[3] She went to classical gymnasium and specialized music school, which she decided to enroll during the NATO bombing of Yugoslavia, when her refuge was not a bunker but playing the piano for virually endless hours of air raids.
Čvor for winds, brass, percussion and piano is very, very intimate: she finished it in the neonatal intensive care unit (NICU).
She continued her professional accomplishments in Paris, where she was enrolled in composition and computer music Cursus1 at IRCAM and then in Berlin, where she finished 3rd cycle studies at HfM Hanns Eisler in the class of Hanspeter Kyburz.
Djordjević's music is described as "rough, often even raw in the gesture", as a "vital tonal language that refuses less harmony and beautiful sound than that it gives the experience of the elemental quite pleasurably: tones of the earth’s emanations."
Raw, archetypal voices, recognizable from the sonic world of the Balkans, radically shape her subject-matter with the resources of the avant-garde, far removed from folk music.
Hladan ti dah do grla, for voice and ensemble (2016) I ti hoćeš da se volimo [Und du willst dass wir uns lieben] for soprano and accordion (2015) Kakva mi je to pa igra for voice and percussion (2014) Manje te u majke groze [one less horror for your mother] for soprano, bass clarinet, accordion, violin, viola and violoncello (2011) This article about a Serbian composer is a stub.