{"id":14,"date":"2015-08-13T15:37:29","date_gmt":"2015-08-13T23:37:29","guid":{"rendered":"https:\/\/catherinemlee.com\/site\/?page_id=14"},"modified":"2026-06-02T18:20:28","modified_gmt":"2026-06-03T02:20:28","slug":"research","status":"publish","type":"page","link":"https:\/\/www.catherinemlee.com\/site\/research\/","title":{"rendered":"Discography\/Research"},"content":{"rendered":"\n

Recordings<\/strong><\/p>\n\n\n\n

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Catherine Lee, Remote Together<\/a>. Redshift Records TK489. 2021. CD.<\/p>\n\n\n\n

* NOMINEE CLASSICAL ALBUM OF THE YEAR (SOLO ARTIST) | ALBUM CLASSIQUE DE L\u2019ANN\u00c9E (SOLO) 2022 JUNO AWARDS<\/h4>\n<\/div><\/div>\n\n\n\n

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Roscoe Mitchell with Ostravaska Banda – Distant Radio Transmission. Also: Nonnah Trio, Cutouts for Woodwind Quintet and 8.8.88. Wide Hive Records<\/a>. 2020. CD\/LP.<\/p>\n<\/div><\/div>\n\n\n\n

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Catherine Lee, social sounds<\/a>. <\/span>Teal Creek Music 2305. 2013. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Catherine Lee & Matt Hannafin, Five Shapes<\/a>: Improvisations for Oboe d’amore and Percussion. Bandcamp. 2015. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Extraditon Ensemble. ex.tra.di.tion Plays Corner: Parte II<\/a>. Bandcamp. 2026. CD<\/p>\n<\/div><\/div>\n\n\n\n

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Extradition Ensemble. Malcom Goldstein – The Seasons: Vermont.<\/a> Bandcamp. 2025. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Cinema’s First Nasty Women Soundtrack Vol. 1<\/a>,  Ventilateur Brevete\u0301 (New Air Fan) Composer and Performer, 2023. CD<\/p>\n<\/div><\/div>\n\n\n\n

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Extradition Ensemble. ex.tra.di.tion Plays Corner<\/a>. Bandcamp. 2023. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Cinema’s First Nasty Women<\/a> DVD\/Bluray. Composer and Performer Soundtrack for Ventilateur Brevet\u00e9 (New Air Fan), Kino Lorber, 2022.
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Redshift Music, Redshift XX<\/a>. Bandcamp. 2022. CD<\/p>\n<\/div><\/div>\n\n\n\n

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Douglas Detrick, Glass Songs EP<\/a>. Bandcamp, 2021. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Julian Snow, Nooks, “Red Eyes, Green Lion\u2019s Teeth, Golden Heads”. <\/em>Bandcamp, 2020. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Gretchen Jude, The Hights<\/a> 2015 – 2020. Bandcamp, 2020. CD<\/p>\n<\/div><\/div>\n\n\n\n

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Golden Retriever, Rotations<\/a>. Thrill Jockey. 2017. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Doug Theriault, Compositions<\/a> <\/span>\u201cThe echo of the mind\u201d and \u201cMr. Taylor\u201d. Bandcamp, 2014. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Lisa Marsh, Along the Road<\/a> “Songs for Love and Life”. 2014. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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John Gruntfest and Megan Bierman, The Raven Big Band Buddha Mind Ensemble.<\/a> Live at the Improvisation Summit of Portland. 2012. CD.<\/p>\n<\/div><\/div>\n\n\n\n

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Books<\/strong><\/p>\n\n\n\n

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2025 Score “Spirals” in A Year of Deep Listening: 365 Text Score for Pauline Oliveros<\/a>, ed. Stephanie Loveless<\/p>\n<\/div><\/div>\n\n\n\n

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2016 With Tomie Hahn, George Blake, Louise Campbell, et al. “Banding Encounters-Embodied Practices in Improvisation.” In Negotiated Moments: Improvisation, Sound and Subjectivity<\/em>,<\/a> ed. Gillian Siddall and Ellen Waterman.<\/p>\n<\/div><\/div>\n\n\n\n

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Book Chapter: 2015 <\/span>\u201cReeds: Play within Shared Authority\u201d. In Interdisziplinare Studien zur Musik<\/em>,<\/a> ed. Taina Riikonen and Marjanna Virtanen, 157\u2013172. <\/span><\/p>\n<\/div><\/div>\n\n\n\n

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 Selected Journal Articles and Conference Presentations<\/strong><\/p>\n\n\n\n

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2020 “Dialogues with\/in Emily Doolittle’s Social Sounds<\/em>“. Journal of the International Alliance for Women in Music, 26 (1): 7\u201311.<\/p>\n<\/div><\/div>\n\n\n\n

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2018 “Musicians as Movers: Applying the Feldenkrais Method to Music Education.” In Music Educators Journal<\/a>, 104 (4): 15\u201319.<\/p>\n<\/div><\/div>\n\n\n\n

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2010 \u201cThe Language of the Oboe Virtuoso in the Late Eighteenth Century: Part III. Johann Christian Fischer and Conclusion.\u201d The Double Reed<\/span>, 33 (3): 105\u2013113.<\/p>\n<\/div><\/div>\n\n\n\n

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2009 \u201cThe Language of the Oboe Virtuoso in the Late Eighteenth Century: Part II. August LeBrun.\u201d The Double Reed<\/span>, 32 (4): 73\u201384.<\/p>\n<\/div><\/div>\n\n\n\n

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2009 \u201cThe Language of the Oboe Virtuoso in the Late Eighteenth Century: Part I. Introduction and Carlo Besozzi.\u201d The Double Reed<\/span>, 32 (3): 67\u201375.<\/p>\n<\/div><\/div>\n\n\n\n

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Lecture\/recital, \u201cDialogues with\/in Emily Doolittle\u2019s Social Sounds\u201d  <\/span>Ecomusics & Ecomusicologies 2014: Dialogues, University of North Carolina Asheville (Asheville, North Carolina), 2\u20136 October 2014<\/p>\n\n\n\n

Lecture\/recital, \u201cThe Role of Improvisation in the Development of the Voice of the Performer in Rafales<\/span> by J\u00e9r\u00f4me Blais.\u201d  Guelph Jazz Festival Colloquium, University of Guelph (Guelph, Ontario), 8\u201310 September 2010<\/p>\n\n\n\n

Lecture\/recital, \u201cVoices in Conversation: An Oboist\u2019s Exploration of the Oboe Works of J. C. Fischer (1733\u20131800).\u201d Performer\u2019s Voice: An International Forum for Music Performance and Scholarship, Yong Siew Toh Conservatory of Music (Singapore), 29 October\u20132 November 2009<\/p>\n\n\n\n

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Recordings Catherine Lee, Remote Together. Redshift Records TK489. 2021. CD. * NOMINEE CLASSICAL ALBUM OF THE YEAR (SOLO ARTIST) | ALBUM CLASSIQUE DE L\u2019ANN\u00c9E (SOLO) 2022 JUNO AWARDS Roscoe Mitchell with Ostravaska Banda – Distant Radio Transmission. Also: Nonnah Trio, Cutouts for Woodwind Quintet and 8.8.88. Wide Hive Records. 2020. CD\/LP. Catherine Lee, social sounds. Teal Creek…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-14","page","type-page","status-publish","hentry","no-post-thumbnail","post-grid-3-col","entry"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P6Tisn-e","_links":{"self":[{"href":"https:\/\/www.catherinemlee.com\/site\/wp-json\/wp\/v2\/pages\/14","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.catherinemlee.com\/site\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.catherinemlee.com\/site\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.catherinemlee.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.catherinemlee.com\/site\/wp-json\/wp\/v2\/comments?post=14"}],"version-history":[{"count":9,"href":"https:\/\/www.catherinemlee.com\/site\/wp-json\/wp\/v2\/pages\/14\/revisions"}],"predecessor-version":[{"id":1963,"href":"https:\/\/www.catherinemlee.com\/site\/wp-json\/wp\/v2\/pages\/14\/revisions\/1963"}],"wp:attachment":[{"href":"https:\/\/www.catherinemlee.com\/site\/wp-json\/wp\/v2\/media?parent=14"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}