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 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, Gerhard Eckel and Daniel Mayer. He also attended classes in Sound Design with Markus Schmickler, in Stage Design with Anke Eckardt and Light Design with Theresa Baumgartner.
He took 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 instrumental, acousmatic, and mixed media works. He also explores more liminal territories through sound installations, audiovisual compositions, DIY instruments and multimedia performances involving dance and interactive projections.
He plays piano and electroacoustic setups with a focus on free improvisation and microtonality. His music has been performed by renowned ensembles such as the Aleph Guitar Quartet and Ensemble Recherche and across several countries such as Italy, Slovenia, Croatia, Serbia, Portugal, Austria and Germany.
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 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). Regarding cinema, he worked on the soundtrack for the documentary “Il sussurro della grande voce” by Mauro Caputo (VOX Produzioni, Luce Cinecittà, 2022) and for various short films as well as for the live sonorization of “Freaks” by Tod Browning (1932) and “Metropolis” by Fritz Lang (1927).
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 his translation in Italian of the ancient Greek long poem “Hero and Leander” by Musaeus (Samuele Editore).
Francesco gulic 