Ljubomir Nikolić (1976, Serbia) completed his primary musical education in Tuzla, at the accordion department, and he continued his education at the Music School “Isidor Bajic” in Novi Sad, also at the instrumental department. During his studies,he joined the ensemble for contemporary music New Art Forum, led by the composer Nineta Avramović. The ensemble performed his pieces Little Story for flute and piano and Suite No. 1 for piano. He studied composition at the Academy of Arts in Novi Sad, in the class of Miroslav Štatkić. He graduated in 2002 in the class of Rajko Maksimović, with the composition titled Warrior for symphony orchestra. He received the Best Student Award after his first years of studies. In 1997 he was the first prize-winner of the composition contest Days of Josif Marinković in Bečej, for the song The Triumph of Venus. Also, in 2009 he was the double laureate of the Serbian National Competitionfor percussion instruments, which was initiated by our eminent artist Nebojša Živković. Among notable performances we should mention: String Quartet No. 2 – A foreign body in the interpretation of the string quartet TAJJ in January 2012, in Rome, as a part of the festival Art and Culture of Eastern Europe; the premiere of a composition for two pianos called Shadows in New York, performed by Michael Rose and Miori Sugiyama. A CD with the retrospection of his works entitled Foreign Body has been released as a joint project of Matica srpska and the Association of Composers of Vojvodina, as well as the CD The Song of the Ghosts above the Waters.

Muse, a goddess and protector of poets, painters, musicians… one that inspires… composition is a “flash” of an idea… inspiration… faith in “pure” music… music for the sake of itself… the notion of music is a frequently asked question in history?… “cosmic music” (which is in line with the universe), “psychological music” (which shapes the soul), “new music” (which evokes emotions)… its transformation… the transformation which is also taking place in the composition, because the original chord structure (present in the whole composition, but in a different shape) which produces the entire composition, is further transformed into a melodic line (transformed from the chord structure, it appears in the forms of broken chord, ostinato and a scale), creating a quasi-polyphonic texture derived from the first two structures… the composition represents a humble gift to the “Sublime”… one of nine… Muse…