Felicity Wilcox is an interdisciplinary composer whose output encompasses concert music, film music, songwriting and improvisation, music for theatre, installation, live events, dance and radio. She has received commissions for many leading artists and ensembles, including The Australia Ensemble, Ensemble Offspring, Ironwood, Decibel, Halcyon, Vivid Sydney, the Australia Piano Quartet, the Kammerklang Chamber Orchestra, the Sydney Symphony Fellows, and various individual performers.
Felicity’s background as a screen composer informs her individual practice. Under the alias Felicity Fox, she has enjoyed a twenty-five year career as a screen composer and worked extensively as a composer and music director, with a highlight being her role as Assistant Music Director and Composer for the Paralympic Games opening Ceremony in Sydney 2000. She has composed, recorded and produced the soundtracks to many award-winning film and television productions, and has received multiple ARIA, AFI and APRA/AGSC awards and nominations for her film music. Her songs, composiitons and film soundtracks are broadcast nationally and internationally on major television networks and have featured in important international film festivals including Berlin, New York, London, Paris, Chicago, Venice, Tokyo, Sydney, Melbourne, Margaret Mead (NYC) and Toronto.
Felicity is involved in the following Industry organisaitons:
- Director, Australian Guild of Screen Composers
- Represented Artist, Australian Music Centre
- Artistic Director, 100clicksWest (New Music Society)
- Member, Australian Performing Rights Association (APRA/AMCOS), Australian Guild of Screen Composers (AGSC), Australian Music Centre (AMC), Musicological Society of Australia (MSA).
Can supervise: YES
My research encompasses non-traditional outputs in interdisciplinary composition, and scholarly writing in the area of film music and related practice . Building on my professional background as a composer for film, theatre, and installations, my work often incorporates other media, including still photography, animation, motion graphics, video and sculpture.
Upcoming scholarly publications include: “The alternate space of A.R. Rahman’s film music”, in Film Narratives and Compositional Techniques: An Investigation of Contemporary Film Music, (ed. Lindsay Coleman, Joakim Tillman), Palgrave MacMillan, NY, 2017.
I am currently conducting research towards book chapters on the non-film output of Ennio Morricone, and the film music of renowned Australian vocalist Lisa Gerrard.
Another key area of research interest for me is the representation of women in the film music industry.
My teaching focus is in music and sound composition, including traditional notation for ensemble and voices, electroacoustic composition for a wide variety of applications and songwriting and improvisation.
I teach and contribute to course design within the Bachelor of Music and Sound Design at UTS, in Screen Sound Production and Composition, Songwriting and Composition for Context, and Sound Project. My broad experience within the music and screen industries also means I teach regularly into other courses within the disciplines of Music and Sound Design and Media and Audio Production.
Wilcox, F.J. 2017, ''The alternate space of A.R. Rahman's film music' in Coleman, L. & Tillman, J. (eds), Film Narratives and Compositional Techniques: An Investigation of Contemporary Film Music, Palgrave MacMillan, UK, pp. 27-55.View/Download from: Publisher's site
This essay examines A. R. Rahman's film music through a comparative study of aspects of Indian and Western musical and cinematic conventions, and analyses five of Rahman's scores: two collaborations with Tamil director Mani Ratnam, ( Roja , 1992 and Bombay , 1995), one collaboration with Indian-Canadian director Deepa Mehta ( Fire , 1996), and two collaborations with Danny Boyle ( Slumdog Millionaire , 2008 and 127 Hours , 2010). These films together represent important aspects of Tamil, Hindi, multinational and Western cinemas, and Rahman's naturally multicultural approach to composition offers an 'alternate space' that is key to his ability to imbue his scores with meaning that successfully complements filmic narrative across cultures. His soundtracks draw on scoring conventions that translate from East to West, blending traditional Indian instruments and tonality with Western symphonic instruments and musical structures, and electronic layers and beats with melodies articulated in his own Eastern singing style. Through analysis of the diverse musical aspects of his oeuvre in both Indian and international contexts, this essay offers insights into how Rahman's film music so successfully bridges the cultural and aesthetic divide between East and West.
Wilcox, F.J. 2017, 'Vivre Sa Vie, Composer's Cut', Australia Ensemble/UNSW.
Live chamber music (quartet) to film