Sixth Day

Workshop – Lecture – Talk – Concert

Workshop – Lecture – Talk – Concert

24 February 2022

Live Events


Csound for Beginners
Parham Izadyar

In the workshop we want to know what csound is and how to start working with it. I will quickly explain what csound provides to our composition. so the topic will be:

. how to install csound and csoundQt
. how to start writing our programs
. what is opcode and variable-type
. how to generate a simple sine waves and work on it

At the end of the workshop participants will be able to write simple music with sine waves.
participations must have a laptop or pc, it’s best if download the files before workshop.

Thursday 24 Febuary 2022. 11:00 Tehran Time

For free registration please contact via: or +989377867630 in Telegram.

Pass code will be sent to registered participants.


He started music at the age of 16 by playing Piano. in 2012 entered Tehran Art University. He continued playing piano under the guidance of Mahnaz Shadipour and Arpine Israelyan and he focused his work on contemporary composition with karen keyhani. Some of his activities are as following: cooperation with game studios as a composer and composing for short movies, theaters and animations. his two works "homeland" and "the window" have been known as selected pieces in "Reza Korourian Award 2017-2018.  In 2019 he and Sepideh Yaftian got the third place in the Reza Korourian Awards with a piece named "Insects fall in love too". Also in 2019 his piece "blindspot" was performed by the contemporary ensemble University of Tehran in rudaki hall for Tehran contemporary music festival. And "false memories" published by "noise.a.noise" Record Label in 2020.


Advanced Csound
Joachim Heintz

Live Csound
In this workshop I will cover some typical situations/tools which we need when we use Csound in live electronics. I will show it following the piece which I developed recently for Oud and live elecrtonics in collaboration with Yasamin Shahhosseini. Some topics are:
– How to use a MIDI keyboard with a pedal to trigger events or change values.
– How to use the computer keyboard to trigger events.
– How to find a good architecture in your Csound program to receive and trigger events.
– How to develop a GUI (Graphical User Interface) which shows audio and control signals.
– How to record and playback buffer.
– How to work with prerecorded samples.
The participants need to have a recent install of Csound and CsoundQt, as well as a MIDI keyboard (if possible with sustain pedal). Anything else will be provided in a download page.

Thursday 24 February 2022. 14:00 Tehran Time 

For free registration please contact via: or +989377867630 in Telegram.

Pass code will be sent to registered participants.


Joachim Heintz after studying Literature and Art History, began his composition studies with Younghi Pagh-Paan and Guenter Steinke in Bremen in 1995 at the Hochschule Fuer Kuenste. During the course of his studies in Bremen, he worked intensively in the electronic music field and also with mixed media such as video. He is the head of the electronic studio FMSB in the institute for new music Incontri at the HMTM in Hannover (Hanover University of Music Drama and Media), has been teaching Audio-Programming at the HfK Bremen for many years and is still a member of the Theater der Versammlung in Bremen. He composes both for instruments and electronics, for concerts, sound installations, performances and as theatre music. He is an active member of the Open Source community, in particular in the development of Csound and CsoundQt. As head of the Hanover Society for Contemporary Music (HGNM) he initiates and hosts workshops, discussions and concerts as encounters between traditional asian instruments and contemporary music.


Sound Spatialisation Using Ambisonics in Csound
Oscar Pablo Di Liscia

From its creation in 1973 by the British engineer Michael Gerzon, the Ambisonics 3D sound spatialization technique has gained increasing interest in the electronic and computer music community due to the perceptual robustness of its results, the clarity of its conception, and its versatility. Regarding the last feature, it is worth to lay stress on the relative independence between its encoding/decoding stages (which makes possible the fair reproduction of an encoded Ambisonics mix using a great variety of loudspeakers arrays), the transparency of its storing formats, and many sound field transformations that are feasible in a relatively straight forward way, which are useful for technical and/or creative purposes. Many extensions of the “canonical” technique has been developed since its creation by a great number of specialists, as well as computer applications ranging from stand-alone programs, to plugins to be used on Digital Audio Workstations, and modules of programming environments for music and sound such as Pure Data Super Collider and Csound, among others. This talk will address first a brief introduction about the Ambisonics technique main features, then a description of the Csound processing units devoted to Ambisonics (i.e., Opcodes), and finally will present some Csound examples of use developed by the lecturer.

Thursday 24 February 2022. 17:00 Tehran Time

Pass code: TIEMF2021


Oscar Pablo is a Musician and Academic born in Santa Rosa (La Pampa, Argentina). He earned a Bachelor degree in Music and a Doctoral degree in Humanities and Arts at the Universidad Nacional de Rosario (UNR, Argentina). He was the Director of the Electronic Composition Program at the Universidad Nacional de Quilmes (UNQ, Argentina) and Research Secretary at the Universidad Nacional de las Artes (UNA, Argentina). Presently, he is Professor and Academic Researcher at UNQ and UNA, Argentina. In addition, he is the Director of the Research Program “Temporal Systems and Spatial Synthesis in Sonic Art” and the Editorial collection “Music and Science” at UNQ. He has published papers and books on aesthetics and techniques of new music and technologies, as well as developed software for Digital Signal Processing, Musical Analysis, and Composition. His main areas of research include Digital Signal Processing (specifically Sound Spatialisation and Spectral Analysis of Digital Sound), Electronic Composition, and Computer Music. His compositions, both electronic and instrumental, have been recognized by awards both nationally and internationally, and have been recorded, edited, and performed in several countries (Argentina, Chile, Uruguay, Cuba, USA, France, Spain, México and Holland).


The Role of Independent Music Groups
Soheil Soheili and Niloufar Shahbazi

Live on Instagram
Thursday 24 February 2022. 22:30 Theran Time


Soheil Soheili (b.1983) is an interdisciplinary artist and a researcher from Iran. His experiences have converged toward the field of humanities and culture. He started playing music with his dad (also making electronics), who is also a passionate learner of music, and a cultural paternal family in general. He holds a B.A in English language and Literature, and has been active as a translator for a number of academic research projects and journals since 2015, with articles ranging from Urban Studies to the Sound Theory, and many more... He is now involved in a number of research projects with the same spread. Soheil is a record producer (mixing-specialist and mastering advisor); He owns his own studio Studio A Tehran, the private post-production studio that he fund, and a team for supporting truly independent artistic- music movements in Iran (Classical, Jazz, Electronic and Contemporary music), this also includes preparing sound for the stage. He is interested in the active participation of projects in his field (mostly text, and the sound in general), most notably as a collaborating member at New Media Society, the project space for New Media Arts in Tehran, and Noise à Noise, the independent label for experimental [and noise] music.

Daily Report

A Short Report on the Past and Upcoming Events

Live on Instagram
Thursday 24 February 2022. 23:45 Theran Tiem

Concert (Curated by Dimitri Papageorgiou)


Piece (RNA LAB QUARTET) and attached lecture (The Well)

About the piece: RNA LAB QUARTET

Algorithmic morphing by nano mutations of historical pandemics.

A reply to this work:
“It’s a true artist who finds structure and even beauty in the challenges that overwhelm most people.”
– Carla Scaletti

After creating MONUMENTUM, Kuit used the audio of these 40 genomes as base for the after- pandemic onset for societies and arts. This is created with a Mutigrid blending and mixing the 40 pandemics in an algorithmic way. Spectral amplitude- and frequency modulation is used to alter the timbres. Spectral holds are created in an algorithmic way to create musical sounds from noise.


About the lecture: The Well

The lecture The Well is how to create, as an artist, your own creative well to extract works from it.

Roland Kuit


Roland Emile Kuit started his research in the electroacoustic field after studying flute at the Royal Conservatory, The Hague. He signed up for research in analogue studio techniques, computer and formalized music at the Instituut voor Sonologie in the 1980’s in Utrecht, the Netherlands. His teachers included Gottfried Michael Koenig, Jaap Vink, Werner Kaegi, Frits Weiland, Paul Berg and Stan Tempelaars. Private lessons by Dick Raaijmakers followed. The IRCAM in Paris provided an environment to experiment with new approaches in acoustic music composition and offered the opportunity for research of physical models.
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Night Landed


  • Flauto’Amore: Ginevra Petrucci
  • Electronics: Aida Shirazi & Bahar Royaee
  • Recording engineer: Gleb Kanasevich

“Night Landed” is based on a poem entitled “Echo” by the Iranian contemporary poet, Sohrab Sepehri. In addition to the text, the electronic part includes the prerecorded bass flute, electronically generated drone layers, pre-recorded and processed thunder tube sounds, bells, and humming voice. The flauto d’amore has a soliloquy that turns into a dialogue with the bass flute in the electronics. The other sounds set the atmosphere and evoke the imagery of the text. The whispered lines function as a purely textural element that interacts with other layers of sound with each iteration.

Aida Shirazi


Aida Shirazi is a composer of acoustic and electroacoustic music. Her music mainly focuses on timbre for organizing structures that are often inspired by language and literature, as well as Iranian classical music. Shirazi’s music has been featured at festivals such as ManiFeste, WienModern, Huddersfield Contemporary Music Festival, Mostly Mozart, and MATA by Miranda Cuckson, Lucy Fitz Gibbon, Carrie Henneman Shaw, Orchestre Philharmonique de Radio France, International Contemporary Ensemble and Ensemble Dal Niente among others. Currently, Shirazi is a participant of IRCAM’s “Cursus Program in Composition and Computer Music.”
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Algal Bloom (2020)


  • Visuals: Mieke Robroeks
  • Audio: Myrto Nizami

Algal Bloom is an audiovisual work in which the spectrum and the shades of light and sound in the underwater
environment were our main goal. The music is generated from pre-recorded material and field recordings. Hand drawn stop-motion images are layered with the computer. The image and sound together are two voices that become more and more independent of each other, creating a new, contrapuntal layer. Their amalgamation at the point where none of the elements are any more recognizable, detaches them from their initial origin. Artistically we aim to organically present a unity into multiplicity.

Myrto Nizami


Mieke Robroeks (1989, NL); Graduated in 2010 as BA fine arts, design and education at the university of the arts, Utrecht (NL). After this course, graduated (with honours) in 2013 as MA visual arts, at the Royal Academy of fine arts Antwerp (BE). Since graduation, several exhibitions and nominations have taken place. The work arises in different media; drawing, stop-motion animation and printmaking. Myrto Nizami (1994,GR) Composer based in the Netherlands. She studied piano and theory and she holds a BM and MM in Composition. She has written music for voice, ensembles, orchestra and collaborated in multidisciplinary projects.
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par l’usure


  • acousmatic

The same way a body can be the witness of fantasies, the “sonic bodies” are also inhabited by the composer’s projections. Transformed by the force that writing exerts, these “sonic bodies”, now assembled and repeated, recreate a new network of significations, like a machine where the different components communicate with each other. The technique of “micro-montage” is at the basis of this study: it precisely served to erase the “pre-established” becoming by the play-sequence of these “sonic beings”, in order to be able to subject them to new rules.

Filippos Sakagian


Filippos Sakagian is a Greek-Armenian Composer based in Paris. His most recent works are characterized by his interest in Greek and Zoroastrian archaic Traditions and Esotericism. He is currently studying Composition with Stefano Gervasoni, New Technologies with Grégoire Lorieux, Yan Maresz, and Luis Naón at the Paris Conservatoire (CNSMDP), and takes part in the IRCAM Cursus 21-22. He is a member of ΕΣΣΗΜ/HELMCA and his music is showcased in festivals in Argentina, France, Greece, Italy, Mexico, Scotland, Spain and Sweden. He received support by the Fondation Meyer, the Legs Jabès scholarship, the Sacem, and the funds de Tarrazi.
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Earthly Spaces for Ondes Martenot

Musician, Sound Engineer, Video Editor and … :

  • International Contemporary Ensemble
    Suzanne Farrin, ondes Martenot
    Adele Fournet, camera operation and design
    Isabel Frye, video editor
    Nicholas Houfek, design and lighting
    Ross Karre, video design and coordination
    Merve Kayan, camera operation and design
    Caley Monohon-Ward, sound editor
    Ryan Streber, sound engineer

Produced for TIME:SPANS 2020 by the Earle Brown Music Foundation Charitable Trust
The earthly spaces are empty,
and the roads that rule my childhood dreams,
end up in a land that denies them.
Homes no longer grow along the white horizons.
-Deltangi 10 Yadollah Royaï

Bahar Royaee


Born and raised in Iran, Bahar Royaee is a music educator and a composer/sound designer who works within the field of concert music and various media arts.The Boston Arts Review praised Bahar’s “haunting sound design” in her work with live theatre. In the field of concert music, Bahar has worked with Claire Chase, Suzzane Farrin, International Contemporary Ensemble, Composer Conference Ensemble, Guerrilla Opera, Longleash, Mazumal, Splice Ensemble, to name a few. She is currently pursuing a Ph.D. in music composition from City University of New York studying with Suzzane Farrin, and Jason Eckardt.
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Ellen Taking Space – Chantier

Based on Chantier (2013) by Jérôme Game
L’encre bleue du chantier la nuit est enduit, saturé, lumineux. Des parpaings en béton matifiés en plastic rouge-blanc marquent l’entrée. L’enceinte grillagée les bacs à ciments les bâches une flaque d’eau les machines à l’arrêt. Les hommes avancent leurs casques jaunes est bleu, est blanc, leur combi est leur gilet phosphorescent leurs bottes. Regardent les papiers, le métal est sale sont torse-nu, la poussière est partout le ciel est blanc.

This is a new extended version of a previous electroacoustic piece composed in 2019 and now used for the dance show Die Seherinnen (2022)

Claudia Jane Scroccaro


Is an Italian composer of instrumental and electroacoustic music. The sonic aspect holds a dominant role in her work and it reflects deep interests for electronic music and for music of aural tradition, exploring a musical dramaturgy that results into an alternation between kaleidoscopic movements and introspective explorations. Her music has been performed internationally by Ensemble Musikfabrik, ECCE, Ascolta, EchtZeit. She is currently teaching CAC and electronic music at IRCAM in Paris.
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Pollock’s Dreams: Liquefied Sounds


  • George Holmes, Video artist

The title refers to Jackson Pollock’s paintings using his dripping technique, which became the source of inspiration for this piece. Volatile environmental sounds captured around the University of Oklahoma, Norman campus underwent a condensation process through Max/MSP (including phase vocoding, and/or granular synthesis “freeze”, filtering, envelope shaping, pitch shifting, among others) to be transformed in to liquid pigments. The liquefied sounds were then arranged in to the canvas (Pro Tools) and balanced dynamically through spontaneous real-time processes.

Konstantinos Karathanasis


Konstantinos Karathanasis draws inspiration from poetry, cinema, painting, mysticism, Greek mythology, and the writings of Carl Jung and Joseph Campbell. His compositions have been performed at numerous festivals and received awards in international competitions, including Musica Nova, SIME, SEAMUS/ASCAP, Música Viva and Bourges. Recordings of his music are released by SEAMUS, ICMA, Musica Nova, Innova, Equilibrium and HELMCA. A Stavros Niarchos Foundation Fellow for Spring 2020, he is a Professor of Composition & Music Technology at the University of Oklahoma.
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Vertices for bassoon and live electronics


  • Johannes Schwarz, bassoon and Vassos Nicolaou, live electronics

“Vertices” was commissioned by the Ensemble Modern for its 30th anniversary and it was premiered by Johannes Schwarz and Vassos Nicolaou on the 15th of January 2011 at the Alte Oper Frankfurt. This virtuosic piece – in terms of speed, changes of articulation, dynamics and the use of extended technics – was created in close collaboration with Johannes Schwarz and it is dedicated to him. The electronics are expanding the bassoon sound adding colour, resonance, delays and spatialisation. The form follows basically the concept of the labyrinth.

Vassos Nicolaou


Ranging from solo instrumental pieces to large orchestral works, often including electronics, Nicolaou´s music has been commissioned by some of the world’s leading ensembles and soloists including the Ensemble Modern, Ensemble intercontemporain, Ensemble Musikfabrik, London Sinfonietta, Pierre-Laurent Aimard and Tamara Stefanovich. Performance venues include the Berlin and Cologne Philharmonie, New World Center and Centre Pompidou. He was awarded the Rome Prize–Villa Massimo, the Bernd Alois Zimmermann Prize, the Giga Hertz Award and several fellowships (Civitella Ranieri, Franz Liszt, IEMA, Tokyo Wonder Site). He lives in Cologne.
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Broken Slide

The visual components of this multimedia project consists of movies/photos which are taken with various high magnification macro and microscopic devices from one single broken microscopic slide containing some parts of an insect’s body. It was not the intention to produce realistic imagery, but to photographically explore this single object in order to render visible the hidden beauty of varying abstract landscapes. ‘Magnification’ was also the motivating idea for the composition of the piece. Based on generative principles, the music grows out of a simple constellation of numbers which creates complex structures by unfolding in time.

Gerhard Nierhaus


Gerhard Nierhaus studied composition with Peter Michael Hamel, Gerd Kühr and Beat Furrer. Working within both traditional and contemporary digital and intermedial formats, his artistic output includes numerous works of acoustic and electronic music and visual media. He works at the Institute of Electronic Music and Acoustics at the University of Music and Performing Arts Graz, Austria, and teaches Computer Music and Multimedia.
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LAND is a conceptual audio-visual piece, for video, tape and text. The situation of a meta-machine that autocorrects the thoughts of the invisible protagonist is a metaphor for restrictions that a person undergoes in particular political systems or social structures. The invisible protagonist has outlived many different socio-political situations and their testimony is thus multilayered, shows all the advantages, disadvantages and consequences that they experience, by being the oppressor, oppressed and the apathetic.

Anda Kryeziu


Anda Kryeziu (1993*) Composer and performer from Kosovo, based in Berlin. Her music was played in Festivals like ECLAT Festival, Münchener Biennale, Neue Musik Rümlingen, Monstra Sonora Valencia, DAM Festival etc. She is a laureate of several stipends and prices, while currently being featured by Edition Zeitgenösische Musik CD Catalogue. Currently she is a guest lecturer at Hochschule für Musik “Hanns Eisler”. The genres of her interests are instrumental music, electroacoustic music, music theater and sound installations.
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One / Jedan for Violin and Live Electronics


  • Paul Pankert, violin
  • Ensemble 88

reasoning and acceptance / process and transformation which comes as a result in one
specific moment, after a long soliloquy…
sound of violin transforms through a process of “negotiations” with electronics, changing identity and character, aiming to the ending point, to one moment of final transformation…
the piece was written for Paul Pankert and Ensemble 88

Branka Popovic


Branka Popović (Belgrade) composer and musicologist, studied at the Faculty of Music Belgrade and at the GSMD in London. Her pieces were performed by Austrian Ensemble for New Music, ARTéfacts, devotioModerna and were presented at World New Music Days, Reims Scenes d’Europe, Átlátszó Hang, Festivalul Meridian. She won a prize for trio Dream at the Budapest-Prague-Vienna Academy. Quartet Lines & circles... was among ten recommended works at the IRC 2015. In 2016/18 she was chosen for Composers Fieldtrip to China. Her piece Stardust was awarded 2nd prize at the London Music Society 2017 International Composer's Competition.
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The work I chose to base my electroacoustic composition is called “Symposium” by Iordanis Poimenidis. It is an iron construction, a ‘metal canvas’ we would say, with geometric shapes of different textures and sizes that interact with each other to create an organism. Both its material and its structure formed the basis and the construction tools of my work.

Maria Tsiantoula


Maria Tsiantoula was born in 2000, she studies at the Department of Music Studies of AUTh in the direction of composition with professor Dimitris Papageorgiou. She holds a Degree in Harmony with Excellence (Municipal Conservatory of Larissa, class of Antonis Daraklitsa) and a degree in Byzantine Music with Excellence (Contemporary Conservatory of Larissa, class of Konstantinos Kotsioulis), while at the same time she continues her studies in Thessalian Music School, class of Vassilis Lioliou), in Monodia (Philippos Nakas Conservatory) and on piano (2nd grade).


Fractures and Permutations


  • Ilana Waniuk (violin)
  • Ioannis Mitsialis (live electronics)

This is my first work that makes use of the electronic medium, and is based on the idea that a single phrase, composed by a sequence of metrical lengths, can be cut up to its constituent parts and produce the whole composition by their constant reordering. The main ideas that I explore in the electronic part are subtle manipulations of sound localities in the violin part and spatialization. For their realization I worked primarily with white noise, filters and reverberation. I also connected both of these ideas with the metrical structure of the piece and with the cyclic concept in a variety of ways.

Ioannis Mitsialis


Ioannis Mitsialis is a composer from Athens, Greece. He holds a BMus (Ionian University, Corfu), a MA in composition (Hamburg University of Music, Peter Hamel), a “Meisterklassenexamen” in composition (Leipzig University of Music, Claus-Steffen Mahnkopf) and a PhD also in composition (University of California San Diego, UCSD, Roger Reynolds). His teachers include Clarence Barlow and Anargyros Deniozos. His compositions have been performed repeatedly in USA, Canada, England, Germany, France, Switzerland, Holland and Greece. In 2009 he won the Annemarie und Hermann Rauhe Prize for his piano trio “Interaktionen” in Hamburg.
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Balloons For Thought


  • Balloons For Thought

Balloons For Thought is an acousmatic piece resulting from various relations I explore with balloons. The agential and performative capacities of both the balloons and my body is investigated through free-play and experimentation. The narratives that emerge within this interaction surface within the piece as both program and abstract narratives, expressed through various gestural and textural thinking.

Fulya Uçanok


Fulya Uçanok is an electroacoustic musician and pianist; composing and improvising. She composes electroacoustics and mixed music, performs electronics and piano (with inside-piano techniques) in improvisation settings, either solo or with other musicians. She is currently interested in response-able sympoietic sounding practices with humans and more- than-humans, practices of material agency with instruments, accessibility without popularization, spaces of heterogeneous multivalences and mechanisms of mediation within the medium of electroacoustic music aesthetics, composition and performance practices.
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Transfigured Walls

During the COVID-19 pandemic composers and musicians persevere with producing new works. However, since the only distribution channel is online we lost the ability to create multichannel music that we can design a spatial experience in physical venues. In this fixed media piece, I deliberately target the audience that consumes music with earphones. I used Csound’s HRTF (Head Related Transfer Function) opcodes to create a virtual binaural space
that I can specify the dimensions of the room, reflection coefficients of the walls, floor, and ceiling. The listener would enjoy the 3D soundstage with moving sounds in all dimensions.

Serkan Sevilgen


Serkan Sevilgen is an Istanbul-based computer programmer and composer. He is a member of the Istanbul Coding Ensemble which is a laptop orchestra utilizing live coding and networked music techniques. He presented his research and music in various symposiums, conferences and festivals. Current interests are computer music, network music, telematic presence, algorithmic composition, sonification, improvisation, instrumental composition, field recording, soundscape-based compositions.
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Three Autumn Nights


  • Neda Hofman Sretenovic, piano
  • Svetlana Savic, live electronics

During three autumn nights, three night butterflies flew into my apartment. Trying not to hurt them (covered with a cotton candy bucket), I took them out and let them fly into the dark. Someone told me, a long time ago, that night butterflies are the souls of our dear ones, coming from “another” world. It really seemed like we knew each other. I spoke to them softly, as with close friends. I think some of them came back more than once. It was very strange to have so many visitors, so many nights. But, that was a message. Now I know they came to tell me something. Now I know they were sent as a consolation. And I know they are free.

Svetlana Savic


Svetlana Savić (1971, Serbia) is a Professor at the Composition Department of the Faculty of Music in Belgrade. From 2011 she is a lecturer at the Interdisciplinary studies at University of Art in Belgrade. She has collaborated with renowned Serbian and foreign performers, ensembles, and orchestras. Her compositions were commissioned for Belgrade Music Festival (BEMUS), International Review of Composers, Cello Fest, and other festivals in Serbia, Austria, France, Italy, Belgium, USA, Israel, Lithuania, Russia, Japan… Svetlana Savic won “Stevan Mokranjac” prize for 2014. year and Musica Clasica’s “Composer of the Year 2016”.
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