Kate Milligan (b. 1996) is a Western Australian composer, designer, and musicologist currently based in the United Kingdom. In 2024, she is supported by Help Musicians and the Arts Council England.

Her work engages with theories of temporality, ecology, and the posthuman, asking questions of musical subjectivity into the deep future. At the audio-visual intersection, these works often include experimental music notation, and a range of graphic, animated, and sculptural media.

She has been commissioned by electro-acoustic ensembles across Australia and the UK. Recent work includes performance-installations for Decibel New Music Ensemble and the London Symphony Orchestra Soundhub, and a spin-system instrument presented at the IRCAM Forum for spatial sound. 

Kate is a graduate of Information Experience Design at the Royal College of Art, London. This study was generously supported by the Schenberg Music Fellowship and the Ian Potter Cultural Trust. She also holds a MMus (musicology) and a BA(Hons) (composition) from The University of Western Australia. Her writing on gender and aesthetics is published in both popular and academic contexts, notably including Limelight and TEMPO: A Quarterly Review of New Music, Cambridge University Press.

Current projects include a new audio-visual work for renaissance flute, to be premiered April 19th/20th, 2024, at the WA Museum Boola Bardip, presented by TURA New Music, and supported by the Australia Council for the Arts, APRA Art Music Fund, and the WA Government DLGSC. A collaboration with Jonty Coy (historical flutes, NL), and Olivia Davies (videography, AU), this project combines historical performance methods with experimental practice. The work is written for a specific flute, found recently on a Dutch shipwreck dating from the 1530s.