Ivana Stefanović (Belgrade, 1948) studied violin and composition at the Faculty of Music in Belgrade. Between 1979 and 1981 she was at IRCAM in Paris, with a grant from the French government.

She worked as a music editor and associate at the Serbian Radio and Television. There, she founded the Sound Workshop in 1985. In 1992 she was one of the originators of the International Review of Composers. Between 2001 and 2006 she was the artistic director of the Belgrade Music Festival, and after that she was the president of the Composers Association of Serbia and State Secretary in the Ministry of Culture of the Republic of Serbia.

Her compositions and radiophonic works have been performed in France, Denmark, England, Syria, the USA, Austria, Kazakhstan and at prestigious festivals Gaudeamus (Netherlands), Belgrade Music Festival, Musical Biennale in Zagreb (Croatia), International Review of Composers, Belgrade Theater Festival, Wings of Sound (Finland), RomaEuropa (Italy), Madrid – The World’s Cultural Capital (Spain), etc.

Major works: cantata Kabana, string quartets Harmonies and Play Strindberg, Wither You Go with A Bird on Your Palm for percussion ensemble and tape; The Interpretation of Dream for solo flute and tape; ballet Isidora; Four Nocturnal Inscriptions for solo viola and strings; The Tree of Life for strings; Antiochian Songs; Unusual Scenes from Homer’s Grave in Smyrna – New Contributions for Hans Christian Andersen etc. Important radiophonic works include A Metropolis of Silence – The Ancient Ras; Lachrymosa; The First Oriental Dream… For her artistic achievements she has been awarded several times at home and abroad (October Award for the Creative Achievements of the Youth, Prix Monaco, Sterija Award for music, Miloš Crnjanski Award for the book of prose A Road to Damascus…)

She regularly writes articles on music and culture, takes part in various symposia, collaborates with the Center for Professional Development and Consulting of the University of Arts etc.


She is a miniature drama for Her, three performers and Time.

It is based upon just a few verses from the poem Hasanaginica by Ljubomir Simović.

In She She is supposed to sing, but she does not sing. The rhythm is there, but without percussion. She is envisaged as an illuminated, petrified moment, a moment of difficult inner turmoil. Is it necessary to say that it is the female turmoil that I have in mind ?