Maja Bosnić writes conceptual, experimental, mainly acoustic and mostly noise music. She has received her PhD Diploma in Music Composition at Goldsmiths University of London (2015), where she studied with Roger Redgate. Maja’s research PhD thesis and portfolio of compositions were evaluated by composers Peter Wiegold (Brunel University, London) and James Saunders (Bath Spa University, Bath). She was selected for a number of workshops and master classes held by composers, such as: Simon Steen-Andersen, Chaya Czernowin, James Clarke, Martin O’Leary, Kevin O’Connell, Nicola LeFanu, Ian Wilson, and have received scholarship by Donaueschinger Muziktage 2014 for their Next Generation Student Festival programme. In 2010, in Belgrade, she founded Zabuna – organization that works towards stimulating production and development of contemporary experimental music and organized various concerts and seminars. Her works Zabuna on Stage were performed throughout Europe with the support of Ministry of Culture of the Republic of Serbia , Secretariat for Culture and European Cultural Foundation, and have been awarded grants by the Ministry of Youth of the Republic of Serbia five years in a row.

Maja has written pieces for different ensembles, orchestras, electronic and multimedia projects and they have been performed in festivals such as: Darmstädter Ferienkurse 2018, Festival junger Künstler Bayreuth (Germany), Aprilski susreti, KOMA, Music – Here and Now in Belgrade (Serbia), International Youth Arts Festival and Composers Forum in London (UK), Sites + Subjects in Plovdiv (Bulgaria). In her music, she re-questions and examines accustomed phenomena in the process of music making, exposes them to concepts of every day life (habits of the society, modern trends, pop culture, science, etc.) then resets them in compositions that often include audience action in the performance. She is interested in creative power of non-musicians and music amateurs and likes leading workshops that engage community into gathered sound making experience. She is drawn to impossible missions, absurd solutions, limited material, playfulness, uncertain outcomes, treating instruments as ready-made objects of expression and treating real life objects as music instruments.