Dr. Mladen Milicevic

FULL CURRICULUM VITAE

Telephone: +1-310-989-8867 e-mail: [email protected]

Education

• University of Miami, Florida, - D.M.A. (Doctor of Musical Arts) in Composition (1991) emphasis in experimental and computer music • Wesleyan University, Connecticut, - M.A. in Composition (1988) emphasis in experimental music • Academy of Music, Sarajevo, Bosnia-Herzegovina - M.A. in Composition (1986) emphasis in multimedia • Academy of Music, Sarajevo, Bosnia-Herzegovina - B.A. in Composition (1982) • Classical Gymnasium, Sarajevo, Bosnia-Herzegovina - Latin and Greek (1976) • Music High School, Sarajevo, Bosnia-Herzegovina - Piano (1976) • Elementary Music School, Sarajevo, Bosnia-Herzegovina - Piano (1972)

Academic Administrative Experience

• Chair, Recording Arts Department Loyola Marymount University, Los Angeles, School of Film and Television, (May 2007 until May 2018) • Recording Arts Program Coordinator Loyola Marymount University, Los Angeles, School of Film and Television, (May 2001 until May 2007) • Recording Arts Program Coordinator Loyola Marymount University, Los Angeles, Communication Arts Department, (August 1998 until May 2001) • Audio Program Head University of South Carolina, Department of Media Arts (May 1991 until May 1998)

Academic Teaching Experience

• Clinical Professor, Recording Arts Department Loyola Marymount University, Los Angeles, School of Film and Television, (January 2019 until present) • Professor, (Tenured) Recording Arts Department Loyola Marymount University, Los Angeles, School of Film and Television, (April 2004 until 2019) • Associate Professor, Recording Arts Program Loyola Marymount University, Los Angeles, School of Film and Television, (August 1999 until April 2004) • Visiting Professor, Recording Arts Program Loyola Marymount University, Los Angeles, School of Film and Television, (August 1998 until May 1999) • Associate Professor, (Tenured) University of South Carolina, Department of Media Arts (Honors College) - Music/Sound for Media Arts (May 1997 until May 1998) • Assistant Professor, University of South Carolina, Department of Media Arts (Honors College) - Music/Sound for Media Arts (August 1991 through May 1997) • Assistant Professor, Music Associates of Aspen, Aspen Music School/Festival - Advanced Electronic Music Composition (1993 through 1994) • Teaching Fellow, Aspen Music School/Festival, Colorado - Summer courses in Electronic Music (1987 through 1991) • Teaching Assistant, University of Miami, Florida - Music Theory, Ear Training, Electronic Music, Experimental Music Ensemble, (1989 through 1991) • Teaching Assistant, Wesleyan University, Connecticut - Electronic Music Synthesis, Programming and Composition (1987/88) • Assistant Professor, Music Academy, Sarajevo, Bosnia-Herzegovina - Music Technology (1982 through 1986) • Visiting Professor, Jeunesse Musicale International Campus, Groznjan, Croatia - Summer course in Electronic Music (1986)

Conference Presentations and Proceedings • “Stealth Paradigm Shift through Online Education” keynote speaker at the 19th International Conference on Teaching, Education & Learning, Rome, Italy (2020) • “Hollywood Film Music: Constrained Creativity” keynote speaker at the 4rd International Conference on Culture and History, Paris, France (2020) • “Teaching Music Creativity Online” keynote speaker at the 16th International Conference on Teaching, Education & Learning, Rome, Italy (2019) • “Decline of Melody in Hollywood Film Music” keynote speaker at the 3rd International Conference on Culture and History, Budapest, Hungary (2019) • “How Music Makes our Brains Tick” keynote speaker at the 2nd International Conference on Culture and History, Amsterdam, Netherlands(2018) • “Transcending Reality with Music” keynote speaker at the 35th International Conference on Psychology and the Arts, Dubrovnik, Croatia (2018) • “Making eMusic with iPhone ” at the 11th International Conference on e-Learning & Innovative Pedagogies, New York, USA (2018) • “Altered States of Consciousness and Film Sound” keynote speaker at the 7th International Conference on History and Society Development, Hong Kong (2017) • “Democratization of Music Making Technology and Hollywood Film Music” keynote speaker at the International Conference on Culture and History, Barcelona, Spain (2017) • “Declining Melody in Hollywood Film Music” International Conference on Music and Sounds, Warsaw, Poland (2017) • “The End of Operatic Approach in Hollywood Film Music” AVANCA | CINEMA conference, Avanca, Portugal (2016) • “Hit Songs, Machine Learning, and the Music Business” keynote speaker at the 3rd International Conference on Humanities and Social Sciences, Rome, Italy (2016) • “Oneiric Film Sound and Human Brain” 2nd PAN-American Interdisciplinary Conference, PIC Buenos Aires, Argentina (2016) • “Democratization of Music Making Tools and Erosion of Culture” keynote speaker at the 4th International Conference on Business, Management and Governance, New York, USA (2015)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 2 • “Altered States of Consciousness and Film Sound” The 2015 Long Beach Indie Film, Media, and Music Conference, Long Beach, USA (2015) • “Virtual Learning Communities for Online Instruction” 17th International Conference on Social Sciences, Istanbul, Turkey (2015) • “Semiotics of the New Commercial Music Paradigm” 17th International Conference on Communication, Media, Technology and Design, Istanbul, Turkey (2015) • “Erosion of Culture through Democratization?” 3rd International Conference on Media and Democracy, Athens, Greece (2015) • “Globalization and Democratization of Technology” keynote speaker at the 2nd International Conference on Management and Humanities, Los Angeles, (2015) • “Transcendence and Music: Trance and Ecstasy Brain Processes” Fifth International Conference on Religion and Spirituality in Society at UC Berkeley, (2015) • “Religious Beliefs and Political Culture” International Conference on Re-thinking Politics and Political Culture in Everyday Lives, Vienna, Austria (2014) • “Reshaping Education for the Future” The European Conference on Education 2014, ECE2014, Brighton, UK (2014) • “Apocalypse: Good and Bad” 3rd Global Conference Apocalypse: Imagining the End, Oxford, UK (2014) • “Contemporary Education and Digital Technologies” 3rd. International Conference on Society, Humanity and History, Plymouth, UK (2014) • “Friend or Foe: Film Music” The International Conference on the Arts in Society, Rome, Italy (2014) • “Reshaping Education through Digital Media” International Academic Conference on Education, Teaching and E-learning, Prague, Czech Republic (2014) • “Fluid Education and Digital Media” The Seventh World Universities Forum, Lisbon, Portugal (2014) • “Altered States Of Consciousness In Narrative Cinema: Subjective Film Sound” International Conference on Communication, Film and Media Sciences, Paris, France (2013) • “Objective Interpretations by Subjective Humans: A Postmodern Approach” International Conference on Communication, Visual Arts and Design, Istanbul, Turkey (2013) • “Transcending Reality: Music and Spiritual Experiences” International Association for the Psychology of Religion 2013 Congress, Lausanne, Switzerland (2013) • “Music and Brain Today” 2nd. International Conference on Society, Humanity and History, Barcelona, Spain (2013) • “ Hollywood Film Music: Constrained Creativity” AVANCA | CINEMA conference, Avanca, Portugal (2013) • “What We Know So Far About Music Cognition“ 2012 International Conference on Humanity, Culture and Society - ICHCS 2012, Hong Kong, China (2012) • “Short Cuts to Postmodern Cinema” International Conference on Film and Media Studies, Paris, France (2012) • “Music as an Agent to Divine: New Age and Pentecostal Approaches” International and Interdisciplinary Conference - Meaning, Culture and Values, New Delhi, India (2012) • “Music as Transcendence Agent in New Age Spirituality” Mysticism without Bounds International Conference at Bangalore, Karnataka, India (2011) • “Religion and De-Alienation” 17th International Sociological Association World Congress, Gothenburg, Sweden (2010) • “Cyberspace Alienation” 17th International Sociological Association World Congress, Gothenburg, Sweden (2010)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 3 • “Cyberspace and Postmodern Music Business” 8th Annual Hawaii International Conference on Arts and Humanities, Waikiki, Hawaii (2010) • “Cyberspace and Music” IASPM-ANZ (International Association for the Study of Popular Music) International Conference, Wellington, New Zealand (2009) • “Short Cuts: A Postmodern Analysis” - 11th International Conference of ISSEI International Society for the Study of European Ideas, Helsinki, Finland (2008) • “Is Modernism Completely Dead?” - 11th International Conference of International Society for the Study of European Ideas, Helsinki, Finland (2008) • “Creation and Innovation: What is the Difference” - 11th International Conference of International Society for the Study of European Ideas, Helsinki, Finland (2008) • “Pleasantville – A Postmodern Analysis” 6th Annual Hawaii International Conference on Arts and Humanities, Waikiki, Hawaii (2008) • “Globalization and Music - Electronic Sampling of The Ethnic Instruments” 6th Annual Hawaii International Conference on Arts and Humanities, Waikiki, Hawaii (2008) • “Objective Interpretations by Subjective Humans: A Postmodern Approach” International Congress of Aesthetics, Ankara, Turkey (2007) • “Globalization and Music: Electronic Sampling of the Ethnic Instruments” - Asia Pacific International Conference, Wellington, New Zealand (2007) • “Pirating Memes Through Cyberspace: Illegal Www Communities And Their Impact On Music Industry” - IADIS International Conference Web Based Communities, San Sebastian, Spain (2006) • “Dealing With The Guilt: War Crimes in ‘The Witnesses’ by Vinko Bresan” - Conference Cinema in Europe: Networks in Progress, Amsterdam, Netherlands (2005) • “Film Sound Beyond Reality” 3rd Annual Hawaii International Conference on Arts and Humanities, Waikiki, Hawaii (2005) • “Postmodernism: Style vs. World View” 3rd Annual Hawaii International Conference on Arts and Humanities, Waikiki, Hawaii (2005) • “Was there a narrative? - The music of avant-garde” –SIMS2004 The Symposium of the International Musicological Society, Melbourne, Australia (2004) • “Film Sound Beyond Reality” – Pula Film Festival, Pula, Croatia (2003) • “Positive Emotion Learning Through Music Listening” –ICONIP'02 The 9th International Conference on Neural Information Processing, Singapore (2002) • “Conceptual Design of an AI Creative System for Evaluation of Computer Music” –15th European Conference on Artificial Intelligence (93-96), Lyon, France (2002) • “Cyberspace Memes” Music without Walls? Music without Instruments? Conference at De Montfort University, Leicester, England (2001) • “Communicating Computer Music Memes” XIII CIM 2000 - Colloquium on Musical Informatics, L'Aquila, Italy (2000) • “Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music” - International Computer Music Conference, Beijing, China (1999) • “Designing an AI Emotion-Based Adaptive Fuzzy System for Evaluation of the Computer Music” - 1999 IEEE International Conference on Systems, Man, and Cybernetics, Tokyo, Japan (1999) • “Computer Music and Mind Machine” - Minds, Machines, and Electronic Culture, The Seventh Biennial Symposium on Arts & Technology at Connecticut College, New London, Connecticut (1999)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 4 • “AI and Music Emotions” - AAAI (American Association of Artificial Intelligence) Fall Symposium, Orlando, Florida (1998) • “The Survival of the Wisest: The Future of Electroacoustic Music” - SEAMUS National Conference at Dartmouth College, Hanover, New Hampshire (1998) • “Objectivity in Music: An Impossible Fantasy”, Fifteenth International Joint Conference on Artificial Intelligence, Issues in AI and Music - Evaluation and Assessment, Nagoya, Japan (1997) • “Interactive Computer Music and the Need for Explanation”, New Media and the Arts Symposium, Wesleyan University, Middletown, Connecticut (1996) • “Electronic Music and the Importance of Fractals, Chaos, and Complexity Theory” - 8. International Semiotic Congress - Culture-Sign-Space, Amsterdam, Netherlands (1996) • “Computer Music and Importance of Fractals, Chaos, and Complexity Theory” - JIM’96 Computer Music Conference, Caen, France (1996) • “Electro-Acoustic Music and the Importance of Fractals, Chaos, and Complexity Theory” - SEAMUS National Conference at Birmingham-Southern College, Birmingham, Alabama (1996) • “Electronic Music in Postmodern Time” - Media-Scape 3, International Symposium and Exhibition on Art, Media, and Audio-Visual Culture, Zagreb, Croatia (1995) • “Prospect of Contemporary Aesthetics/Ethics in Electro Acoustic Music World” - SEAMUS National Conference at the Ithaca College, Ithaca, New York (1995) • “Aesthetics of Performing Live Interactive Electronic Music with ‘Hyper Instruments’ ” - SEAMUS National Conference at the Middlebury College, Middlebury, Vermont (1994)

Refereed Publications • eBook “Apocalypse: Good and Bad” 3rd Global Conference Apocalypse: Imagining the End, at Oxford University (2014) • "Cyberspace Memes" published by Cambridge University Press in the "Organised Sound" magazine. [Organised Sound 6(2) 117-120 Ó 2001 Cambridge University Press] • "Adding More Confusion to What Is/Not Postmodern Cinema" published in Croatian Film Journal, No. 23, (November 2000), Zagreb, Croatia, (127-131). • "Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music" proceedings of 1999 International Computer Music Conference, Beijing, China, (538-541) • "Designing an AI Emotion-Based Adaptive Fuzzy System for Evaluation of the Computer Music" proceedings of 1999 IEEE International Conference on Systems, Man, and Cybernetics, Tokyo, Japan (published on CD-ROM) • "Computer Music and Mind Machine" proceedings of Minds, Machines, and Electronic Culture, The Seventh Biennial Symposium on Arts & Technology at Connecticut College, New London, CT, 1999 (126-131) • “Reframing Consciousness” an article in a book edited Roy Ascott, published by intellect, Exeter, England and Portland OR, USA 1999, ISBN 1-84150-013-5 • "AI and Music Emotions" proceedings of the AAAI (American Association of Artificial Intelligence) Fall Symposium, October 1998, Orlando, Florida (128- 129) • "The Future of Computer Music According to Darwin" proceedings of First Symposium on Computer and Music, October 1998, Corfu, Greece (101-104) • "Consciousness and Music" proceedings of the CAiAA Consciousness Reframed Conference, August 1998, Newport, United Kingdom (177-186)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 5 • "Deconstructing Musical Structure" Organized Sound (3) 1 Cambridge University Press (1998), United Kingdom, (27-34) • "Understanding Musical Emotions" Proceedings of KANSEI - The Technology of Emotion; AIMI International Workshop, October 1997, Genova, Italy (89-96) • "Objectivity in Music: An Impossible Fantasy," Proceedings of the Fifteenth International Joint Conference on Artificial Intelligence, Issues in AI and Music - Evaluation and Assessment, W18, August 23-29, 1997, Nagoya, Japan (33-40) • "AI and Music: Brain and Mind" Proceedings of IV Brazilian Symposium on Computer Music, August 1997, Brasilia, Brazil (57-66) • "Computer Music, Complexity Theory, and Postmodern Times" Proceedings of International Conference on Computer Music & Music Science, October 15-19, Shanghai, China (14-20) • "The Impact of Fractals, Chaos, and Complexity Theory on Computer Music Composition," Proceedings of International Computer Music Conference, August (19-25) Hong Kong (135-142) • "Computer Music and the Importance of Fractals, Chaos, and Complexity Theory," Proceedings of JIM 96 Conference, http://www.ircam.fr/equipes/refmus/jim96/actes/milicevic.html 1996

• "Film Sound Beyond Reality," Croatian Film Journal, Volume I, No. 3/4, (October 1995), Zagreb, Croatia, (103-108).

Non-refereed Publications

• "The Survival of the Fittest vs. the Wisest: The Future of Electro-Acoustic Music," Journal SEAMUS, Volume XIII, No. 2, (March 1999), Los Angeles, CA, (6-9). • "AAAI Fall Symposium" SEAMUS Newsletter vol.8 no.2, (Winter 1998), Los Angeles, CA. (1-2) • "AI Conference in Japan" SEAMUS Newsletter vol.8 no.1, (June 1998), Los Angeles, CA. (2-3) • "Objectivity in Music: An Impossible Fantasy," SEAMUS Newsletter, Spring 1997, Volume 6, Number 3, (April 1997), Los Angeles, CA, (3, 10-12). • "Electro-Acoustic Music and the Importance of Fractals, Chaos, and Complexity Theory," Journal SEAMUS, Volume XI, No. 2, (November 1996), Los Angeles, CA, (7-10). • "The Impact of Fractals, Chaos, and Complexity Theory on Computer Music Composition," Array: Communications of the ICMA, Volume 16, No. 2, (Summer 1996), San Francisco, CA (20- 22). • "Prospect of Contemporary Aesthetics/Ethics and the Electro-Acoustic Music World," Journal SEAMUS, Volume X, No. 2, (November 1995), Los Angeles, CA, (15-17). • "Electronic Music in Postmodern Times," Array: Communications of the ICMA, Volume 16, No. 1, (Spring 1996), San Francisco, CA (28-30). • "Prospect of Postmodern Aesthetics and the Electro Acoustic Music World," Consequences of Technological Development at DAD@, http://www.kaapeli.fi/~best/mladen.html (1995)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 6 Invited Lectures

• Music and Screen Arts – University of Sarajevo, Academy of Dramatic Arts, Bosnia-Herzegovina (2020) • Film and Music – University of Sarajevo, Academy of Dramatic Arts, Bosnia-Herzegovina (2019) • Changing Trends in Hollywood Film Music - University of Saint Joseph, Macau (2018) • Film Sound and Film Music – University of Zagreb, Academy of Dramatic Art, Croatia (2017) • Hollywood Film Music Today – Ecole nationale supérieure Louis-Lumière, Paris, France (2016) • Current Trends in Hollywood Film Music - Filmuniversität Babelsberg, Potsdam, Germany (2016) • The End of Operatic Approach in Hollywood Film Music – Tonmeister-Institut der Uinversität der Künste, Berlin, Germany (2016) • Constrained Creativity: Film Music in Contemporary Hollywood – Leipzig University, Leipzig, Germany (2016) • Film Sound Beyond Reality - Institute of Art, Design and Technology, Dublin, Ireland (2016) • Constrained Creativity: Film Music in Contemporary Hollywood - National University of Ireland - Huston School of Film & Digital Media, Galway, Ireland (2016) • The End of Operatic Approach in Hollywood Film Music – Trinity College - School of Drama, Film and Music, Dublin, Ireland (2016) • The End of Operatic Approach in Hollywood Film Music – Akademie für Internationale Bildung, Bonn, Germany (2016) • Film Sound Beyond Reality - UC Berkeley, Berkeley, California (2015) • Disappearance of Melody in Hollywood Film Music – University of Miami, Coral Gables, Florida (2015) • Disappearance of Melody in Hollywood Film Music – University of Zagreb, Music Academy, Croatia (2014) • Film Music Historical Trends – University of Zagreb, Academy of Dramatic Art, Croatia (2014) • Music, Brain, and Semiology – University of Sarajevo, Music Academy, Bosnia-Herzegovina (2013) • Film Music Applications – University of Zagreb, Academy of Dramatic Art, Croatia (2013) • Hollywood Film Music – University of Zagreb, Academy of Dramatic Art, Croatia (2012) • Composer in the Editing Room – University of Zagreb, Academy of Dramatic Art, Croatia (2012) • Music and Brain – University of Zagreb, Music Academy, Croatia (2011) • Use of Music in Religious Transcendence – University of Zagreb, Music Academy, Croatia (2011) • Music in Hollywood Film – University of Zagreb, Music Academy, Croatia (2011) • Was There A Narrative? - The Music of Avant-Garde, Composer’s Forum at the University of Miami, Coral Gables, Florida, (2005) • Film Sound Beyond Reality, Composer’s Forum at the University of Miami, Coral Gables, Florida, (2005) • Film Sound Beyond Reality - invited lecture at Unitec University, Auckland, New Zealand (2004) • Was there a narrative? - The music of avant-garde - invited lecture at Unitec University, Auckland, New Zealand (2004) • Film Music Today, Pula Film Festival (Roundtable discussion), Pula, Croatia (2003) • Meta-Diegetic Film Sound, Northeastern University, Boston, Massachusetts, USA (1998) • Synaesthetic Art, The School of the Museum of Fine Arts, Boston, Massachusetts, USA (1997) • Recording in Stereo, William Paterson College, Wayne, New Jersey, USA (1997) • Film Sound Postproduction, CUNY Brooklyn College, New York, USA (1997) • Film Sound Beyond Reality, CUNY Brooklyn College, New York, USA (1996)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 7 • Film Scoring, CUNY Brooklyn College, New York, USA (1996) • Postmodernism and Contemporary Music - University of Miami, Coral Gables, Florida, USA (1996) • Film Sound Beyond Reality - New School for Social Research, New York, USA (1996) • Film Sound Beyond Reality - Ithaca College, Ithaca, New York, USA (1995) • Live Computer Music - Oberlin College, Conservatory of Music, Oberlin, Ohio, USA (1995) • Film Sound Beyond Reality - School of Visual Arts, New York, USA (1994) • Film Sound Beyond Reality - Pratt Institute, New York, USA (1994) • Film Sound Beyond Reality - SUNY Stony Brook, New York, USA (1994) • Film Sound Beyond Reality - Rochester Institute of Technology, New York, USA (1994) • Creative Process and Music Composition - Aspen Music Festival, Aspen, Colorado, USA (1994) • Film Sound Beyond Reality - French/American Film Workshop - Harvard University, Cambridge, Massachusetts, USA (1994) • Electronic Music Composition and Postmodernism -Wesleyan University, Middletown, Connecticut, USA (1994) Awards & Grants

• Loyola Marymount University Summer Research Grant ($5000) project Examining Music Differences (2015) • Loyola Marymount University Summer Research Grant ($5000) project Via Dolorosa (2012) • Loyola Marymount University Summer Research Grant ($5000) project After Modern Music (2009) • Loyola Marymount University Summer Research Grant ($5000) project Oneiric Music (2007) • Loyola Marymount University Summer Research Grant ($4000) project Postmodern Vignettes (2005) • Loyola Marymount University Summer Research Grant ($4000) project Synaesthetica Musica (2003) • Loyola Marymount University Summer Research Grant ($3500) project Musical Response (2001) • Loyola Marymount University Summer Research Grant ($3500) project Melting Sounds (2000) • South Carolina Arts Commission grant ($1700) project Transformations (1998) • University of South Carolina Research and Productive Scholarship Grant ($3500) project Sound Morfing (1997) • South Carolina Arts Commission grant ($1500) project Second Holocaust (1997) • South Carolina Arts Commission grant ($1250) project Pluralities (1996) • University of South Carolina Research and Productive Scholarship Grant ($7500) project Musical Ecology (1995) • OBSCURE-ACREQ and Societe Radio-Canada at the 4e Concours Electro-Video Clip, Quebec, Canada selected my Musique Concrete as one of the ten best pieces in the category (1994) • South Carolina Arts Commission grant ($1100) to produce a CD “Greatest Hits” with my live interactive electronic music utilizing “hyper instruments” (1994) • JRT Prize (Yugoslavian Broadcasting Corporation) for composition cl? - for prepared clarinet and electronics (1985)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 8 • MUSIC Prize (The best music for the theater play) for the music composed in the theater play Live Cocked Goat staged at Youth Theater Duško Radović Belgrade, Yugoslavia (1985) • SKOJ Prize (The highest award for young composers in Yugoslavia) for composition Selftreatments - for clarinet and electronics performed at 12th International Music Biennale in Zagreb, Croatia (1983) • MUSIC Prize (The best music for the theater play) for the music composed in the theater play Pinocchio staged at Youth Theater Sarajevo, Bosnia-Herzegovina (1984) • Max Deutsch Prize for performance of composition Guerilla by the Ille de France orchestra, Paris, France (1983) • Yugoslav Composers' Grant to work one month at EMS (Elektron Musik Studion) in Stockholm, Sweden (1983) • MUSIC Prize (The best music for the theater play) for the music composed in the theater play Can of Love staged at Youth Theater Sarajevo, Bosnia-Herzegovina (1982) Music Performances

• Sarajevska Zima - Sarajevo, Bosnia Herzegovina (2014) • Bosnjački Institut - Sarajevo, Bosnia Herzegovina (2001) • 29th. Pan Music Festival - Seoul International Computer Music Festival -Seoul, South Korea (2001) • Concierto En Eneafonia - Riobamba, Ecuador (2001) • Centre Culturel de Forbach, Festival Rendez-vous des musiques nouvelles, Paris, France (1999) • Centre Culturel Francais, Cluj-Napoca, Romaina (1999) • Musiques en Scene 99 / GRAME, Lyon, France (1999) • USC Computer Music Concert, Coulmbia, South Carolina (1999) • Le festival des creations sonores, France (1998) • Contemporary Music Festival, Zaragoza, Spain (1998) • French Institute, St. Petersburg, Russia (1998) • Seventh Annual Florida Electroacoustic Music Festival, Gainesville, Florida (1998) • IV Brazilian Symposium on Computer Music, Brasilia, Brazil (1997) • The Third International Festival of Modern Art, Odessa, Ukraine (1997) • USC Computer Music Concert, Columbia, South Carolina (1997) • Alliance Francaise, Hanoi, Vietnam (1996) • Sundays on the Island, New York (1996) • American Institute of Guitar, New York (1996) • New Media and the Arts Symposium, Wesleyan University, Middletown, Connecticut (1996)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 9 • Media-Scape 3, International Symposium, Zagreb, Croatia (1995) • Institut Francais De Valence, Valencia, Spain (1995) • Musiques En Scene, Lyon, France (1995) • Institut Francais De Barcelone, Barcelona, Spain (1995) • International Music Biennale, Zagreb, Croatia (1995) • Demotico Teatro, Athens, Greece (1994) • Teatro Nacional, Managua, Nicaragua (1994) • Nova Musica, Santiago, Chile (1994) • Musica Contemporanea, Rio De Janeiro, Brazil (1994) • Ciclo de Musica Contemporanes, Sao Paulo, Brazil (1994) • Nova - Musica, Sao Jose do Rio Preto, Brazil (1994) • Auditorio de la Biblioteca, Leon, Nicaragua (1994) • XXX Festival Musica Nova De Santos, Santos, Brazil (1994) • Aspen Music Festival, Aspen, Colorado (1993, 1994) • Piccolo Spoleto Festival, Charleston, South Carolina (1993) • International Music Biennale, Zagreb, Croatia (1991) • Subtropics Festival, Miami, Florida (1991) • Aspen Music Festival, Aspen, Colorado (1990) • New Visions Festival, Miami, Florida (1990) • Real Art Ways, Hartford, Connecticut (1989) • Aspen Music Festival, Aspen, Colorado (1989) • International Music Biennale, Zagreb, Croatia (1989) • Athens Music Festival, Athens, Greece (1988) • U.S. Universities Series, San Jose, Costa Rica (1987) • EXTASIS Contemporary Music Festival, Geneva, Switzerland (1987) • Experimental Music Festival, Bourges, France (1987) • European Music Festival, Copenhagen, Denmark (1984) • Moscow Music Festival and Contemporary Music Festival, Kiev, USSR (1984) • Electronic Music Festival, IRCAM Centre Georges Pompidou, Paris, France (1984) • Prix du Rome International Festival, Capri, Italy (1983) • Contemporary Music Festival, Prague, Czechoslovakia (1982)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 10 LIST OF MUSIC WORKS Orchestral EIGHT POINT OF REFERENCE IN MUSIC NONSENSE MUSIC BIG WOW AND FLUTTER HARMONIC SYMPHONY COUNTING GUERILLA CING-CANG ASPEN SYMPHONY CHIPAN WESLEYAN SYMPHONY AGAINST BRASS SYMPHONY EL. GUIT. MUSIC OF CHANGE PATTERNS CODA, for clarinet and string orchestra BASS GUIT. Chamber ACOUST. GUIT.

SERENADE (double string quartet) PIANO STRING QUARTET No.1 RANDOM LEVANT STRINGS (String Quartet No.2) FOR, for flute, clarinet and bassoon Live Electronic Music MOVE, for percussion ensemble ATARI ETUDE SEVEN, for seven trombones ELECTRIC DANCE Choral ALIASING

BOURDON, for mixed choir GROSS FUGUE FUN RUN Solo instruments SURFING

BEFORE, NOW, AND THEN..., for solo guitar MORFING YUPPIE MUSIC, for solo piano LUDWIG FUN

TUBABUT, for solo tuba Installations

Mixed Electronic Music HOW TO COOL A HOT LADY

RAJMUND 30 - for clarinet and electronics TRUTH FISHING BOURDON-E, for voice and electronics WORLD CUP SOLO, for soprano saxophone and electronic VIDEO ART cl?, for prepared clarinet and electronics DIFFERENT VIEW ILI, for clarinet, piano and electronics AEOLEAN PIPES SELFTREATMENTS, for clarinet and SINGING PICTURES electronics WAVES

Electronic Music and Music for Multimedia projects

Tape AROUND

POSTMODERN VIGNETTES TRANSFORMANCE

MUSICAL RESPONSE Experimental films and videos FIRE AND ICE MELTING SOUNDS AFTER MODERN MUSIC TRANSFORMATIONS ONEIRIC MUSIC SOUND MORFING SYNAESTHETICA MUSICA SECOND HOLOCAUST MOVIE ONE MUSICAL ECOLOGY MOVIE TWO GOD AT WORK MUSIQUE CONCRETE SYMPHONY FOR LA MONTE YOUNG FAST MOVEMENTS

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 11 MUSIC FOR FILM AND THEATRE

• American Rebels in Cuba documentary produced by Desert Steel Productions, Los Angeles USA (2019) • The Colonel and the Birds incidental music for a theater play produced by Il Dolce Theatre, Los Angeles, USA (2016) • Room Full of Spoons feature-length documentary produced by Rock Haven Pictures, Ottawa, Canada (2016) • Cuba: The Forgotten Revolution feature-length documentary produced by Desert Steel Productions, Los Angeles aired by PBS across the USA (2015) - The film won an EMMY • Hedda Gabler - feature, Kreuzriegler Productions, Los Angeles (2014) • Kikolā – the Timekeeper – short experimental film produced by Hope Media, Los Angeles (2013) • Greetings from Long Island – feature-length documentary produced Desert Steel Productions, Los Angeles (2013) • Five Decapitations – short narrative film produced by Newell Productions, Los Angeles, (2012) • Dracula – theatre play produced at the Long Beach Playhouse (2011) • Homefront – 30 min. documentary, Al Jazeera International Network (2011) • The Crucible – incidental music for a theatre play produced at the LMU Theatre Department (2010) • An Hour of Madness & Joy – feature, Vincent Productions, Los Angeles (2010) • Empty Boxcars – feature-length documentary, Ed Gaffney Production, Los Angeles, (2010) • The Balcony – incidental music for a theatre play produced at the LMU Theatre Department (2009) • Amasan – The Women of the Sea, 20 min. documentary - Bal Maiden Films, Los Angeles (2009) • Serenity Moments: Hawaii - 60 min. relaxation video - Real Art Studios, Portland, Oregon (2009) • Voices of the Heart –30 min. documentary, Al Jazeera International Network (2009) • Holy Land: Common Ground – feature-length documentary, Ed Gaffney Production, Los Angeles, (2008) • A Science of Miracles – 60 min. documentary, Banyan Communications, St. Charles, Missouri (2007) • Prometheus Bound – 60 min. documentary, Banyan Communications, St. Charles, Missouri, (2007) • Cuba: A Lifetime of Passion – feature-length documentary, Desert Steel Productions, Los Angeles (2006) • Off the Boat – 30 min. documentary, directed by Luis Proenca, Los Angeles (2006) • Elder Son - comedy feature, 2Loop Films, Los Angeles, USA (2006) • Olympics of Ordinary Movements – short film, Directed by Erick Weiss, Los Angeles 2005 • Barbara and the Goose – short film, Directed by Priyanka Kumar, Los Angeles (2005) • The Pill – short film, Directed by Michelle Goetsch, Los Angeles (2005)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 12 • Victims of Another War: The Aftermath of Parental Alienation – 20 min. documentary, Desert Steel Productions, Los Angeles (2004) • The Rock Art at Coa Valley – 30 min. documentary for the Museum - "Parque Arqueologico do Vale do Coa " - Portugal (2004) • The History of LMU – 20 min. documentary, Directed by David Current, Los Angeles (2004) • Macbett – theatre play by Eugene Ionesco, directed by Neno Pervan, produced by Il Dolce Theatre, Los Angeles (2004) • The Room - dramatic feature, Wiseau Films and Chloe Productions, Los Angeles, (2003) • A Farm Picture – 60 min. documentary Desert Steel Productions, Los Angeles (2003) • Poor Little Hamsters – dark comedy feature RTS Production, Belgrade, Yugoslavia, (2003) • Curé of Arts – 20 min. documentary, Desert Steel Productions, Los Angeles (2002) • Six – action thriller feature, FMM Group, New York (2002) • Reality Check – teen horror feature Langley Productions Los Angeles (2001) • Newsies - The True Story – 10 min. documentary, Columbia Tristar Pictures Video, Los Angeles (2001) • Making of Newsies – 10 min. documentary Columbia Tristar Pictures Video, Los Angeles (2001) • Cuba at a Crossroads: Havana 2000 – 30 min. documentary, Desert Steel Productions, Los Angeles (2001) • Dine & Shine - dramatic feature, Guerilla Gaze Productions, Los Angeles, USA (2001) • Up Against Amanda - thriller feature, Persistence of Vision Entertainment, Northridge, (Distributed by Roger Corman) (2000) • The Art of Stanley Kubrick: From Short Films to Strangelove – 10 min. documentary, Columbia Tristar Pictures Video, Los Angeles (2000) • Inside The Making of Dr. Strangelove – 20 min. documentary, Columbia Tristar Pictures Video, Los Angeles, (2000) • Baymen – 60 min. documentary, Desert Steel Productions, Los Angeles (1999) • Paths of the Cuban Revolution – 30 min. documentary, Desert Steel Productions, Los Angeles (1999) • Hawaii Underwater: The World Below – 30 min. documentary, Hawaii Wildlife Fund, Honolulu (1998) • The Splitting Hare-Ache - short film, Digital Pictures Studios, Los Angeles (1998) • Belfair Video Signature - TV Commercial, Ways & Means, Columbia, SC (1997) • Natural Swing - Training Video, Ways & Means, Columbia, SC (1996)

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 13 MUSIC FOR FILM AND OTHER MEDIA ARTS From 1976 through 1986 in former Yugoslavia

Music for TV-Films Youth Theater of Sarajevo, Bosnia-Herzegovina

TV Sarajevo, Bosnia-Herzegovina Seagull Gang

Her Friend Fillip Can of Love Strange Names Pinocchio TV Cabaret Speaking in Tongues Child's Game Kalamandarija Hunting Christmas Eve True Stories A Switcher Man Chamber Theater 55, Sarajevo, Bosnia- Herzegovina Provincial Life Funny Story Fruit Day The Postman The King Doesn't Like The Acting Transformance The Color of Rust Numerous jingles and commercials Rock‘n Roll Story

National Theater Tuzla, Bosnia-Herzegovina TV Novi Sad, Yugoslavia

The Shore House of Tears Messed-up Fantasy Music for Documentaries National Theater Titograd, Yugoslavia

Sutjeska Film, Sarajevo, Bosnia-Herzegovina Sexual Affair

Climbing Men Town Theater Travnik, Bosnia-Herzegovina Olympics 84 in Sarajevo Desert Ilhamija 40 Years of The Constitution Incidental Music for Theater Plays Small Theater 'Duško Radović' Belgrade, Yugoslavia National Theater of Sarajevo, Bosnia-Herzegovina Live Skinned Goat Hamlet The Tense Show Hasanaginica

Landlord's Death Old-fashioned Comedy Music for Radio Dramas The Comb Radio Sarajevo, Bosnia-Herzegovina A Suspicious Person Yugoslavian Antithesis Sick Dojčin Traveling Theater "Šopalović" Underwater World

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 14 Professional Affiliations

• The American Society of Composers, Authors, and Publishers (ASCAP) • Audio Engineering Society (AES) • Croatian Composers’ Association • International Computer Music Association (ICMA) • International Documentary Association (IDA) • Independent Feature Project (IFP) • University Film and Video Association (UFVA) • Society for Electro-Acoustic Music in the United States (SEAMUS)

Additional information

• Through some bizarre serendipity I happen to score music for a film “The Room” which is a worldwide phenomenon. Please do the Internet search and you may be baffled by what you are going find. In 2017, adopted from the bestselling book “Disaster Artist” which was about making of “The Room,” James Franco directed and acted in a film also entitled “Disaster Artist” and won a Golden Globe award in 2018 for the best actor in a comedy film category. • In 2008, I have engineered and produced a musical CD album entitled IMAM PJESMU ZA TEBE by Rade Serbedžija and Miroslav Tadić. It was released in June 2008 and for 3 months was the best selling album in Croatia, nominated for a Croatian GRAMMY for the best production. • I have worked in 'what use to be' Yugoslavia as a freelance composer for 10 years. I have also composed music for theater, films, radio and television, for which several prizes were awarded. • I worked in the Yugoslavian record industry as a music producer and sound engineer using large variety of different studios and equipment for a wide range of musical styles (pop to symphonic music). For achievements in that field I received two JRT awards for musical production and for best sound engineering. • One of the albums that I produced (ValentiNo2) went platinum. • I was involved in filmmaking and have worked as a film and video editor in my home country. I have made several experimental animated films and video projects that explore synaesthetic phenomena and the correspondence of experimental film/video and music. • I play several Balkan string and wind folk instruments, and I was teaching courses in Ethnic Music at the International Summer Music Center - Punat, Croatia from 1982 through 1986. • In 1986 I wrote a theatre play, Napet Show, which premiered in Belgrade, Yugoslavia, receiving numerous awards, and it run for 6 years. • I used to paint and make sculptures. My first one-man exhibition was in 1991 at the Arts and Crafts Museum, Zagreb, Croatia.

Dr. Mladen Milicevic – FULL CURRICULUM VITAE - page 15