Recent Activity
Participant, SOUND/MINDSCAPE Workshop, Art Center Ongoing, Japan (Nov-Dec. 2008)
Natural and Composed Soundscapes in Electroacoustic Music presented as part of the Hacking Sound/Thinking Sound Seminar, University of Tokyo Komaba campus, Japan (Nov. 2008)
Mapping the Listening Experience: Approaches to the Analysis of Electroacoustic Music presented as part of the ON-juku Lecture Series, Tokyo Denki University, Japan (May 2008)
Unidentified Sounding Objects: Adventures in Acousmatic Listening presented as part of the Dalhousie Music Lecture Series at Dalhousie University, Canada (Feb. 2008)
The Question of Canon in Electroacoustic Music: A Case Study in Instituting Masterpieces presented at the ISCM-ACL World Music Days Hong Kong (Nov. 2007)
Panelist for Enhancing Your Course Through Technology: Inside and Outside the Classroom
Special Session at the AMS-SMT bi-annual joint conference in Los Angeles, CA (Nov. 2006)
Listening to Acousmatic Music. Ph.D. dissertation, Columbia University (May 2006)
Quoted in Marlene Jackson: A Woman Could Do It in Notes from a Musical Garden by Brenda Porter (Cape Breton University Press, 2005)
Adolphe Appia's Les maîtres chanteurs de Nurembourg: An Introduction and Translation in Current Musicology 77 (Spring 2004)
Acousmatic Music and Denis Smalley's Vortex. Notes for Lincoln Center Festival 2000: Masterpieces of 20th-Century Electronic Music (July 2000)
Music Theory
Ph.D. (Columbia University)
M.A. (Washington University in St. Louis)
B.Mus. (McGill University)
Currently Teaching at:
Department of Media Arts, College of Art, Tamagawa University (Tokyo, Japan)
Contact:
cathy[at]music[dot]columbia[dot]edu
Academic Background
Trained as a pianist through the Royal Conservatory of Canada, Cathy Cox completed the "Honours Music Theory" program with a concentration in piano through the Faculty of Music (now Schulich School of Music) at McGill University in Montréal. Guided by her interest in the music of Arnold Schoenberg, she continued her studies at Washington University in St. Louis, where she completed her masters thesis—entitled "Schoenberg's Early Dehmel Settings"—under the supervision of Marion Guck and Steven Peles. At the completion of her M.A., she was awarded a DAAD Fellowship to conduct research through the Technische Universität Berlin, where she attended Hauptseminaren of Christian Martin Schmidt and Helga de la Motte-Haber.
During her stay in Germany, she developed an increasing interest in contemporary opera and multimedia performance. This led initially to studies in computer science at the RWTH in Aachen, and eventually prompted her to move to New York City to pursue doctoral studies at Columbia University. As a graduate student fellow at Columbia, she was appointed as staff member at the Computer Music Center, Executive Editor of Current Musicology, and instructor of Ear Training; she additionally served as a graduate student representative on departmental committees and as department webmaster. She completed her doctoral dissertation, "Listening to Acousmatic Music," under the sponsorship of Joseph Dubiel; other members of her defense committee included Brad Garton and George Lewis.
Current Status
Her current appointment in the Media Arts Department at Tamagawa University allows her the opportunity to exercise her skills in conventional music theory (modal counterpoint, tonal composition, Schenkerian analysis, and set-theory analysis), music technology (MIDI and digital audio studio production techniques), and a combination of the two (psychoacoustics).
She additionally explores interdisciplinary issues of multimedia analysis and media studies through survey classes on film, dance, video games, and digital art.