Bosnić, Maja International Festival of Contemporary Music Warsaw Autumn

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is a composer and performer from Belgrade. She is drawn to impossible missions, absurd solutions, limited material, playfulness, uncertain outcomes, audience participation, treating instruments as ready-made objects of expression, and treating real-life objects as musical instruments. She writes pieces for solo, chamber, ensemble, and orchestra performances, as well as projects for electronics, multimedia, and interactive settings with audience participation. Her works have been performed all around the planet in international festivals such as Musikprotokoll, Impuls, CTM Berlin, Darmstadt Summer Courses, Festival Jünger Kunstler Bayreuth, Spiel! – The Game as Critical Pracitce, Distat Terra, IYAF in Kingston upon Thames, Tzlil Meudcan, Spazio Musica, Delian Academy of New Music, Sites + Subjects, Timsonia, Distat Terra Argentina, Thailand New Music and Arts Symposium, International Review of Composers, and many others. Her works have been performed with the support of the Ernst von Siemens Music Foundation, Austrian Ministry of Culture, European Cultural Foundation, Ministry of Culture of the Republic of Serbia, Secretariat for Culture of the City of Belgrade, and Goethe-Institut. She was awarded the Progetto Positano scholarship by Ensemble Mosaik from Berlin (2023). Since 2010, she has been organizing workshops and concerts of contemporary music in Serbia with the Zabuna New Music Association that she founded. She obtained a PhD degree in music composition at Goldsmiths, University of London, and is currently working as Assistant Lecturer in Composition at the Faculty of Music Arts in Belgrade. 

Selected works: after d for two sopranos, flute and organ (2008), Re_search, electroacoustic music for modern dance performers (2008), Bondres for mixed choir and orchestra (2009), Ti Mathena To Su Pericha To Ocos for piano and orchestra (2009), Zabuna on Stage.01/Bring Your Noise! for soundtrack, video, six amplified instruments, noisemakers and audience (2010), Zabuna on Stage.02/Whatever You Say! for murmur of the audience, flute, clarinet in B flat and guide (2012), Cavitation for the Belgrade Baroque ensemble (two baroque violins, baroque viola, viola da gamba and harpsichord; 2017), Upgrade for voice, chamber orchestra and audience with smartphones (2017), \, continuously changing compositions for two groups of musicians with phone apps (2018–), Lebdeće čestice PM10 ili PM2,5 for narrator, violin and vibraphone (2018), Plucked for harpsichord and chords (2019), C:\GAME> start, MS DOS fairy tale for accordion (2019), Patchwork for double bass (2019), Menuet4phoneS, interactive performance for audience with smartphones, collective composition (with Justyna Stasiowska, Juan Olaya, Hasan Mashni and Tomy Herseta, 2019), Vessels (160935 km) for amplified harp, smartphone and video (2020), pneumothorax (ˌnjuːməʊˈθɔːræksfor soprano saxophone and piano (2020), unity.projections [001=>2] for accordion and cello (2020), Stay there. for ensemble and internet community (2021), ((mno.go)) for amplified ensemble, video, live electronics and ear protectors (2021), Still Life with Clock for amplified soprano saxophone, snare drum, smartphone and plastic suitcase (2021), the Q and A piece for bicycle, two cars, ensemble and listeners in urban space (2021), The Subtle Function of Not Me, electroacoustic space (2021), Progress rep. KB4530907 for e-viola with electronics (2022), Best of Fibres for amplified ensemble (2022), Concentrate β 13.46Hz for accordion and Brain Waves app (2023), Bustered for string orchestra, electronics and Buster Keaton’s silent film High Sign (2023).