Top of page
Global Site Navigation
Local Section Navigation
You are here: Main Content

Professor Cat Hope

Adjunct Professor

Contact Information Email: c.hope@ecu.edu.au,
Staff Member Details
Email: c.hope@ecu.edu.au

 

Cat is an Adjunct Professor at the Western Australian Academy of Performing Arts.

Background

Professor Cat Hope is an academic with an active profile as a composer, sound artist and musician based in Western Australia. She is the director of the award winning new music ensemble Decibel and has toured internationally. Cat’s composition and performance practices explore the physicality of sound in different media, and has been discussed in books such as Loading the Silence (Kouvaris, 2013), Women of Note (Appleby, 2012), Sounding Postmodernism (Bennett, 2011) as well as periodicals such as The Wire (UK, 2013), Limelight (Aus, 2012) and Neu Zeitschrift Fur Musik Shaft (Ger, 2012). Her works have been recorded for Australian, German and Austrian national radio, and her work has been awarded a range of prizes including the APRA|AMC Award for Excellence in Experimental Music in 2011, 2014 and the Peggy Glanville Hicks residency in 2014. She is a Churchill and Civitella Ranieri Fellow, and has been resident at the Visby International Composers Centre in Sweden. She has collaborated with Australian visual artists such as Tracey Moffat, Kate McMillan, Erin Coates and Tina Havelock-Stevens and has written work for the London Improvisers Orchestra amongst others.

Qualifications

  • Doctor of Philosophy (Fine Art), Royal Melbourne Institute of Technology, 2010.
  • , TAFE WA, 2006.
  • Bachelor of Music with 2nd Class Honours, The University of Western Australia, 1992.

Research

Recent Research Grants

  • Audiences for artmusic and sound art in Western Australia: Understanding and evaluating Tura New Music programs. ,  Tura New Music Ltd,  Scholarships to Support Industry Engagement PhD Projects,  2016 - 2020,  $35,000.
  • Curating the Performing Arts: Improvisation as a mechanism to engage diverse and local communities in arts programs.,  Perth Institute of Contemporary Arts Ltd,  Scholarships to Support Industry Engagement PhD Projects,  2017 - 2020,  $29,000.
  • Graphic Music Notation in Networked Performance Environments,  Edith Cowan University,  Australia-Germany JRC Scheme (UA-DAAD),  2015 - 2018,  $24,400.
  • The Western Australia New Music Archive: 1970 – today: Finding, accessing, remembering, performing.,  Australian Research Council,  Grant - Linkage (Projects),  2012 - 2017,  $985,255.
  • Decibel commissions 7 new music compositions from visual and experimental artists ,  Australia Council for the Arts,  Australia Council for Music - New Work,  2016 - 2017,  $53,160.
  • The creative development of SPEECHLESS, a wordless opera by Cat Hope,  Australia Council for the Arts,  Grant,  2016,  $50,669.
  • Screening the Score: Exploring the Potentials and Limitations of Presenting Music Notation on the iPad,  Edith Cowan University,  ECU Early Career Researcher Grant - 2014,  2014 - 2016,  $20,000.
  • The economic and social impacts of contemporary music in Western Australia (WAM project),  Edith Cowan University,  ECU Capability Enhancement Scheme - 2015 or earlier,  2015 - 2016,  $28,410.
  • Saxology: recasting third stream music for the saxophone ,  Edith Cowan University,  ECU Early Career Researcher Grant - 2014,  2014 - 2015,  $23,560.
  • After Julia: 8 new works by Australian Composers to be performed by Decibel.,  Australia Council for the Arts,  Australia Council for Music - New Work,  2014,  $22,560.
  • Decibel 2013 European Tour,  Australia Council for the Arts,  International Pathways,  2013 - 2014,  $29,590.
  • Commissioning of Australian Composers for Decibels 2012 program,  Australia Council for the Arts,  Grant,  2012 - 2013,  $18,060.
  • Applications for networked tablet computers as interactive music readers, writers and players,  Nortel Networks,  Grant - Development - 2011,  2011 - 2013,  $18,770.
  • The Western Australia New Music Archive: 1970 - Today: Accessing, Remembering, Performing,  Edith Cowan University,  ECU Industry Collaboration - Grant,  2008 - 2010,  $87,800.
  • The Australian Music Navigator: Research Infrastructure for Discovering, Accessing and Analysing Australia's Musical Landscape,  Australian Research Council,  Grant - Linkage (Infrastructure),  2009 - 2010,  $480,000.

Recent Publications (within the last five years)

Books

  • Hope, C., Ryan, J., (2014), Digital Arts: An Introduction to New Media. Berg New Media Series, 288, New York, USA, Bloomsbury Professional.

Book Chapters

  • Hope, C., (2017), The Decibel new music ensemble: Artistic research in experimental music at the academy. Perspectives on Artistic Research in Music, 143-155, London, UK, Lexington Books.
  • Hope, C., Trainer, A., Green, L., (2017), Archiving Western Australian New Music Performance. Documenting Performance : The Context and Processes of Digital Curation and Archiving, 215-226, London, United Kingdom, Bloomsbury Publishing.
  • Hope, C., Mackinney, L., Green, L., Travers, M., Mahoney, T., (2015), The Western Australian New Music Archive: Performing as remembering. Research, Records and Responsibility: ten years of PARADISEC, 209-225, Sydney, Australia, Sydney University Press.

Journal Articles

  • Marshall, JW., Hope, C., (2018), Toad Media: Listening to the Cane Toad in Cat Hope’s Sound of Decay (2013; 2016). Antennae: the journal of nature in visual culture, N/A(46), 38-50, UK, Antennae.
  • 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 and Information Association, 66(3), 231-248, DOI: 10.1080/24750158.2017.1355422.
  • Hope, C., (2017), Electronic Scores for Music: The Possibilities of Animated Notation. Computer Music Journal, 41 (3), 21-35, Massachusetts Institute of Technology, DOI: 10.1162/COMJ a 00427.
  • Hope, C., Robinson, C., (2017), OCCAM HEX II: A Collaborative Composition. Tempo (London, 1939): a quarterly review of modern music, 71(282), 18-28, London, UK, Cambridge University Press, DOI: 10.1017/S0040298217000584.
  • 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, 36(1-2), 36-47, Routledge, DOI: 10.1080/07494467.2017.1370793.

Conference Publications

  • Hope, C., (2017), Reading 'Free Music:' Adapting Percy Grainger's 'Free Music' Scores for Live Performance. Proceedings of the 2015 WA Chapter MSA Symposium on Music Performance and Analysis, 140-152, Perth, Australia, Western Australian Chapter of the Musicological Society of Australia.
  • James, S., Hope, C., Vickery, L., Wyatt, A., Carey, B., Fu, X., Hajdu, G., (2017), Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore. Proceedings of the Third International Conference on Technologies for Music Notation and Representation (TENOR) 2017, 171-181, A Coruña, Spain, UCD Press.
  • Hope, C., James, S., Wyatt, A., (2016), Headline grabs for music: The development of an iPad score generator. Proceedings of the 16th International Conference on New Interfaces for Musical Expression, 375-376, online only, Queensland Conservatorium Griffith University.
  • Goh, T., Hope, C., (2016), Regional Western Australia and Sound Art: A survey of works by Alan Lamb and Ross Bolleter. Sound Scripts Volume 5, 5(21 May 2015), 24-32, Ultimo, New South Wales, Australian Music Centre.
  • Travers, M., Hope, C., (2016), We Could Play That Last Century: Archiving Digital 20th Century Digital Performing Arts in Western Australia. Sound Scripts Volume 5, 5(21 May 2015), 15-18, Ultimo, New South Wales, Australian Music Centre.
  • Hope, C., Terren, M., (2016), The Possibilities of a Line: Marking the Glissando in Music. Tenor 2016, 2(27-29 May, 2016), 176-180, Cambridge, UK, Anglia Ruskin University.
  • Travers, M., Hope, C., (2015), Who wants a trautonium must build one. Proceedings of the 2015 Conference of the Australasian Computer Music Association, 64-68, Australasian Computer Music Association.
  • Terren, M., Hope, C., (2015), Map-Making Towards an Onto-Cartography of the Digital Audio Workstation. Proceedings of the Annual Conference of the Australasian Computer Music Association, 112-118, Australasian Computer Music Association.
  • Green, L., Hope, C., Stevenson, K., Mahoney, T., (2015), Archiving the new, now, for future users yet unknown. ANZCA Conference Proceedings 2015, 11p., Australian and New Zealand Communication Association.
  • Hope, C., Vickery, L., (2015), The Decibel Scoreplayer - a Digital Tool for Reading Graphic Notation. TENOR 2015: International Conference on Technologies for Music Notation and Representation, 59-69, Paris, Institut de Recherche en Musicologie.
  • Hope, C., Wyatt, A., Vickery, L., (2015), The Decibel ScorePlayer: New Developments and Improved Functionality. Proceedings of the 41st International Computer Music Conference ICMC 2015, 314-317, San Francisco, United States of America, International Computer Music Association.
  • Travers, M., Hope, C., (2014), W(h)ither Trautonium?. Digital Humanities Australasia 2014 conference full proceedings, 3p, Australasian Association for Digital Humanities.
  • Green, L., Mahoney, T., Hope, C., Mackinney, L., (2014), Publishing an archive: A meta-narrative of (be)longing. Proceedings of the Australian and New Zealand Communication Association Annual Conference, 2014, 1-15, ANZCA.

Non-Traditional Research Outputs

  • Hope, C., (2016), Great White - score. Great White, Hochschule für Musik und Theater, DAAD exchange program.
  • Hope, C., (2016), Very Low Frequency Tones - Shadow, Tone Being, Majority of One, Pure. Chamber Works Pacific Rock and others, Sydney Conservatorium of Music, Tura New Music.
  • Vickery, L., Hope, C., James, S., Wyatt, A., (2016), Decibel: Deutscher Akademischer Austauschdienst/Universities Australia Exchange with Hochschule fur Musik und Theatre. Decibel DAAD/Universities Australia Exchange with HfMT (Hamburg), Hochschule fur Musik und Theatre, Decibel.
  • Hope, C., (2015), Her Pockets Full of Inertia (composition)., Premiered at Canberra School of Music, C Hope.
  • Hope, C., (2015), Dynamic Architecture 1 (composition)., Composed for Mark Cauvin, C Hope.
  • Hope, C., Kanga, Z., (2015), Fourth Estate (composition). Dark Twin, The Melbourne Recital Centre, Sydney Conservatorium, Art Gallery of WA, Zubin Kanga.
  • Hope, C., (2015), Erst (composition). Anime, Perth Institute of Contemporary Arts, Tura New Music.
  • Hope, C., (2015), Sub Aerial (composition)., New Music Beauty Queen, Melbourne, and PICA, The Sound Collectors.
  • Hope, C., (2015), Tension Lines (composition). Anxious Objects, Moana Art Gallery, Perth, Kate McMillan.
  • Hope, C., James, S., (2015), Feather. Akousmatikoi Concert (Totally Huge New Music Festival), WA Museum Foyer, Tura New Music.
  • Hope, C., (2015), Pulupe Strings (composition). Sweet Tribology, Paris, France, Julia Drouhin.
  • Hope, C., (2014), Wall Drawing. Music for Strings and iThings, ABC Studio, Adelaide.
  • Hope, C., (2014), Broken Approach., ABC Studio, Brisbane.
  • Hope, C., (2014), The End of Abe Sada. The End of Abe Sada, Perth, W.A., PICA Press.
  • Hope, C., (2014), Art Calls (composition). Art Calls, GOMA, Brisbane.
  • Hope, C., (2014), Lupara Bianca. Shock of the New Festival, Spectrum Project Space.
  • Hope, C., (2014), Chrome Arrow. Digital Arts - Introduction to New Media book launch, Bon Marche Studio, University of Technology, Sydney.
  • Hope, C., (2014), Signals Directorate. vs. Interpretation Festival, Skolska 28 Gallery, Cech Republic.
  • Hope, C., (2014), Tough it Out (composition). After Julia, ABC Ultimo Centre, Sydney.
  • Hope, C., (2014), Jimmy Rosenberg and an Italian Connection to the Birth of Violin Metal. Rosenberg 3.0 not violin music, 88-96, Australia, The Rosenberg Museum.
  • Hope, C., (2014), The End of Abe Sada (installation). What I See when I look at Sound, Perth Institute of Contemporary Arts, Perth Institute of Contemporary Arts.
  • Hope, C., (2014), The End of Abe Sada (piece). What I See When I Look At Sound, PICA.
  • Hope, C., McMillan, K., (2014), The Moment of Disappearance (installation). Buruwan, Carriageworks, Sydney, The Performance Space.
  • Vickery, L., Hope, C., James, S., Devenish, L., (2017), Decibel Electronic Concerto. Electric Concerto, PICA performance Space, Perth WA., Tura New Music.
  • Hope, C., James, S., (2017), Speechless., Vitalstatistix, Port Adelaide, South Australia, Tura New Music (Annalisa Oxenburgh).
  • Vickery, L., James, S., Wyatt, A., Boynes, L., Hope, C., (2016), Decibel Tokyo Wonder Site Residency. Decibel: Tokyo Wonder Site Residency, Tokyo Wonder Site, Tokyo Wonder Site.
  • Hope, C., (2016), Trigger Warning - sound element. Trigger Warning, Perth Institute of Contemporary Arts, Performing Lines.
  • Hope, C., Vickery, L., James, S., Wyatt, A., Parr, T., Tonkin, C., Devenish, L., (2016), Intermodulations: A homage to Roger Smalley. Scale Variable New Chamber Music, Concert 1: Intermodulations, State Theatre Centre, Northbridge, WA, Tura New Music.
  • Hope, C., Vickery, L., James, S., Wyatt, A., Parr, T., (2016), Decibel - Chance Figurations. Chance Figurations: Japan, Tokyo WonderSite, Hyongo, ICLA, Yamanashi University, Kofu, Kunitachi University, Tokyo Metropolitan University, Japan.
  • Hope, C., James, S., Wyatt, A., Vickery, L., Parr, T., Cahnam, N., (2016), Decibel - Cissie Tang - The Light that was Waiting. Peggy Glanville-Hicks Address: Nicole Canham - The Poetry of the Present, State Library of Western Australia Lecture Theatre, Tura New Music, Peggy Glanville Hicks Address.
  • Hope, C., Vickery, L., Parr, T., Wyatt, A., James, S., Devenish, L., (2015), Loaded [NSFW] by Laura Jane Lowther. After Julia, Perth Institute of Contemporary Arts, Tura New Music/Difficult Listening.
  • Hope, C., Vickery, L., James, S., Parr, T., Wyatt, A., Robinson, C., (2015), Occam Ocean Hexa II. Occam: The Music of Eliane Radigue, Perth Institute of Contemporary Arts, Tura New Music.
  • Hope, C., Hayward, R., Cauvin, M., James, S., (2015), The Obvious Foundation by Robin Hayward. Sound Unbound: Music from visitors - Robin Hayward, Spectrum Project Space, DAAD Germany.
  • Hope, C., Vickery, L., James, S., Devinish, L., Parr, T., Wyatt, A., (2014), Decibel: Free Music No. 1 and No. 2. Reading Free Music, The Percy Grainger Museum, Melbourne, The Percy Grainger Museum.
  • Hope, C., (2014), The Low Grooms #3. Laydz in Noyz, The Old Bar, Melbourne.
  • Hope, C., Vickery, L., James, S., Devinish, L., Parr, T., Wyatt, A., (2014), After Julia - Decibel. After Julia, Eugene Goosens Hall, Sydney, ABC Classic FM.
  • Hope, C., Vickery, L., James, S., Parr, T., Wyatt, A., (2014), Art Calls. Art Calls, Skype.
  • Hope, C., (2014), Fetish 25. Pretty Gritty, 107 Projects, Redfern, Sydney, Gail Preist.
  • Hope, C., (2014), Fetish 26. Art Bar, Museum of Contemporary Arts, Sydney.
  • Hope, C., Perrier, L., (2014), Crion (with Laurent Perrier). Quartz Session, Club 56, Paris, Quartz.
  • Hope, C., Vickery, L., James, S., Devinish, L., Parr, T., Wyatt, A., (2014), The Making of The Moment of Disappearance. Buruwan, Carriageworks, Sydney, The Performance Space.
  • Hope, C., Ockelford, K., McMillan, K., May, D., (2014), Making music for The Moment of Disappearance. The making of The Moment of Disappearance, Rivoli Ballroom, East London.
  • Hope, C., (2017), Sounding Art - Beyond Music Notation, Beyond Art. Sounding Art, Packenham Street Art Space, Fremantle, Western Australia , TURA New Music.
  • Hope, C., (2015), Anime (curatorial & performance aspects). Scale Variable, Perth Institute of Contemporary Arts, Tura new music.
  • Hope, C., (2014), After Julia. After Julia, Euguene Goosens Hall, ABC Centre, Sydney, ABC Classic FM.

Reports

  • Powell, R., Ryan, M., Lambert, C., Cooper, T., Giles, M., Hope, C., (2016), Report for WA Music: Preliminary Economic Impact of the Music Industry in WA., Joondalup, WA, Edith Cowan University.

Research Student Supervision

Principal Supervisor

  • Master of Arts (Creative Arts),  THE MAKING DISGRACE KELLY: DRAGGING THE DIVA THROUGH CABARETS, PUBS AND INTO THE RECITAL HALL
  • Master of Arts (Performing Arts),  CREATING AND PERFORMING NEW AUSTRALIAN WORKS ON THE HUNGARIAN CONCERT CIMBALOM.
  • Master of Arts (Performing Arts),  TOWARDS AN INTERACTIVE ENVIRONMENT FOR THE PERFORMANCE OF DUBSTEP MUSIC.
  • Doctor of Philosophy,  MUSIC IN SITE: INTEGRATING ELEMENTS OF SITE-SPECIFICITY INTO COMPOSITION
  • Master of Arts (Performing Arts),  SELF-ACCOMPANIMENT AND IMPROVISATION IN SOLO JAZZ PIANO: PRACTICE-LED INVESTIGATIONS OF ASSIMILATION, OSTINATOS AND 'HAND SPLITTING'
  • Doctor of Philosophy,  SPECTROMORPHOLOGY AND SPATIOMORPHOLOGY: WAVE TERRAIN SYNTHESIS AS A FRAMEWORK FOR CONTROLLING TIMBRE SPATIALISATION IN THE FREQUENCY DOMAIN
  • Doctor of Philosophy,  PEDAGOGY IN PERFORMANCE: AN INVESTIGATION INTO DECISION TRAINING AS A COGNITIVE APPROACH TO CIRCUS TRAINING.

Associate Supervisor

  • Doctor of Philosophy,  BURY ME DEEP IN ISOLATION: A CULTURAL EXAMINATION OF A PERIPHERAL MUSIC INDUSTRY AND SCENE.
  • Doctor of Philosophy,  RONALD STEVENSON, COMPOSER-PIANIST: AN EXEGETICAL CRITIQUE FROM A PIANISTIC PERSPECTIVE.
  • Doctor of Philosophy,  SIGHTING CIRCUS: PERCEPTIONS OF CIRCUS PHENOMENA INVESTIGATED THROUGH DIVERSE BODIES.
  • Doctor of Philosophy,  WHAT REMAINS IS THE BOOK: THE IDEA OF THE BOOK IN AND AROUND ELECTRONIC SPACE
  • Master of Arts (Creative Arts),  AN INVESTIGATION INTO THE USE OF VISUAL STIMULI WHEN PERFORMING SPECTRALLY DIRECTED COMPUTER MUSIC.
Skip to top of page