Aleksandra Bilińska is a composer, music theorist, improviser  and ethnomusicologist. A graduate of the Faculty of Composition, Conducting and Music Theory at the Karol Szymanowski  Academy of Music in Katowice and of the Postgraduate Studies  in Ethnomusicology at the University of Warsaw, she is one of  the few Polish women composers to specialise in music written  specifically for contemporary dance theatre.

She has composed scores and devised scenarios for more than  a dozen dance productions choreographed by leading Polish  artists, among them Ewa Wycichowska, Aleksandra Dziurosz,  Jacek Przybyłowicz, Andrzej Morawiec and Wojciech Mochniej.  She has also cooperated with Ulrike Hager. Her music has been  performed across Europe, in South America, the United States,  Canada, and Taiwan.

Alongside her creative work, Bilińska presents papers at scholarly  conferences, leads piano-improvisation workshops and publishes  on music theory. She teaches at the Chopin University of Music in  Warsaw and the Karol Szymanowski Academy of Music in Katowice. She is a member of the Polish Society for Electroacoustic  Music (PSeME), Strefa Otwarta, and the International Society for  Music Education (ISME).

Her research interests encompass 20th- and 21st-century compositional techniques, electroacoustic music, interrelationships  between the arts and interdisciplinary forms of music-making,  with particular emphasis on contemporary dance theatre. Central  to her research is the work of Polish women composers—the subject of her doctoral dissertation, The Instrumental Works of Polish  Female Composers in the Twentieth and Twenty-First Centuries  and Their Cultural Context: Selected Examples from 1945–2005  (Katowice, 2018). A book based on the dissertation is scheduled  for publication in 2026.

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  layer and dancers (2006), Street Phrases, radio drama in movement for electronic media and performers (2007), Piano Preludes hommage à… (2007), String of Light, performative show  for female voice, piano, flute, cello, female dancer and electronic  media (2008), Voices for tape and dancers (2009), Speechment 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®-jafor piano, electronic media and performers (2015), Deep Dancing, aka Andron®-ja, for electronic  media and dancer (2016–17), Passage of Time, electronic music  (2017), To Pauline, electronic music (2017), Alphaville, 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), #2020 for electronic media (2020), Landscape for video  layer and electronic media (2021; also version for electronic  media and dancers), Rain for video layer and electronic media  (2021), For O. …#2020 study for electronic media (2021), #2020… Covid 1984 for Nicholas I. for male voice and electronics (2022),  #2020…Soledad for Alessandra R. for flute and electronic media  (2023), #2020 …Scream for Aleksandra P. for oboe and electronic  media (2023), and then… Subekumena, Hommage à Barbara  Buczek for baritone saxophone and electronic media (2024),  …and the acacias are still in bloom…, meta-opera for voice, dancers, female performer and electronic media to texts by women  modernists from ten countries and in six languages (2025),  Tanzen in Rot und Blau for percussion, instrumental ensemble  and electronics (2025).

Works for children and young people: Mouse Trills with a Cat in  the Background for two female voices, piano, and pretend piano  (2021), What Have the Stairs Heard? for electronic media, part  of Space®opera (2024), What Do the Sculptures Say? for electronic media, part of Space®opera 2.0 (2025), About the Writer  Who Was a Doctor and the Cosmobisons, radio play, part of  Space®opera 2.0 (2025).

Film soundtracks: Woman at the Cemetery, dir. Łukasz Łasica  (2016), Tenderness, concept, direction and production by Ola  Rajska (2021).