Biography

Marko Matović was born in 1977 in Belgrade. He majored in composition at the Faculty of Music, University of Belgrade.

Attracted to subversion from an early age. Throughout his upbringing and education, he resisted belonging to the system which often discourages any original thought, and prefers conventions and empty platitudes instead. Inventive and nomadic nature lead him to experiment and succeed in a variety of music genres: classical music, rock'n'roll, electronica. After earning his degree he also got more seriously involved in creating art, theater, film and gaming music.

Interested in polystylism and gladly flirting with pop- and sub-culture, often using their contextual templates as basis for his work. During 2009 he worked as an editor for the Radio Television of Serbia's Symphonic orchestra; in 2013 he published his first book of poetry.

Freelance artist at the moment. He writes mostly chamber and orchestral pieces, and uses them to study the influences of popular musical styles on contemporary classical music. His music was performed in Belgrade and Apeldoorn, and more than 20 theater plays and several movies bear his music score signature. Recipient of 4 theater music awards: Joakim Fest Kragujevac, Trebinje and Kula festivals.

Lives and works in Belgrade.

Style & Metodology

It is safe to say that my musical tendencies flow in two directions: the first one is a postmodernist sampling of the past (where anything is possible and anything goes), and the second one is a personal research work in a quest for the new sound through literature, experimentation and interesting concepts used as premises for the process of composing. I would rather not discuss the specific schools and currents, nor will I say that everything has already been said and heard of. I think we are in need of a new “camerata”, something to gather around. Maybe we need new musical links to unite us style-wise in a larger context. I have always been interested in pop culture premises which I used as the nucleus of composition. How to alter Rock’n’Roll and add a taste of fine art to it, how to make electronica work in a symphonic orchestra setting etc. I therefore like to utilize pop and subculture as the engines of composing.