NATAŠA NAGORNI ​​PETROV, MA (1962) graduated in 1985 at Department of Music Theory and Pedagogy, and obtained her MA degree in Harmony with harmonic analysis – The Basic features of Debussy’s harmonic expression and changing colours in his piano preludes, mentor prof. Stojan Stojkov in 1997, at the Faculty of Music Art in Skopje. Currently, she is working on her doctoral dissertation which is to be defended at the Faculty of Philosophy in Niš. She began her pedagogical activity in 1987 working at the Music College in Niš, at the subjects Arranging and Harmony with harmonic analysis, and continued at the Faculty of Arts in Niš at the subject Harmony with the harmonic analysis in title of the Assistant Professor. From 2006/07 she was engaged as a lecturer at the Faculty of Philology and Art (FILUM) in Kragujevac. Currently, she is in title of a professional instructor. She has participated in national and international scientific forums (Belgrade, Niš, Soko Banja, Banja Luka, Veliko Tarnovo) at which she has presented the author^,s views of her narrower professional field. She is the author of The Collection of assignments: The Diatonic, 2000, the Music College, Niš and The Chromatics, 2008, Punta, Niš. Publications: The choice of the tonality and the modulation method in piano fantasies kv. 394, 396, 397 and 475 by V. A. Mozart, I Symposium of the composers, ethnomusicologists and music theoreticians, Soko Banja, in 2005); The role and importance of the piano section in the composition of solo songs by Franz Schubert and The presence of folkloric elements in the composition of the Concerto for a Piano and Orchestra by A. Dvoržak; the International scientific forum “The Days of Vlada Milosević”, Banja Luka in 2007/8. She has prepared the papers for the Proceedings in printing on the topics: The review of  different scale structures in the composition of the Concerto for a Piano and Orchestra in G-major by Maurice Ravel; The review of harmonic developments in solo songs of the cycle “Dichterliebe” op. 48 by Robert Schumann ; The role of chromatics in the structure of the Concert for a Piano and Orchestra op. 54 a-minor by Robert Schumann; The Modulating plan of Robert Schumann in the composition of the Concert for a Piano and Orchestra in A-minor, op. 54; The presence of a full-degree scale in the structure of the Prelude “Sails” by Claude Debussy. The Cadence in the Protestant chorale by J. S. Bach; The harmonic review of the piano etudes display no.6 in es-minor op. 10 by Frederic Chopin ; Winterreise (The winter voyage) – another view of the harmonic structure of solo songs by Franz Schubert ; A Beautiful miller – one view at the harmonic structure of the solo songs by  Franz Schubert .