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Cindy Cox is an American composer born in 1961. Her work has received national acclaim. Her "post-tonal" musical language from acoustics, innovations in technology, harmonic resonance, and poetic allusion. Naturally unfolding through linked strands of association, timbral fluctuation, and cyclic temporal processes, her compositions synthesize old and new musical designs.

As Robert Carl notes in Fanfare, "Cox writes music that demonstrates an extremely refined and imaginative sense of instrumental color and texture…This is well-wrought, imaginative, and not easily classifiable music." Her work, always engaged with novel approaches to sound and instrumental color, combines with formality "to yield great depth of meaning and a playful appeal" (NewMusicBox, American Music Center). In the San Francisco Chronicle, Joshua Kosman writes "as always with Cox's work, there's a layer of ingratiating charm that makes the music a delight to listen to".

Cox's music is noted for its special tunings, harmonies, and textural colorations, such as the new viola and piano work Turner and the piano trio la mar amarga. Her pieces also frequently make use of technology, as in the amplified sextet with digital effects Axis Mundi, and the trombone quartet and interactive electronic work Nature is. Many of her compositions are for solo piano, and as a pianist she has performed and recorded her new Sylvan pieces, the Hierosgamos, and The Blackbird whistling/Or just after. The newer texted works, such as Singing the lines (recently premiered by Lucy Shelton and the Berkeley Contemporary Chamber Players) and The Other Side of the World for flute and electronics evolved through long association with her husband, poet John Campion.

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