Milana Stojadinović-Milić (1962, Serbia) graduated and acquired her M. Mus. Degree in composition from the Faculty of Music in Belgrade. She works as Assistant Professor at the Department of Music Theory at the same Faculty.
Her most important pieces are: Mimicry and Aurora Borealis for symphony orchestra; Duo simbolico for piano and symphony orchestra, wind quintet Kaleidoscope; Melody for string quartet and Rock-jazz-roll etudes on sale; Tears – a cycle of ten songs (for alto flute, soprano, and piano); Fragment of the Meantime, for voice, flute and piano; violoncello trio Eol; Neoromantico 1, trio for flute, violin and piano; Dream for flute and piano; quartet Tango sentimental for bandoneon, violin, double bass and piano (concert project Tango after Piazzolla); a number of ‘small’ compositions for elementary and high school music piano students.
Her pieces have been performed at festivals and concerts, broadcast on radio and television programs at home as well as abroad: in Croatia, Slovenia, Republic of Srpska, Macedonia, Montenegro, Italy, France, Germany, Great Britain, Bulgaria and Greece. Her works have been recorded on compact discs at home and abroad, as well as in the international project Contemporary Music of the Balkans. She has won ten, national and international awards for her work and her biography has been included in five editions lexicon Who is Who in Classical Music by British publishing label Europa Publications. She is a member of the Composers Association of Serbia.

Neoromantico 2
What does romantic even mean? Especially in music?
The first association, which is usually the right one, makes romantic equal to exhilarated, and exhilarated is exaggerated, the extreme of every feeling. Therefore, romantic is often synonymous to “dishevelled”, “free” and “having no control”. Because of the emotional state of the author or performer, and of course the listener, romantic is never trivial, but very often poetic and moving… sincere…
I believe that music of every genre, either openly or secretly, wants to be romantic in that sense… so that kind of romantic can be measured… for example molto romantico, poco a poco piu romantico, romantico possible…
Neoromantico 2 aims to do the same, to restore the essence of the romantic… Its four sections could be seen as four possible, instigated by music, states of spirit… their sonorous, Italian names from this perspective seem as a naive and childish attempt to help the music have a more powerful effect in any way possible.
There are:
Minima – the smallest, the tiniest, but also crucial, the most necessary part, it directs music but also emotional content in an ascetic and ‘thrifty’ way…
Anima – the soul, consciousness and the ability of Man to think and feel, its melody echoes until the very end and sets the whole music flow into action…
Arroganza – arrogant, haughty, audacious and insolent, moody, nervous and unbalanced… close to the end even latently destructive…
And
Sensibilita – sensitive, sentimental, vulnerable, but also calm and decisive, wrapped in the beauty of simplicity… like the blurred window onto which little drops of rain fall evenly, rhythmically, steadily… like the dark green landscape whose contours quiver in the mist… like the bright and warm major scale which slowly and patiently fills the sound space… and time…
The composition had its premiere on May 4, 2012, at the Kolarac Foundation Concert Hall in Belgrade, by the Trio Pokret. It is dedicated to its members and their valuable and unusual art.