Sonja Mutić (Serbia) graduated from the composition department at Faculty of Music in Belgrade with Zoran Erić, finished postgraduate studies at Kunstuniversität Graz with Clemens Gadenstätter and Klaus Lang, currently pursuing PhD at Faculty of Music in Belgrade.
She has attended various masterclasses in composition, improvisation, electronic and film music with Wolfgang Rihm, Beat Furrer, Mark Andre, Rebecca Saunders, Enno Poppe, Richard Ayres, Martijn Padding, Louis Andriessen, Dmitri Kourliandski, Richard Barrett, Luca Francesconi and Dieter Ammann, among others, cooperating with the ensembles Lucerne Festival Alumni, Schallfeld, KotorArt Festival String Orchestra, Orkest de Ereprijs, via nova, NJO Bernstein, LENsemble, Fractales, pre-art, trio Timbre, Construction Site New Music, St.George Strings, BCO Ljubica Maric etc. Her music was performed in Germany, Switzerland, Austria, Belgium, Netherlands, Great Britain, Poland, Portugal, Republic of Macedonia, Bosnia and Herzegovina, Montenegro and Serbia, at festivals, such as Lucerne Festival, Gaudeamus Muziekweek, KotorArt, Weimarer Frühjahrstage für zeitgenössische Musik, Summer of Sounds Wien, Culturescapes Balkans, Poznańska Wiosna Muzyczna, NJO Muziekzomer, isaFestival Zeitenwenden, Folefest, SMOG, Autumn Music Festivities, International review of Composers Belgrade, KoMA, and broadcast on Swiss, Dutch and Serbian radio stations. She was artist in residence at Künstlerhaus Boswil in Switzerland (2014-15).
Prizes and awards: Judith Lang Zaimont Prize (USA, 2017); Festivalul Internaţional Sigismund Toduţă, 3.prize (Romania, 2017); 17.Weimarer Frühjahrstage für zeitgenössische Musik, 1. prize and audience prize (Weimar, 2016); 20.Young Composers Meeting, 2. prize (Apeldoorn, 2014); 7.pre–art, 2. prize and аrtist-in-residence prize by Künstlerhaus Boswil (Switzerland, 2013); Josip Slavenski award(Belgrade, 2011).

Weiss (2016) for violin, violoncello, piano and accordion. “Blindness” of white, as well as some aspects of its significance in the collective unconscious, such as simplicity, purity, emptiness, isolation, and distance are in this piece reflected through interference, assimilation and a specific behavior of the high frequencies.
First prize and the Bärenreiter prize at International Kompositionswettbewerb für Kammermusik at Weimarer Frühjahrstage für zeitgenössische Musik 2016.