Pozzi Escot

... is co-author of the acclaimed Sonic Design: The Nature of Sound and Music and Editor-in-Chief of the international journal Sonus, founded in 1980 and reviewed as the best music journal in the USA.

A graduate of the Juilliard School and the Musikhochschule- Hamburg, Escot is a Professor at the Graduate School, New England Conservatory. A much sought after lecturer in the interdisciplinary studies of music, Escot has recently been invited to speak at Columbia, Princeton, Chicago, Harvard, Illinois-Urbana, University of London, Darmstadt Music Institute, the SIdAM of Italy, Edinburgh, Rice, Carnegie Mellon, University of Oregon-Eugene, Bates, Grinnell, Wabash, Central, Linfield Colleges.... As a composer, the foremost American critic Virgil Thomson regards her as "the most interesting and original woman composer now functioning."

In 1975 Escot was chosen as one of the five remarkable women composers of the twentieth century. In that year the New York Philharmonic Orchestra premiered her Fifth Symphony, Sands (1965). Critics around the world have praised her compositions:

"A striking new appearance was made by Escot; the instrumental mosaics, the strange syllables and words are obviously rooted in genuine musicality and join in a really moving work, Lamentus (1962)."
Suddeutscher Zeitung

"Composer offers unusual sounds, in the first performance of Cristhos (1963), Escot exploited brilliantly unfamiliar timbres."
"With extreme care and economy in placing every fraction of a sound (Three Poems of Rilke, 1959) immense excitement was created."
The New York Times
"Interra II (1980) pulses with the beauty and excitement of mathematics."
The Philadelphia Inquirer
"Sands turned out to be an arresting composition, as direct as some of Xenakis most formidable mathematical constructions. As Messiaen once observed of Achoripsis, 'Les calculus prealables a s'oublient completement a l'audition, le resultat sonore est une agitation delicatement poetique, ou violemment brutale'."
The New Yorker
"Sands is a fascinating study in textural contrast and interplay."
Washington Post
"The striking notation of Neyrac Lux (1978) depicts quite vividly an image of structure created so as to admit any number of equivalent sonic representations. It is a formidable vision of abstraction and of that sense of universality which such abstraction engenders."
Interface
"Escot is a composer, theorist, author, and professor. Added to these disciplines is her passion for philosophy, physics, and mathematics. She captures the renaissance spirit in devotion to her work. She manufactures from her imagination sound rooted in the tradition of Mozart, disciplined by Da Vinci, and vitalized by the moderns. Escot is a genius"
The Christian Science Monitor

Escot is the principal exponent of the relationship between music and mathematics. Author of over 30 published articles developing and discussing this aspect of music, her recently published book The Poetics of Simple Mathematics in Music has already sold over 5000 copies. Her works are recorded on Delos, Neuma, Spectrum, Leo, Music & Arts, and Centaur and are published by Publication Contact International.