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POST-EXCAVATION ACTIVITIES / RADIO CONCERTS
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
POST-EXCAVATION ACTIVITIES Electro-acoustic, radiophonic, 2020
"Morkanjac" composition prize awarded by the Serbian Composers' Association
MORE INFO...
The piece is based on a fictional scenario where I found some lost recordings produced on the unfamiliar media and I'm working with that as a main idea. I was questioning how do we represent in sound, the materiality of the media that we find to be old or even long forgotten. Produced at Electronic Studio - Radio Belgrade, by using EMS Synthi 100 and computer setup.
LINK
LINK
RADIO CONCERT NO.2 live performance for EMS Synthi 100, magnetic tape and computer setup, 2021
One of two Radio Concerts, produced at Radio Belgrade's Electronic Studio.
More info
More info
Premiered at Espace Multimedia Gantner, Radio Belgrade, OUTRA festival, Heroines of Sound
Produced, performed and recorded at Radio Belgrade's Electronic Studio in April 2021
L'ampleur du souffle spatial electro-acoustic composition, 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.
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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.
Commissioned for the Tingles & Clicks project by the Musikprotokoll 2020 and supported by the program "Creative Europe" of the European Union and SHAPE platform
TIMEZONES - Episode 2 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
CHAMBER MUSIC for accordion with electronics and violoncello, 2020
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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
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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.
Recorded in 2019 at Electronic Studio-Radio Belgrade ©Svetlana Maraš ©SOKOJ All rights reserved |
RADIO CONCERT NO.1 Live performance for EMS Synthi 100 and computer, 2018
Composed and performed for the re-opening of Radio Belgrade's Electronic studio
Premiered on Radio-television Serbia, March 2018
Premiered on Radio-television Serbia, March 2018
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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.
DIRTY THOUGHTS 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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JEZIK Electro-acoustic, cut-up, radiophonic 2016
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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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MORE INFO...
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.
Svetlana Maras
Belgrade, 2016
*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.
Svetlana Maras
Belgrade, 2016
*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.
REVOLVING AROUND AND PAIRING UP WITH Cut-up, electro-acoustic composition 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 Supported by Kulturstiftung des Bundes |
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IT'S ABOUT SPY STATIONS for voice, electric guitar, computer keyboard, bass clarinet, objects and live electronics, 2009
Recording: Ensemble Studio 6 and Svetlana Maraš at Gallery U10, Belgrade, December 2012
Premiered by the Loos ensemble and Svetlana Maraš at Vilnius European Capital of Culture, September 2009, Lithuania
Premiered by the Loos ensemble and Svetlana Maraš at Vilnius European Capital of Culture, September 2009, Lithuania
DESIRE 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...
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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."
POETICA MICRO MIX micro cut-ups of sound poetry, vocal compositions and vocal improvisations, 2011
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
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
MORE INFO...
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.
CANZONE DISTORTE Radiophonic, music theatre 2013
Composed by: Anja Djordjevic & Svetlana Maraš
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
SELECTED PERFORMANCES: 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, 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...
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)
FILM AND THEATRE
SELECTED PERFORMANCES OF MUSIC FOR FILM AND THEATRE:
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.
AUDIO - VISUAL INSTALLATIONS
FOUNDRY OF POEMS / LIVNICA PESAMA
by Deana Petrović
Immersive 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
Immersive 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.
EXHIBITIONS
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