''I always refer to it as some sort of Zombie Apocalypse, because I think it’s so surreal that none of us really had a plan for it. Suddenly facing who knows how many days, how many weeks of nothingness, is very confronting. And I think a lot of people had the same cycle: at the very beginning we were very motivated, cause we were still on this kind of highly structured schedule and it took a few weeks to come down, longer than I expected. I see it as quite an interesting kind of reflection on human ability to adapt. And then it wasn’t that bad after all. It took Zombie Apocalypse for me to finally paint my apartment, to fix that tab in the kitchen that had been leaking for five years. Zombie Apocalypse had its good sides.'' 
                                      from Interviews with Zafraan Ensemble
                              https://www.youtube.com/watch?v=u5R7Z9YYg8I

1.EMOTIONAL LOGIC_FEAR

''While I was isolated I had the feeling that the media and especially social media is driving me crazy. For the first time in my life data was coming like vomit, in our houses like WRUUGH. And they said it’s science, but just data is not science. Data is data. And that was actually driving me crazy, like really crazy, losing touch with reality. It’s like a huge digital experiment that nobody really signed up for but we’re all in it. And the more I talked to other people the more I realized that it’s very helpful to communicate in person and how much you need that to stay healthy in your head.''                                                                                                                                                    
                                                                                                                                                from Interviews with Zafraan Ensemble
https://www.youtube.com/watch?v=u5R7Z9YYg8I

2.EMOTIONAL LOGIC_DISGUST

''This is a very strange spring. I’m not really enjoying spring as I always do. Not being able to see friends and family is certainly very sad and it’s a big loss to your whole being and inspiration. We had a few Skype dates with friends, that was nice but it’s just not the same. So now that things have opened up a bit it’s been really nice to catch up and just go for a walk and not to talk for a while and just be with that person. On Skype you feel like you need to say something all the time. You can’t sit there looking at each other like you could if you were at a lake or something. 
I’ve heard stories about the opera, they are allowed to sing, but they have to be six meters apart. So any sort of love scene, like a long goodbye, it’s rather going to feel like “und tschüss”, it’s just not going to be the same. Distance is not very easy, for me, I think.''
                          
from Interviews with Zafraan Ensemble
https://www.youtube.com/watch?v=u5R7Z9YYg8I

3.EMOTIONAL LOGIC_SADNESS

''We heard the president of the republic, we heard this speech which sounded like we were in 1940. Like he thought he was de Gaulle. With this very… for me unpleasant way of speaking. He didn’t know anything, but he was feeding the fire, like we were at war. For me, it was a semantic bomb. The 12 or 15 minutes he was talking he structured his speech with this little phrase:  “We are at war, bla bla bla, we are at war.”
Of course that was constructed; it was very much musically constructed, the whole speech. From a compositional point of view it was actually very interesting: how you put something to keep the attention of the people tight. But I really don't like that because you set the playground for communication with the topics you use, like toys you want to play with, and if you put war inside, then it's very dangerous.''
                                                                                                                                                    from Interviews with Zafraan Ensemble
https://www.youtube.com/watch?v=u5R7Z9YYg8I

4.EMOTIONAL LOGIC_ANGER

"SPLITSIGNALS BERLIN" is a trio that writes new compositions and explores sound perspectives with acoustic, as well as electroacoustic material.

The event of a trumpet sound embodies through the air pressure difference of inside and outside symbolically a field of tension, which is inherent in any artistic expression. With these, our inner motives to want to meet the environment, the sound synthesis as an electroacoustic element from a completely different, disembodied, almost irrationally technical world stands opposite.

The fusion of these diametrical origins unite to a sea of sound through a multi-channel reproduction with omnidirectional loudspeakers. The idea is to give the sound source an emission characteristic similar to that of acoustic instruments, thus bringing the musical events closer to the listener in a spatial way. The usual distinction between acoustic and conserved sound sources is thus eliminated, and the listener can place himself or herself in the sound according to his or her own perception.

The three musicians create completely new sound sources when synthetic sounds collide with acoustic instruments. In this encounter, these elements inspire, influence and disturb each other, and composed modules emerge that seduce, but also want to irritate and provoke. The infinite possibilities of synthesized and electroacoustic sounds create, through the interplay of the three instrumentalists, a tension, a certain degree of instability and also unpredictability. An interaction also takes place in relation to what has just been produced and heard. Thus the performers take up the acoustic spatial experience again in order to include it in the performance and to modify it live.

Damir Bacikin-trumpet, sound processing
Misha Cvijovic- piano, analogue synthesizers
Daniel Weingarten- live electronics

SPLITSIGNALS Berlin_Incandescent

Composer: Jimmy Berg, Ralph Benatzky
New Arrangments by Misha Cvijović
Hörspiel Deutschlandfunk Kultur 2020

1. Im Weisse Rössl am Wolfgangsee_Solo trumpet (00.00-01.17)
2. Zauber der Saison (01.17-02.29)
3. Travel Scene (02.30-03.16)
4. Koffer Transition (03.18-03:23)
5. Wenn es hier mal richtig regnet (03:24-04:23)
6. Jodel (04:26-06:40)
7. Die ganze Welt ist Himmelblau (06:42-09.58)
8. Im Weisse Rössl am Central Park_Ensemble (10.00-13:40)
9. Im Salzkammergut (13.42-15:10)
10. Mein Lieblingslied (15:12-17:50)
11. Es muss was Wunderbares sein (17:51-19:41)
12. Prügel Dance (19:42-21:28)
13. Keisers Lied (21:30-25:42)
14. Haurigenchor (25:44-29:50)

CONCEPT, DIRECTOR Johannes Müller CONCEPT, SCENOGRAPHY Philine Rinnert ASSISTANT SCENOGRAPHY Maria Gamsjäger ARRANGEMENT, MUSICAL DIRECTOR Misha Cvijovic ADDITIONAL TEXTS Daniel Sauermilch COSTUMES Leila Hekmat WITH 
Paul Hübner-trumpet, Sarai Cole-sopran/alt, Misha Cvijovic-piano, Hauke Heumann-tenor, Sabrina Ma-percussions, Jördis Richter/Ulrike Schwab-sopran, Shlomi Moto Wagner-bariton, Lixue Lin-Siedler-koto/voice, Jochen Carls-double bass
PRODUCTION ehrliche Arbeit - freies Kulturbüro
https://sophiensaele.com/en/archiv/stueck/johannes-mueller-philine-rinnert-das-weisse-roessl-am-central-park

Misha Cvijović_MUSIKTHEATER ''IM WEISSE RÖSSL AM CENTRAL PARK''

Composer: Paul Lincke
New Arrangments by Misha Cvijović

1. Berliner Luft                                                   (00.00-03.19)
2. Piano Intermezzo                                          (03.20-04.21)
3. Leise nur                                                        (04.22-07.20)
4. Schlösser, die im Monde liegen                   (07.20-12.37)
5. Es ist ein wunderbares Genie                      (12.38-13.30)
6. Auf unser Reise                                             (13.32-14.17)
7. Lose, muntre Lieder                                      (14.18-15.20)
8. Chor der Mondelfen                                      (15.21-15.56)
9. Lass den Kopf nicht hängen                         (15.57-17.36)
10. Schenk mir doch ein kleines Liebe             (17.37-20.52)
11. Im Expressballon                                             (20.53-21.59)
12. Wenn die Sonne schlafen geht                    (22.00-25.09)
13. Ist die Welt auch noch so schön                  (25.10-27.33)

Hörspiel Link:
https://www.youtube.com/watch?v=NU98pIsc-5o
Mit: Angela Braun, Martin Gerke, Jörg Daniel Heinzmann, Maja Lange, Vera Pulido

Text: Juliane Stadelmann
Idee/Fassung/Regie: Ulrike Schwab
Komposition/Neue Arrangements: Misha Cvijović
Bühne/Kostüm Bühnenfassung: Jule Saworski
Musikalische Leitung/Einstudierung: Jörg Daniel Heinzmann
Sounddesign: Vera Pulido
Dramaturgie: Marion Meyer

Hörspielbearbeitung: Ulrike Schwab, Juliane Stadelmann

Produktion: Thomas Güthaus
Tonmeister: Malte Bogner, Joshua Park
Regieassistenz/Produktionsleitung: Anna Pechtl

Eine Produktion der Neuköllner Oper

https://www.neukoellneroper.de/

Misha Cvijović_MUSIKTHEATER ''IST DIE WELT AUCH NOCH SO SCHÖN''

Iktsuarpok is commissioned work by Sebastian Berweck (WP Version II) 
and Sirje Viise (WP Version I)
https://www.youtube.com/watch?v=DvcBHvdTU-M&t=1s

Iktsuarpok for minimoog and tape (minimoog quartet) was created during the Covid Lockdown, a time of unpredictability, fluctuation and cacophony. Iktsuarpok represents the frustrating wait for visitors. Or for someone to save our world. Iktsuarpok continues my artistic work in the field of electroacoustic music and analog synthesizers and is composed and produced as a Minimoog quartet (3 Moogs as tape and Minimoog solo live). All four Minimoogs develop contrapuntal microtonal melodic lines, extremely dense movements that simulate “screaming” sirens with their hard-shelled sound, culminating in an explosion / detonating cluster to awaken “wise closed eyes” of the world.

“Misha Cvijovic’s cinematic Granatchok Iktsuarpok – despite its worn symbolism – was a tasteful drone that gently blended Moogen’s soft and choppy curves.”

Danish Seismograf magazin, June 2022

Festival, concert and radio performances in 2021/2022:
Musica Electronica Nova, Wroclaw
Frequenz – Festival der Klangkunst, Kiel
Heroines of Sound Festival 2022, Radialsystem Berlin
KLANG – Copenhagen Avantgarde Music Festival
Max-Planck-Institut für empirische Ästhetik, Frankfurt am Mein
WDR 3 Studio Elektronische Musik mit Sebastian Berweck
techné [80]: Minimoog
SONIC MATTER Festival, Listening Lounge
Unerhörte Musik Berlin

Misha Cvijovic: Iktsuarpok for minimoog and tape

Heinrich von Kleist: Der Zerbrochne Krug (The Broken Jug) 
Director: Fabian Gerhardt 
Music: Misha Cvijović 
Stage: Kathrin Frosch 
Costume: Julia Plickat
Dramaturgy: Victoria Weich 
electric guitar solo: Vanja Kevresan 
with Daniel Seniuk, Stephan Ullrich, Oliver Niemeier, Alina Rank, Lara Heller, Ansgar Sauren, Marie-Paulina Schendel 
E.T.A. Hoffmann Theater Bamberg 
https://theater.bamberg.de/.../stuecke/der-zerbrochne-krug/

1.Prologue

Heinrich von Kleist: Der Zerbrochne Krug (The Broken Jug)
Director: Fabian Gerhardt
Music: Misha Cvijović
Stage: Kathrin Frosch
Costume: Julia Plickat
Dramaturgy: Victoria Weich
electric guitar solo: Vanja Kevresan
with Daniel Seniuk, Stephan Ullrich, Oliver Niemeier, Alina Rank, Lara Heller, Ansgar Sauren, Marie-Paulina Schendel
E.T.A. Hoffmann Theater Bamberg
theater.bamberg.de/.../stuecke/der…erbrochne-krug/

9. Adam's Destruction

14. END Theme

CARBON for trombone, accordion, piano and violoncello (UA) commissioned work by Ensemble LUX:NM and Konzerthaus Berlin 

Florian Juncker - trombone
Silke Lange - accordion
Sebastian Berweck- piano
Zoé Cartier- violoncello

Carbon can be transformed into diamonds through incredible pressure. Misa Cvijovic's composition Carbon reflects the pressure and narrowness of creative work in non-democratic societies, and how artists repeatedly transform this situation into works of the highest clarity and power.
https://www.konzerthaus.de/.../open-your-ears.../7467

CARBON for trombone, accordion, piano and violoncello (UA)

ZUR MUSIK
https://www.neukoellneroper.de/performance/radioland/
Radioland erzählt nicht nur von einem sozialen Experiment, es bildet dieses auch in gewisser Weise musikalisch ab. Mit Misha Cvijović und Christopher Verworner haben sich zwei Komponierende mit recht unterschiedlichen Backgrounds zu einer gemeinsamen musikalischen Struktur verabredet, die mehrere Musikstile und Referenzen vereinigt. Durch die Textvorlage entstand die Idee, das Stück musikalisch in zwei Abschnitte bei gleicher Instrumentierung zu gliedern.

Für die Gerichtsszenen ließ sich Misha Cvijović genauso vom Stil von Alban Bergs Lulu‚ und den Rezitativen eines Kurt Weill inspirieren – die berühmte Gerichtsszene in der Dreigroschenoper ist ja ebenfalls ein Spiel mit der „bürgerlichen“ Kunstform Oper – wie auch von Pink Floyds The Wall‚ und zeitgenössischer elektronischer Musik von Brian Eno und Laurie Anderson.

Christopher Verworner beschäftigt sich hinsichtlich der Episoden des Piratensenders, der Familiengeschichte und der Staatsgründung mit der Geschichte des vorherrschenden Pop in diesen Jahren. Musikalisch geht es ihm darum, die Struktur und die Wirkung der Hits mit eigenen Mitteln herzustellen, ohne die Originale einfach nachzuspielen oder zu covern. Vor allem in der ersten Hälfte des Stücks dreht es sich vor allem um Rock´n´Roll, Psychedelic Rock und Hippie Musik.

Da die Figuren verschiedene Lebenswirklichkeiten und -ansichten repräsentieren, unterscheiden sich die Musikstile der einzelnen Songs sehr voneinander. Da ist der listige deutsche Herman Z. German mit harten Techno-Beats, der träumerische Sohn Michael mit einem neo-impressionistischen Chorstück und die rebellische Penny, die mit einem (Brit-)Popsong ihre Coming-of-Age Geschichte verkörpert.

Dem gegenüber steht immer wieder der Stilwechsel zu den Szenen, die im Gericht spielen – eher zeitgenössisch elektronisch opernhaft aufgebaut, mit Rezitativen und Arien.  

Eine siebenköpfige Band performt die Musik, sinnigerweise mitten auf der Flak-Plattform- Bühne platziert und in das Stück integriert. Es findet sich neben einer typischen Bandbesetzung mit E-Bass, E-Gitarre und Klavier auch ein Cello und ein Kontrabass. Für weitere Sounds sorgen analoge und modulare Synthesizer (wie der legendäre Minimoog und der Prophet 08) und großes Schlagwerk. Zu der experimentierfreudigen Band gehören auch die beiden Komponist*innen selbst, die abwechselnd die künstlerische Leitung bei den Vorstellungen übernehmen.

Phöbe Brockhaus

Elektro-Opera RADIOLAND_Prolog und Gericht I

HERKUNFT OSKORUSA (Live)

HERKUNFT: THE ROCKS OF OSKORUSA I

HERKUNFT: THE ROCKS OF OSKORUSA II

HERKUNFT: THE ROCKS OF OSKORUSA III

HERKUNFT: Burn Out by CrusheD

HERKUNFT: Nocas mi srce pati_Soundtrack

Music and Lyrics: Silvana Armenulic (arr. Misha Cvijović)
Soloist: Mayan Goldenfeld

HERKUNFT_Nocas Mi Srce Pati_Part 1 (LIVE)

Music and Lyrics: Silvana Armenulić (arr. Misha Cvijović)
Soloist: Mayan Goldenfeld

HERKUNFT_Nocas Mi Srce Pati_Part 2(LIVE)

https://www.ballhausost.de/ein-fan-aus-thuringen/

WP
8.12.2022
Ballhaus Ost, Berlin

Once upon a time, there was a fan from Thüringen. He was enchanted by a famous tennis player from West Germany. But one day, a nasty, moaning opponent from Yugoslavia appeared on the scene....


In April 1993, a fanatic Steffi Graf fan stabbed the then world's best tennis player Monica Seles in the back on camera in Hamburg. "I just wanted to make her unable to play so that Steffi would be first again," he says afterwards. His plan worked. Seles never finds her way back to her old strength, Graf becomes number one again and he is sentenced to two years probation. "A Fan from Thuringia" tells the story of the assassination and its protagonist(s) in the context of global political events in the early 1990s. Caught in fairy tale structures and the media red threads, Sophie Hutter and Werner Eng seek ways out of the narratives of good and evil, East and West, perpetrator and victim.


At the center of Demjan Duran's directorial work is an examination of the country of his birth, Yugoslavia. By researching the past, he digs out themes into and for today, and places them in an overall social context. "A Fan from Thuringia" is his first piece in Berlin.


A production by Demjan Duran in cooperation with Ballhaus Ost. Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media within the framework of NEUSTART KULTUR and the Richard Stury Foundation Munich.

Ein Fan aus Thüringen_Fairy Tale for Synthetic Orchestra

WP trailer | International Film Festival Rotterdam 2023
https://www.youtube.com/watch?v=IeIQj8fnr6A

Thirty years after the Yugoslav war and the and the end of communism, men from different countries of the former Yugoslavia are again in the same "bus". They are harvest workers with the hope of a better future and a life of prosperity. They are all on their way to the promised land - Germany. And just when all hope leaves them, the Savior appears to them.

https://www.dffb.de/films/yugotransport-wir-sitzen-alle-im-selben-bus/

Damir Bacikin- trumpet solo
Nenad Jovanovic- accordion solo
Tom Berckman- double bass
Tayfun Schultzke- percussion
Misha Cvijovic- piano

Shortfilm YUGOTRANSPORT (ROUGHMIX)

I Non espressivo
II Vivo

Mihajlo Samoran – Clarinet in Sib
Marko Djordjevic – Trumpet
Mina Mladenovic – Violin
Aleksandar Latkovic – Violoncello
Misha Cvijovic – Piano

KoMA Festival

Performed and Recorded at Belgrade Philharmonic Hall
Belgrade, Serbia

Trolls for Clarinet, Trumpet, Violin, Violoncello & Piano

1. Maranatha
2. Sat, Chit, Ananda

Sofija Perovic – Hapsichord
Misha Cvijovic – Piano

Matras were ordered for the project SINK and implemented and performed in the framework of concert in Sinangogue in Novi Sad, Serbia.

Recorded by Radio Television of Vojvodina.

Mantras for Harpsichord & Piano

1. In the Hades: Winter
2. On the Earth: Summer

Commisioned piece by RTS Symphony Orchestra

Conductor: Alessandro Crudele

Ilija Milosavljevic Kolarac Big Hall
Belgrade, Serbia

Saturday / 17. 03. 2018.

The music of the Balkans is well known for the presence of its complex rhythms which always were a huge inspiration for me as a composer. In the following example (ex.68) from the  orchestra composition “The faces of Persephone” I used the meter of 7/8 with the aim to musically describe Persephone, the daughter of Zeus and Demeter. Persephone was the queen of the underworld and married to Hades, the god of the underworld. She is associated with spring and the fertility of vegetation.

There were two reasons for choosing the meter 7/8. On one hand, I wanted to create an unexpected mixture of traditions, i.e. to use the metrical elements of the old Serbian folk music tradition to represent the character from the Greek mythology. The 7/8 meter was a good choice to make a contrast between the world (isochrony) and the underworld (non isochrony) where Persephone withdraws after harvest, but also to musically portray the old agrarian cults of agricultural communities, on the other hand.

In Greek mythology, Persephone is the daughter of Zeus and the harvest goddess Demeter, and is the queen of the underworld. Homer describes her as the formidable, venerable majestic princess of the underworld, who carries into effect the curses of men upon the souls of the dead. Persephone was married to Hades, the god-king of the underworld.

The myth of her abduction represents her function as the personification of vegetation, which shoots forth in spring and withdraws into the earth after harvest; hence, she is also associated with spring as well as the fertility of vegetation. Persephone as a vegetation goddess and her mother Demeter were the central figures of the Eleusinian mysteries that predated the Olympian pantheon and promised the initiated a more enjoyable prospect after death. Persephone is further said to have become by Zeus the mother of Dionysus, Iacchus, or Zagreus, usually in orphic tradition.

The origins of her cult are uncertain, but it was based on very old agrarian cults of agricultural communities. Persephone was commonly worshipped along with Demeter and with the same mysteries. To her alone were dedicated the mysteries celebrated at Athens in the month of Anthesterion. In Classical Greek art, Persephone is invariably portrayed robed, often carrying a sheaf of grain. She may appear as a mystical divinity with a sceptre and a little box, but she was mostly represented in the process of being carried off by Hades.

The Faces Of Persephona - Radio Television Serbia (Live)

And Every Time Feels Like the First Time

Director: Jovana Tomic
Text / Dramatist: Borislav Popovic / Dimitrije Kokanov
Costume: Selena Orb
Composer: Misha Cvijovic
Coreography: Maja Kalafatic
Cast: Jelena Stajkovac, Jelena Matjaševic, Biljana Nikolic, Gordana Ðurdevic Dimic, Dejan Toncicu and Nikola Rakic

Krusevac National Theatre
July 2018, Serbia

And Every Time Feels Like the First Time - Women Catharsis Theme

Cirque Du Soleil for trumpet, bass clarinet, vibraphone, marimba and double bass 

Damir Bacikin - Trumpet
Žilvinas Brazauskas - Bass Clarinet
Eunbi Jeong - Vibraphone
Ao Wang - Marimba
David Scherka - Double Bass

Drawing by Nevena Prijic-Binney
Photos by Sylvia Steinhäuser

Forum Neue Musik
Hochschule für Musik "Hanns Eisler"
2017

Cirque Du Soleil for trumpet, bass clarinet, vibraphone, marimba and double bass

11th Impulse Graz-International Composers and Ensembles Festival for Contemporary Music (Call for Scores)

Ensemble Zone Experimental Basel

Pablo Gonzales Balaguer - Saxophone
Adrian Albaladejo Diaz - Trombone
Oded Alhejz - Percussions
Christopher Moy - Electric Guitar
Nejc Grm - Accordion
Tsugumi Shirakura - Piano

Michael Svoboda - Conductor

Misha Cvijovic: PENUMBRA for Ensemble (new version for zone experimetal basel)

Nathan the Wise (Natan Mudri)
G.E. LESING
Yugoslav Drama Theater

Director: Jovana Tomić
Dramaturgy: Dimitrije Kokanov
Composer: Miša Cvijović
Choreography: Maja Kalafatić
Costume design: Darinka Mihajlović
Scenography: Jasmina Holbus

One of those plays where it is necessary to list a complete team, since they are all inseparable and equally important part of the play. For the reason he has the epithet of the premiere of the month in Belgrade. Extremely poetic text, brits, top costume, effective scenography, moving music and great acting.

Nathan the Wise - Jerusalim

Augmented Berlin

Misha Cvijović is a Serbian composer and pianist based in Berlin. She developed her musical career in the fields of instrumental and orchestral contemporary music, electroacoustic music, contemporary opera and musical theater, theatre and film music.

Her compositions have been performed at numerous international festivals, including: Heroines of Sound Berlin, KLANG Copenhagen, SONIC MATTER Zürich, MaerzMusic, Unerhörte Musik, Monat der Zeitgenössischen Musik Berlin, Klangwerkstatt für Neue Musik Berlin, Darmstäter Fereinkurse, Symposium Neues Musiktheater Deutsche Oper Berlin, Originaltöne Festival, Frauen im Musiktheater Neuköllner Oper, 11th IMPULSE Graz, ADK Hamburg, Performing Arts Festival Berlin, Fresh Works for Fresh Minds Basel, Forum Neue Musik Berlin, Zoom+Fokus Berlin, 29th Belgrade Jazz Festival, Cannes Film Festival, 40th Saarbrücker Max-Ophüls-Preis, Filmfestival Achtung Berlin, EPTA World Piano Conference and many more.

Her compositions have been performed by many internationally established soloists, ensembles and orchestras for contemporary music, including: Ensemble LUX:NM, Zafraan Ensemble, Ensemble RADAR, Sebastian Berweck, Siirje Viise, Zone Experimentale Basel, Orchestra Radio Television Serbia, SYNK Ensemble, Disturbulence 3 and many more.

Her compositions were conducted by Titus Engel, Alessandro Crudele, Mike Svoboda, Marcus Weiss, Nodoka Okisawa, Musashi Baba, Davis Bui and others. Her compositions were broadcasted on Radio Deutschlandfunk, WDR 3, Radio Bremen, Radio Television Serbia.

During her Opera/Theater/Film career she worked as composer, arranger, pianist and musical director. She worked with directors like Peter Kastenmüller (Theater Bielefeld), Jonas Eglof (Deutsche Oper Belin), Jan Sobrie (Deutsche Oper am Rhein), Alienor Dauchez (Donaueschinger Musiktage), Fabian Gerhardt (Neuköllner Oper, E.T.A. Hoffmann-Theater Bamberg, TD Berlin,Theater am Kürfüstendamm), Andrea Moses (HfS Ernst Busch), Johannes Müller (Sophiaesaele Berlin, Theater Rampe), Ulrike Schwab (Neuköllner Oper), Demjan Duran (Ballhaus Ost Berlin), Miloš Lolić (Yugoslav Drama Theater Belgrade), Aleksandra Odić (arte, Cannes Filmfestival), Boris Hadzija (rbb, International Filmfestival Rotterdam), Jovana Tomić (Yugoslav Drama Theater), Iva Milošević (Atelje 212 Belgrade), Kokan Mladenović (Atelje 212 Belgrade), Nebojša Bradić (Opera & Theatre Madlenianum), Snežana Trišić (UK Parobrod), Đurđa Tešić (Atelje 212 Belgrade).

She participated in many international composition festivals and seminars with Georges Aperghis, Mark Andre, Catherine Milliken, Heiner Goebbels, Lucia Ronchetti, Hannspeter Kyburz, Wolfgang Heiniger, Pierluigi Billone, Stefano Gervasoni, William Blake, Brian Ferneyhough, Johannes Schöllhorn, Brigitta Muntendorf, Isabel Mundry, Clara Iannotta, Sarah Maria Sun, She She Pop, Forced Entertainment and many more.

Misha graduated piano from the Academy of Arts in Novi Sad in the class of Vladimir Ogarkov, as well as composition from the Faculty of Music Arts in Belgrade in the class of Vlastimir Trajković. She graduated composition from the renowned HfM Hanns Eisler Berlin in the class of Eun-Hwa Cho.

Misha is a scholarship holder of the scholarship program for professional Berlin artists and curators of the Senate Department for Culture and Europe in Berlin 2021 and the Musikfonds Berlin 2021 with Trio Splitsignals Berlin.

Misha Cvijović

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