is a Polish-American composer and intermedia artist currently residing in Seattle. Her works range from purely instrumental solo, chamber, and symphonic compositions to compositions with computer-realised sound with live performance, to soundtracks for animated films, to immersive audiovisual performances in mixed and extended reality. Collaboration with other artists, understoodas exchange of creativity, is essential to her work. She often uses space as a catalyst for improvisation, creating spatial soundscapes by recording in unique acoustic environments, and using recording techniques as a compositional tool.

Ewa Trębacz comes from Cracow, where she studied compositionvunder Bogusław Schaeffer at the Krzysztof Penderecki Academyvof Music in Cracow, graduating with a master’s degree in 1999. She also holds a master’s degree in informatics from the Cracow Academy of Economics (currently the University of Economics). She continued her education in the United States, pursuing a doctoral degree at the University of Washington in Seattle, Department of Digital Arts and Experimental Media (DXARTS), where she graduated in 2010 and worked at the position of a Research Scientist until 2024.

Her works have been presented, performed and broadcast in over 30 countries on four continents, and have been featured in Organised Sound,Neue Zeitschrift für Musik, and major Polish music magazines. In 2009, her work things lost things invisible for Ambisonic space and orchestra, received a prestigious recommendation from the 56th UNESCO International Rostrum of Composers in Paris, associated with the International Music Council and representing 27 radio stations from around the world.

Ewa Trębacz has received composing commissions among others from the Klangspuren festival in Austria, Warsaw Autumn, Musica Polonica Festival in Wrocław, the Polish Composers’ Union (for Polish Radio Symphony Orchestra), NOSPR Festival of Premieres in Katowice, Seattle-based ensembles Seattle Modern Orchestra, Kin of the Moon and the North Corner Chamber Orchestra (NOCCO), Mid Atlantic Arts Foundation / USArtists International, and the Allied Arts Foundation in Seattle (2018 Artist Award Listen UP! Music by Women).In 2022, Ewa Trębacz was selected to be a composer-in-residence at the 33rd Musica Polonica Nova Festival at the National Forum of Musicin Wrocław. Her monographic CD, including two chamber works and three orchestral works, was released in 2013 by the Polish Radio, Polish Composers’ Union and Polish Music Information Center.

Her electroacoustic compositions have been presented at events such as the Ars Electronica Festival in Austria, world-wide ICMC (International Computer Music Conference), CIME/ICEM (International Confederation of Electroacoustic Music), SOUND Festival, SEAMUS (The Society for Electro-Acoustic Music in the United States Conference), New York City Electroacoustic Music Festival (NYCEMF), Mise-En Festival (New York City), 40.4 Festival (University of Colorado, USA), Cervantes Electroacústico w Buenos Aires, SPLICE Festival II (BGSU), and many other international festivals and conferences.

Selected works: Aletheia for string orchestra (2000), Il fonte adamantino for string quartet and vocal ensemble (1996–2002), Spinning Zonefor percussion and electronics (2002), Chordochromies for harpsichord and electronic media (2003), Ephemerae for symphonic wind ensemble(2005), Curriculum Vitae, digital video (2005), Minotaur for horn and surround sound (2005), things lost, things invisible for ambisonic space and orchestra (2007), ERRAI. Immersive Audiovisual Space, mixed reality performance (2009), ANC’L’SUNR for symphony orchestra and spatial soundscape (2012), Iriviskia for violin and French horn with surround sound (2015), Ligeia for invisible soprano, chamber ensemble and surround sound(2016), Winter After Times of Fire for ensemble of improvisers and surround sound (2019), Inanna Descending for variable ensemble and ambisonic sound (2019), Metanoia, concerto for violin, string orchestra and surround sound (2020), The Tower of Broken Mirrors,ambisonic soundscape/performance, (2021), Abrasion for harpsichord and electronic media (2021–23), A Machine for Entropy for chamber orchestra and electronic media, The Cistern Chain, ambisonic soundscape (2017–22/25), Umbrae, ambisonic soundscape (2023),Tharsis, for contrabass clarinet and electronic media (2024), Recontre Series, collaborative performances in Extended Reality, in collaboration with Daniel Peterson, Laura Luna Castillo and others (2024), Lullabies for Nibru for bass flute and electronic media (2024), Nostalgia for two string quartets and electronic media (2025), Lament for Ur. Assemblages from the city that is no more for improvising female voice, vocal ensemble, orchestra and multimedia (2025).