FIVE STRING SCULPTURE / IMPROBABLE RESONANCE
TABLE BOOK / CONVERGING HORIZONTALS
POST-EXCAVATION ACTIVITIES
48kHz / IL TEMPO INSASSATO CHE PUR SCORRE /
L'AMPLEUR DU SOUFFLE /
MATTER OF FACT / ARMONIAPOLIS / MODULATION BOX
SOUNDSCAPE CABINET / WASSER / EMBODIED COMPOSITION
PHONART RADIO WALK / WORD OF MOUTH / 0%LOADING
PENDULUM MUSIC / BOURGEOIS
2 KINETIC STUDIES / POTENTIAL NUMBER POLYPHONY
QUARTET TO GO
THINGS ARE CHANGING PROPERTIES
FOR TRIO, ELECTRONIC SOUND AND CUSTOM-MADE INSTRUMENTS, 2024
FOR TRIO, ELECTRONIC SOUND AND CUSTOM-MADE INSTRUMENTS, 2024
Premiered by Funkloch:
Lara Stanic, Flöte
Petra Ronner, Klavier
Sebastian Hofmann, Perkussion
Zurich, January 2024
Lara Stanic, Flöte
Petra Ronner, Klavier
Sebastian Hofmann, Perkussion
Zurich, January 2024
FIVE STRING SCULPTURE
FOR ACOUSTIC ENSEMBLE, loudspeakers AND ELECTRONIC SOUND, 2024
FOR ACOUSTIC ENSEMBLE, loudspeakers AND ELECTRONIC SOUND, 2024
Five String Sculpture is a composition / sound sculpture exploring the disposition of two different acoustic formations - one long, straight and slightly angled and another smaller one in a convex shape. Each structure is built from the combination of electronic and acoustic sound that spreads between loudspeaker at one end, and acoustic sound of the instrument at another end. To explore the idea of an electro-acoustic piece in which sound can propagate into various directions and can be localised in a couple of fixed configurations, I have defined 5 “strings” of sound each between one instrument and one loudspeaker, and I have used this to delineate the acoustic space of the work. “String" is therefore the main structural unit of the piece and their activation and musical treatment, shape the overall form of the work.
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STRING - instrumentalist can think of string as a metaphor - the string consists of electronic sound and acoustic sound as continuation of it. The string is always triggered on the side of the loudspeaker and it keeps “vibrating” (sounding) through the electronic and acoustic sound of the instrument. Sometimes the short vibration of the string triggers acoustic sound as a “reaction”, and at other times the sound propagates through the string (from the loudspeaker to the instrument and back to the loudspeaker). Two signals should blend and “crossfade” as much as possible, so that the flow doesn’t sound interrupted but continuous and unified (even if short). |
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Premiered by the Vortex Ensemble
Geneva, May 2024
DEFIANCE OF THE GLORIOUS CHILDREN
For symphonic orchestra and tape, multichannel, 2023
For symphonic orchestra and tape, multichannel, 2023
Inspired by, and dedicated to, adventurous, fresh, boundless musicianship of children and their freedom in experimentation and improvisation.
Defiance of the Glorious Children is a piece dedicated to and inspired by children’s music-making. In a 3 day workshop which preceded writing of the score, ensemble of children-improvisers was gathered to explore creative possibilities of making short forms (1 minute) of improvised music that would be recorded in a studio. By playing their own instrument, in each of the short musical compositions, these children-creators were experimenting with different interpretations of musical structure, timbre and character of the piece. As an outcome of their playful, liberated and inspired approach to improvisation, musical structure pulsates with freshness and spontaneity. The richness of the expressive qualities such as dynamics, exciting development of the material, extended playing techniques (and sound effects), reflect amazing variety and make musical material extremely colourful and diverse.
The set of these short pieces (improvisations), was basis for my work. I have interpreted orchestra as part of this ensemble, by taking as a central point, the idea that all the music revolves around the structure of the children’s recordings.
Fragmentation of form (and sound), and principle of collage, are defining the work in many ways. Non-standard multichannel speaker placement, division of orchestra into smaller groups, and breaking of the clear boundary between audience and sound (audience and orchestra), support the wish to come closer to the music - to all the crackling, squeaking, humming nuances of sound that reflect its simplicity and intuitiveness which is preserved in the recordings that are being played over loudspeakers.
This work is a celebration of children’s creativity and imagination and appreciation for their daring attitude when it comes to improvising and music-making.
The set of these short pieces (improvisations), was basis for my work. I have interpreted orchestra as part of this ensemble, by taking as a central point, the idea that all the music revolves around the structure of the children’s recordings.
Fragmentation of form (and sound), and principle of collage, are defining the work in many ways. Non-standard multichannel speaker placement, division of orchestra into smaller groups, and breaking of the clear boundary between audience and sound (audience and orchestra), support the wish to come closer to the music - to all the crackling, squeaking, humming nuances of sound that reflect its simplicity and intuitiveness which is preserved in the recordings that are being played over loudspeakers.
This work is a celebration of children’s creativity and imagination and appreciation for their daring attitude when it comes to improvising and music-making.
Performed by the
RTV Slovenia Symphony Orchestra
Conductor: Steven Loy
In cooperation with the Children's Improvisation Ensemble of the Basel Music Academy, "ImproNext" with:
THAINA DE SA, flute
REEM AKRA, violin
MERLE AREND-HEIDBRINCK, cello
CONSTANTIN GIGER, percussion
MAXIM KRÄUCHI, percussion
under direction of Sylwia Zytynska
RTV Slovenia Symphony Orchestra
Conductor: Steven Loy
In cooperation with the Children's Improvisation Ensemble of the Basel Music Academy, "ImproNext" with:
THAINA DE SA, flute
REEM AKRA, violin
MERLE AREND-HEIDBRINCK, cello
CONSTANTIN GIGER, percussion
MAXIM KRÄUCHI, percussion
under direction of Sylwia Zytynska
Commissioned, recorded, broadcasted live by RTV Slovenia
June 2023
TABLE BOOK
instrument / composition for 4 players, 2023
instrument / composition for 4 players, 2023
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Table book is an instrument/composition for multiple performers. Square-shaped, in a form of a table, the instrument is constructed so to provide great performative and expressive possibilities by combining amplified analogue and digital sound. It is hybrid in every sense - except for diverse amplification and processing solutions, it contains automated part which can play autonomously from the performers. The resulting sound is presented through a triangular speaker setup.
MORE INFO |
Premiered at Walcheturm, Zürich , PROGR, Bern, Kaserne, Basel
May 2023
May 2023
FUNNY OBELISK
For ensemble and multichannel, triangular sound, 2023
For ensemble and multichannel, triangular sound, 2023
Premiered by Ensemble Phoenix Basel at Gare Du Nord
June 2023
Funny obelisk is an exploration of structural principles based around the triangular, electro-acoustic sound configuration where main elements are an elevated mono speaker, sound of the ensemble and back stereo projection. Based on this setting, multiple structuring concepts are used which give great individual freedom, and encourage different styles of improvisation to shape the material. Timbre variety is introduced by the use of “replacement-instruments”, a less serious instruments that performers sometimes play with. This also emphasises (to an extent), a humorous character of the piece. In the electronic domain, swift relocations of pre-recorded material and two electronic musicians, between front, back and middle speakers, contribute to the diversity of the sound image. This piece was made with having in mind a distinct improvisatory character of the Phoenix ensemble.
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NOISE BLANKO
"Our “Blanko” projects are already legendary. On the one hand, we have been performing in this self-invented format for well over ten years, and on the other hand, the unusually intensive nature of the collaboration and engagement with two artists per season unites us in a particularly intense bond. Consciously not coming from the usual curriculum of a composer’s training, we bring together lateral entrants, “sonic artists” in the broadest sense, visual artists with a clear musical affinity, etc., with our expert ensemble members for electronic or amplified music." |
Christoph Bösch - flute
Lucas Rößner - bassoon, contraforte Nenad Marković - trumpet Janne Jakobsson - tuba João Pacheco - percussion Maurizio Grandinetti - electric guitar Samuel Wettstein - synthesizer Aleksander Gabryś - double bass Thomas Peter - electronics Fabrizio Di Salvo - sound engineer |
Recorded by
WIGMAKER
FOR ENSEMBLE AND MULTICHANNEL, ASYMMETRICAL SOUND, 2022
FOR ENSEMBLE AND MULTICHANNEL, ASYMMETRICAL SOUND, 2022
RADIO CONCERT NO.2
live performance WITH EMS Synthi 100, 2021
live performance WITH EMS Synthi 100, 2021
RADIO CONCERTS
From 2016-2021 I was head of Radio Belgrade's Electronic Studio. These concerts were live performances, made with the use of notable synthesizer EMS Synthi 100 and computer setup. The restoration of this instrument was one of the projects that I realized while working there.
Premiered at Espace Multimedia Gantner, Radio Belgrade, OUTRA festival, Heroines of Sound
Produced, performed and recorded at
Radio Belgrade's Electronic Studio
April 2021
Radio Belgrade's Electronic Studio
April 2021
POST-EXCAVATION ACTIVITIES
Electro-acoustic, radiophonic, 2020
Electro-acoustic, radiophonic, 2020
"Morkanjac" composition prize awarded by the Serbian Composers' Association
This composition is based on a fictional scenario of restoring the ancient, lost and found, musical recordings. It is a personal contemplation of what this imaginary sound reproduction technology might be, and moreover, what are the musical specificities of a medium that we consider to be old (and maybe even long forgotten) in general. These imaginary (musical) findings are central idea around which the compositions have been made. Sound vocabulary of the work has been built elaborating on this, and on the idea that the medium, as a physical fact, can be represented in music as one of many existing compositional layers, with possibility to be depicted by using conventional musical tools. Some titles of the individual pieces point out to concrete references, providing the listener with the material for a storytelling experience that permeates the whole work.
Majority of the sounds have purely digital origin although their purpose is to resemble the quality and character of field recordings, amplified objects or other concrete sounds. At this instance, the compositional method becomes inversion of the music concrete in an attempt to re-create the world of real, organic sounds by using the artificial, digital ones. The signature sound by EMS Synthi 100 has been used cohesively throughout the different sections of the composition, to set an emotional backdrop of the work, and as a source material.
1. Opening
2. Voice recordings (re-construction)
3. Tape fragment 1
4. Episode 1
5. Main
6. Episode 2
7. Incomplete
8. Noise
9. Tape fragment 2
10. Episode 3 (Ending)
Video credits
Artwork (sculpture): Goran Stojčetović - Art Brut Serbia
Camera: Milan Milutinovic - Black Sheep Produkcija
Editing: Svetlana Maraš
Postproduction: Deana Petrović
1. Opening
2. Voice recordings (re-construction)
3. Tape fragment 1
4. Episode 1
5. Main
6. Episode 2
7. Incomplete
8. Noise
9. Tape fragment 2
10. Episode 3 (Ending)
Video credits
Artwork (sculpture): Goran Stojčetović - Art Brut Serbia
Camera: Milan Milutinovic - Black Sheep Produkcija
Editing: Svetlana Maraš
Postproduction: Deana Petrović
L'AMPLEUR DU SOUFFLE
spatial electro-acoustic, 2020
spatial electro-acoustic, 2020
The work was presented in ambisonics, binaural and stereo formats. It was composed for an interactive environment, and the sections (structure, duration) were open. This is one of its rendering (structure and format-wise), made for the presentation at Radio Belgrade in 2020.
Commissioned for the Tingles & Clicks project by the Musikprotokoll 2020 and supported by the program "Creative Europe" of the European Union and SHAPE platform
To breathe, is to activate a certain space. Short breaths, deep breaths, dying breaths or sensual ones - they evoke variety of features and peculiarities that the breath embodies. Breath is also a precondition of voice, and further, of a spoken word. Paving the path for every physiological and philosophical activity, breath is essential to all we do and all that we are.
Auditory situations in this piece are fluidly changing from one to another in a constant fluctuation and transfiguration of the musical material. Acoustic spaces inside of which the music is being situated, give room for the sounds to appear, to change and disappear, develop and transform, and inside of these spaces, the ear can swift freely from one sound object to another in a spatial and non-linear listening experience.
Auditory situations in this piece are fluidly changing from one to another in a constant fluctuation and transfiguration of the musical material. Acoustic spaces inside of which the music is being situated, give room for the sounds to appear, to change and disappear, develop and transform, and inside of these spaces, the ear can swift freely from one sound object to another in a spatial and non-linear listening experience.
TIMEZONES - Episode 2
cut-up composition, experimental radio feature, 2020
cut-up composition, experimental radio feature, 2020
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Released November 5, 2020 Featuring: Mara Micciche, Branko Džinović and Vukašin Đelić Composition and montage: Svetlana Maraš Commissioned and produced by Norient and Goethe Institute Artwork: Šejma Fere 
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Electro-acoustic composition based on the interviews with artists: Mara Micciche, Branko Džinović and Vukašin Đelić, my close friends and collaborators, who have never met each other. They live in three different cities - Šabac, Belgrade, Zurich. Their stories as well as their sounds, intertwine throughout the piece modified and accompanied by the sounds of my own, all of them creating an ensemble of voices, sounds and musical fragments deriving from diverse set of musical practices by each of us. Second episode in the TIMEZONES series produced by the Norient.
CHAMBER MUSIC
for accordion with electronics and violoncello, 2020
for accordion with electronics and violoncello, 2020
Premiered by Branko Džinović (accordion, electronics) and Aleksandar Latković (violoncello) at Belgrade Philharmonic Hall, March 2020
Software and controllers: Ableton Live, tablet with TouchOSC app, MIDI pedal
Software and controllers: Ableton Live, tablet with TouchOSC app, MIDI pedal
STEPS
Album, electronic 2020
Album, electronic 2020
These 3 tracks were made solely by using analogue synthesizer - EMS Synthi 100. For each track, there was a single patch and the material was recorded live in one go. Rhythmical synchronization of the material was done by using the Synthi's sequencer. Simple live manipulations included putting a pin or two in and out and switching on and off the mixer channels. Additional panning of each individual channel was done on a computer. These tracks demonstrate the effect of extremely simplified musical material produced by using the not-so-simple sound tool (for the reference, try figuring out and programming a Synthi 100 sequencer:)). Tracks are named by the number of sequencer steps used in that piece.
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Recorded in 2019 at Electronic Studio-Radio Belgrade
©Svetlana Maraš
©SOKOJ
All rights reserved
©Svetlana Maraš
©SOKOJ
All rights reserved
RADIO CONCERT NO.1
Live performance WITH EMS Synthi 100, 2018
Live performance WITH EMS Synthi 100, 2018
RADIO CONCERTS
From 2016-2021 I was head of Radio Belgrade's Electronic Studio. These concerts were live performances, made with the use of notable synthesizer EMS Synthi 100 and computer setup. The restoration of this instrument was one of the projects that I realized while working there.
Composed and performed for the re-opening of Radio Belgrade's Electronic studio
Premiered at Radio-television Serbia, March 2018
Premiered at Radio-television Serbia, March 2018
This piece was made for the purpose of the official opening of the Electronic Studio Radio Belgrade, on March 2 2018. The performance took place in Electronic Studio and it was broadcast on national radio and TV simultaneously. The audience could follow this and the rest of the program, live in one of the Radio Belgrade's studios.
Electronic Studio Radio Belgrade was re-opened after over 25 years of stagnation. Opening and most of the programs of the studio at this point are concentrated around the restored synthesizer EMS Synthi 100, that has been brought back to life in September 2017 by the team of experts - Daniel Araya and Jari Suominen.
My computer setup for this piece was based on the TouchOSC interface, Pure data patch and Ableton live. Improvisational dialogues between Synthi and computer were done through a dynamic interactive interface on my tablet and tweaking of the Synthi sounds live and playing with their parameters. I haven't used Synthi's sequencer (or a computer sequencer), but rather variety of key triggers, joysticks and envelope shaper trapezoids. Due to a wide frequency range, it's not advisable to listen to this recording through a laptop speaker or similar. This is my first use of the modular synthesizer in live performance and/ or composition.
Electronic Studio Radio Belgrade was re-opened after over 25 years of stagnation. Opening and most of the programs of the studio at this point are concentrated around the restored synthesizer EMS Synthi 100, that has been brought back to life in September 2017 by the team of experts - Daniel Araya and Jari Suominen.
My computer setup for this piece was based on the TouchOSC interface, Pure data patch and Ableton live. Improvisational dialogues between Synthi and computer were done through a dynamic interactive interface on my tablet and tweaking of the Synthi sounds live and playing with their parameters. I haven't used Synthi's sequencer (or a computer sequencer), but rather variety of key triggers, joysticks and envelope shaper trapezoids. Due to a wide frequency range, it's not advisable to listen to this recording through a laptop speaker or similar. This is my first use of the modular synthesizer in live performance and/ or composition.
JEZIK
Electro-acoustic, cut-up, radiophonic 2016
Electro-acoustic, cut-up, radiophonic 2016
Језик, pronounced Jezik and meaning “tongue”, but also "language" in Serbian, is a composition made of 11 short pieces, each being centered around the theme of human speech. These are short studies in language articulation, utilized by musical means. In a broad sense, the subject of the work is language as represented by human voice in a post-digital soundscape. Behind the computer screens, in the virtual space dominated by text and images, speaking voice as representation of the body, of the self, becomes modulated by the technology and deconstructed to the level of malfunction (glitch). Just as our attention is being dispersed due to the multitude of simultaneous events, the language (or the ear that perceives it) in the same way reaches the ultimate fragmentariness. This was the reason why in the selection of materials I worked with, I predominantly focused on very short cut-ups of variety of voices, with emphasis on paralinguistic elements from which I carefully moved towards larger units. I found musicality in the smallest cracks of speech and meaning, and I made the language struggle for its existence through many musical obstructions.
From appreciation of spoken words in all their acoustic subtleties, to artificial and enforced musical (rhythmical) structures that are not inherent to speech, I was testing the elasticity of language, stretching the boundaries of its musicality to the point of rupture. For me, within these ruptures, new (musical) meanings arise.
*All vocal materials are cut-ups from number of radio shows found in the archives of the Radio Belgrade and the recordings were kindly provided by them.
From appreciation of spoken words in all their acoustic subtleties, to artificial and enforced musical (rhythmical) structures that are not inherent to speech, I was testing the elasticity of language, stretching the boundaries of its musicality to the point of rupture. For me, within these ruptures, new (musical) meanings arise.
*All vocal materials are cut-ups from number of radio shows found in the archives of the Radio Belgrade and the recordings were kindly provided by them.
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Premiered by ORF1 Kunstradio-Radiokunst, co-production with Radio Belgrade
* Prix Italia 2017 shortlisted (radio music) Soundtrack in Speak so I can see you by Marija Stojnić - featured at MOMA, NY at Doc Fortnight in 2020; winner of the Beldocs festival 2020 |
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REVOLVING AROUND AND PAIRING UP WITH
Cut-up, electro-acoustic, 2016
Cut-up, electro-acoustic, 2016
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Released on a compilation "Historage", curated by the Distractfold ensemble
Historage is a project by Internationales Musikinstitut Darmstadt (IMD) and Goethe-Institut |
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DIRTY THOUGHTS
for ensemble and live electronics, 2015
for ensemble and live electronics, 2015
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*Recommended work at the 63rd International Rostrum of Composers, Poland 2016
Commissioned by the Swiss Music Days Festival Performed by Ensemble Phoenix Basel and Ensemble Studio 6 |
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DESIRE
Cut-up composition 2015
Cut-up composition 2015
Commissioned by NORIENT for the «Seismographic Sounds – Visions of a New World» exhibition
Composed by Svetlana Maras with sounds/music/words by: Umlilo, Kate Wax, Mykki Blanco, Rona Geffen, La Gale, Marcel Dettmann, Yemi Alade, Mashrou Leila, Hans-Eckardt Wenzel...
Composed by Svetlana Maras with sounds/music/words by: Umlilo, Kate Wax, Mykki Blanco, Rona Geffen, La Gale, Marcel Dettmann, Yemi Alade, Mashrou Leila, Hans-Eckardt Wenzel...
The Norient exhibition «Seismographic Sounds – Visions of a New World» shows and discusses contemporary video clips, tracks and Sound Art from around the globe. Following the six topics Money, Loneliness, War, Belonging, Exotica and Desire, the visitor explores the exhibition as an audio-visual composition.
"Musicians and Sound Artists all over the world make themselves heard through Soundcloud, YouTube and Twitter. Their tracks, video clips and audio collages challenge known forms and ideals and propose Visions of a New World. They offer surprising, smart and provocative perspectives that are simultaneously reduced, salient and profound. Norient highlights these contemporary artistic positions and argues about their potential and limits with journalists, bloggers, artists and scholars from different places and cultures of knowledge. The exhibition further introduces people behind the scenes in experimental audio podcasts. The exhibition counters pessimistic views that globalisation and digitalisation has led to cultural uniformity and the destruction of the world’s musical heritage."
"Musicians and Sound Artists all over the world make themselves heard through Soundcloud, YouTube and Twitter. Their tracks, video clips and audio collages challenge known forms and ideals and propose Visions of a New World. They offer surprising, smart and provocative perspectives that are simultaneously reduced, salient and profound. Norient highlights these contemporary artistic positions and argues about their potential and limits with journalists, bloggers, artists and scholars from different places and cultures of knowledge. The exhibition further introduces people behind the scenes in experimental audio podcasts. The exhibition counters pessimistic views that globalisation and digitalisation has led to cultural uniformity and the destruction of the world’s musical heritage."
CANZONE DISTORTE
Radiophonic, music theatre 2013
Radiophonic, music theatre 2013
Composed by: Anja Djordjevic & Svetlana Maraš
*Vitomir Bogić prize for the best young radiphonic composers, Radio Belgrade 2013
Gift for the Art’s birthday celebration that has been organized by the EBU Ars Acoustica Group
Selected live performances: Radio Belgrade and ORF1, Ring Ring festival - Belgrade, Sajeta - Tolmin, Slovenia, Improstor series - Novi Sad, Serbia,
A38-Budapest, Szentande - Hungary
More info at: canzonedistorte.tumblr.com
Gift for the Art’s birthday celebration that has been organized by the EBU Ars Acoustica Group
Selected live performances: Radio Belgrade and ORF1, Ring Ring festival - Belgrade, Sajeta - Tolmin, Slovenia, Improstor series - Novi Sad, Serbia,
A38-Budapest, Szentande - Hungary
More info at: canzonedistorte.tumblr.com
POETICA MICRO MIX
CUT-UP COMPOSITION 2011
CUT-UP COMPOSITION 2011
MICRO CUT-UPS OF SOUND POETRY, VOCAL COMPOSITIONS AND VOCAL IMPROVISATIONS,
The piece was made by using the technique of micro cut-ups - combining the existing recordings of exclusively vocal music (vocal improvisation, sound poetry and contemporary music), their smallest bits and fragments, composer made original piece of complex texture and constructed new melodic and harmonic patterns using the existing recordings. Borrowing the idiom of Dj mix, this piece needs to be followed by the list of compositions that were used in the piece. These original works can be recognized, but they are not to be followed chronologically.
The piece was made by using the technique of micro cut-ups - combining the existing recordings of exclusively vocal music (vocal improvisation, sound poetry and contemporary music), their smallest bits and fragments, composer made original piece of complex texture and constructed new melodic and harmonic patterns using the existing recordings. Borrowing the idiom of Dj mix, this piece needs to be followed by the list of compositions that were used in the piece. These original works can be recognized, but they are not to be followed chronologically.
Selected performances: Kunstradio-Radiokunst, Radio Belgrade 3, 20th International Review of Composers (Serbia), University of California San Diego (Listening Room concert series), Acousmatic for the people, Inter Arts Center, Malmo
TRACKLIST:
Cappa (Five man singing) - Jaap Blonk, Koichi Makagami, Paul Dutton, Phil Minton, David Mos
Quiet neighbors moaning (Five man singing) - Jaap Blonk, Koichi Makagami, Paul Dutton, Phil Minton, David Moss
= - Amanda Stewart
Body - Ania Walwicz
Public announcement - Chris Cheek
Emmu - Ide Hintze
Object / subject - Lily Greenham
Underground - Lily Greenham
Advert - Phil Minton
Qzah II - Schipper Elke
Oslo 1 (Improvisers) - Maja Ratkje & Jaap Blonk
Sequenza for voice - Luciano Berio
Nouvelles Aventures - Gyorgy Ligeti
Kassandra (Orestia) - Iannis Xenakis
O superman - Laurie Anderson
Dolmen music - Overture - Meredith Monk
It's been a honeymoon (City life) - Steve Reich
Tell it like it is - Christopher Knowles
Vocalise - Trevor Wishart
Atomic alphabet - Chris Burden
Interview with Cathy Berberian (Ode to gravity)
Stripsody - Cathy Berberian
IT'S ABOUT SPY STATIONS
for voice, electric guitar, computer keyboard, bass clarinet, objects and live electronics, 2009
for voice, electric guitar, computer keyboard, bass clarinet, objects and live electronics, 2009
Premiered by the Loos ensemble and Svetlana Maraš at Vilnius European Capital of Culture, September 2009, Lithuania
Recording: Ensemble Studio 6 and Svetlana Maraš at Gallery U10, Belgrade, December 2012
Recording: Ensemble Studio 6 and Svetlana Maraš at Gallery U10, Belgrade, December 2012
©Jonathan Crabb
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SELECTED PERFORMANCES: Haus der Kunst Munich, Ars Electronica, HEK Basel, Ear We Are Biel, Ruhr Triennial, Blurred edges Hamburg, Ausland Berlin, A38 Budapest, Ring-ring Belgrade, Espace Multimedia Gantner, Stadttheater Bern, KM28 Berlin, Moods Zürich, Izlog Suvremenog zvuka Zagreb, Onassis Cultural Centre Athens, Museum of Transitory Art Ljubljana, Museum of Contemporary Art Belgrade, Zürich Art University (ZHDK) Institute for Computer Music and Technology, HfMT Hamburg, Simultan festival Timisoara, Klanghaus Untergreith, Exploratorium Berlin, Quiet cue series Berlin, Audio Art festival Pula, Alte Schmiede Vienna, Interpenetration Graz, Koncertkirken Copenhagen, FrimSyd series Malmo, Pohoda - Visegrad stage Trencin...
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Release: May 12, 2023
Format: cassette + digital Buy on Bandcamp / Kudos Stream via Spotify / Apple Music «The nearly infinite improvisational potential in my performances is a result of tweaking the technology, using it in unpredictable ways, musically exploiting it, and maybe even misusing it.» 
Music by Svetlana Maraš Recorded at Il Circolo del Frattempo, Zurich, 2019 Mastered by Manuel Oberholzer Artwork by Marko Vuleta-Djukanov Graphic design by Rebecca Morganti-Pfaffhauser All rights protected |
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Live recording of the performance at the Ear We Are Festival in Biel, Switzerland, February 3, 2017
Setup: computer + controllerscreditsreleased December 10, 2020 All music by Svetlana Maraš Editing, mastering by Svetlana Maraš Published by CHINCH - Initiative for Contemporary Music All rights protected |
MIX
Tracklist:
Laurie Spiegel - Patchwork (The Expanding Universe)
Hildegard Westerkamp - Kits Beach Soundwalk
Valerio Tricoli - Angolazioni Inusuali Della Tua Camera Da Letto
Rashad Becker - Dances V (Traditional Music of Notional Species Vol. II)
Nicola Ratti - L6 (The Collection)
Toshimaru Nakamura - Nimb 2 (No-Input Mixing Board)
Neo Hülcker - ASMR
Ana Gnjatović - Speak low 1
Glenn Gould - The Solitude Trilogy (excerpt)
Beatrice Dillon and Rupert Clervaux - The Same River Twice (Two Changes)
Glenn Gould - The Solitude Trilogy (excerpt)
Robert Lippok, Soojin Anjou, Askat Jetigen,- Winter into Spring (Gletschermusik)
Manja Ristić - South Porat - Throwing rocks, Boat (Silba Soundmap)
Hiroshi Yoshimura - Rain Dance - Rain Mix (Wet Land)
Laurie Spiegel - Patchwork (The Expanding Universe)
Hildegard Westerkamp - Kits Beach Soundwalk
Valerio Tricoli - Angolazioni Inusuali Della Tua Camera Da Letto
Rashad Becker - Dances V (Traditional Music of Notional Species Vol. II)
Nicola Ratti - L6 (The Collection)
Toshimaru Nakamura - Nimb 2 (No-Input Mixing Board)
Neo Hülcker - ASMR
Ana Gnjatović - Speak low 1
Glenn Gould - The Solitude Trilogy (excerpt)
Beatrice Dillon and Rupert Clervaux - The Same River Twice (Two Changes)
Glenn Gould - The Solitude Trilogy (excerpt)
Robert Lippok, Soojin Anjou, Askat Jetigen,- Winter into Spring (Gletschermusik)
Manja Ristić - South Porat - Throwing rocks, Boat (Silba Soundmap)
Hiroshi Yoshimura - Rain Dance - Rain Mix (Wet Land)
MUSIC FOR FILM AND THEATRE
SELECTED PERFORMANCES:
MOMA, New York; Bitef theatre Belgrade; HERE, New York; University Settlement, New York;
Aubagne International Film Festival; Belgrade Drama Theatre
MOMA, New York; Bitef theatre Belgrade; HERE, New York; University Settlement, New York;
Aubagne International Film Festival; Belgrade Drama Theatre
Speak So I Can See You features JEZIK as a soundtrack. 2019
Directed by Marija Stojnić. 73 min.
Directed by Marija Stojnić. 73 min.
North American premiere at MoMA, DocFortnight 2020
* Best film at Beldocs - International Documentary Film Festival 2020
Told through a masterful soundscape of words, music, and effects, Marija Stojnić’s documentary is a paean to Radio Belgrade, one of the oldest radio stations in Europe and the only surviving station in Serbia to offer rich cultural, scientific, and topical programming. Drawing upon 90 years of archival sound, including radio dramas and talk shows, the film evocatively recalls Yugoslavia’s golden age of radio broadcasting even as it portends the public station’s uncertain future in our increasingly authoritarian times.
* Best film at Beldocs - International Documentary Film Festival 2020
Told through a masterful soundscape of words, music, and effects, Marija Stojnić’s documentary is a paean to Radio Belgrade, one of the oldest radio stations in Europe and the only surviving station in Serbia to offer rich cultural, scientific, and topical programming. Drawing upon 90 years of archival sound, including radio dramas and talk shows, the film evocatively recalls Yugoslavia’s golden age of radio broadcasting even as it portends the public station’s uncertain future in our increasingly authoritarian times.
FOUNDRY OF POEMS / LIVNICA PESAMA
by Deana Petrović
Music for immersive, large-scale, multichannel audio-visual installation
6-channel video, 4 channel sound
Premiered in 2017 in Belgrade
Video footage - from the archives of Radio-Television of Serbia, Department of historiography Trezor, Archive "Večernje novosti", Museum of Yugoslavia
www.foundryofpoems.com
by Deana Petrović
Music for immersive, large-scale, multichannel audio-visual installation
6-channel video, 4 channel sound
Premiered in 2017 in Belgrade
Video footage - from the archives of Radio-Television of Serbia, Department of historiography Trezor, Archive "Večernje novosti", Museum of Yugoslavia
www.foundryofpoems.com
Large-scale multimedia installation, made of video projections and multichannel sound. It takes abandoned industrial space and turns it into immersive sensory experience, inviting the audience to re-inhabit this hybrid space by moving freely through the installation. The main actors of the videos are workers-poets. Their poetry deals with the deep existentialist questions of working-class life and the position of the worker as individual in the production chain. To create a hybrid space, we are using a system for spatial (mapped) video projection and 4-channel sound system.
EXHIBITION SOUNDTRACK
Center for Promotion of Science
Gallery of Science and Technology - Serbian Academy of Sciences and Art
May 2019
Gallery of Science and Technology - Serbian Academy of Sciences and Art
May 2019
RADIO JINGLES
Radio - Television Serbia, Radio Belgrade III
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