Dr Martin K. Koszolko is a Polish-Australian composer, electronic music producer, researcher, and audiovisual artist whose work explores the intersections of mobile music-making, remote collaboration, and experimental sound design. Performing under the monikers KOshowKO, Philosophy of Sound, and iubar project, he has contributed to over 60 releases on international labels including Golden Soul, Discotexas, Emerald & Doreen, and Clan Analogue. His performances often incorporate mobile and interactive technologies and have reached audiences around the world.
Martin is recognised as an expert in remote music collaboration and has been active as a music producer for over two decades. Since 2012, he has employed a diverse array of collaborative technologies for music creation. In 2017, he completed a pioneering doctoral project on remote music collaboration, which was classified as outstanding in its field. This creative practice-led research explored the impact of remote collaboration platforms on music production, involving over 40 musicians across Europe, North America, and Australia.
His broader research continues to examine remote and mobile music-making practices, interactivity in electronic music performance, and innovation in music production. Martin has presented his work at national and international conferences and has published extensively on collaborative music-making. He also consults for companies developing cloud-based and collaborative software for music creators. His music and visual works are featured in the Australian Music Vault at Arts Centre Melbourne.
In 2021, he founded the international Collaborative Music Contest—the world’s first competition dedicated to music created collaboratively over the internet. This non-profit initiative brings together artists, music industry practitioners, and sponsors to promote and celebrate online collaboration among musicians.
Martin serves as Vice-President of Clan Analogue, Australia’s longest-running electronic music collective and its affiliated record label. He has extensive experience as a composer, performing musician, remixer, and video producer.
He is Lecturer in Music Industry at the University of Newcastle, Australia. Over the past decade, he has taught music production and music industry-related subjects at institutions including RMIT University, Melbourne Polytechnic, and as a guest lecturer at universities across Europe, Australia, and New Zealand.
Academic Publications available at:
PUBLICATIONS (Peer reviewed)
2025 ‘Idiosyncratic Approaches to Electronic Music-Making through Mobile Technologies’. Media Practice and Education. https://doi.org/10.1080/25741136.2025.2481530 (OPEN ACCESS). Co-authored with N. Wilson
2025 ‘Whose D(art)a is it Anyway?: Repositioning Data and Digital Ethics in Remote Music Collaboration Software’. Innovation in Music: Innovation Pathways. Routledge. http://dx.doi.org/10.4324/9781003396710-5. Co-authored with K. Spreadborough
2025 ‘Proceedings of the Ubiquitous Music Symposium 2024’, Zenodo. Co-authored with G. Estadieu et al.
2024 ‘Connecting across borders: Communication tools and group practices of remote music collaborators’, Innovation in Music: Cultures and Contexts, Routledge, London 247-263. https://dx.doi.org/10.4324/9781003462101-18
2023 ‘From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment‘, Organised Sound; 28(3):338-351. Cambridge University Press. doi: 10.1017/S1355771823000547 (OPEN ACCESS). Co-authored with T. Studley
2023 ‘Live sampling and improvisation in iubar project s participatory music performance’, Proceedings of the International Symposium on Ubiquitous Music, 2023, Ulster University. https://dx.doi.org/10.5281/zenodo.10629493
2023 ‘Ngannelong / Hanging Rock‘, in Sightlines Journal, Issue 5. Edited by Schleser et al.
2023 ‘An Agenda for Creative Practice in the New Mobilities Paradigm‘, Mobilities, Volume 18, Issue 3. Koszolko M, Barry K, Southern J, Baxter T, Blondin S, Booker C, et al.
2022 ‘Performative Storytelling: Setting-Based Mobile Music Creation in Action‘, Proceedings of the Ubiquitous Music Symposium (UbiMus 2022), Curitiba, Brazil. DOI: 10.5281/ZENODO.6835950
2022 ‘The Virtual Studio’, in The Bloomsbury Handbook of Popular Music, Space and Place. Edited by Geoff Stahl and J. Mark Percival. ISBN-13: 9781501336287
2021 ‘Performative Storytelling: The Model of Setting-Based Mobile Music Creation’, in Mobile Storytelling in an Age of Smartphones. Springer Publishing. Edited by Xiaoge Xu and Max Schleser. DOI: 10.1007/978-3-030-87247-2_12
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). DOI: 10.5429/2079-3871(2017)v7i2.6en
2016 ‘Cloud Connectivity and Contemporary Electronic Dance Music Production’, Kinephanos, Journal of Media Studies and Popular Culture 6 (1). Co-authored with E. Monatano
2015 ‘Crowdsourcing, Jamming and Remixing: A Qualitative Study of Contemporary Music Production Practices in the Cloud’. Journal on the Art of Record Production 10. DOI: 10.13140/RG.2.1.3140.0405
PUBLICATIONS (Non-peer reviewed)
2022 ‘Mobile Strategies‘, Mobile Musician Magazine. June 2022
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)
2024 ‘Navigating Ethical Challenges in Remote Music Collaboration: Data Practices and User Rights in Digital Platforms’. IASPM-ANZ Conference. Massey and Victoria Universities. Wellington, New Zealand
2024 ‘Sustaining Global Music Collaboration from Home: Insights from the Ohm Studio Community’. Home, Work and Music: Musical Practices in Domestic Spaces Conference, University of Music and Performing Arts Vienna, Austria.
2023 ‘Idiosyncratic Approaches to Electronic Music-Making through Mobile Technologies’, co-authored with Nick Wilson. Mobile Studies Congress, Zhejiang University, China.
2023 ‘Live Sampling and Improvisation in iubar project’s Participatory Music Performance’. The International Symposium on Ubiquitous Music, Ulster University, Northern Ireland.
2023 ‘Whose d(art)a is it anyway? Repositioning Data and Digital Ethics in Remote Music Collaboration Software’, co-authored with Kristal Spreadborough. Innovation in Music Conference, Edinburgh Napier University, UK.
2022 ‘Remote Music Collaboration on phones and tablets: exploring digital social practice between musicians, companies, and technologies’, co-authored with Kristal Spreadborough. Mobile Studies Congress, the University of Nottingham, China.
2022 ‘Connecting across borders: communication tools, group structures and practices of remote music collaborators’, Innovation in Music Conference, Royal College of Music, Stockholm, Sweden.
2022 ‘Documenting the sound of local climates through performative mobile music technologies’, IASPM XXI 2022 Conference, KNU Global Plaza, Daegu, South Korea.
2021 ‘Documenting and manipulating the sound of local climates through mobile music technologies’, Mobile Studies Congress, Swinburne University of Technology (Melbourne) and the University of Nottingham, China.
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
