Piotr Nowotnik
Piotr Nowotnik started composing at the age of 10 under the mentorship of his grandfather - Józef Samelczak. He composes music for theatre, film, and games, drawing from his diverse experience as collaborating artist, composer, and sound designer.He continuously engages in collaboration with artists from a variety of genres and disciplines – from Musique Concrete production for Butoh Dance Theater in Paris, through his involvement in a World Musicscene in Melbourne and creating audio libraries of rare and unique instruments. Piotr is actively researching new ways of merging traditional music with new media and interdisciplinary arts includingsculpture, installation, experimental videography, dance and animation.In 2015, Piotr became the first-ever AMPlify participant as he was chosen to collaborate with DJ/producer – Marlo Hoogstraten. His unprecedented use of unusual instruments and organic sound in Trance music resulted in the release of new pieces and live tour in Sydney and Melbourne in 2016.His recent commissions include compositions for the 'Pleroma Dance Theater' from Hong Kong (Gan Eden, (2015)), 'Human Dance' company from Paris, soundscapes, and soundtrack for Melbourne-based 'La Mama' theatre piece of Suzie Hardgrave's ('Elizabeth Taylor is my Mother' (2015)) and Elaine Hudson's 'There are Trees that are Dancers' (2014). He worked as sound designer on “Steppenwolf: A Musical Retelling” production in New York, USA.His soundtrack album for “The Journey” (a film by Marco Kamareddine premièred at the Cannes Festival in 2013) has been nominated for “Best Soundtrack Album “award (APRA Screen Awards 2013).He is a finalist of Indie Gathering Scoring Competition (Ohio, 2010) and a recipient of Billilla Artist in Residence programme (2011-2012). His collaborative work with video games developers resulted with the work being awarded three instances of Technology Review Award and Parent’s choice for an educational music game he co-produced.He composed and produced three albums with band Umanee which established its new inventive style. Piotr skilfully combines traditional and obscure acoustic sounds with electronic sounds. In 2017, Piotr created and tutored “World Music Appreciation” course designed for the Center of Adult Education in Melbourne and aimed at bringing less-known Scandinavian, European, North African andUyghur musical traditions to the general community.www.nowotnik.com
Supervisors: Prof. Mark Pollard and Dr. David Kram
Supervisors: Prof. Mark Pollard and Dr. David Kram
less
Related Authors
![Francisco J. [Paco] Bethencourt Llobet](https://0.academia-photos.com/183598/45205/36833646/s200_francisco.bethencourt_llobet.jpg)
InterestsView All (15)
Uploads
Papers by Piotr Nowotnik
Research into this subject has been triggered by the author’s experience as a hurdy-gurdy performer and composer and the importance of investigating and documenting the hurdy-gurdy as an instrument capable of performing well outside the idioms of traditional music.
This thesis consists of a collection of new works for hurdy-gurdy and investigation of existing literature including reference to the author’s personal experience as a hurdy-gurdy composer and performer. It will catalogue and systematically document a selection of hurdy-gurdy techniques and extended performance techniques, and demonstrate these within the practical context of new music compositions created by the author.
This creative work and technique investigation and documentation is a valuable resource for those seeking deeper practical and academic understanding of the hurdy-gurdy within the context of contemporary music making.
Research into this subject has been triggered by the author’s experience as a hurdy-gurdy performer and composer and the importance of investigating and documenting the hurdy-gurdy as an instrument capable of performing well outside the idioms of traditional music.
This thesis consists of a collection of new works for hurdy-gurdy and investigation of existing literature including reference to the author’s personal experience as a hurdy-gurdy composer and performer. It will catalogue and systematically document a selection of hurdy-gurdy techniques and extended performance techniques, and demonstrate these within the practical context of new music compositions created by the author.
This creative work and technique investigation and documentation is a valuable resource for those seeking deeper practical and academic understanding of the hurdy-gurdy within the context of contemporary music making.