About

Francesco Gulic was born in Trieste (Italy) in 1999. He graduated with honours from the Bachelor Degree of Electronic Music and New Technologies at Conservatorio Tartini in Trieste under the supervision of Pietro Polotti, Nicola Buso, Stefano Bonetti, Paolo Pachini and Francesco Rosati; he also attended composition classes with Fabio Nieder and Filippo Del Corno. Then he obtained the Postgraduate degree of Applied Composition (Mixed Media Composition) at Escola Superior de Música de Lisboa (ESML), Portugal, under the supervision of Luis Naón (CNSMD Paris), Michele Tadini (CNSMD Lyon), Rut Schereiner (CNSMD Paris) and Alex Waite (HMDK Stuttgart). Now he attends the Master in Computer Music and Sound Art at the Institut für Elektronische Musik (IEM), part of Graz Kunstuniversität (KUG), Austria, under the supervision of Marko Ciciliani and Gerhard Eckel.

He took also masterclasses and workshops with famous composers like Stefano Gervasoni, Salvatore Sciarrino, Juste Janulyte, Francesco Filidei, Ivan Fedele, Karlheinz Essl, Rupert Huber, Márton Illés, Nina Šenk and performers like Nicholas Isherwood and Roberto Dani.
He worked with Ivan Fedele as electronic performer in “Galileo’s Journey” world premiere (2021), and as sound projectionist in “Il buio è volume pieno” world premiere (2021) by Maurizio Azzan. In 2022 he was a member of the 66th edition of Biennale Musica’s jury in Venice.

His compositional research mainly ranges across chamber, acousmatic, and live electronics works. He also explores more liminal territories through sound installations, audiovisual compositions, and multimedia performances involving dance and interactive projections.

He plays piano and electroacoustic setups with a focus on free improvisation, and his music has been performed by renowned ensembles such as the Aleph Guitar Quartet and Ensemble Recherche.

In 2022 he released the EP “Autoritratti entro specchi convessi Vol.1” (Psychorecords). He took interest in jazz as well playing in the band Jazz Dealers.
On the occasion of his experiences with theatre and cinema he composed stage music for “Decamerone” by Luciano Delprato (Croatian National
Theatre, Rijeka, 2020) in collaboration with Aquilegia Duo and for the Italian translation of Pasolini’s “I Turcs tal Friûl” curated by Ivan Crico(Teatro Arrigoni, S. Vito al Tagliamento, 2022), as well as the soundtrack for the documentary “Il sussurro della grande voce” by Mauro Caputo (VOX Produzioni, Luce Cinecittà, 2022) and for various short films.

Both within the academy and outside of it, he has been carrying out since 2019 the “Musiforum”, a project consisting of in-depth study and discussion meetings about contemporary avantgarde music and pop, which brought him to create in 2021 with Roberto Borin the website http://www.angolomusiforum.it, dedicated to contemporary classical music divulgation.
He published the short essay “Fiori di Loto: impollinazione incrociata tra oriente e occidente nella musica di Toshio Hosokawa”, co-written with Roberto Borin as part of “La mia musica è calligrafia. Suono e silenzio nel pensiero compositivo di Toshio Hosokawa” (EUT, 2022), which was curated by Maria Letizia Michielon.

In 2025 he published also the artistic research “Playing in Tongues – Possible dialogues between Odissi dance and experimental electronic music” on the Research Catalogue and his translation in Italian of the ancient Greek long poem “Hero and Leander” by Musaeus (Samuele Editore).