composer, music theorist, improviser, ethnomusicologist, she graduated from the Faculty of Composition, Conducting and Music Theory at the Academy of Music in Katowice and the Post-Programme Ethnomusicological Studies at the University of Warsaw. She is one of the few Polish female composers specialising in modern dance theatre music. She has written music and scripts for numerous ballet productions by eminent Polish choreographers, including Ewa Wycichowska, Aleksandra Dziurosz, Jacek Przybyłowicz, Andrzej Morawiec, and Wojciech Mochniej, and has also cooperated with Ulrike Hager. Her compositions have been performed in many European countries, South America, the United States, Canada as well as Taiwan. In addition, Aleksandra Bilińska takes part in conferences as a music theorist, conducts piano improvisation workshops, and has written articles and books on music theory. As a lecturer she cooperates with the Chopin University of Music in Warsaw and the Academy of Music in Katowice. She is a member of the Polish Society for Electroacoustic Music, Open Zone Association, and ISME. Her interests include compositional techniques of the 20th and 21st centuries, electroacoustic music, correspondence of the arts, music in interdisciplinary forms, especially in modern dance, and above all works of Polish female composers, to whom she devoted her PhD dissertation Twórczość instrumentalna kompozytorek polskich XX i XXI wieku i jej kontekst kulturowy. Wybrane przykłady z lat 1945–2005 (The Instrumental Works of Polish Female Composers in the 20th and 21st Centuries and Their Cultural Context. Selected examples from 1945–2005, Katowice 2018), forthcoming as a book this year.
Selected works: P®uder-ja for electronic media and dancers (2003), Scontri, study for tape and dancers (2006), Light for tape and dancer (2006), Homo Querens for electronic media, video and dancers (2006), Związki frazeolog_uliczne, radio play in motion for electronic media and performers (2007), Piano Preludes hommage à... (2007), String of Light, performance for female voice, piano, flute, cello, female dancer and electronic media (2008), Voices for tape and dancers (2009), Mów-ment for electronic media and dancers (2010), Contrasts for voice, electronic media and dancers (2011), Few_Few for electronic media and dancers (2012), Für Otto_Performer (2013), Pink Noise for electronic media and dancers (2013), Age quod agis, electronic music (2014, rev. 2017), Puppet®-ja for electronic media and dancers (2015), FunAB®-ja for piano, electronic media and performers (2015), Deep Dancing albo Andron®-ja for electronic media and dancer (2016–17), Passage of Time, electronic music (2017), To Pauline, electronic music (2017), Aphaville, electronic music (2018), Love letters never sent, electronic music (2018), The Bell Jar, electronic music (2018), Qui est for bass-baritone and electronics (2019); Schaefferiana_Contour I for piano, flute and electronics (2019), Incantations for female voice, electronics and dancers (2019), #123start for electronic media and dancers (2020), #2020for electronic media (2020), Landscape for video and electronic media (2021; version for dancers and electronics, 2021), Rain for video and electronic media (2021), lm music: Woman at the Cemetery, dir. Łukasz Łasica (2016); Tenderness, concept, production and direction: Ola Rajska (2021).