Felicity Wilcox is an interdisciplinary composer and academic 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, Sydney Festival, Vivid Sydney, Decibel, Halcyon, Sydney Art Quartet, the Australia Piano Quartet, Charisma Trio, the Sydney Symphony Fellows, and individual performers. Her compositions are performed and broadcast across Australia and internationally.
Felicity’s background as a screen composer informs her individual practice. Under the alias Felicity Fox, she has 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 over 60 productions for film and television, and has received multiple ARIA, AFI and APRA/AGSC awards and nominations for her scores. Her soundtracks are broadcast on major television networks and have featured in international film festivals such as Berlin, New York, London, Paris, Chicago, Venice, Tokyo, Sydney, Melbourne, Margaret Mead (NYC) and Toronto.
Felicity completed her PhD in composition for multimedia in 2013 at Sydney Conservatorium of Music, and now holds a position as Lecturer in Music and Sound Design at the University of Technology, Sydney. She advocates for greater gender equity and diversity in music in Australia as Chair and co-founder of the Gender Equity Committee of the Australian Guild of Screen Composers (AGSC), and internationally as a Member of the Gender Equity and Diversity Working Group of the International Council of Music Creators (CIAM).
Felicity is involved in the following Industry organisaitons:
- Co-founder and Chair, Gender Equity Committee, Australian Guild of Screen Composers (AGSC)
- Gender Equity and Diversity Working Group, International Council of Music Creators (CIAM).
- 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
I regularly produce non-traditional research outputs in interdisciplinary composition, and scholarly writing in the area of music for multimedia and gender equity in music. Building on my professional background as a composer for film, theatre, and installations, my work often incorporates other media, including still interactive visuals, photography, animation, motion graphics, video and sculpture.
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 2019, 'The Maestro of Multiple Voices: The ‘Absolute Music’ of Ennio Morricone' in Wierzbicki, J (ed), Double Lives: Film Composers in the Concert Hall, Routledge, UK, pp. 117-131.
Ennio Morricone’s 2016 Oscar for Tarantino’s The Hateful Eight came after a decades-long succession of nominations for his scores to Days of Heaven (Terrence Malick, 1979), The Mission (Roland Joffe, 1986), The Untouchables (Brian de Palma, 1987), Bugsy (Barry Levinson, 1991), and Malena (Giuseppe Tornatore, 2000). These are just the tip of the iceberg for Morricone, who has composed music for some four hundred and fifty film and television productions since the early 1960s when he rose to international prominence after the success of A Fistful of Dollars (Sergio Leone, 1964). Dwarfed by this gargantuan record of accomplishment in music for cinema, Morricone’s output as a composer of ‘absolute music’ nonetheless represents a substantial body of work spanning some one hundred and twenty compositions for orchestra, choir, piano, percussion, various soloists, organ, guitar, harp, brass, strings, woodwinds, harmonica, harpsichord, synthesizers and tape. Additionally, the experimental music that issued from his involvement as trumpeter and flautist with improvisation group Nuova Consonanza between 1965 and 1980 reflects the influence of avant-garde composers John Cage and Giacinto Scelsi, funk and free jazz.
This essay considers several of Morricone’s prominent concert works, including Cantata for Europe (1988), UT (1991), Voci dal silenzio (2002), Vuoto d’Anima Pien (2008), and Mass for Pope Francis (2015), within the context of his broader output. It examines how the influences of sacred music, opera, serialism, musique concrete, and populism are present in the language he applies in his film and concert music, offering intersections that connect both aspects of his work. For example, the striking polymodality of his main theme for The Mission is evident in his Mass for Pope Francis (2015), where a split choir recreates the antiphonal singing that characterized Renaissance Venetian Church music, and into the Mass’s Kyrie, Gloria, and Agnus Dei, Morricone introdu...
Wilcox, FJ 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 & Britten, B 2019, 'Reflections', Immerse, Sydney Festival, UTS Data Arena.
Wilcox, F 2018, 'Moment', psychopyjama, Foundry 616 and 100clicksWest Salon.
is an album of improvised piano music by Felicity Wilcox. It draws on many strands of experience, musical and emotional. It is not ambient music, or jazz (quite) . . . it is not classical music . . . it is a soundtrack for a film playing behind your eyelids where the weather changes gradually.
is a world of comfort and challenge. It draws from Wilcox’s decades of experience as a soundtrack composer (some 60 feature films, shorts and series). It can drift like a delicious afternoon with the sun dappling the water . . . big emotional melodies might tug at your heart strings . . . sounds from the interior of the piano can beguile and intrigue . . .
is the result of compositional vigour sublimated in the moment of inspiration; Wilcox is also a commissioned concert music composer. Threads of musical ideas weave their way through individual pieces, but also the larger structure of the album.
Wilcox, F 2018, 'SON-ombra, (string quartet no.1)', Secrets Through a Soundglass, Sydney Art Quartet, Joan Sutherland Performing Arts Centre.
Wilcox, FJ 2017, 'Vivre Sa Vie, Composer’s Cut', Australia Ensemble/UNSW.
Live chamber music (quartet) to film
Wilcox, F 2016, 'Snow', Various, Charisma Trio, Various, Salon Callan, Adams State University Colorado, Creative Space, 100clicsWest Salon, AFTRS.
a trio in 3 movements
Wilcox, FJ 2016, 'People of This Place', Sydney Festival, Sydney Festival/ABC Classic FM, Q Station, Manly.
'People of This Place' is a composition for solo bass clarinet featuring extended techniques and multiphonics to disrupt the language of Western art music in order to reflect a more inclusive Australian cultural identity.
Wilcox, F 2015, 'EXIT', Anime, Decibel New Music Ensemble, PICA, Perth.
Wilcox, F 2015, 'Uncovered Ground', Broken Consorts, Ironwood and Ensemble Offspring, Sydney Opera House, Burnie Arts Centre, Bah’ai Temple Hobart, Newcastle Museum, 45 Downstairs Melbourne (2015) and Ngeringa Arts Adelaide Hills (2016). Broadcast on ABC Classic 2015-16, and ABC RN 2015.
Commission for combined ensembles: Ironwood and Ensemble Offspring, as new work for 'Broken Consorts' program in 2015
Wilcox, F 2014, 'The Curling Vine', Bandcamp, Camelot Lounge, Clarendon.
The Curling Vine is a moody collection of ballads featuring a band made up of some of the greats of the local music scene. It is an intimate journey of the soul, a coming home from my regular journeys into other realms. Recorded at Sound Heaven Studios in Wentworth Falls 2013-14, the record was launched in April 2015 at the Clarendon in Katoomba and Camelot Lounge in Sydney, to full houses and critical acclaim.
Wilcox, F & Dusenjko, N 2014, 'various pieces for video/sound installation work: Homage, A Clot of Light, The Sculptor's Mallet,', New Forms, Counihan Gallery, Melbourne.
Sound and video work
Wilcox, F & Marais, M 2014, 'Gouttes d’un Sang Etranger', Vivid New Wave Sound, Vivid Festival, Seymour Centre.
Gouttes d’un sang étranger (Drops of Foreign Blood) is a new multimedia work by Australian composer Felicity Wilcox for viola da gamba and saxophone. The music 'recomposes' a French Suite by Marin Marais, viol virtuoso of the court of Louis XIV. Wilcox reframes this early Baroque work within a modern setting that blends 21st century musical gesture, English and French text, electronic atmospheres and visual imagery.
Wilcox, F 2004, 'The President vs. David Hicks', Olsen-Levy Productions, SBS TV.
Soundtrack CD for the acclaimed SBS documentary
Wilcox, F & Gill, G 2003, 'Rise from the Ocean', Heavy Records, Sandringham Hotel.
Wilcox, F 1999, 'Afrika Capetown to Cairo', BMG, ABC TV.
The APRA and ARIA-nominated soundtrack album for the ABC TV series Afrika Capetown to Cairo
Australian Guild of Screen Composers (AGSC)
Australasian Performing Rights association (APRA)
International Council of Music Creators (CIAM)