Kirsten Milenko is an Australian composer based in Copenhagen, Denmark. Milenko works with vocal, instrumental and electronic media to express music as environmental phenomena. Working intimately with movement, her music embodies a constant synergy between sound and motion to capture perceptions of space. In December 2017, her single ‘Ex Aere’ released on Spotify, Bandcamp and iTunes. Her debut album ‘Caeli’ is scheduled for release in April 2019.

Currently, she studies at the Royal Danish Academy of Music under Niels Rosing-Schow and Simon Løffler. Previously, she studied under Liza Lim, Rosalind Page, Natasha Anderson and Ursula Caporali at the Sydney Conservatorium of Music where she is a recipient of the Ignaz Friedman Memorial Prize (2015). She has attended international workshops and masterclasses including: Hatched Academy with Ensemble Offspring (Australia 2018), Dartington International Summer School (England 2018) where she is a recipient of the John Amis Award, Conductor’s Workshop with Jessica Cottis (England 2017) where she received a bursary from the Royal Philharmonic Society, Conductor’s workshop with Mark Shiell and Melbourne Youth Orchestras (Australia 2017), Synthetis International Summer School for Composition (Poland 2016).

Milenko is represented as an associate artist with the Australian Music Centre. Her produced work is signed to the Australian label Muisti-Records and available on iTunes, Spotify and Bandcamp. Live recordings of concert works are available through Soundcloud and YouTube. Links to these sites can be found at the end of each page.

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The cooperation of music and dance is very much to be praised. And composition is also a part of the choreography.
— [Concert Review] Gisela Sonnenburg; Ballett Journal MARCH 2017
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I have long been interested in the architecture that music is capable of being. Movement when entwined with music is a subject of great fascination, both in the process of instrumental writing and also during external collaborations with choreographers and dancers. The potential that music holds to link an audience with both the seen and unseen worlds of human perception has been a great source of inspiration since I first began composing. To present the unknown in a way that entices both curiosity and gentleness of the human spirit is an image often present throughout my work.

This extends beyond my direct work with dancers and into all aspects of composition. There is poetry between a musician and their instrument which has led to the creation of an ongoing collection of work entitled - the Artefact Series. The aim here is to explore the sound of movement unconventional to the ears to uncover the voice unique to each musician.


Music is liquid architecture; architecture is frozen music
— Goethe