Ksenija Komljenović leads the percussion studio with ‘poptimism’ for all

Ksenija Komljenović describes her childhood in Serbia as full of music. “I grew up in a household where music was and is a love language,” recalls the percussion department chair. “My parents sang with each other and with me… I learned [from them] that music is a passport. Pursue music and you’ll find friends, do beautiful things and travel the world.” Komljenović has since pursued music as a performing artist, composer and educator. On the heels of her duo’s latest album release, she reflects on her personal artistic journey as well as on the inspiration behind her desire to teach students in the School of Music. 

Pianos & Percussion  

At three years old, Komljenović attended a ballet class with a piano accompanist and was immediately taken with the instrument more than with dance. Eager to support their daughter’s natural inclination, her parents searched for a music-focused school for her. Music education in Serbia was free, and Komljenović went on to attend music-forward elementary and high school programs before applying for university. 

What began as a journey on piano grew, and Komljenović added percussion and music theory to her toolbelt before triple majoring across the disciplines in high school. She continued her education to earn a B.M. in Composition from Faculty of Music in Belgrade, Serbia. “I majored in composition first,” explains Komljenović, “but percussion has always felt closest to me.” She moved to the United States and earned a M.M. in Percussion Performance from Illinois State University, and in 2017 she became the first woman from Serbia to earn a doctorate in percussion after completing her studies at University of Miami’s Frost School of Music. While Komljenović’s career now focuses primarily on percussion, both composition and piano are still important parts of her artistic journey. “I stay in touch with both things, she says. “They’re more of a spice than a main ingredient.”  

While completing her studies in higher education, Komljenović traveled home to Serbia during the summers for performance opportunities. As she neared the end of her studies, she began to travel throughout the United States, Europe and Asia. She filled her musical passport in China, England, Spain, Portugal, Russia, Bosnia and Herzegovina, Croatia and Poland. In 2024 Komljenović made her Carnegie Hall debut, performing “Can We Know the Sound of Forgiveness” by Gabriela Ortiz — the Hall’s 2024-25 Richard and Barbara Debs Composer’s Chair.  

Musical partnership  

Throughout her performing career, Komljenović has created music alongside other acclaimed artists; most recently through Vesna Duo — a collaboration with pianist Liana Pailodze Harron. Komljenović and Harron had mutual friends in the industry and were set to perform together for the first time in 2020 before the performance was canceled due to the COVID-19 pandemic. “When the show was canceled,” recalls Komljenović, “Liana called me up and said, ‘do you want to be friends?’ I’ve heard so much about you. We should do something together!” They began collaborating that year and in 2022 Vesna Duo released Stravinsky’s “The Rite of Spring” for marimba and piano, arranged by Komljenović. 

The duo released the recording for digital streaming and on CD. It was widely lauded, earning praise from peers and critics alike. Vesna Duo collaborated with the School of Dance in 2024, working with choreographer Britt Juleen Gonzalez and students to present “The Rite of Spring” during Spring Dance.  

Now, their attention has turned to contemporary music that inspires them. “We’re the most educated cover band in the world,” laughs Komljenović, when describing their latest EP release. “Poptimism” reimagines iconic pop, indie and grunge songs for percussion and piano. The work of familiar artists such as Sting, Hozier, Soundgarden, Beyonce, Dean Lewis and Rihanna are featured — a mixtape of the duo’s personal listening over the years.   

The EP was released through UNCSA Media, a publishing arm that features the work of UNCSA faculty and alumni, with support from Thomas S. Kenan Institute for the Arts. Working with UNCSA Media gave Komljenović and Harron strong partners supporting their vision who offered up recording and mastering engineers and producers while allowing the duo to have the final say in decision-making. Komljenović is optimistic that “Poptimism” will land with excitement from listeners. “It's a gift to the audience as some of our favorite songs, which we hope are their favorites, too,” she says. “And I hope it inspires classical musicians to stop worrying about [their work] being perfect. It’s joyful.”  

Mentorship in practice

In addition to performing in hundreds of concerts solo or as part of a duo or ensemble, Komljenović has also given masterclasses at more than 70 education institutions — in addition to longer teaching stints while living in Hong Kong and at Texas A&M University - Corpus Christi. 

“I have such a huge admiration for education,” Komljenović shares. “Maybe I overromanticize it, but I really believe in it.” As a child, her life was greatly affected by war — of which there were two by the time she turned 11 years old. She spent time living in a bomb shelter. Her education was interrupted. Music competitions abroad were out of reach because Serbia’s borders would close and she wouldn’t be allowed to travel. “I remember when YouTube came along,” remembers Komljenović. “I started watching [performances from around the world] and thinking to myself, ‘this is what happens outside?’ I had no idea.” Her teachers had limited resources, but were incredibly supportive and nurturing — setting the tone for how she guides students today. Times were tough, but she wouldn’t change anything. “I realized I had to work very hard,” she adds. “I was lucky to have generous teachers and so many people who have participated in my dreams. I want to help others do the same.” 

Komljenović joined the UNCSA faculty in 2023 and enjoys learning from students in the percussion studio, which has more than doubled its size during her tenure. The studio is composed of musicians with many different interests: “Contemporary musicians, chamber musicians, audio engineers, metal drummers, jazz drummers… in this genre, we’re omnivores,” she says. “It’s amazing to walk into a room and see them in their element, and to see them have the opportunity to teach each other.” 

When the students perform, Komljenović hopes that audiences hear them on stage – each individual performer. Students create their own arrangements for the spring percussion studio performance, she explains, and each year has a different theme (video game music, film music, etc.). “It’s wonderfully rewarding and fruitful,” says Komljenović of the student arrangements. “The audience gets to hear who the students are and it gives them much greater ownership of the performance.” 

The studio is hungry for knowledge, and Komljenović maintains a growing list of studio guest artists — more than 20 over the last three years — to show students various career paths and possibilities. Additionally, she has created opportunities for students to travel and to have exposure to many different styles of music, with support from Kenan Arts and Semans grants. In the past three years, six students have had the experience of leaving the country for the first time — an experience that is near and dear to Komljenović’s heart. Her work with the percussion studio ties back to one of her earliest memories: her musical passport. “I remember hearing that sentence in my childhood… I’d get to see the world. And now I can help other people do that. It’s awesome.” 

By Hannah Callaway

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