she performed with more that 10 orchestras, with Academic Choir “Collegium Musicum”, and with conductors Bojan Suđić, Darinka Matić Marović, Biljana Radovanović, Vesna Šouc, Dragana Jovanović, Vladimir Kranjčević, Uroš Lajovic, Ken Hsieh, among many others. She regularly performs in various chamber ensembles, among which duos with Ljubiša Jovanović, Ljudmila Gros Popović and Belgrade Harp Quartet stand out. She is a longstanding collaborator of numerous orchestras (Belgrade Philharmonic, Symphony Orchestra of Radio Television of Serbia, Camerata Serbica, Mariinsky Theatre Orchestra, St. George Strings, Symphony and opera orchestra of Sarajevo, Symphony orchestra of Montenegro, etc.).
Particularly notable is her longstanding collaboration with composers in Serbia, inspiring them for composing for harp and chamber ensembles with harp (with Srdjan Hofman, Svetislav Božić, Milan Mihajlović, Isidora Žebeljan, Vladimir Tošić, Dragana Jovanović, among others). Many composers have dedicated their works to prof. Nestorovska and she regularly performs them on concerts. Apart from her intense artistic and teaching activity, prof. Ljiljana Nestorovska actively contributes to the work in the academic and wider community. She is a valuable and reliable member of Faculty’s bodies and those of many other institutions. She was a member of the Faculty of Music Council (2002–2005), Staff Committee (from 2005) and Head of the Poly-Instrumental Department (2005–2015).
Prof. Ljiljana Nestorovska is the dean of the Faculty of Music in Belgrade since 2015, currently on her second mandate. She is also a longstanding president of the Poly-instrumental section of the Association of music and ballet teachers, member of the Harpist Association presidency and one of the founders and managers of Belgrade International Harp Festival.
Vice dean for teaching
prof. Ivan Brkljačić, D.M.A.
Phone: + 381 11 362 11 70
Ivan Brkljačić was born on 28th February 1977 in Belgrade. He graduated in 2001 from the Faculty of Music, Department of composition and orchestration, in the class of full-time Professor Srđan Hofman. He obtained his Master Degree in composition at the same faculty in 2005, in the class of full-time Professor Zoran Erić and in 2012 successfully defended his doctoral art project entitled Istar – Cycle of Nascent Music Caricatures for the Performing in a Theater Scenery, mentored by full-time Prof. Srdjan Hofman.
Ivan Brkljačić’s compositions have been performed many times in Belgrade and other towns in Serbia and two such performances have stood out recently. The premiere of IT! at the Kolarac Hall, with Aleksandar Šandorov, Bojan Suđić and the Symphony Orchestra of RTS, as well as the premiere of the instrumental theater Istar in the open space of Nebojša Tower at Kalemegdan. Also, his compositions were performed in Belgium, the Netherlands, Canada, Sweden, Brazil, the Czech Republic, Italy, Austria, Slovenia, Bosnia and Herzegovina, Poland, Germany, Croatia, F.Y.R. Macedonia, France, Romania, Hungary, Japan and Australia (in 2010 the composition Jinx, performed by Australian Modern Music Ensemble and conducted by Daryl Pratt opened The New Music Days in Sydney). He wrote commissioned compositions for Belgrade Philharmonic Orchestra, choir Collegium Musicum, European project MUSMA, festivals Bemus and Belef, Slovenian ensembles Slavko Osterc and 4Saxess, trio Pokret (Movement), trio Tembr, quartet Mokranjac, trio Singidunum, Construction Site New Music Ensemble, trio Donne di Belgrado, etc. He cooperated with international ensembles such as Ostravská Banda from the Czech Republic, Blindman from Belgium, L’Ensemble Portmanto from Canada, etc.
Ivan Brkljačić composed music for numerous theater plays, staged at Atelje 212, Belgrade Drama Theatre, Yugoslav Drama Theatre, The National Theatre, Bitef Theatre, etc., as well as the theaters in Zrenjanin, Vršac, Subotica, Banja Luka, Podgorica, Budapest and Erlangen in Germany.
Brkljačić is the author of music for the feature film Redemption Street (Ustanička ulica), directed by Miroslav Terzić
From 1999 he was employed as a teacher of the music form analysis in the Secondary Music School Mokranjac in Belgrade. From the academic year 2005/06 he worked as a Teaching Assistant, from 2010/2011 as an Assistant Professor and since 2015/2016 he has been an Associate Professor at the Faculty of Music in Belgrade at the Department for Music Theory.
He acts as the selector of the program for the 16th, 17th, 18th, 19th, 20th, 21st, 22nd, 23rd and 24th International Review of Composers. He is the creator of the new concept of the Review which has been presented since 2007 under new slogans Retrospection, New miniatures, The echoes of space - homage to Ljubica Marić and Vasilije Mokranjac, Music and theatre, Splendour of the Voice, Musical Construction Site, Step into the unusual, Mokranjac Award Jubilee and Music Box.
He has been granted the following awards:
- Mokranjac Prize for the year 2005, for his composition When the Curtain Rises SEVEN Times, for symphony orchestra
- 41st Sofest festival statuette (2012) for the best originally composed music, for the film Redemption Street
- The annual award of the magazine Muzika klasika (Musica Classica) for 2012 in the category of Applied Music (for the film Redemption Street)
He has been a member of Composers’ Association of Serbia since 2001.
Vice dean for science and international cooperation
prof. Ivana Perković, PhD
Phone: + 381 11 362 11 70
Ivana Perković, musicologist, associate professor at the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. She was also the lecturer in history of music at the Department of Musicology and Ethnomusicology of the Academy of Arts in Novi Sad (Serbia). Ivana Perković studied in Belgrade (Faculty of Music, University of Arts /bachelor, master and PhD degree/). She is the author and co-author of 5 books, over 50 articles in national and international journals and in proceedings of the international conferences in the country and abroad.
Areas of Competence: history of Western music up to 18th century, music and religion, music and literature, medieval poetics, musical libraries, musical archives.
Didactic competences: Medieval music in Orthodox countries, History of European music – Antique Period, Middle Ages, Renaissance, Baroque, Classical period, Serbian Chant, Music and Theology.
Serbian Medieval Music, Belgrade, University of Arts, 1998. (Co-authors: Roksanda Pejović, Tatjana Marković and Marija Masnikosa)
Music of Serbian Oktoechos, Belgrade, Faculty of Music, 2004.
From Angel Chant to Choral Art, Belgrade, Faculty of Music, 2008.
Interdisciplinary Approach to Music: Listening, Performing, Composing, Belgrade, Faculty of Music (Tempus project), 2014. (Co-authors: Tijana Popović Mladjenović and Blanka Bogunović)
Articles in journals and papers in monographs
„Koje ću pesme da zapevam smrti Tvojoj, Milostivi?“ – pesme za večernje bogosluženje na Veliki petak u stvaralaštvu srpskih kompozitora, Muzički talas, 2001, 28, 18-33.
„Александар Дамњановић: Рождество за женски хор“, Нови звук. Интернационални часопис за музику, 2003, 22, 58-61.
“Choral Church Music in Serbia before 1914 and its’ Sociocultural Context“, Българско музикознание, 2003, 4, 92-102.
“Liturgievertonungen in der serbischen Musik der Romantik. Ein Betrag zur Erforschung der Musiksprache“, Die Kirchenmusik in Südosteuropa, Tutzing, Hans Schneider, 2003, 160-168.
“The Splendor of Harmonized Singing. Russian influence on the Serbian Musical Performance at the end of 19th and beginning of the 20th centuries“, Music and Networking, Faculty of Music, Belgrade, 2005, 221–231.
“Serbian Choral Societies before 1914 and their Church Musical Repertory“, Musik als interkultureller Dialog. Das Banat als euroregionaler Klangraum, Tutzing, Hans Schneider, 2005, 17–25.
“Serbian Traditional Church Chant and Choral Church Music in the 19th Century“, Cantus Planus, Budapest, Institute for Musicology of the Hungarian Academy of Sciences, 2006, 187–196.
„Muzika i pravoslavno bogosluženje. Pitanje termina“, u: Dragana Jeremić-Molnar, Ivana Stamatović (ur.), Muzikološke i etnomuzikološke refleksije, Beograd, Fakultet muzičke umetnosti, 2006, 57-70.
“Classification of Signs in Serbian Orthodox Church Music“, in: Eero Tarasti (ed.), Music and the Arts 1. Proceedings from ICMS 7, Imatra, International Semiotics Institute, Helsinki, Semiotical Society of Finland, 2006.
„Стара музика”, у: Мирјана Веселиновић-Хофман (ур.), Историја српске музике. Српска музика и европско музичко наслеђе [Old Serbian Music, in: The History of Serbian Music. Serbian Music and European musical Heritage], Београд, Завод за уџбенике, 2007, 29-62.
“Harmonizing Self-representation: Serbian Religious Music in the 19th Century and the Introduction of Polyphony“, Selbstdarstellung/Emergence 4: Self-Representation, Vienna, January 11-13, 2007, http://www.kakanien.ac.at/beitr/emerg/IPerkovic-Radak1/ “Hero(es) of Serbian libraries and music collections. The case of Ludwig van Beethoven“, Тематски потенцијали лексикографских јединица о музичким институцијама, [Thematic Possibilities in Lexicographic Units on Musical Institutions], Beograd, Факултет музичке уметности, 2009, 81-101.
“Music History Courses Following Revised Program of Studies for First Year Undergraduate Students at the Faculty of Music in Belgrade: Teaching Concepts“, 12th International Conference „Educational Research and School Practice“ – Quality and Efficiency of Teaching in Learning Society,Institute for Educational Research and Volgograd Pedagogical University, Beograd, 240, 2009. (Co-authors: Marija Masnikosa and Tijana Popović Mlađenović) “Battle in the Ballroom? Expressive Genres in Mozart’s Contredance La Battaille K535“, Beograd, 7th Annual Conference of the Department of Music Theory, Faculty of Music, University of Arts in Belgrade, 2009, 16-17.
Ivana Perković Radak, “W. A. Mozart’s Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response“, Journal of Interdisciplinary Music Studies, 2009, 3, 1–2, 95–117. (Co-authors: Tijana Popović Mladjenović, Blanka Bogunović and Marija Masnikosa) “Theatrical Expressivity of Berio’s Sequenza for Viola: Levels of Communication“, Journal of Interdisciplinary Music Studies, Fall 2010, vol. 4, issue 2, 55–84. (Co-authors: Tijana Popović Mladjenović and Blanka Bogunović) “Approaches to Serbian Orthodox Music: A Case Study of Stevan Stojanović Mokranjac’s Complete Works“, in: Leon Stefanija/Nico Schüler (eds.), Approaches to Music Research. Between Practice and Epistemology, Peter Lang GmbH, Internationaler Verlag der Wissenschaften, Frankfurt am Main, 2011, 129-135.
“Musical references in Serbian hagiography (žitija) and liturgical poetry (Srbljak) “, in: Robert Klugseder, James Borders, Christelle Cazaux-Kowalski, Lori Kruckenberg, Frank Lawrence, Jeremy Llewellyn, Christian Troelsgard, Anna Vildera and Hanna Zuhlke (eds.), Cantus planus, Österreichische Akademie der Wissenschaften, Kommission für Musikforschung, Wien, 2012, 316–320.
“Musical symbols in Serbian liturgical poetry (Srbljak) “, Unity and Variety in Orthodox Music: Theory and Practice, International Society for Orthodox Church Music & University of Joensuu, Finland, 2013, 191-198.
“Arvo Pärt’s Trisagion: 1+1=1. The Intersection of Orthodoxy and Modernism”, in: Sonja Marinković and Sanda Dodik (eds.), Tradition as Inspiration. Days of Vlado Milošević, conference proceedings, Banja Luka, 2014, 186-202. (Co-author: Marija Masnikosa)
Member of several national and international associations: International Musicological Society (active member of the Cantus Planus group), The International Society for Orthodox Church Music, Serbian Musicological Society (the first president of the Managing Board), and Composers’ Association of Serbia;
Participant of four national research project (since 1996, up to the present).
Member of the international project on hymnology (The Canterbury Dictionary of Hymnology, since 2004);
Postdoctoral research, Institut für Musikwissenschaft der Universität, Wien, 2005;
Coordinator of the research project funded by British Library (2006/07): research and archival work on endangered musical archives in Zemun;
Vice dean of the Faculty of Music in Belgrade in 2010/11;
Responsible for the application of the TEMPUS project (Introducing interdisciplinarity in music studies in the Western Balkans in line with European perspective) and the first project coordinator (in 2012).
Vice dean for artistic work
prof. Aneta Ilić, MMus
Phone: + 381 11 362 11 70
Aneta Ilić rightfully belongs among the leading vocal interpreters of Serbian musical scene, and has performed extensively during the past number of years, with highly acclaimed professional appearances both in Serbia and abroad.
She is a graduate of Belgrade University, Faculty of Music, from the class of prof. Biserka Cvejić, with a dual major in Music theory and pedagogy. She has also completed her Masters in music, as a vocalist, with prof. Irina Arsikin at the same university, Department of Vocal performance. Since 2000 Aneta Ilić is teaching vocal performance at Vocal Studies Department in the capacity of Associate Professor.
She is a recipient of several of the highest prizes on national competitions and most notably was awarded a prestigious award from the Association UMUS, a Serbian Association of music artists, for "The best concert" in 2005, and City of Belgrade Annual Award 2010 for music and music performance art.
Her wide repertoire ranges from the Early Baroque to the music of 21st Century. A special part of her artistic activity lies in promoting and performing a wide range of Serbian Music, both classical heritage and contemporary pieces.
Aneta is a soloist with the Ensemble "Renesans" and a member of "Ensemble for new music", as well as a trio "Donne di Belgrado", an ensemble that promotes contemporary music and has many Serbian composers written music for it, with all of whom she has performed in the country as well as internationally.
Aneta has given numerous vocal recitals with acclaimed pianists Dejan Sinadinović and Vladimir Stojnić performing various repertoires from musical epochs of Baroque, Romanticism, Impressionism and 20th Century music.
As a soloist, she has performed the most notable parts of grandiose musical pieces such as cantatas, requiems and masses.
As an opera singer, Aneta Ilić has performed the title role in Carl Orff's opera "Die Kluge", Despina in W.A. Mozart's "Cossi fan tutte", and Sostrata in "Mandragola" by Ivan Jevtic, all staged and produced by the Chamber Opera ''Madlenianum'' in Belgrade. She also appeared in the role of "Mrs. T" in Michael Hyman's chamber opera "The Man Who Mistook His Wife For A Hat", an opera that was staged within Belgrade Theatre Festival, 2001. Aneta played the role of Eurydice in "Orphee et Eurydice" by C.W. Gluck at the most prominent music festival in Serbia – BEMUS, 2005. At the National Theatre stage, she performed Susane in "Le nozze di Figaro" by Mozart 2010. In summer of 2012, she created the role of Padme, for the world premiere of the opera "Two heads and a girl" by Isidora Zebeljan at the Settimana Musicale Senese Festival in Siena, Italy.
Produced by Swedish Theatre "Confidancen", Aneta was a featured soloist for three consecutive seasons (2005-2007) in a Baroque theatre play "Divertimenti di Confidance".
Notable appearances have been made by Aneta on the stage of renowned Muziekgebouwaan' Tij performing works of Marius Flothuis, Isidora Žebeljan and Ljubica Marić.
Collaborations with notable conductors include such names as Leopold Hager, David Porcelijn, Uroš Lajovic, Vladimir Kranjčević, Bojan Suđić... Aneta has performed as a soloist with the Belgrade Philharmonic Orchestra, Radio-Television Belgrade Symphony Orchestra, Munich Philharmonic Soloists Ensemble, "Dušan Skovran" chamber orchestra, the "St. George String Orchestra" and made numerous recordings for radio and television, including a CD of Isidora Žebeljan's music with Brodski Quartet 2011, and "Little Box" CD with Donne di Belgrado trio in 2012. Aneta has performed in Italy, France, Germany, Holland, Sweden, Croatia and Slovenia.
The critiques have said about Aneta Ilić 's interpretations:
"...We underline the fact that existence of Aneta Ilić on our musical scene represents a real gem. With flawless intonation and precise execution, intelligent and imaginative, Aneta Ilić not only has a voice of a unique and recognizable color, but intellectual and spiritual strength as well, that is manifested in its full potential and devoted to that "musical NOW"..."
09. December 2003, Katarina Tomašević, Radio Belgrade II
"... Aneta Ilić... has truly followed all of the emotional subtleties in balanced registers of great interpretative power, in an absolutely precise intonation, and endless rows of intricately crafted passages transcending genuine musicality..."
25. April 2008, Gordana Krajačić, "Borba"
Student Vice dean
Андрија Тешмановић је рођен у Лозници 9. 11. 1992. године, где је завршио Основну школу „Јован Цвијић“ и Основну музичку школу „Вук Караџић“. Своје музичко школовање наставио је у Средњој музичкој школи „Петар Кранчевић“ у Сремској Митровици после које уписује Факултет музичке уметности у Београду на Одсеку за етномузикологију 2011. године.
Током својих студија учествовао је у две Летње уметничке школе Универзитета уметности у Београду у оквиру етномузиколошке радионице, у Новом Бечеју 2012. године под руководством др Димитрија Големовића и др Сање Радиновић и 2013. године у Тршићу под руководством др Оливере Васић. Као студент етномузикологије учествовао у различитим теренским истраживањима, а свакако његово најзначајније учешће је у пројекту Министарства културе и информисања Републике Србије и Музеја у Пријепољу у оквиру у мултидисциплинарних истраживања Нове Вароши, као и у теренским итраживањима за потребе својих семинарских радова. За студента продекана изабран је у октобру 2014. године од када активно учествује у раду различитих Комисија Факултета и залаже се за поштовање права и обавеза студената и конструктивно учествује у расправама у циљу побољшања студентског стандарда. Свој други мандат започео је у октовбру 2015. године. Од 2016. године је координатор Фестивала студената Универзитета уметности на ФМУ.
Поред ангажовања на Факултету, Андрија је и члан прве студентске хуманитарне фондације „Осмех на дар“ од 2013. године, а крајем 2014. именован је за координатора Фондације. У децембру 2014. и 2015. године покренуо је акцију „Осмех на дар“ и на Факултету, како би што више студената пружило помоћ угроженој деци широм Србије и укључило се у промовисање волонтерског рада.