Archive

As the title suggests, (control) deals with differing degrees of control – exertion of control and release of control – “applied” to both performer and listener. The performers are asked to read a very specific score and simultaneously improvise with varying degrees of liberty.

Commissioned and Performed by The Miami Symphony Orchestra
Premiered as part of the 2009 edition of Festival Miami (University of Miami)
Conductor: Eduardo Marturet

Move, tongue is an attempt to create a non-linear space in sound, where the order of events is not important but rather the experience and perception of their coexistence. In my mind this is analogous to the act of being in a physical space (say a room or a park) and after perceiving it with whatever degree of detail, one arrives at an internal conception — a modeling — of the space.

Version History:

1999 Max/MSP sound installation for the Metronome project of Andrew Ginzel and Kristen Jones. Union Square, NYC.

Program Note:

The conductor raises his arm to cue the entrance of yet another majestic Russian
tune. The French horn prepares for its solo – The solo. It’s the finale of the Firebird.

In the absence of sound, a conductor’s gesture may be perceived as performative, bordering on absurd. It was Stravinsky’s

Losing Touch (duration 11') for vibraphone and fixed electronics was composed in 1994. The piece is published by Billaudot Editions (Catalog #GB7027) in Paris (Theodor Presser, US representative). A complete published edition with rehearsal CD and mono performance tape is available for student performance from several on-line dealers.

This project explores the technical, design, and aesthetic possibilities of 2-D, flexible audio speaker technology. The premise underlying this exploration is the idea that sound can be thought of as a physically immediate, transparent and embodied material. The end goal for me is the use of this material for my art practice: Sound Art, Installation, and Composition.

Patagón is the ancient, archaic name for the land of Patagonia. My newer compositions increasingly link to nature and landscape, and this latest string quartet evokes the idea of the far away, the other-worldly, and the remote.

in seven movements, played without pause
I. Introduction
II. Chant 1
III. Regrets
IV. A year
V. Chant 2
VI. Cries
VII. Coda

Hierosgamos: Studies in Harmony and Resonance (2003), for solo piano, 25’

Pianos is a concerto for solo piano/sampler keyboard and large chamber ensemble with extensive live electronics. Performed by renowned (former Regent’s Lecturer) Gloria Cheng, the piece is a collaboration with UC Berkeley’s Center for New Music and Audio
Technologies (CNMAT), and makes use of an extensive archive of sampled piano recordings.

la mar amarga (2007) for piano trio
music by Cindy Cox
Graeme Jennings, violin, Leighton Fong, cello, and Christopher Jones, piano
photo from Sensitive Chaos by Theodor Schenk (Rudolph Steiner Press, 1965)

The Other Side of the World (2004) for flute and tape
music by Cindy Cox, text by John Campion

Cindy Cox, The Shape of the Shell (2010) for audio tape
text by John Campion
bass clarinet/voice by Laura Carmichael

My daughter brought a shell and bade me put my ear to it:
—That’s the sound of the ocean, I said.
—Is the ocean inside of it, she asked?
—The shape of the shell causes the sound, I said.

Etudes for Piano and Keyboard sampler, with Max/MSP patch