Tatjana Milošević (Serbia) obtained her M.Mus. degree in composition studying with Zoran Erić at the Faculty of Music in Belgrade. She works as assistant professor at the Department for Composition and Orchestration of the same Faculty. During her studies she attended numerous master classes abroad working with Ligety, Penderecki, Ferneyhough, Stockhausen, Andiressen, Schaeffer, among others. She collaborated with prominent ensembles and performers such as: Het trio (The Netherlands), Creo (USA), Intercontemporain (France). Her pieces were performed at renowned festivals and concerts of contemporary music in Germany, Ukraine, Poland, Hungary, France, Italy, The Netherlands, USA, Denmark and Serbia. In 1997 her piece Sjaj Betelgeza ili tajna crvenog džina (The Splendor of Betelgez or the Secret of the Red Giant) represented Yugoslavia as the SIMC World Music Days in Seoul. In 2001 she was a guest lecturer at the Department of Composition of the Old Dominion University (Virginia, USA). The same year she took part in the multimedia project Waterproof organized by Fort Asperen and UNESCO of which the electronic pieces Tribute for Fort Honswijk was released as a CD. In 2002 Dance Academy from Arnhem commissioned the ballet CoinciDance which was performed by chamber ensemble De Ereprijs (The Netherlands) during the festival Groeten uit Arnhem. In 2009 she was one of the leaders and jury member of the course for young composers 15th Young Composers Meeting in Apeldorn.
Green with Buzz
What kind of relation exists between this piece and the verbal statement of its title? The answer is simple. There is no programmatic orientation, no previously established concept that determines the music flow. Green with Buzz is a completely spontaneous metaphor associatively suggesting different stylistic and preformative aspects of the piece. Green refers to the non-dramatic character of musical material that comprises three different thematic sections, which do not collide. With its omnipresence, the ’green’ pushes away all other elements of ’musical landscape’ thus becoming its unique essence. The second part of the title – with Buzz – is a reminiscence of my previous piece Buzzle, a five-minute piano comment on blues… “With Buzz” is associated with the presence of different sound effects, such as ornaments and tremolos, which are to be performed very fast and very dense in order to create an effect similar to ’buzzing’.