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"I would like to dedicate this page to my family, that gave me the opportunity to have music in my close environment since I was born. My Dad played traditional music on the accordion. Musicians often came to our house: my mum was always cooking for all guests. There were often mini concerts performed on different 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 often performed one melody, especially written for violin, 'Svilen Konac', full of modulations from major to minor. Every time I heard this melody, I immediately started to cry and having no courage to listen to it, I was always running away in the other room. I was five years old".

Kristina Mirkovic, Serbian violinist naturalized in Italy, began her violin studies in 1990, being encouraged by the family music tradition or four generations of professional musicians. She completed her music degree in 2005 at the Academy of Music in Novi Sad (Serbia), graduating with Prof. Eugenia Kravzeva (Moscow); after that Kristina also followed a summer masterclass at the Tchaikovsky Conservatory in Moscow. Thanks to the references of Prof. Milan Uzelac (University of Novi Sad, Serbia) and Prof. Gabriele Scaramuzza (University of Milan, Italy) and thanks to the scholarship of the Ministry of Education of Serbia, 'Young Serbian Talents around the world ' (won three times), she began 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 discussing a thesis on the musical tradition of her family, with Professors Nicola Scaldaferri and Cesare Fertonani.

In 2010 Kristina was selected for an International Ph.D. (Doctoral research) in violin teaching and music education development for children, under joint supervision between the following european universities:
University of Milan (Statale), University of Rouen and University of Novi Sad, with Professors Natalie Depraz, Cesare Fertonani and Milan Uzelac. During these five years she lived and worked between Milan and Paris. She won again two scolarships 'Young Serbian Talents around the world ', in 2009 and 2010. She obtained her PhD in March 2016.

From 2007 Kristina started her intense concert and teaching work activity, both private and in several music schools, in Milan and hinterland, where she actually lives.
At the same time she obtained the certifications in Russian language, in addition to other languages that she already spoken (Serbian, Italian, English, French).

During this period she begins to theorize her own teaching method using the scientific tools provided by specialized studies and experience gained through years of teaching, harmonizing all with the musical tradition she lived in her family, all improved by her natural predisposition for the languages and so much passion for her work.
Learning the violin at the crossroads of the French rationalist school and the pragmatist school Suzuki PhD Thesis presented by Mrs. Kristina Mirkovic, dated 15 March 2016:

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. And again, 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 " know how of playing the music", 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"), 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. Student can only 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.

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 through the integration between the traditional conservatory method 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 violin learning. 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 violin learning.

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

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

"The modern techniques imaging now makes it possible to obtain informations on both morphological and functional development of the brain, that were unthinkable not so long 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 some "out of rule" steps than to lose the emotional charge that music naturally conveys to the child."

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

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

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