Working with the Minimoog was a challenge that turned out to be a really enjoyable and rewarding experience. At first, access to the sound material that I usually work with seemed to be tricky with this instrument. Creating soundscapes of dense textures with almost pulsing elements, sounds with little or no reference to exact pitch, or flexible, convertible transitions morphing from one starting point to another with the possibility of returning easily to the previous state appeared to be at odds with anything that the Minimoog could lead me to intuitively. Thus, in order to achieve a light and unpretentious sound quality, I needed to break through the limitations of the instrument. Only then could a structural clarity (and to a certain extent, simplicity) be developed. In the process, I emphasized the specific sound quality of the instrument. This complex and vibrant sound resonated with me to such a degree that I wished to present it to the listener in an almost unprocessed version – with as little masking as possible.

Svetlana Maraš (*1985, Serbia) works at the intersection of experimental music, sound art, and new media. After graduating from Aalto University (Helsinki) where she worked as a research assistant, she studied composition and art at Columbia University School of the Arts, the Mozarteum International Summer Academy, and the Darmstadt Summer Courses. Svetlana Maraš has presented her work internationally at festivals including the CTM (Berlin), Ars Electronica (Linz), and ISEA (Dubai). She was recently awarded the prestigious Serbian composition prize, Mokranjac, and the Vitomir Bogić Prize from Radio Belgrade. From 2016 – 2021, she was artistic director of the Electronic Studio of Radio Belgrade and since September 2021 is Professor of Creative Music Technolgy at the Swiss FHNW Academy of Art and Design and co-director of the Electronic Music Studio Basel.
www.svetlanamaras.com

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