Мимикрија Милане Стојадиновић-Милић

Considering the statment that mimicry as modus menti of Milana Stojadinović-Milić's work is the key to the interpretation of content engagement, in this paper will be analized the all parameters that confirm this type of statement. At first the third (major/minor) figuring as a nuceuls from which develop the whole tematic content of composition. This composition Mimicria as a one movement piece could not be comparing with simfonic poem (because it does not contain program elements) as well as with sonata form too (even this piece have a three-part structure. However, the real game of mimicria is going on by using different styles of compositional-technical work of the author. One of them is pedal from first to last measure of composition which marks and gives the articulation of huge tonal range, changing the colors and registers, lying down or rhythmic, but contingently present. The principle of mimicry is also reflected in the specific dramaturgy of the musical statement and the direction of musical flows in spherical shape. Monothematic source of whole materials of composition are resulted with specific type of ‘dramatic’, which are covered by mimicry (the dramatically conflicts are not on the edge, they are resolved one by one in wave style of moving) and show up as some sort of ‘lyric orchestral ’intimacy’.