A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Aleksandra Vrebalov

Aleksandra Vrebalov (born September 22, 1970 in Novi Sad, Yugoslavia) is a Serbian composer based in New York City. She studied composition with Miroslav Statkic at Novi Sad University, then with Zoran Erić at Belgrade University, Elinor Armer at the San Francisco Conservatory of Music, and Ivana Loudova at the Prague Academy of Music. She obtained her Doctor of Musical Arts degree from the University of Michigan where she studied with Evan Chambers and Michael Daugherty.

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A highly regarded musician, she has had residences at the Rockefeller Foundation Bellagio Center, Tanglewood, New York's New Dramatists, MacDowell Colony, and American Opera Projects among others. She has received Awards or Fellowships from the American Academy of Arts and Letters Charles Ives Fellowship, Meet the Composer, Highsmith Composition Competition, Vienna Modern Masters, Serbian Fond for an Open Society, ASCAP Awards, and Douglas Moore Fellowship.

Her early string quartet Pannonia Boundless, evoking eastern European sonorities, has been recorded by the Kronos Quartet on their album Kronos Caravan (1999) and published by Boosey and Hawkes (2007). The Kronos Quartet, with clarinetist David Krakauer, premiered her 40-minute "Babylon, Our Own," commissioned for the 10th anniversary season of the Clarice Smith Performing Arts Center at the University of Maryland in College Park, Maryland, in September 2011.

In her more developed orchestral work Orbits (2002), Vrebalov uses overlapping densities of sonorities and rhythmic proportions such as the Fibonacci series to portray her idiosyncratic post-modern conception of musica universalis.

Her music for the ballet The Widow's Broom (2004) based on Chris Van Allsburg's book has been performed on Halloween by the Festival Ballet Providence.

She has received commissions from Kronos Quartet, Carnegie Hall (co-commission), Barlow Endowment, Festival Ballet Providence, Merkin Concert Hall Zoom Series. Vrebalov is also a co-founder of South Oxford Six, a composers' collective in New York.

In October 2011 her 2-act opera "Mileva," on a libretto by Vida Ognjenović based on her play, was premiered at the Serbian National Theater in Novi Sad, with a repeat performance at the Sava Center in Belgrade as part of the Belgrade Music Festival (BEMUS). The opera was commissioned to mark the 150th anniversary of the Serbian National Theater. The scenario centers on the character of Mileva Marić, the Serbian physicist and mathematician who was Albert Einstein's first wife.

Wikipedia

ПОЛИТИКА ONLINE: Опера о Милеви Ајнштајн


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Danilo Mandić

Danilo Mandić is a doctoral student in the Department of Sociology. Mandić was born and raised in Belgrade, Serbia and received his BA from Princeton.

Research Interests: Comparative historical sociology; nationalism; post-Communist transitions; Balkan history; US foreign policy and social theory.

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Jesus Christ Is The Same Yesterday Today And Unto the Ages

In this latest and, in every respect, meaningful study, Bishop Athanasius, in the manner of the Holy Fathers, and firmly relying upon the Apostles John and Paul, argues that the Old Testament name of God, “YHWH,” a revealed to Moses at Sinai, was translated by both Apostles (both being Hebrews) into the language of the New Testament in a completely original and articulate manner.  In this sense, they do not follow the Septuagint, in which the name, “YHWH,” appears together with the phrase “the one who is”, a word which is, in a certain sense, a philosophical-ontological translation (that term would undoubtedly become significant for the conversion of the Greeks in the Gospels).  The two Apostles, rather, translate this in a providential, historical-eschatological, i.e. in a specifically Christological sense.  Thus, John carries the word “YHWH” over with “the One Who Is, Who was and Who is to Come” (Rev. 1:8 & 22…), while for Paul “Jesus Christ is the Same Yesterday, Today and Unto the Ages” (Heb. 13:8).