Hanan Hadzajlic Composition, Artificial Musical Intelligence, Electroacoustic Music, Flute Performance / Contemporary Improvisation, Transdisciplinary Research


- Research Fields:

Transdisciplinary Research: Composition, Flute Performance/Improvisation, Electroacoustic Music, Artificial Musical Intelligence, Transhumanism


- Affiliation:

Teaching Assistant, Department of Composition, Music Academy, University of Sarajevo

Co-Founder & Director, INSAM Institute for Contemporary Artistic Music, Sarajevo

Founder & Researcher, Artificial Musical Intelligence Project at INSAM, Sarajevo

PhD Student in Transdisciplinary Studies of Contemporary Art and Media, Faculty of Media and Communication, Singidunum University in Belgrade

- Current projects:

  Artificial Musical Intelligence Project: Intuitio Ex Machina

  Contemporary Artistic Improvisation Pedagogy: Impro Ensemble MAS Concert Season 2018/2019


Hanan Hadžajlić (1991) is a transdisciplinary researcher and internationally recognized, award-winning flutist and composer. She regularly performs in Europe, while her music is performed in Europe, Israel and USA. Her main motivation and mission is the development of a global network of artists and researchers whose work is based on transcultural artistic models and human-technology interaction.

She combines knowledge from the field of music composition, instrumental interpretation – flute, art theory and musical artificial intelligence development. Since 2018 she has been employed as a Teaching Assistant at the Department of Composition of the Music Academy of the University of Sarajevo. She is a co-founder and director of the Institute for Contemporary Artistic Music (INSAM Sarajevo, 2015) as well as co-founder of the INSAM Journal of Contemporary Music, Art and Technology. Since 2012 she is a member of the ensemble SONEMUS and since 2017, active in the field of contemporary improvisation pedadogy through projects with Impro Ensemble MAS.



She completed DMA in flute performance at the Faculty of Music Arts in Belgrade (mentor: prof. Ljubiša Jovanović, co-mentor: Dr. Vesna Mikić). Currently, she is PhD candidate in art theory - transdisciplinary studies of contemporary art and media at the Faculty of Media and Communication in Belgrade (mentor: Dr. Andrija Filipović, co-mentor: Dr. Miodrag Šuvaković). She completed MA in composition, with thesis Compositional Procedures Applied in the Opera 'Desiring Machine' (mentor: prof. Ališer Sijarić, co-mentor: Dr. Amila Ramović), BA in composition with thesis Compositional Procedures and Techniques in 'Contrapuctus XV' for Symphonic Orchestra (mentor: prof. Ališer Sijarić) and MA in flute performance with thesis Compositional-Technical and Interpretation Analysis of Composition 'Dah' for solo bass flute, by Ališer Sijarić (mentor: prof. Sakib Lačević, co-mentor: Dr. Ivan Čavlović) at the Music Academy of the University of Sarajevo.



Hanan participated in composition masterclasses with Heiner Goebbels, Peter Ablinger, Vinko Globokar, Philippe Manoury, Wolfgang Rihm, Dieter Ammann, Michel van der Aa, masterclasses for composers with Dimitrios Polisoidis (viola), Christian Dierstein (percussion), Jack Quartet (string quartet), flute masterclasses with lecturers such as Eva Furrer, Boris Previšić, Ljubiša Jovanović, Felix Renggli, Dejan Gavrić, Karolina Šantl Zupan, Jessica Pierce, Eugeina Moliner, Aisling Agnew, Alenka Zupan, Renata Penezić and chamber music masterclasses with Neda Hofman (piano) and Ernesto Molinari (clarinet). She was a scholar of the Lucerne Festival Academy - Composer Seminar 2017 and Science Underground Academy 2016 (with lecturers such as Gjino Šutić – biotechnology, Antonija Šakić – genetical engineering, Robertina Šebjanič – intermedia art).



She has won numerous high awards at regional and international musical interpretation competitions such as first prize (Reconstruction – Contemporary Music Interpretation Competition, Serbia - flute), first prize (Reconstruction – Contemporary Music Interpretation Competition, Serbia – chamber music), first prize (International Flautist Gathering - Tahir Kulenović, Serbia - flute), first prize (Yamaha EU Foundation, Bosnia and Herzegovina - flute), first prize (TEMSIG, Slovenia - flute) etc. She has also been awarded by the University of Sarajevo, Sarajevo Music Academy, Association of Composers – Music Authors, (AMUS, Bosnia and Herzegovina) and 11th pre-art Competition for young composers (pre-art, Switzerland). Her composition Freezing Moon is included in the book The 21st Century Voice: Contemporary and Traditional Extra-normal Voice by Michael Edward Edgerton.



As a flutist, Hanan has performed in Switzerland, Germany, Ireland, Slovenia, Israel, Italy, Bosnia and Herzegovina, Serbia, Montenegro at festivals such as Lucerne Festival, Culturscapes Basel, SONEMUS Fest, Sarajevo Chamber Music Festival, Sarajevo Sonic Studio, Majske Muzičke Svečanosti Sarajevo, SVEM Sarajevo, Reconstruction – Contemporary Music Festival Belgrade Glazbena tribina Opatija, Hvar Town Cultural Summer Programme, Ljubljana Festival, etc. and institutions such as Luzerner Theater Box, Yehudi Menuhin Forum Bern, Gare du Nord Basel, Wolfgang Rihm Forum Karlsruhe, Henrietta St. Dublin, Knight's Hall of the Castle Brežice, St. Gabriel's Church Nazareth,  National Theatre Sarajevo, University of Sarajevo Hall - Rectorate, Bosniak Institute Sarajevo, Army Hall Sarajevo, Musem of the National Theatre Belgrade, etc.

She has also worked with composers such as Ališer Sijarić, Dino Rešidbegović, Philippe Manoury, Louis Aguirre, Richard Barrett, John Buckley, Srđan Hofman, Marko Nikodijević, Antoine Fachard, etc. As a soloist, chamber and orchestral musician she has worked with conductors such as Jürg Wyttenbach, Gregory Charette, Edo Mičić, Toshio Yanagisawa, Robert Ames, Uroš Lajovic, Riccardo Muti, Ognjen Bomoštar, Mikica Jevtić, Andrija Pavlić, Miroslav Homen, Emir Mejremić, Fuad Šetić etc. As a soloist she performed with Sarajevo Philharmonic Orchestra and String Orchestra MAS and as a chamber musician, she performed with ensembles such as SONEMUS, Studio 6, AMAS, 2K+, Impro Ensemble MAS, Belgrade Flute Quartet, Trio Hadžajlić/Strotter Inst./Christoph Erb,  Duo X O, etc.

Her music was performed in USA, Israel, Switzerland, Denmark, Ireland, Bosnia and Herzegovina, Serbia at the festivals such as Women Composers Festival of Hartford, Vox Feminae – Israeli Women Composers and Performers Forum, Lucerne Festival, SONEMUS Fest, Sarajevo Sonic Studio, Sarajevo Chamber Music Festival and institutions such as University of Maryland Baltimore County, Jan Hus Presbyterian Church New York, Charter Oak Cultural Centre Hartford, Conservatory of Music Tel Aviv, Kunstmuseum Lucern - KKL, Hochschule der Künste Bern, Henrietta St Dublin, Bosniak Institute Sarajevo, Army Hall Sarajevo, Musem of the National Theatre Belgrade, Faculty of Music Belgrade, Zavod za kulturu Vojvodine, etc. She cooperated with ensembles such as New Thread Quartet, Lucerne Festival Alumni Ensemble, SONEMUS, Neofonia, Impro Ensemble MAS, String Orchestra MAS, conductors such as Josep Planells Schiaffino, Steven Loy, Fuad Šetić, Ivan Križanac and soloists such as Azra Ramić (clarinet), Belma Alić (cello), Zlatan Božuta (piano), Carola Schaal (clarinet), Jeannine Hirzel (soprano), Rona Israel Kollat (soprano), Ana Spasić (soprano), Vasa Vučković (clarinet), Ana Radovanović (soprano), etc.

In cooperation with programmer Viktorija Alilović, she developed a robot (prototype) that physically reacts on flute signal – FluteBot, presented at the exhibition Mysterious Worlds of Science Underground in Dubrovnik. She composed music for theater play Children of the Sun (Maxim Gorky) directed by Selma Spahić as well as music for the movie Hound Dog, directed by Boriša Čurić.



In domain of writing for acoustic instruments, Hanan describes her compositional style and aesthetics as „polyphonic machine music for acoustic instruments“, while composition of electroacoustic music represents realization of her concepts of „transhuman music“ and „artificial musical intelligence“, based on the specific music technology. Her music is influenced by music of Johann Sebastian Bach, Ališer Sijarić, Beat Furrer, György Ligeti, Dino Rešidbegović, metal band Meshuggah as well as artificial intelligence algorithms and numerology.

Her significant compositions are Ayahuasca (2012) for flute and piano, No to You (Morgellon Love) for flute&processors, voice and robot sculpture (2016), Homo Ex Machina: Hommage a Ligeti for ensemble (2016), Contrapunctus XV for orchestra (2016/2017), Homo Ex Machina II for violin&piano (2017), Ein Sof for orchestra (2017), Concerto TransH(You)Man for bass clarinet and bass drum – one performer (2017), Angel: Opera for flutist (2017), Opera Desiring Machine for bass, mezzo-soprano and orchestra (2017/2018), Die Fuge der Kunst: Anti Oedipus for ensemble and amplified mechanical metronome (2018), A Thousand Plateaus: Hommage to Deleuze&Guattari for flute/bass flute and processors (2018) Musical Artificial Intelligence Project: Intuitio Ex Machina (2015 – ongoing).