For current and future projects and performances, review 'news.'
A native of Belgrade (Serbia), one of the of music critic’s Kyle Gann's “Favorite Women Composers of All Time”, award-winning composer Milica Paranosic, lives in New York and is active as a composer, sound designer, conceptual artist, multimedia artist, music educator, and producer. Milica’s music and performances have provoked audiences of widely different profiles - form opera goers to soccer fans, rarely leaving them indifferent – she was called: …free-wheeling, performance-art-type cat (Kyle Gann) ...a painter, a music Jackson Pollack, (SEAMUS, Eric Somers) ... edgily comical (Klaus Klingbeil, Der Lausitzer Rundschau, Germany), and her music …amazing….astonishing… (Jack Anderson, New York Times), ...like liquor filled pralinés. … (Von Martina Helmig, Morgenpost, Germany). As an artist, as well as an educator and producer, Milica strives to create new worlds in which contrasting concepts vividly coexist in unique textures.
Classically trained – she prefers to call herself classically challenged – as her influences are just as much the ones from the street and pop culture as the ones from her formal education.
She writes music, concepts, sounds, computer patches, theatrical scripts, short stories, and uses human voice (vocal and spoken, live and recorded), found objects, technological tools musical instruments as her music carriers, giving them equal “rights’.
Milica's love for collaborations resulted in many collaborative relationships, such as an ongoing one with choreographer Charlotte Griffin, a noted trio D’Divaz. She is the multimedia director of VisionIntoArt, ad interdisciplinary performance and production team.
Milica ’s music has been performed by such ensembles as The New Juilliard Ensemble, The Juilliard Dance Department, The New York Choreographic Institute, VisionIntoArt, D’Divaz, and The Reflex Ensemble and noted soloists like Joel Sachs (Conductor); Margaret Lancaster (Flute); Kathleen Supové (Piano); Martha Mooke (Viola); and Mari Kimura, Tom Chiu, Airi Yoshioka (Violin) and many more.
Milica’s works have been performed all over her home country (Former Yugoslavia) and the USA, as well as internationally – including: Italy, Germany, Israel, Brazil, Russia, Check Republic, England and Cuba.
She had performed at such venues as: BAM café, Whitney art museum, Jazz at Lincoln Center, Alice Tully Hall, Joe’s Pub, PS 122, The Stone, Galapagos, Jugoslovensko Dramsko Pozoriste in Belgrade - Serbia, Goethe Institute in Salvador – Bahia, Smith Recital Hall San Diego – CA, and she had given lectures and master classes at universities world-wise.
Her film scores have been a part of official Tribeca film festival selection.
Milica's work has been supported by Meet the Composer, the American Music Center, 60x60 Vox Novus, the Soros foundation, and Kammeroper Schloss Rheinsberg, FK Partizan – Belgrade.
Milica’s music has been released on Bridge, Electroshock Records and The New Sound record labels, and she is currently working on a solo CD (record label TBA), and has been performed in numerous venues throughout her native Serbia, all over the US and the world.
Awards and honors include: ASCAP plus award (multiple times), John Erskine Prize, Composer Assistance Program, Meet the Composer Grant (multiple times), Whitaker New Music Reading Sessions, October Award of the City of Belgrade, Stevan Hristic Award, UKS annual award.
Milica holds a Bachelor's degree in composition from Belgrade Music University, and a Master's degree in composition from The Juilliard School, where she has been on the faculty since 1995 teaching music technology. Additionally, Milica teaches at the 92Y school in New York and at Brandies High School, as an American Composers Orchestra Artist in residence, while also maintaining an active private teaching studio.
Milica is the manager of the Music Technology Center, Associate Director of the Mentoring Program at The Juilliard School, and cofounder and producer of Beyond The Machine, a Festival of Electronic and Interactive Music.
"Ms. Griffin's work, "krs," derives its title from a Serbian word for a harsh, unforgiving landscape. The accompaniment was an amazing new score composed and played by Milica Paranosic, who made piano keys and strings thud, rumble, twang and chime with astonishing sounds occasionally punctuated by piercing whistles. Her music, fascinating in its own right, added much to the drama of Ms. Griffin's choreography."
Jack Anderson, New York Times, July 2005
"All this fine strangeness is made to work by the wonderful music of Griffin's collaborator, Milica Paranosic, who also performed it on stage. When the curtain first rises, you see what appears to be a body floating at an angle upstage in the dimness. It turns out to be Paranosic, reflected in the raised lid of a grand piano as she reaches into its innards and claws the strings into emitting otherworldly sounds. After a while she begins to play in a more conventional manner, and that music is augmented with electronic sounds. Sometimes she blows whistles and something that may have been a large shell. I loved this music, and at times her performance was more compelling than that of the dancers!"
Kate Dobbs Ariail, "Keenly-Anticipated ICCP Doesn't Disappoint", 2005
“Grand Harlem saga, with kaleidoscopic nature of cultures, their memorabilia, and unique synthesis of traditional and popular genres”
Zorica Kojic, Danas, Oct 2007
“Paranosic seems just as happy to induct the Residents and the Ramones into her pantheon; ritualistic drumming and Balkan dance also found their way into her music…the intoxicating profusion of seemingly unrelated impressions as surprising a moment as any I've ever seen, during an ostensibly high-art presentation, and one that could only have been pulled off by a composer for whom punk rock was a fact of life, as opposed to a sensation borrowed on the cheap.”
Steve Smith Time-Out NY "http://nightafternight.blogs" http://nightafternight.blogs
"Energetic and authentic exchange between musicians and the audience...Exceptionally sharp, both culturally and sociologically"
Zorica Premate, Radio Belgrade 2, October 2007
(Milica’s music) marries the craft and formalism of a classical composition education to a personal sensibility that is urban and immediate. Her music is insistent and in her choice of sound speaks to an ongoing commentary and critique of the world around her; which is to say it is often loud (and necessarily so), without losing any of the nuances we hope to achieve in the world of New Music. That Milica is engaged with a real and substantive world is no more evident than in her adaptations of Partisan Soccer Club’s fight songs (this is her hometown local team), which take the time-honored chants of the fans, to new and layered levels involving voice, percussion, strings and found sound. Her ability to take spoken text and make of it its own music is also remarkable, signature of an artist at all times reaching for something just off the lip of the edge, something important something that needs saying, that gets shouted loud.
Roger Bonair –Agard, award-winning poet, Feb 2008
"The link to the folk heritage of her country is typical for Milica's creative work as well as the harmonic mixture of classical, academic electronica and progressive avant-garde styles. ... includes the whole spectrum of emotions and moods - anxiety and tenderness, reflectiveness and dreaminess, rage, sadness, quiet joy."
Julia Kozyreva, Electroshock Records, 2002
"... music with a symphonic edge, intense orchestrations, playful pastoral scenes, and interesting vocalizations a la Laurie Anderson."
Jerry Kranitz, From Aural Innovations #23, 2003
"... jazzy and avanguardish experimental work with a vivid folk heritage."
Marc "the MEMORY Man" Urselli-Scharer, www.chaindlk.net, 2002
"Despite being discordant and jarring this is both atmospheric and exotic."
John M Peters, MusicWatch: Electroshock Records, 2002
"... a painter, a music Jackson Pollack, dribbling her sounds in fascinating and personally unique layers.
Eric Somers, SEAMUS, 2001
"... the most captivating piece on the program."
Allan Kozin, New York Times, 2002
I am a Brid, for 3 bands, commissioned by II FESTIVAL INTERNACIONAL DE MÚSICA CONTEMPORÂNEA PPGMUS-UFBA, September 2008
Confessions (one woman multimedia show) PS122 - NYC, Vortex Theater Company, Sanford Meisner Theater NYC
VioLens (Ensemble, Multimedia, VisionIntoArt commission): NYC;
Traveling Songs (Ensemble, Multimedia, VisionIntoArt commission): Joe’s Pub – NYC, BEMUS Festival – Belgrade.
Kiss of The Spider Woman – The Musical, (Vortex Theater Company, Director Gisela Kardenas): Sanford Meisner Theater NYC;
Root/Sounds (Ensemble, Multimedia, VisionIntoArt commission): Aperitivo in Concerto-Milan, EtnaFest-Catania, Chelsea Art Museum;
Parabaraba (Chamber Orchestra, Electronics): Alice Tully Hall - NYC;
Come Cry With Me (Violin, GuitarBot, Video Projection): Jazz at Lincoln Center - NYC, University of Maryland-Baltimore County, Chelsea Art Museum, Beyond the Machine; Released on Bridge Records
Al’Airi Lepo Sviri (Violin, Electronics, Visuals): Symphony Space - NYC, Feminist Theory and Music - 8 NYC, International Review of Composers – Belgrade, Forum Neuer Musik – Köln, Germany, Conservatorio "G. Nicolini" –Piacenza -Italy, Basilica Menor de Convento San Francisco in Havana -Cuba;
A Tough Line (Ensemble, Multimedia): Whitney Museum of American Art, BAM Café, Dickenson College, The Cutting Room, The Bowery Poetry Lounge;
Mannequin Music (Choreographer Jacqulyn Buglisi) Buglisi Dance Theater @ Ralph Pucci Gallery, NYC
KRS (Choreographer Charlotte Griffin): American Dance Festival;
Julius Caesar (Production of Shakespeare on The Sound Director Ezra Barnes): Rowayton and Greenwich, CT.
Comedyof Errors: (Production of Shakespeare on The Sound Director Ezra Barnes): Rowayton and Greenwich, CT.
Macbeth (Production of Shakespeare on The Sound Director Ezra Barnes): Rowayton, CT.
Das Fräulein (director Andrea Staka)
Yugodivas (director Andrea Staka)
New York Spin (director Pedro Valiente).
Sleepers (music for video installation) (2004)
video artist Carmen Kordas
Gianni From Heaven, Composed for the Symposium on the Future (Panel),
Electronic Music Foundation @ Chelsea Art Museum
For current and future projects and performances, review 'news.'
Selected works :
Selected Work > click here
(pdf file; Adobe Acrobat Reader needed for viewing)