Dr Martin Koszolko
Lecturer
School of Humanities, Creative Ind and Social Sci
Career Summary
Biography
Dr Martin K. Koszolko is a recognised expert in remote music collaboration. An award-winning music producer, he has been creating music for over two decades. Since 2012, Martin has employed a wide range of collaborative solutions for music creation. In 2017, he earned a doctorate specialising in Remote Music Collaboration. Leveraging specialised collaborative platforms, he has co-written and produced numerous singles, EPs, and albums, and has performed live over the internet with international remote collaborators.
He has presented his work at national and international seminars and conferences and has published extensively on the art of collaborative music production and music innovation. In addition, he consults for companies developing cloud-based and collaborative software for music creators. Martin’s music and visual works are featured in the Australian Music Vault at Arts Centre Melbourne.
Koszolko produces music under the monikers Philosophy Of Sound, KOshowKO, and iubar project, among others. He has extensive experience as a composer, performing musician, remixer and video producer and is the vice-president of Clan Analogue Recordings, the record label arm of Australia’s longest-running electronic music collective. Martin has contributed to over 50 releases on a number of international labels, including Golden Soul, Discotexas, Emerald & Doreen and Clan Analogue. Many of these releases were created in collaboration with remote partners worldwide. His music performances utilise mobile and interactive technologies and have been seen by international audiences.
Koszolko’s research is led by his creative practice and explores various aspects of music production, including remote music collaboration, mobile music making and interactivity in electronic music performance. His pioneering PhD project has been classified as outstanding in its field. This doctoral project investigated the impact of remote music collaboration software on music production and involved collaborations with over 40 musicians located in various geographical locations on three continents: Europe, North America, and Australia.
In 2021, he founded the international Collaborative Music Contest – a non for profit music competition for international musicians who create music collaboratively over the Internet. The event brings together various stakeholders such as industry (sponsors), judges (established artists and music industry practitioners) and music makers (contest participants). This is the world’s first contest promoting collaborative music making with online tools.
Martin is Lecturer in Music Industry at the University of Newcastle in Australia and, in the past decade, has been teaching music production and other music industry-related disciplines at RMIT University, Melbourne Polytechnic as well as guest lecturing at universities in Europe, Australia, and New Zealand.
Qualifications
- Doctor of Philosophy, Royal Melbourne Institute of Technology
- Master of Art (Philosophy), Adam Mickiewicz University
Keywords
- audio recording
- collaboration
- composition
- creativity
- mobile music
- music collaboration
- music production
- music technology
Languages
- Polish (Mother)
- English (Fluent)
Fields of Research
| Code | Description | Percentage |
|---|---|---|
| 470108 | Organisational, interpersonal and intercultural communication | 10 |
| 360302 | Music composition and improvisation | 20 |
| 360305 | Music technology and recording | 70 |
Professional Experience
UON Appointment
| Title | Organisation / Department |
|---|---|
| Lecturer | University of Newcastle School of Humanities, Creative Ind and Social Sci Australia |
Publications
For publications that are currently unpublished or in-press, details are shown in italics.
Chapter (6 outputs)
| Year | Citation | Altmetrics | Link | |||||
|---|---|---|---|---|---|---|---|---|
| 2025 |
Koszolko MK, Spreadborough K, 'Whose D(art)a is it Anyway?: Repositioning Data and Digital Ethics in Remote Music Collaboration Software', 57-66 (2025) [B1]
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| 2025 |
Koszolko MK, Spreadborough K, 'Whose D(Art)a is it Anyway?', 57-66 (2025) [B1]
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| 2024 |
Koszolko M, 'Connecting across borders: Communication tools and group practices of remote music collaborators', Innovation in Music: Cultures and Contexts, Routledge, London 247-263 (2024) [B1]
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Open Research Newcastle | ||||||
| 2022 |
Koszolko M, 'The Virtual Studio', 217-228 (2022) [B1]
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Open Research Newcastle | ||||||
| 2021 |
Koszolko MK, 'Performative Storytelling: The Model of Setting-Based Mobile Music Creation', 173-190 (2021) [B1]
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| 2019 | Koszolko M, 'The Tactile Evolution : Electronic Music Production and Affordances of iOS Apps', Proceedings of the 12th Art of Record Production Conference: Mono: Stereo: Multi, Royal College of Music (KMH) & Art of Record Production, Stockholm 187-204 (2019) [B1] | Open Research Newcastle | ||||||
| Show 3 more chapters | ||||||||
Conference (3 outputs)
| Year | Citation | Altmetrics | Link | ||
|---|---|---|---|---|---|
| 2025 |
'Proceedings of the Ubiquitous Music Symposium 2024 (UbiMus 2024)' (2025)
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| 2023 |
Koszolko M, 'Live sampling and improvisation in iubar project's participatory music performance', Proceedings of the International Symposium on Ubiquitous Music, 2023, Derry~Londonderry, Northern Ireland (2023)
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| 2022 |
Koszolko M, 'Performative Storytelling: Setting-Based Mobile Music Creation in Action', Proceedings of the Ubiquitous Music Symposium (UbiMus 2022), 28-31 (2022) [E1]
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Open Research Newcastle |
Creative Work (3 outputs)
| Year | Citation | Altmetrics | Link |
|---|---|---|---|
| 2025 | Koszolko M, 'Tympan 3' (2025) [N1] | ||
| 2023 | Koszolko M, iubar project - 'Survival Tactics' album, Online (2023) [N1] | Open Research Newcastle | |
| 2017 | Koszolko M, Wilson N, 'Coordinate: Collaboration Beyond the Algorithm' (2017) [N1] |
Journal article (8 outputs)
| Year | Citation | Altmetrics | Link | ||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| 2025 |
Koszolko MK, Wilson N, 'Idiosyncratic approaches to electronic music-making through mobile technologies', Media Practice and Education (2025) [C1]
This paper examines the transformative impact of mobile technologies on electronic music-making, highlighting how portable apps and hardware enable idiosyncratic approa... [more] This paper examines the transformative impact of mobile technologies on electronic music-making, highlighting how portable apps and hardware enable idiosyncratic approaches beyond traditional live and studio setups. Drawing on the authors' extensive experience within and beyond Clan Analogue¿Australia's longest-running electronic music collective¿the research contrasts conventional configurations with innovative mobile instruments and apps. By analysing a range of tools, from budget-friendly synthesisers to advanced smartphone and tablet apps, the paper explores how mobile technologies foster new creative possibilities. Using qualitative methods, the authors integrate personal experiences and a broad examination of music equipment to investigate the setting-based mobile music creation model, which emphasises the influence of location and time on the creative process. Case studies illustrate how mobile technologies support music-making in diverse environments, encouraging flexible, spontaneous composition and live audience interaction. Findings demonstrate that mobile devices challenge standardised setups in education and performance, enabling more personalised, improvisational, and adaptive practices, which can incorporate live audience interaction. This shift points to more fluid and individualised forms of musical expression, redefining traditional paradigms in electronic music.
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| 2023 | Koszolko M, 'Ngannelong / Hanging Rock', Sightlines Journal, (2023) [C1] | Open Research Newcastle | |||||||||
| 2023 |
Koszolko MK, Studley T, 'From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment', ORGANISED SOUND, 28, 338-351 (2023) [C1]
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Open Research Newcastle | |||||||||
| 2022 |
Koszolko M, Barry K, Southern J, Baxter T, Blondin S, Booker C, Bowstead J, Butler C, Dillon R, Ferguson N, Filipska G, Hieslmair M, Hunt L, Ianchenko A, Johnson P, Keane J, Qualmann C, Rumsby C, Sales Oliveira C, Schleser M, Sodero S, Soliz A, Ann Wilson L, Wood H, Zinganel M, 'An Agenda for Creative Practice in the New Mobilities Paradigm', Mobilities (2022) [C1]
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Open Research Newcastle | |||||||||
| 2017 |
Koszolko MK, 'The giver: A case study of the impact of remote music collaboration software on music production process', Iaspm Journal, 7, 32-40 (2017) [C1]
The development of Web 2.0 combined with the emergence of innovative software platforms has helped remote music collaboration undergo a phase of significant growth in t... [more] The development of Web 2.0 combined with the emergence of innovative software platforms has helped remote music collaboration undergo a phase of significant growth in the last five years. My practice-led research responds to the question of how working with remote music collaboration software (RMCS) impacts on the production process. The discussion and the sound recording accompanied by this paper concern one example of my collaborative practice using Ohm Studio software. I created a popular music piece titled "The Giver" with creative contributors located on three continents. My analysis shows that RMCS offers music producers innovative ways to network and develop a project with the input of globally crowdsourced participants. The resulting sound recording exemplifies an RMCS-based process that led to changes in production workflow, facilitated learning, generated new creative relationships, and, ultimately, helped to achieve the desired musical outcomes.
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| 2016 | Koszolko M, Montano E, 'Cloud Connectivity and Contemporary Electronic Dance Music Production', Kinephanos, Journal of Media Studies and Popular Culture, 6 60-86 (2016) [C1] | ||||||||||
| Show 5 more journal articles | |||||||||||
Grants and Funding
Summary
| Number of grants | 5 |
|---|---|
| Total funding | $29,530 |
Click on a grant title below to expand the full details for that specific grant.
20231 grants / $8,650
External collaboration_International_Koszolko$8,650
Funding body: University of Newcastle
| Funding body | University of Newcastle |
|---|---|
| Project Team | Doctor Martin Koszolko |
| Scheme | External Collaboration Grant Scheme - International |
| Role | Lead |
| Funding Start | 2023 |
| Funding Finish | 2023 |
| GNo | G2300427 |
| Type Of Funding | Internal |
| Category | INTE |
| UON | Y |
20224 grants / $20,880
Facilitating online communal music making$10,000
This project facilitated access to online collaborative music-making activities for people in the Newcastle area. We provided a socially creative experience for aspiring music makers, with an emphasis on those from disadvantaged backgrounds who may not have access to these online resources. Offering musicians technology-based collaborative opportunities that are based in local libraries provided significant social, creative, and emotional benefits. Our goal was to democratise collaborative music-making, encourage engagement with new creative technology resources at Newcastle Libraries and contribute to educational and creative practices.
Funding body: School of Humanities, Creative Industries and Social Sciences
| Funding body | School of Humanities, Creative Industries and Social Sciences |
|---|---|
| Project Team | Dr Martin K. Koszolko, Aaron Tuson, Associate Professor Michelle Duffy, Associate Professor Helen English, Associate Professor Craig Hight |
| Scheme | Rapid |
| Role | Lead |
| Funding Start | 2022 |
| Funding Finish | 2023 |
| GNo | |
| Type Of Funding | Internal |
| Category | INTE |
| UON | N |
Contemporary Internet-based music creation: Collaborative Music Contest$5,000
Funding body: College of Human and Social Futures | University of Newcastle
| Funding body | College of Human and Social Futures | University of Newcastle |
|---|---|
| Project Team | Dr Martin Koszolko (lead) |
| Scheme | CHSF - Matched Funding |
| Role | Lead |
| Funding Start | 2022 |
| Funding Finish | 2022 |
| GNo | |
| Type Of Funding | Internal |
| Category | INTE |
| UON | N |
CHSF New Start Grant$5,000
Funding body: College of Human and Social Futures | University of Newcastle
| Funding body | College of Human and Social Futures | University of Newcastle |
|---|---|
| Scheme | CHSF - New Start Scheme |
| Role | Lead |
| Funding Start | 2022 |
| Funding Finish | 2023 |
| GNo | |
| Type Of Funding | Internal |
| Category | INTE |
| UON | N |
CHSF Conference Travel Grant$880
Funding body: College of Human and Social Futures | University of Newcastle
| Funding body | College of Human and Social Futures | University of Newcastle |
|---|---|
| Scheme | CHSF - Conference Travel Scheme |
| Role | Lead |
| Funding Start | 2022 |
| Funding Finish | 2022 |
| GNo | |
| Type Of Funding | Internal |
| Category | INTE |
| UON | N |
Research Supervision
Number of supervisions
Current Supervision
| Commenced | Level of Study | Research Title | Program | Supervisor Type |
|---|---|---|---|---|
| 2025 | PhD | Exploring the Immersive Music Landscape: Investigating the Creation and Production of Spatial Music | PhD (Music), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
Past Supervision
| Year | Level of Study | Research Title | Program | Supervisor Type |
|---|---|---|---|---|
| 2025 | PhD | Archive, Visual Music and Place | PhD (Music), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
Research Projects
Collaborative Music Contest 2021 2021 - 2022
2021 marked the first iteration of the Collaborative Music Contest. This virtual event has been organized by the School of Music Collaboration, judged by a panel of industry professionals and included prizes sponsored by several music technology companies. The aims of the contest included stimulating the creation of new collaborative material created with online music software platforms and uncovering how contemporary musicians use the Internet to develop and produce original music with remotely located participants. The event has attracted submissions from over a hundred musicians located in multiple countries across Australasia, Europe and North America.
The outcomes of the contest highlight a range of collaborative and stylistic approaches implemented by participating music makers. These outcomes demonstrate a range of ways in which musicians choose to engage with remote music collaboration tools and showcase sonic and stylistic differences that can often be attributed to the choice of specific software platform.
The Collaborative Music Contest demonstrates that online tools play a critical role in facilitating activities such as collaborative songwriting and music production, particularly in the era of Covid-19 lockdowns and physical isolation. Collaborative software platforms represent a growing element of the music technology market and the ability to use them effectively belongs now to a critical toolset of contemporary music makers. Through the analysis of the creative practices of contest participants, I highlight how platformization impacts on experiences of online music production and global participation in music culture.
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Dr Martin Koszolko
Position
Lecturer
School of Humanities, Creative Ind and Social Sci
College of Human and Social Futures
Contact Details
| martin.koszolko@newcastle.edu.au | |
| Links |
Personal Blogs Personal webpage YouTube |
Aligned with the United Nations Sustainable Development Goals
