Juliana Hodkinson works with instruments, objects, voices and devices across a range of sonic, visual and discourse formats. Analogue and digital content figures alongside abstract concepts and social relations in both her live, installation and fixed media works.

Major works include ANGEL VIEW, a semi-staged sound-theatre piece in 23 scenes, and GROUND VIEW, its sequel; LIGHTNESS, a percussion trio work for amplified matches; ALL AROUND, for orchestra, distributed musicians and surround audio, TURBULENCE, a chamber opera for soprano, actor and electronics with a libretto by Cynthia Troup; CAN MODIFY COMPLETELY ..., for solo electric guitar and orchestra; I GREET YOU A THOUSAND TIMES, a large-scale piece for amplified orchestra and samples, developed with film by Joachim Koester; PROMPT, IMMEDIATE, NOW/ VERY RESTRAINED AND CAUTIOUS, a chamber piece with quadrophonic playback of media soundbites related to world security issues; the album FISH & FOWL, composed with Niels Rønsholdt, and developed for live performance with visuals by Anka Bardeleben and text by Ursula Andkjær Olsen.
Many of her works are published by Edition Wilhelm Hansen and Edition S.

Her works are commissioned from ensembles, festivals and arts organisations worldwide including the BBC Scottish Symphony Orchestra/Tectonics, the Darmstädter Ferienkurse, Louisiana Museum of Modern Art, Chamber Made Opera Melbourne, Interfilm Festival Berlin, Konzerthaus Berlin, Den Anden Opera, Speak Percussion, Operanord, Scenatet/Spor Festival/MaerzMusik, Borealis Festival, Esbjerg Ensemble/Klangspuren, Ensemble KNM/Transmediale/the Nordic Embassies in Berlin, Südwestdeutsche Rundfunk, Westdeutsche Rundfunk/Wittener Tage für neue Kammermusik, Odense Symphony Orchestra, l'Orchestre Royal de Chambre de Mons, Haus der Kulturen der Welt, Aber Dabei, Phønix16 and Ars Nova.

Juliana Hodkinson studied musicology and philosophy at King’s College Cambridge, and Japanese Studies at the University of Sheffield, and holds a PhD from the University of Copenhagen on the subject of silence in music and sound art. She has taught composition and music/media aesthetics at the University of Copenhagen, Royal Danish Academy of Music, Technische Universität Berlin, the Academy of Music and Drama in Gothenburg and Grieg Academy in Bergen, as well as giving keynotes, guest lectures and workshops throughout Europe, for example at ZKM Karlsruhe, the Darmstädter Ferienkurse, Field Kitchen Academy and the Society for Artistic Research. She is presently Associate Professor in Classical and Electronic Composition at the Royal Academy of Music in Aarhus, Denmark.

She has received major accolades such as the Carl Nielsen Prize, the Stuttgart Composition Prize, the Daiwa Anglo-Japanese Foundation scholarship, and the Danish Arts Foundation 3-year open working grant, and she has been composer-in-residence with l'Orchestre Royal de Chambre de Mons and Odense Symphony Orchestra and a guest of the Bogazici Chronicles programme at the University of Bogazici, Istanbul.

Throughout her creative career, she has been active within arts advocacy and cultural politics, previously chairing the Danish Arts Foundation and its music panels, and taking on board and jury work at the Danish Composers' Union, online music journal Seismograf, inm (Initiative Neue Musik) Berlin and the Carl Nielsen Foundation, and Berlin's Hauptstadtkulturfonds.

She presently chairs the Danish Composers' Union and is on the board of KODA and the Nordic Composers' Council, as well as the jury of the Berlin Senate's Kofinanzierungsfonds.

Recently she has expanded her education with certificate courses in Creative Climate Leadership (Julie's Bicycle) , Sustainability (London School of Economics) and Circular Economy (Exeter Centre for Circular Economy).

PHOTO: Anka Bardeleben Photography