Research

Dr Martin K. Koszolko is a Polish-born, Melbourne based sound producer and academic known for his creative work under the KOshowKO, Philosophy Of Sound and iubar project monikers.

Martin has extensive experience as a composer, music and video producer and performing musician and is the vice-president of Clan Analogue Recordings, the record label arm of Australia’s longest running electronic music collective. He has produced and contributed to over 50 releases on a number of labels, including Discotexas, Emerald & Doreen and Clan Analogue. His music performances utilise mobile and interactive technologies and have been seen by international audiences.

Martin’s academic research explores various aspects of computer sound production, including mobile music making and interactivity in electronic music performance. His practice-led PhD project investigated the impact of remote music collaboration software on music production. He has been teaching sound production and other music industry-related disciplines at Melbourne Polytechnic and RMIT University.

Academic Publications available at:

Google Scholar

Research Gate

Academia.edu

Kit Haselden Photography – www.kithaselden.com


FORTHCOMING BOOK CHAPTERS (Peer reviewed)

2021           ‘The Virtual Studio’. In The Bloomsbury Handbook of Popular Music and Place. Edited by Geoff Stahl and J. Mark Percival. Publication Date: 28/01/2021. ISBN-13: 9781501336287

2021           ‘Performative Storytelling: The Model of Setting-Based Mobile Music Creation’. In Story Living in an Age of Smartphones. Springer Publishing. Edited by Xiaoge Xu and Max Schleser.

PUBLICATIONS (Peer reviewed)

2019           ‘The Tactile Evolution – Electronic Music Production and Affordances of iOS Apps’. In Proceedings of the 2017 Art of Record Production Conference. Association for the Study of the Art of Record Production and Royal College of Music (Stockholm). ISBN: 978-91-983869-9-8

2019           ‘Crowdsourcing, Jamming and Remixing: A Qualitative Study of Contemporary Music Production Practices in the Cloud’. In Compendium. RMIT University / Bowen Street Press. Melbourne

2017           ‘The Giver: A Case Study of The Impact of Remote Music Collaboration Software on Music Production Process’. IASPM Journal 7 (2)

2016           ‘Cloud Connectivity and Contemporary Electronic Dance Music Production’. Kinephanos, Journal of Media Studies and Popular Culture 6 (1)

2015           ‘Crowdsourcing, Jamming and Remixing: A Qualitative Study of Contemporary Music Production Practices in the Cloud’. Journal on the Art of Record Production 10

PUBLICATIONS (Non-peer reviewed)

2017           ‘An Introduction to Music Technology – Book Review’. Dancecult, Journal of Electronic Dance Music Culture. Volume 9 (1)

2015           ‘The tyranny of distance is real, and many musicians want to overcome it’. Sound On Sound Magazine 30 (8)

2014           ‘The Digital Musician – Book Review’. Dancecult, Journal Of Electronic Dance Music Culture. Volume 6 (2)

CONFERENCE PAPERS (Peer reviewed)

2020           ‘Rapid Music: machine assisted composition and portability in mobile music making’, International Mobile Storytelling Congress, University of Nottingham, Ningbo, China

2020           ‘Female Agency and Perspectives in the Communities of Mobile Musicians’, MusicaFemina International Symposium, Central European University, Budapest, Hungary

2019           ‘Quiet conflicts and creative strategies of remote music collaborators’, 42nd Musicological Society of Australia National Conference, Monash University, Melbourne, Australia

2018           ‘How do online friends stay electric? A discussion on tools and strategies for remote music collaborators’, IASPM-ANZ Conference, Waikato Institute of Technology, Hamilton, New Zealand

2018           ‘Sonic Storytelling with Mobile Music Tools’, Mobile Innovation Network & Association – 7th Mobile Creativity and Mobile Innovation Symposium, Swinburne University of Technology, Melbourne

2018           ‘Musical performance and the unknown: site-specific audience sampling and improvisation with the use of mobile apps’, NZMS Conference, University of Canterbury, Christchurch, New Zealand

2017           ‘The Tactile Evolution — Mobile Electronic Music Production and Digital Affordances of Apps’, 12th Art of Record Production Conference, The Royal College of Music, Stockholm, Sweden

2016           ‘Creative methodologies of mobile musicians’, 6th Mobile Innovation Symposium MINA, Swinburne University, Melbourne

2016           ‘Impact of Remote Music Collaboration Software on the Compositional Process’, New Zealand Musicological Society Annual Conference, The University of Waikato Conservatorium of Music, New Zealand

2016           ‘Digital Affordances of iOS-based Synthesisers’, Synthposium Conference, SAE Institute, Melbourne

2015           ‘The Future of Remote Music Collaboration’, 5th Mobile Creativity & Mobile Innovation (MINA) Symposium, RMIT University

2014           ‘Crowdsourcing, Remixing and Jamming: Contemporary Music Production Practices in the Cloud’, 9th Art of Record Production Conference:  Record Production in the Internet Age, University of Oslo, Norway

2013           ‘Communication, collaboration and the city: The case of Clan Analogue’, ‘This is My City’: Popular Music and the Urban Experience Symposium, RMIT University, Melbourne

2013           ‘Collaborating Online: Music Performance and Production In The Cloud’, ‘Performance in the Studio’ Online Conference, Convened by the AHRC-funded Research Network on Performance in the Studio, UK

2010           ‘Selected aspects of popular electronic music in the 1980s and its impact on the popular music scene in the 2000s’, Australasian Sound Recording Association Conference, State Library of Victoria, Melbourne

2010           ‘Selected aspects of popular electronic music in the 1980s and its impact on the popular music scene in the 2000s’, Media Studies Symposium, RMIT University, Melbourne