Miloš Zatkalik (1959, Serbia), composer and music theorist from Belgrade, Pro-fessor at the University of Arts in Belgrade, Faculty of Music. Formerly a visiting lecturer at the Universities of Novi Sad, Kragujevac, and Banjaluka. Lectured by invitation in Canada, Norway, the USA, Slovenia, Germany and Australia.
Major works: symphonic: Minas Tirit: What’s He to Hecuba; of Saralin-da, Xingu and the Duke Swallowed by Golem – A Fable for Symphony Orches-tra; chamber: The Mad Carriage-greeter from Ch’u; Lost Fragments II; As if Nothing Had Happened; Seemingly Innocent Game; noise in the inner Si-lence; chamber orchestra: Dum incerta petimus, Lost fragments; Four Visions of Absence; solo instruments (flute, viola, cello); songs.
As a theorist, presented papers on many scientific conferences. Published papers at home and abroad. Research areas: analysis of 20th-century music; relationships between music and narrative; psychoanalytic foundations of mu-sic analysis. Author of the first Serbian electronic textbook on music analysis.
Formerly a long-time member of the Composers Association of Serbia Man-aging Board, representative of the Association in European Composers and Songwriters Alliance, and member of the jury of the Mokranjac Award.
Also studied English language and literature and translated a large number of music texts into English.

Four Chromatic Transformations. A chromatic dyad can appear as a minor second, major seventh, minor ninth… It can occur simulta-neously or in succession. It can be transposed, distributed among various in-struments and – to make a long story short – out of such an entity you can create apsolutely everything. This “everything“ is represented in these four movements only by its tiniest part, of coruse.
I don’t know whether the listener will think of Bartok. The creator of this work often does.