Dr Martin K. Koszolko is a recognised expert in remote music collaboration. He is an award winning music producer who has been creating music for over 2 decades. Martin has been using a broad range of collaborative solutions for music making since 2012. In 2017, he received a doctorate in Remote Music Collaboration. Using specialised collaborative platforms, he co-wrote and produced multiple singles, EPs and albums as well as performed live over the Internet with international remote collaborators.

He has presented at national and international seminars and conferences and has published in the area of the art of collaborative music production and music innovation. He is also consulting for companies producing cloud-based and collaborative software for music makers.

Martin is a music producer known for his creative work under the KOshowKO, Philosophy Of Sound and iubar project monikers. 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. He has produced and contributed to over 50 releases on a number of labels, including Discotexas, Emerald & Doreen and Clan Analogue (many of these music releases have been created with remote collaborators from around the world). His music performances utilise mobile and interactive technologies and have been seen by international audiences.

Martin’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 contest, which attracts 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 and (to our knowledge) only 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.

Academic Publications available at:


Google Scholar

Research Gate

Kit Haselden Photography –

PUBLICATIONS (Peer reviewed)

2024          ‘Connecting across borders: Communication tools and group practices of remote music collaborators’, Innovation in Music: Cultures and Contexts, Routledge, London 247-263.

2023          Koszolko, M. K. and Studley, T. ‘From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment‘, Organised Sound. Cambridge University Press, pp. 1–14. doi: 10.1017/S1355771823000547

2023         ‘Live sampling and improvisation in iubar project s participatory music performance’, Proceedings of the International Symposium on Ubiquitous Music, 2023, Ulster University.

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           Koszolko, M.K. and Montano, E. ‘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. 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)


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. July 23

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. December 22

2022     ‘Connecting across borders: communication tools, group structures and practices of remote music collaborators’, Innovation in Music Conference, Royal College of Music, Stockholm, Sweden. March 22

2022     ‘Documenting the sound of local climates through performative mobile music technologies’, IASPM XXI 2022 Conference, KNU Global Plaza, Daegu, South Korea. July 22

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. November 21

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