Rate My Professor Martin Koszolko

Dr. Martin K. Koszolko serves as an Honorary Lecturer in the School of Humanities, Creative Industries and Social Sciences within the College of Human and Social Futures at the University of Newcastle, Australia. He earned a Doctor of Philosophy from RMIT University, with his 2017 doctoral thesis on the impact of remote music collaboration software on music production practices classified as outstanding in its field. Additionally, he holds a Master of Arts (Philosophy) from Adam Mickiewicz University. Over two decades, Koszolko has established himself as an award-winning music producer, composer, electronic musician, remixer, and audiovisual artist, releasing music under aliases including Philosophy Of Sound, KOshowKO, and iubar project. His contributions span over 50 releases on labels such as Golden Soul, Discotexas, Emerald & Doreen, and Clan Analogue, with works featured in the Australian Music Vault at Arts Centre Melbourne. As Vice-President of Clan Analogue Recordings, Australia's longest-running electronic music collective, he has performed live over the internet with international collaborators and founded the international Collaborative Music Contest in 2021. Koszolko consults for companies developing cloud-based and collaborative software for music creators and has taught music production and music industry disciplines at RMIT University and Melbourne Polytechnic, alongside guest lectures at universities in Europe, Australia, and New Zealand. Since 2022, he has been Lecturer in Music Industry at the University of Newcastle, securing five research grants totaling $29,530, including $10,000 for Facilitating Online Communal Music Making (2022-2023) and $8,650 for External Collaboration International (2023).

His research focuses on remote music collaboration, mobile music making, music technology and recording (primary field at 70%), interactivity in electronic music performance, music production, composition, creativity, and organisational communication in music contexts. Key publications include 'Idiosyncratic approaches to electronic music-making through mobile technologies' (Media Practice and Education, 2026, with N. Wilson); 'Exploring the Interdisciplinary Dimensions of Second-Wave Ubiquitous Music' (Leonardo, 2026, with A.L. Brooks and D. Keller); 'From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment' (Organised Sound, 2023, with T. Studley); 'Connecting across borders: Communication tools and group practices of remote music collaborators' (Innovation in Music: Cultures and Contexts, 2024); 'The Giver: A case study of the impact of remote music collaboration software on music production process' (IASPM Journal, 2017); and 'Crowdsourcing, Jamming and Remixing: A Qualitative Study of Contemporary Music Production Practices in the Cloud' (Journal on the Art of Record Production, 2015). He has co-supervised a completed PhD thesis on Archive, Visual Music and Place (2025) and presented his pioneering doctoral project, involving over 40 musicians across continents, at national and international seminars and conferences.