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I would like to dedicate this page to my family, that gave me the opportunity to have music close since childhood. My dad was playing traditional music and in our house often came a lots of musicians: my mum was cooking all the time for all guests. There were often mini concerts with the several instruments. Often, I sang to the accompaniment of accordion played by my father. There was also my uncle, dad’s brother, who played the violin. Together they performed often with the melody especially written for the violin, 'Svilen Konac', full of modulations from major to minor. Every time I heard this melody,I started to cry immediately and, not having the courage to listen to it, always running away into the other room. I was five years. Kristina Mirkovic, violinista Serba naturalized in Italy, began her violin studies in 1990, being encouraged by the music present in her family, or four generations of professional musicians. Completed the study in the years 2000-2005 at the 'Academy of Music in Novi Sad (Serbia), graduating with Prof. Eugenia Kravzeva (Moscow); Kristina also followed the summer Masterclas at the Tchaikovsky Conservatory in Moscow. Thanks to the references of Prof. Milan Uzelac of the University of Novi Sad and Prof. Gabriele Scaramuzza of the University of Milan and the scholarship of the Ministry of Education of Serbia, 'Serbia - young talents' (won three times), she begins the two-year specialization in Musicology at the University of Milan and also she continued violin studies at the International Academy of Music in Milan with Prof. Francesco Borali. In 2009 she completed Musicology studies, graduating with honors with a thesis on the musical tradition of her family, with the Professors Nicola Scaldaferri and Cesare Fertonani. From 2010, Kristina continues with an International Doctorate research in violin teaching and learning for children, under joint supervision between the University of Milan, Rouen and Novi Sad, with Professors Natalie Depraz, Cesare Fertonani and Milan Uzelac. During this five years period she lives and works between Milan and Paris. She won again the scolarships 'Serbia - young talents', in 2009 and 2010. She obtained her PhD in March 2016. From 2007 Kristina starts her concerts and teaching work activity, both private and in schools of music in Milan and hinterland. At the same time she obtained the certifications in Russian language, in addition to other languages that she has already spoken (Serbian, Italian, English, French). In this period she begins to theorize her own method of teaching using the scientific tools provided by specialized studies and experience gained through years of teaching, harmonizing all with the musical tradition lived in the family, the natural predisposition for the languages and so much passion for her work. She was noticed by Massimo Moratti during the concerts for Inter. Dr Moratti helped as a sponsor the concert of Kristina students at the discussion of the Doctoral Thesis in Rouen and consecutively he sustained the publication of Mirkovic Method.
Learning the violin at the crossroads of the french rationalist school and the pragmatist school Suzuki
The PhD Thesis presented by Mrs. Kristina Mirkovic, dated 15 March 2016:

The report by Anne Boissière Professor at the University of Lille 3:

It is a thought of music, through learning, that the thesis proposes; And this thought gives a decisive place to the way in which music is executed, that is, lived and felt. Hence the interest in what makes it possible execution or "know how of playing the music", the key moment that represents learning ... What we learn is a new way of moving …the thesis gives to the execution (instrumental) a "place d'élection" as very few philosophical contributions do. In this respect, research puts forward a double presupposition. The first is to argue that music is above all an experience, leaving aside general remarks about musical art and "oeuvres": living music is the guiding principle of work. But secondly, experience is itself considered from a singular angle, that is to say, here with regard to learning. It is a thought of music, through learning, that the thesis proposes; And this thought gives a decisive place to the way in which music is executed, that is, lived and felt. Hence the interest in what makes the execution possible or "playing the music", namely, the key moment of learning ... what is decisive is the relation to our ability to listen, which immediately implies our body, its spontaneous movement, and from here the learning of automatisms which are not reflexes, but on the contrary allow a qualitative touch.
Erwin Straus: "the listening", who, moreover, was passionate about the philosophical question of movement, gives a few lines on the learning of the violin in his great work "Du sens des sens": "Who wants to learn to play Violin must be able to hear. By its acoustic structure and its aesthetic quality, the sound directs the activity of both hands.
It determines the measure, the direction, the speed, the change, the force of the movements. Only student can make progress, if offered all the possibilities of musical organization in all their richness, and whom at the same time penetrates into the field of graduated movements. It determines the measure, the direction, the speed, the change, the force of the movements. Only student can make progress, if offered all the possibilities of musical organization in all their richness, and whom at the same time penetrates into the field of graduated movements.

The report by Cesare Fertonani, professor at the University of Milan and co-director of the thesis:

The objective of Kristina Mirkovic's thesis is the "phenomenon" of the learning - and teaching - of the violin according to a kind of integration between the traditional method of the conservatory and that of the Suzuki school, on the following points: the philosophical, historical and the musicology aspect ... this work represents an important contribution to the development of studies on the learning of the violin. This is a research that opens up a multifaceted intercultural perspective. The analysis and the discussion of the two methods are carried out with a brilliant critical detachment, which never hinders an overall vision with several relevant references to the philosophical, pedagogical and musical context (with a mention of neuroscience issues: This is the aspect of "neuroimaging"). In other words, it is a research that demonstrates a considerable knowledge of the different disciplinary fields and a firm control of the methodologies used. Thanks to the taste of the documentation, however, this work represents an important contribution to the development of studies on the specific competence in the fields of philosophy, musicology and musical pedagogy as well as the capacity for critical reflection of the learning of the violin.

The report by Pascal Terrien, lecturer at the University of Aix-Marseille:

I thank you for bringing to the community a new look at two major works on the pedagogy of the violin and to have posed the question of its evolution. I am impressed by your mastery of the French language, and the effort that you have made to produce this work. ... My question concerns the didactic analysis of the two methods and its correlation with the practices of the traditional violin in Serbia. What conclusions do you draw from the analyzes of the two methods and the traditional execution of the Serbian violinists? In other words, do we find in the traditional violinistic execution of Serbia fragments of violinistic gestures that were developed in the methods of Baillot and Suzuki and if so, where and how this translates?

The report by Sigismond Cachot, professor at the Conservatoire de Villejuif, guest member:

Professor Cachot expresses her great interest in a thesis which demonstrates the importance and relevance of the Suzuki method for learning the violin and congratulates the candidate For this extremely meticulous comparative technical work.

From chapter "musical learning Neuroimaging" of PhD Kristina Mirkovic supervised by Dr Fabio Triulzi, Professor of Neuroradiology, University of Milan, Director UOC Neuroradiology, Fondazione IRCCS Cà Granda, Ospedale Maggiore Policlinico Milano:

"The image of the modern techniques now make it possible to obtain information on both morphological and functional development of the brain, were unthinkable a short time ago ... As demonstrated in this work no newborn is indifferent to the consonance and harmony of musical stimulation, the" method "so must take account of this potential and work to make it emerge, taking care not to tense up too much, but rather to accept steps" rule out "rather than lose the emotional charge that music naturally conveys to the child."

Luigi Brambilla, a pupil: I am Luigi your ex pupil of 8 years and I studied with you at 5 and 6 years old and I really enjoyed myself. I enjoyed it even when I was playing only open string. You have been able to have patience with me that I learned to read notes before starting school, teaching me with affection and serenity.

Massimo Moratti - Corriere della Sera : I have heard Kristina playing the violin for the first time at the party for Inter. She presented me her projects: the mix of the talent and sacrifice. I have decided to sustain her obstacle race.

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