ACADEMIC PUBLICATIONS

ACADEMIC PUBLICATIONS

BOOKS (as of Aug 24)

Hope, C. & Vickery, L. (2024). Actions And Remarks: John Cage’s Complete Variations. New York: Mode.

Devenish, L. & Hope, C. (2024) Contemporary Musical Virtuosities. New York: Routledge.

Hope, C., Ryan, J. (2014). Digital Art: An introduction to new Media. London: Bloomsbury Academic

Hope, C. (2017). Sounding Art. Perth, WA: Tura

Hope, C. (2014). The End of Abe Sada. Perth, WA: PICA Press. [2 citations, GS]

Hope, C. (Ed.). (2013). Drawn from Sound. Perth: Tura New Music.

Hope, C. (Ed.). (2011). Decibel: Audible designs. Perth, WA: PICA Press.

BOOK CHAPTERS

Hope, C. (2024). “Devising a Complete Performance of the John Cage Variations I to VIII”. In Hope, C. & Vickery, L. Actions | Remarks : John Cage’s Variations and the expansion of the score, sonic materials, space, and the environment. New York: Mode 342. pp. 87-103

Hope, C.. (2023). “Low Frequency as Concept in the Music of Cat Hope”. In Kouvaris, L., Greenfell, M. and Williams, N. (Eds). The Composer: Herself. Switzerland: Palgrave MacMillan. pp. 257-272

Hope, C. & Utomo, K. (2023). “Rrrrreaaaaaaaaaarrrrrrrghhhhh!!!!’: Evolving vocal virtuosity in extreme metal” in Devenish, L. & Hope, C. (eds). Contemporary Musical Virtuosities. New York: Routledge. pp 166-172.

Devenish, L. & Hope, C. (2023). “On The New Virtuosity Manifesto” in Devenish, L. Hope, C. (eds). Contemporary Musical Virtuosities. New York: Routledge. Pp 89-94.

Devenish, L., McAulliffe, S. & Hope, C. (2023) “Contemporary Musical Virtuosities” in Devenish, L. & Hope, C. (eds). Contemporary Musical Virtuosities. New York: Routledge. pp1-13

Hope, C. (2022). “The Sensuality of Low Frequency Sound” in Nogueria, I., & O’Keefe, L. The Body in Sound, Music and Performance. Routledge, pp. 181-195. DOI 10.4324/9781003008217-18

Hope, C. (2022). “Working Towards Gender Equality and Empowerment in Australian Music Culture” in Kouvaris, L., Grenfell, M & Williams, N. (Eds.). A Century of Composition by Women: Music Against the Odds. Switzerland: Palgrave MacMillan, pp307-323. DOI: 10.1007/978-3-030-95557-1_17

Crotty, J. & Hope, C. (2021). “Speechless: An Operatic Response to Human Rights Abuses in Twenty First Century Australia”. In Davidson, J., Halliwell, M., Rocke, S. (Eds.) Opera, Emotions and the Antipodes Volume II: Applied Perspectives: Compositions and Performances (1st Ed) New York: Routledge. pp75-89 [AC 247677]

Hope, C. (2020). “From Early Soundings to Locative Listening in Mobile Media Art” in Lansen, K., Hjorth, L, & De Souza, A. ‘The Routledge Companion to Mobile Media Art.” New York: Routledge pp 46-56

Hope, C., Burslem, M. (2019). “Music History Education in Australian Universities”. ANKLAENGE. Wiener Jahrbuch für Musikwissenschaft. University of Music and Performing Arts Vienna. Wein: Hollitzer Verlag pp 111-120

Hope, C. & Trainer, A. (2018). “Tura- Thirty Years of Building New Music practice in Western Australia” in Fabian, D., and Napier, J. (Eds) Diversity in Australia’s Music: Themes Past, Present, and for the Future. Newcastle upon Tyne: Cambridge Scholars. Pp255-267 [LP120100685]

Hope, C., Trainer, A., Green, L. (2017). “Documenting Music Performance in the Digital Archive: What do we have here?” In Sant, T. Documenting Performance. London: Bloomsbury. pp215-227 [LP120100685]

Hope, C. (2017). “The Decibel new music ensemble; Artistic Research in Experimental Music at the Academy”. In Burke, R. and Onsman, A. Perspectives on Artistic Research in Music. Maryland: Books Pp 143-156. [AC 221829]

Hope, C., MacKinney, L., Green, L., Travers, M., Mahoney, T. (2015). “The Western Australian New Music Archive: Performing as Remembering.” In Harris, A., Thieberger, N., & Barwick, L. (Eds). Research, Records and Responsibility: Ten Years of PARADISEC. Sydney, NSW: UNSW Press. Pp. 209-236 [LP120100685]

Hope, C. (2009). “Cultural terrorism and anti-music: Noise music and its impact on experimental music in Australia”. In G. Priest (Ed.), Experimental music: Audio explorations in contemporary Australia. Sydney, NSW: UNSW Press. pp. 56-74

REFEREED JOUNRAL ARTICLES (selection)

Hope, C. (2024). From Inside the Éliane Radigue Composer Performer Circle. Contemporary Music Review. Taylor and Francis. https://doi.org/10.1177/15327086231219704

Hope, C. (2024). The Radiant Exterior: Lionel Marchetti performing Éliane Radigue. Contemporary Music Review. Taylor and Francis. DOI: 10.1080/07494467.2024.2348273

Goh, T., Hope, C., Devenish, L., Barrett, M. S., Canham, N., Burke, R. & Hall, C. (2024.) Beyond the gender binary: a survey of gender marginalization and social boundaries in Australian jazz and improvisation. Frontiers in Psychology. 15, Volume 15. https://doi.org/10.3389/fpsyg.2024.1412511

Alexander, B. K., Balla, P., Doughty, M., Shen, Y., Minutolo, S., Gibson, C., Stewart, L., Grigor, M., Park, M., Hope, C., Wyatt, A., Ughetti, E., Taylor, K., Kennedy, I., Svoboda, H., & Holman Jones, S. (2024). Four Movements from Melbourne: Building Communities Through Collaborative Autoethnographies. Cultural Studies ↔ Critical Methodologies. https://doi.org/10.1177/15327086231219704

Visi, F., Basso, T., Greinnke, B., Wood, E., Gschwendtner, P., Hope, C., and Östersjö, S. (2024). “Networking concert halls, musicians, and interactive textiles: Interwoven Sound Spaces” Digital Creativity, Special Issue 34:4

Canham, N., Goh, T., Barrett, M.S., Hope, C., Devenish, L., Park, M., Burke, R. & Hall, C. (2022) Gender as performance, experience, identity and variable: A systematic review of gender research in jazz and improvisation. Frontiers of Music Education. 7:987420 DOI: 10.3389/feduc.2022.987420

Hope, C. (2022) Opera Activism: Speechless—An Animated Notation Opera for Every Musician. In Priest, G. (ed). Sound Theaters of the 21st Century: Material Functions and Voltaic Performativity: Sound Stage Screen, Vol. 1, Issue 2 (Fall 2021), pp. 125–194. [AC 247677]

McAuliffe, S., & Hope, C. (2020). “Revealing Sonic Wisdom in the Works of Cat Hope”. Organised Sound, 25(3), 327-332. DOI 10.1017/S135577182000028X

Hope, C. (2020). “The Future is Graphic: Animated notation as a global music notation”. Organised Sound, Cambridge University Press. 25 (2), 187-197. [SSHRC 963642] DOI: 10.1017/S1355771820000096

Hennekam, S., Macarthur, S., Bennett, D., Hope, C. and Goh, T. (2019), "Women composers’ use of online communities of practice to build and support their careers", Personnel Review, Vol. 49 No. 1, pp. 215-230. DOI: 10.1108/PR-02-2018-0059

Hennekam, S., Macarthur, S., Bennett, D., Hope, C. and Goh, T. (2019), "An International Perspective on Managing a Career as a Woman Composer." International Journal of Arts Management. Montréal Vol. 21, Issue 3, Spring 2019: pp. 4-13.

Marshall, J & Hope, C. (2018). "Toad Media: Listening to the Cane Toad in Cat Hope’s Sound of Decay (2013; 2016)" ed. Alio, G. Antennae. Issue 46 Winter 2018, pp 38-50.

Bennett, D., Macarthur, S., Hope, C., Goh, T., & Hennekam, S. (2018). Creating a career as a woman composer: Implications for music in higher education. British Journal of Music Education, 35(3), 237-253. DOI:10.1017/S0265051718000104

Bennett, D., Hennekam, S., Macarthur, S., Hope, C., & Goh, T. (2019). Hiding gender: How female composers manage gender identity. Journal of Vocational Behaviour. Vol. 113, pp 20-32. DOI 10.1016/j.jvb.2018.07.003

Hope, C. (2017). Electronic Scores for Music: The Possibilities of Animated Notation. Computer Music Journal. 4/3, p21-35. DOI: 10.1162/comj_a_00427

Macarthur, S., Bennett, D., Goh, T., Hennekam, S., & Hope, C. (2017). The Rise and Fall, and the Rise (Again) of Feminist Research in Music: ‘What Goes Around Comes Around’. Musicology Australia, 39(2), 73-95. DOI: 10.1080/08145857.2017.1392740

Hope, C. (2017). Wording New Paths: Text-Based Notation in New Solo Percussion Works by Natasha Anderson, Erik Griswold, and Vanessa Tomlinson. Contemporary Music Review, 1-2, 36-47. DOI: 10.1080/07494467.2017.1370793

Vickery, L., Devenish, L., James, S. & Hope, C. (2017). Expanded Percussion Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery. Contemporary Music Review Vol. 36. 1-2, 15-35. [SSHRC 963642] DOI: 10.1080/07494467.2017.1371879

Trainer, A., Hope, C., & Green, L. (2017). “What is New, Here? Locating an Art Form Within the Western Australian New Music Archive”. Journal of the Australian Library an Information Association, 66:3, pp231-248 [LP120100685] DOI” 10.1080/24750158.2017.1355422

Trainer, A., Hope, C. (2017). “Performing Newness and Nowness: Repertoire and improvisation in the Western Australian New Music Archive”. Performance of the Real Working Papers 1 (1) pp 13-30. [LP120100685]

Travers, M. and Hope, C. (2016). “We Could Play That Last Century: Archiving 20th Century Digital Performing Arts In Western Australia” in Hope, C., Trainer, A and Studham, S. Soundscripts, Volume 5. Sydney: The Australian Music Centre. Pp 15-18. [LP120100685]

Goh, T. and Hope, C. (2016). “Regional Western Australia and Sound Art: A Survey of Works by Alan Lamb and Ross Bolleter” in Hope, C., Trainer, A and Studham, S. Soundscripts, Volume 5. Sydney: The Australian Music Centre. Pp 124-31. [LP120100685]

Hope, C., Vickery, L., Wyatt, A., James, S. (2013). “Mobilising John Cage: The Design and Generation of Score Creators for the Complete John Cage Variations I – VIII”. Malaysian Music Journal. 2(1) p34-45.

Hope, C., & Vickery, L. (2011). “Visualising the Score: Screening scores in Realtime Performance”. IM: Interactive Media, 7, Proceedings of Diegetic Life Forms II: Creative Arts Practice and New Media Scholarship, pp 2-16.

Hope. C. (2010). “Vibrating performance: Experiencing music though vibration in the works of Abe Sada”. Australasian Drama Studies, 56, 170-182.

Hope, C. (2009). “Infrasonic music”. Leonardo Music Journal, 19, 51-56. DOI: 10.1177/1029864917690931

Hope, C. (2009). “The wonderment of the bleak: Sculpting the static”. Art Monthly, 225, 45-47.

Hope, C. (2004). “Hearing the Story: Sound Design in the films by Rolf De Heer”, Senses of Cinema, Issue 31, April.

Refereed Conference Papers (selection)

Svoboda, H. & Hope, C. (2024) The Composer Photograph: A Framework Towards Describing Overtones in Animated Notation. In Proceedings of the Ninth International Conference on Technologies for Music Notation and Representation, Zurich, Switzerland, April 2024, pp 1 – 8.

Sanadzadeh, I. & Hope, C. (2023) ‘Interpreting notated works using the Terpsichora Pressure-Sensitive Floors’ Proceedings of the Eighth International Conference on Technologies for Music Notation and Representation, Boston MA, USA, May 2023, pp 147-152.

Wyatt, A. & Hope, C. (2022). ‘The Decibel ScorePlayer – Learning From And For Usability.’ Proceedings of the Seventh International Conference on Technologies for Music Notation and Representation, Marseille, France May 2022. Pp 145-150[AC 247677]

Hope, C., Wyatt, A., (2020). ‘Conducting Animated Notation: Is it Necessary?”Proceedings of the Sixth International Conference on Technologies for Music Notation and Representation, Hamburg, Germany May 2020. Pp 169-174.

Hope, C., Wyatt, A., Thorpe, D. (2018). Scoring an Animated Notation Opera -- The Decibel Score Player and the Role of the Digital Copyist in 'Speechless' Proceedings of the Fourth International Conference on Technologies for Music Notation and Representation, Montreal, Canada May 2018. Pp 193-200.

James, S., Hope, C., Vickery, L., Hajdu, G, Carey, B., Fu, X. (2017). Establishing connectivity between the existing networked music notation packages Quintet.nnet, Decibel ScorePlayer and MaxScore. Proceedings of TENOR, Third International Conference on Technologies for Music Notation and Representation 201. p.171-183

Hope, C. (2017). “Reading ‘Free Music:’ Adapting Percy Grainger’s ‘Free Music’ Scores for Live Performance”. In Paget, J et al. Proceedings of the 2015 WA Chapter of MSA Symposium on Music Performance and Analysis. ECU Books. 5. Pp140-152

Hope, C., Terren, M. (2016). The Possibilities of a Line: Marking the Glissando In Music. Proceedings of the Second International Conference on Technologies for Music Notation and Representation, Cambridge, UK, May 2016. Cambridge, UK, May 2016. Pp 176-79

Hope, C., Wyatt, A., James, S. (2016). Press headlines for music: Laura Jane Lowther’s “Loaded (NSFW)” iPad score generator. Proceedings of the New Instruments for Musical Expression Conference, Brisbane, July 2016.

Terren, M., Hope, C. (2015). Map-Making Towards An Onto-Cartography Of The Digital Audio Workstation. Proceedings of the Australasian Computer Music Association Conference. Sydney: UTS. pp 112 - 118

Travers, M., Hope, C. (2015). Who Wants a Trautonium Music Build One. Proceedings of the Australasian Computer Music Association Conference. Sydney: UTS. pp 64- 68

Hope, C., Vickery, L. & Wyatt, A. (2015). The Decibel ScorePlayer - New Developments and improved Functionality. Proceedings of the International Computer Music Conference, Texas, USA pp 314 - 317.

Hope, C., Wyatt, A. & Vickery, L. (2015). The Decibel ScorePlayer - A digital tool for reading graphic notation. Proceedings of TENOR, First International Conference on Technologies for Music Notation and Representation 2015, Institut de Recherche en Musicologie, IReMus Paris, France, May 2015 p. 59-70.

Green, L., Hope, C., Stevenson, K. & Mahoney, T. (2015). Archiving the new, now, for future users unknown. In Proceedings of the 2015 ANZCA Conference. Queenstown, New Zealand: Rydges/University of Canterbury.

Hope, C. (2014). The Western Australia New Music Archive 1970 – today: Accessing, remembering, performing. AHA Biennial Conference 2014 ‘Reviewing History’, The University of Western Australia, Perth, WA.

Green, L., Mahoney, T., Hope, C., & MacKinney, L. (2014). Publishing an archive: A meta-narrative of (be)longing? In D. Bossio (Ed.), Refereed Proceedings on the 2014 ANZCA Conference: The digital and the social: communication for inclusion and exchange, 9-11 July, Melbourne, Victoria.

Hope, C., Green, L., MacKinney, L., & Mahoney, T. (2013). Harnessing the Arc Hive. Proceedings of the Emerging Issues in Communication Research and Policy Conference, 2013. Pp 23-31

James, S., & Hope, C., (2013). 2D AND 3D Timbral Spatialisation: Spatial Motion, Immersiveness, and Notions of Space. Proceedings of the 2013 ICMC Conference, Perth, WA. Pp. 77-84

Wyatt, A., & Hope, C., Vickery, L. James, S. (2013). Animated Music Notation on the iPad (Or: Music stands just weren't designed to support laptops). Proceedings of the 2013 ICMC Conference, Perth, WA. Pp 201- 207.

Hope, C., Green, L. (2013). The Western Australia New Music Archive: finding, accessing, remembering and performing a community of practice. Proceedings of the Australian and New Zealand Communication Association conference: Global Networks-Global Divides: Bridging New and Traditional Communication Challenges. Pp 29-34.

Francis, M., & Hope, C., (2013). Site in Sound: a review of four musical works that integrate site into sound. Sound Scripts – Proceedings of the Totally Huge New Music Festival (pp. 22-28), Vol 4. Sydney: AMC Press.

Vickery, L., Hope, C. & James, S. (2012). Digital Adaptations of the Scores for Cage Variations I, II and III. Proceedings of the International Computer Music Conference, Slovenia.

Hope, C., James, S. & Vickery, L. (2012). New Digital Interactions with John Cage’s Variations IV, V and VI. Proceedings of the Australasian Computer Music Conference, The School of Music Griffith University, Brisbane.

Hope, C. & Tan, K. (2011) Spatialising Threads/Hallucinations: Closing the gap between installation and performance. Sound Scripts – Proceedings of the Totally Huge New Music Festival (pp. 43-52), Vol 3. AMC Press

Hope, C. (2011). The composer and the machine: organic processes and musicality in computer programming for music. Proceedings of the Australasian Computer Music Conference, The School of Music University of Auckland, New Zealand. Pp55-60

Hope, C. & Vickery, L. (2011) Screen scores: New media music manuscripts. Proceedings of the International Computer Music Conference, Huddersfield, UK, July. Pp 224 – 231.

Hope, C., & James, S. (2011). Multidimensional data sets: Traversing synthesis, sound sculpture, and scored composition. Proceedings of the Australasian Computer Music Conference, The School of Music University of Auckland, New Zealand. Pp60 - 66

Hope, C. (2011). Reinterpreting technology and concert techniques for electronic instruments in chamber music performance. Proceedings of the XVII Colloquio di Informatica Musicale, AIMI, Torino, Italy. Pp 27-31.

Hope, C., James, S. Tan, K. (2010). When lines become bits: Engaging digital technology to perform works by Alvin Lucier. Australasian Computer Music Conference (pp. 29-36), Canberra, ACT.

Hope, C. (2009). Earth pulse: Vibrational data as artistic inspiration. Re:Live Media Art histories 2009 Refereed Conference Proceedings (pp. 73-77), The University of Melbourne & Victorian College of the Arts and Music.

Hope, C., & Riddoch, M. (2009). The vanishing bass: Possible implications of internet centric delivery and listening on bass perception (pp. 48-52). Createworld Conference Proceedings 2009, Queensland, Apple Consortium Australia.

Hope, C., Riddoch, M., & James, S. (2009). Musical Technology / Technological Music: Teaching Electronic Music in the Academy. Media Art Scoping Study Symposium Proceedings (pp. 80-89), VCA, Melbourne University.

Hope, C. (2009). The Nth art: The state of the sonic image. Sound Scripts – Proceedings of the Totally Huge New Music Festival (pp. 15-19), Vol 2. AMC Press.

Hope, C. (2008). The possibility of infrasonic music. 13th International Conference on Low Frequency Sound and Vibration (pp. 67-79), Japan, October 2008.

Hope C. (2008). The bottom end of cinema: Low frequency effects in soundtrack composition. Sound Scripts – Proceedings of the Inaugural Totally Huge New Music Festival (pp.74-78), Vol. 2. AMC Press: Sydney.

Hope, C. (2007). Silence as stillness? Sonic experiences in art using infrasonics. Stillness - Computers in Art and Design Conference Proceedings (pp.118 – 122), Curtin University, 12-14 September 2007.

Hope, C. (2007). Making music as contemporary art. Hatched 07 Discussion Papers (pp 48 – 51), Hatched 07 Arts Research Symposium, 20 April 2007.

Hope, C. (2007). Composing music with low frequency sound. Crossing Continents Composers Symposium, University of WA. Invited Paper.

Hope, C. (2007). Online environments for new music composition: The WAAPA composers server. Createworld Conference, Brisbane.

Hope, C. (2006). Composing experimental music for film and video. VFx Conference, Bysteria Banksia Art Academy, Slovakia

Non-Refereed Conference Publications and Catalogue Essays

Hope C. (2017) “Graphic Notation: Exploiting the Energy of Music Performance”, in Doherty, J. (Ed) The Score. Melbourne: Potter Museum of Art. Pp51-53.

Hope C. (2017) “Notating Electronics in the Music of Cat Hope” Array, Journal of the International Computer Music Association

Hope, C., Burslem, M. (2017) “Paving the Way” NiTRO magazine.

Hope, C. (2012). An existential Crisis to music: the films of Jesper Just. revCon. Revelation Film Festival. Astor Cinema, Perth.

Hope, C. (2011). Sensuality and the Sound Object. Musicological Society of Australasia, Conference, University of WA, Perth.

Hope, C. (2007). Learning art with i-pods. Createworld Conference, Griffith University, Brisbane.

Hope, C. (2007). Online environments for new music composition – the WAAPA Composers Server. Createworld Conference, Brisbane.

Hope, C. (2006). Composing experimental music for film and video. VFx Conference, Bysteria Banksia Art Academy, Slovakia.

Editorial

Hope, C., Trainer, A., Studham, S. (2016) “Soundscripts”, Proceedings of the Totally Huge New Music Conference, vol. 5. Sydney, NSW: Australian Music Centre.

Hope, C. & Stevens, K. J. (2013) “Soundscripts”, Proceedings of the Totally Huge New Music Conference, vol. 4. Sydney, NSW: Australian Music Centre.

Hope, C. (2013). An Australian Woman in Music. Journal of the International Alliance for women in Music 19 (2) pp 19-21

Hope, C. (Ed.) (2011). “Soundscripts”, Proceedings of the Totally Huge New Music Conference, vol. 3. Sydney, NSW: Australian Music Centre.

Hope, C. (Ed.) (2008). Resonate – Journal of the Australian Music Centre, “New Sounds – Defying Definitions”. Sydney, NSW: Australian Music Centre.

Hope, C. (Ed.) (2008). “Soundscripts”, Proceedings of the Totally Huge New Music Conference, vol. 2. Sydney, NSW: Australian Music Centre