:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Kim Walker

Kim Walker is a Scottish artist working with sound, video, installation and new media. She gained her MFA in Studio from SAIC (School of the Art Institute of Chicago) and her BA (Hons) Time Based Art from DJCAD (Duncan of Jordanstone College of Art and Design). Kim also holds a PgDip in Library and Information Studies from the University of Strathclyde. Kim is a member of 26 Collective and with artist Jim Ewen, is a director of the creative non-profit company All In Ideas. www.kimwalkerart.co.uk

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

A composition of field recordings gathered in Moray, Scotland.

“My work has naturally moved towards exploring pathos surrounding the concepts of seriousness, the mundane, nonsense, failure, success and humour. This has been achieved through a continued focus on the human condition and behaviours of gaming, playfulness, amusement and isolation. I create settings in which the mundane and the playful, ordinary gesture can suddenly invoke existential and poetic meanings. My engagement with the world around us comes from an observatory position – this gaze looks towards human interactions, the natural word and the spaces in between these two sites.”

Maria Marzaioli

Maria Marzaioli is a Musician/Composer MariaMarzaioliSoundcloud

“As an artist I am interested in sonic and musical representations of the landscape around us – both the natural and built environment. Through sound, my work seeks engagement with the phsyical world in alternative ways and encourages people to explore and (re)evaluate their relationship with place and space differently.”

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

“This work was conceived as a score, giving a set of instructions to be followed for a journey of your own choosing that is to be repeated on the hour, every hour for 24 hours. The piece of music ’24 hours in 12 minutes’ is created from the recordings made on the journey I chose, following those instructions.”

 

 

“The piece is made up of multiple acts of repetition, physically walking the same path repeatedly and recording at the same places for set durations of time. The use of contact mic as well as ambient recording in this piece was important; I wanted to hear the hidden sounds of these places, to understand them more fully and discover their secret life. The creating of this piece was also motivated by the desire to know familiar places in sound more completely, hear the different sounds carried within and resonating through each location at different times of the day and night. It is an act of discovery and exploration, ritual and demystification…”

“The score forced me to confront my own sense of safety as a woman in public places at night. i wanted to be able to reclaim these spaces for myself, make them safe and interact with them without fear.” Quotes from Supporting Statement

 

Rachael Finney

Rachael Finney is an artist and lecturer based in London.  Working primarily with sound, video and performance her work explores the material qualities of voice. She is currently undertaking her PhD within the department of Visual and Aural Culture at Goldsmiths College where her research focuses on phenomenology and vocal multiplicity. www.rachaelfinney.com

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

“Interested in voice and repetition Dining Room (2014) explores the performative formation of collective utterance from a singular subject. While walking the parameter of her parents recently vacated dining room the artist simultaneously utters and records a singular, flat note. This single note is echoed back into the space through an amplifier at the same moment a new note is being uttered. This action is repeated until a full circle of the space has been completed.  As the constant looping of the utterance occurs the listener is presented with an ever- increasing echo. This echo slowly and consistently smothers the embodied utterance leaving a new acoustic object in its place…” Supporting Statment

Caroline Park

Caroline Park is a composer, musician, and artist working within the minimum in experimental electronic music. www.blanksound/org

“Echo, subversive difference, and repetition all play core roles in the way I create music. As a sound-artist and composer, I find that having less direct control in both performing and in composing allows me to listen much more deeply, with a greater sense of awareness of space and how sound can color it and non-aggressively explore a given space’s physical perimeter. The manner in which I let go of this control is through chance. My work is quite minimal — I work within the minimum — and by both limiting myself with specific constraints and juxtaposing a specific curation with chance procedures, the resultant work emerges simultaneously focused and open. I tend to listen and explore rather than take charge…”

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

OTO – “I began exploring “stock” MIDI piano sound with systems of very fast and/or changing rates programmed in Max/MSP. I found that these fast rates would produce expansive, blurred, organic textures — a digital, yet semi-natural resonance from the sound of MIDI piano. OTO allowed me to explore particular pitch combinations through such extreme rate-processing, the minimal pitch material acting as a portal into these simple and profound systems.”

“There is actually no such thing as repetition — every instance is a new one, our minds are not exactly the same as when we heard one iteration from the next. Our minds are constantly changing, time is perpetually in motion, space changes. I am interested in continuity via repetition, and often wonder what it means to become a “constant signal”. To me, a constant signal suggests so much of a micro-action, repeating over and over again, to give the sense that it is in motion, like frames of a film.” Supporting Statement.

 

Ingrid Plum

Ingrid Plum is a Brighton-based Composer/Musician www.ingridplum.com

“I find that feminist context emerges as part of my practice through my eschewing of boundaries that would be projected upon my choice of roles, rather than by making work that individually and specifically addresses feminist issues… I do not usually frame my work as feminist in itself. I am a feminist who makes work and my practice infers these issues – not by addressing them directly by subject, but by making work that exists despite and in spite of any gender gap that would deny me a contextual space for my work.”

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

“I followed Alvin Lucier’s example in ‘I am sitting in a room’, using the piano instead of a room and Nils Frahm’s ‘Mi’ as the source…I set up 2 Neumann 183 microphones to capture the sound of a Yamaha C6 grand piano with the sustain pedal weighted to form a reverb unit. I played the track on speakers aimed at the piano, and recorded this with the reverb from the piano. I repeated this with each new recording and the layers of reverb added obscured the notes played in the original. After 15 repetitions I ended up with this version comprising of the last few repetitions layered, which I have played with so that the feedback from the higher harmonics is not uncomfortable to listen to.

“There is something to be said about a woman taking on the role of producer and remixing a male artist’s work. Remixes tend to be done more often by men, and I often get a reaction of surprise that I would assume the role of remixing & producer, as you need the confidence in your ability to believe you can bring something new, reimagine or improve someone’s work. I’ve used the piano, his instrument, to both transform his piece and remove the sound of his performance so his actions as a performer are a trigger for my choices in process & production.” Supporting Statement.

Johanna Bramli

“Johanna Bramli is a sound artist, performer and composer dealing with sensory perception, spaces and audience interaction. She is a founding member of the Metahub, an interdisciplinary platform for international, real-time, artistic and cultural meta-communication. Since 2000, she has been a professional musician performing, recording and touring internationally in a variety of pop, rock and electronic acts.

Additionally, Bramli works as a lecturer in Music Performance and Composition for Media for the Foundation Degree and BA courses at Northbrook College, Worthing (partner of University of Brighton) sharing her study and practice in experimental composition, multi-disciplinary arts and performance, and installations-based work”. www.johannabramli.com

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

‘Atom is an 8-channel surround piece (the attached audio is a stereo version) based on two fundamental sound sources; the human voice and the sine wave – one organic, one processed. These sounds merge into one another, highlighting their commonalities, yet their differences. The ethereal textures of the vocal harmonies gradually turn into low drones that have more oppressive sonic qualities and reveal a darker undertone to the whole piece. The vocal harmonies come back in the third section, accompanied by an ordered repetitive count to 4 that give authority whilst retaining the initial softness of the opening section. In the 8-channel version of Atom, these gradually building sonic textures surround the audience, creating a sense of immersion and meditation. It is written so that it can be indefinitely looped as part of an installation (which is how it was performed in the past).’ Quote from Bramli’s supporting statement.

Sylvia Hinz

Sylvia Hinz“Berlin artist Sylvia Hinz is an Instrumentalist, Conductor, Teacher and Founder of the ensembles XelmYa, UMBRATONO, the bewitched project and Syl’Cor. An expert on Contemporary Music and Improvisation, Hinz studied recorder, experimental music, chamber music and ensemble-leading – and is now working within contemporary improvisation”. www.sylviahinz.com

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

[Bass Recorder, breath, voice, tongue. Recorded on Zoom H4n]

‘Windsarie describes my preoccupation with the topics of wind and breath. Growing up near the coast, I always loved the sounds of wind and the storms. I began playing the recorder aged seven and have had a focus on breath (breathing sounds) and wind noises ever since’ Quote from Hinz’s supporting statment

Caterina Barbieri

“Caterina Barbieri (b.1990, Bologna, Italy) is a composer and performer of electroacoustic music. Mostly interested in modular synthesis, three-dimensional spatialisation and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms, microtonality and the polyrhythm of harmonics, on the boundary between drone, minimalism and techno in multichannel systems.

Her minimalistic focus is rooted in the exploration of the stratigraphic potential of voltage-controlled synthesizers, in terms of polyrhythm and polyphony.
Synthesis, texture-based forms and immersive listening are three fundamental conditions for her to enhance an advanced cognitive and auditory art, not based on extrinsic links but solely built on the experience of the spectrum, able to develop our very limited ability of perceiving the vertical domain of music, involving us in a holistic way.” www.caterinabarbieri.com

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

Undular is an eight-channel piece composed by Caterina Barbieri. All sounds derive from a Buchla Modular System with almost no digital processing.

‘…Immersive listening experiences with multichannel systems greatly advance our cognitive and auditory comprehension of music. After a certain exposure to the sounds, the spectral spaces underlying the fundamental tones, at first almost ‘inivisible’, come to our consciousness, enlighting an hidden perceptive dimension, that may not be specified in a score but still exists in the mind and in the body of the listener. Such a listening process may enlighten the listener to live the music as an infinitely changing experience (not only as a form), where she/he takes an active position, even a performative role. One can investigate the density of the harmonics and the secrets of their variations in time. One can move the skull horizontally and vertically to evaluate how the perception of the spectrum varies in space; cranial movement offers alternative aural perceptions due to the filtering, phasing and reflection’s phenomena depending on the angular incidence of the wavefronts on one’s ears.’ Quote from Barbieri’s supporting statment

Mirjam Tally

“Sound is central in Tally’s creations. Her music is a flow of playful contrasts where a sense of humour and poetic use of sound are blended to mix. Beside writing works for contemporary music scene, she is active as a film composer. Her earlier works are mainly for chamber ensembles and electronics. In recent years, importance of orchestral music has increased in her oeuvre. Sometimes she uses elements of jazz, folk and pop, Nordic or exotic instruments (Estonian kannel, didgeridoo, tanpura, accordion and others) and treats sound material with a modernist open mind.

She has graduated from the Estonian Academy of Music as a student of Lepo Sumera in 2000. Since 2006, Tally lives on the island of Gotland, Sweden. In 2009-2010, she was Composer in Residence at Swedish Radio P2 channel. Since 2012, her orchestra works are published by Gehrmans Musikförlag.” www.mirjamtally.com

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

Breathe (2005) is realized at Visby International Centre for Composers, in Studio Alpha and it was part of the NOMUS scholarship. This work was premiered at Dark Music Days festival on Iceland in 2006. I have used pre-recorded flute sounds (mostly tongue-ram’s and breathing inhale/exhale) which I have processed in Pro Tools (mostly using transpose and reverse). These original flute sounds are recorded with Estonian flutist Monika Mattiesen at the electroacoustic studio of Estonian Academy of Music.

* CALL FOR SUBMISSIONS *

Calling for submission of work from female Sonic Artists for a paper entitled ‘Ekho :: Toward a Repetitive Sounding of Difference’. The paper will be analysing Echo as an original sound, combining Sound Studies and Feminist theories. All works will be included in the archive alongside an artist profile.

We are particularly interested in hearing from artists working in areas of drone, deep listening, minimalism, field recording, sound spatialisation and noise – but welcome any submissions. Supporting statements are encouraged discussing the ways in which your work, or your identity as a female Sonic Artist, responds to the themes of Echo / Subversive Difference / Difference and Repetition.

Please see below or email for further details.

DEADLINE :: 23rd Oct [/Submissions before this date are appreciated]

Submissions and questions to :: ekhofemalesound@hotmail.co.uk
Ekho Submissions

CTM Festival – Sound, Gender, Technology

Sound, Gender, Technology  CTM Festival 01/02/14 Berlin

‘Where to’ with Cyberfeminism? : Dis Continuity

Lectures and panel discussion: Sadie Plant, Marie Thompson, Fender Schrade, Susanne Kirchmayr, Moderation: Annie Goh

‘…Taking root from an abstract ontological level, in which binary categories of sex and gender have long been refuted (biologically as well as culturally), the panel aims to assess the interactions between sound, gender and technology from various philosophical and artistic positions. The widely discussed “cyberfeminism” borne in the early 1990s questioned the perpetuation of technology as male-dominated domain, whilst also inciting digital culture as an ideal flourishing ground for subversive strategies. Though the relationship of this purported digital utopia never largely or explicitly addressed sound, it shares dimensions in its affective power as well as non-linear, decentralized and un-hierarchical characteristics.

Approximately two decades since cyberfeminism boomed – how can we assess the cyberfeminist dream of the subversive potentialities within technology in the current status quo? How does an inquiry into the nature of sound tally to the broader aims of cyberfeminism? Does a gendered understanding of technology and sound technologies help the dismantling of the structures that form sound, gender, and technology today, or does it perpetuate these? Referring to both levels of feminist activism and feminist theory outlined above, as well as the dual tendencies within cybernetics towards order and chaos at the core of cyberfeminism – what can be identified as continuity and discontinuity in the structures of sound, gender and technology?’ CTM

Sophie Germain – Plate Vibrations

‘Germain (1776-1831) was a French mathematician who studied plate vibrations. She won a prize from the French Academy of Sciences for developing a theory to explain the vibration of flat and curved plates.

Bowing_chladni_plateBowing Chladni Plate

Her biography in the Encyclopedia Britannica notes,she worked on generalizations of her research but, isolated from the academic community on account of her gender and thus largely unaware of new developments taking place in the theory of elasticity, she made little real progress.’ (post c. Trevor Cox

Sarah Angliss

‘A composer, multi-instrumentalist, roboticist and sound historian. Sarah’s work explores her obsessions with defunct machinery, faded variety acts and European folklore.

Sarah-Angliss-Spacedog-and-Hugo-photo-Gaynor-Perry

Sarah’s music mixes her own software patches (using Max/MSP, Supercollider, PRAAT and other tools) with her samples, field recordings and live performance on theremin, saw, recorder, waterphone, keyboard,  handbells and other instruments. On stage, she’s often accompanied by musical automata – machines she’s been devising and building since 2005 as she’s been seeking a more theatrical alternative to the laptop, sampler and loop pedal.

 

About “The Bows” (SEE BELOW) Angliss says: “This is an interpretation of a London folksong which I hope captures the mood of the original, even though it’s drifted far from its moorings. The bows in the title are the bends in the River Thames but could also refer to bows of a violin. In the original folksong (titled “The Cruel Sister” or “The Bonny Bows”), a woman drowns when she’s pushed into the river by her sister. Downstream, her body is dredged out of the water and her breastbone, fingerbones and hair are used to make a fiddle. Whenever anyone tries to play this fiddle, it speaks, revealing the identity of her murderer. (The Wire)

 

Hard to pigeonhole as an engineer, musician or kinetic artist, Sarah’s actually a little of all three. In fact, she’s been combing these interests since she was a child in the 1970s, building mini cable cars across the garden and put together soundtracks, on a portable Phillips cassette recorder, about futuristic trips to the Moon. Sarah’s first degree in engineering (electroacoustics) was followed by a masters in biologically-inspired robotics (evolutionary and adaptive systems) and an Associateship in Early Music Performance from the Royal College of Music. On graduating as an engineer, Sarah had a brief spell in the building industry, where she assisted the chief acoustician in a busy London engineering company,  There, she fell for the peculiar charms of vintage electronics, when she was asked to work on an ancient, hybrid thermal-modelling computer. She later found her way to the Science Museum, London, where she was encouraged to combine her interests in the history of technology, interactive design and live performance. In 1995, Sarah opted to leave the Science Museum and work independently, focusing on performance, writing and the sonic arts. She worked solo and collaborated with other makers, most notably the sculptor and cartoonist Tim Hunkin who introduced her to PLCs and other control systems for machines.’ (Bio from Sarah’s website)

>>> http://www.sarahangliss.com/ <<<

 

Agathe Max

Agathe Max is a French violinist/Composer based in Lyon

Agathe Max

After training in Classical music for 1O years and graduating at the Bourgoin-Jallieu School of Music, France, in 1995; Agathe was later exposed to improvised music and to the experimental scene. ‘Inspired by a world both enchanting and draped in darkness, she has developed a wide range of sound textures, unique and melodious, creating unconventional and magnetic musical pieces reflecting a personality in constant search of rareness in music’.

 

Since 2011, Agathe Max has been part of the Bernard Fort study program in electroacoustic composition at the National School of Music in Villeurbanne, France, where she continues to develop her talent and virtuosity to create soundscapes and music related to images and films. She has produced several projects in sound design for animated films, short movies,theater, contemporary dance and art exhibitions…’

Agathe Max & Cyril M. – Live at Herstmonceux Observatory 2013

www.agathemaxmusic.com

Purchase music via bandcamp here : agathemax.bandcamp.com

 

Franziska Baumann

“Franziska Baumann, an internationally acclaimed vocalist, composer and sound artist is experienced in a diversity of improvised and composed music.

As a vocalist she explores the human voice as a multi-faceted instrument expanding traditional boundaries. She has developed an extensive vocabulary of experimental and extended vocal techniques such as multiphonics and glottal clicks, and a variety of unique microtonal, timbre-modifying and percussive techniques that have become her “signature sounds”. Her research interests include the voice as a medium between instrument and potentials of human feelings and human society by causing unusual ways of listening and consciousness..

VspherejpgHeli_5

Gletscherklang. Glacier Sound Space

As a composer her repertoire is diverse and includes commissions for electroacoustic and improvised projects to experimental radioworks, large-scale site-specific sound environments and installations…

As artist in residence in the STEIM “Studio for ElectroInstrumental Music”, Amsterdam, she developed an interactive SensorLab based Sensorglove. This interactive cyberglove gives her total control over her articulations and the acoustics via gestures and movement.

She is a professor for non-idiomatic improvisation-composition and vocal performance at the Berne University of Music, Switzerland.”

www.franziskabaumann.ch

Sexing Sound: Symposium & Exhibition

Sexing Sound: Music Cultures, Audio Practices, and Contemporary Art & Sexing Sound: Aural Archives and Feminist Scores at CUNY Center for the Humanities, New York Feb/March 2014.

Annea Lockwood

“Pop and rock music has long been an important forum for experimentation with gendered performance, audience identification, and different models of authorship and collaboration. What happens, we ask, when the complex affective and social dynamics of popular music cultures are put into a dialogue with more rarified notions of audio cultures or sound art? Taking the issue of sexual difference and sexuality as its central concern, this symposium brings together an international group of artists, writers, educators and curators to address the gendered complexes of “music cultures,” “audio practices,” and where these two realms intersect in contemporary art. Presentation topics include the feminist sound archive Her Noise, women in early punk, the voice, and the soundscape.” read more via CUNY website

Sexing Sound

CLICK TO WATCH FULL SYMPOSIUM ARCHIVED HERE

[Political Provocation and Agency: Jamaican Sound, Punk, and Pussy Riot] [Sonic Practices Between Performance and Installation] [Turntablism: Feminist Collaboration & Authorship] [Women’s Work, Feminist Archives & the Gendered Voice]

Joan La Barbara

Joan La Barbara (born 1947 in Philadelphia, PA) is an American Composer, Performer and Sound Artist. Her work explores the human voice as a multi-faceted instrument, expanding traditional boundaries in developing a unique vocabulary of experimental and extended vocal techniques.

La Barbara has collaborated with artists including Morton Subotnick, Alvin Lucier, Christian Marclay and Merce Cunningham, and in the early part of her career performed and recorded with Steve Reich, Philip Glass and several jazz artists, developing her own unique vocal/instrumental sound. Hailed as “one of the great vocal virtuosos of our time”, she premiered landmark compositions written for her by noted American composers, including Morton Feldman’s ‘Three Voices’; Morton Subotnick’s chamber opera ‘Jacob’s Room’;  and the title role in Robert Ashley’s opera ‘Now Eleanor’s Idea’; as well as Philip Glass and Robert Wilson’s ‘Einstein on the Beach’; Steve Reich’s ‘Drumming’; John Cage’s ‘Solo for Voice 45’, and many more.

In 2008, La Barbara was awarded the American Music Center’s Letter of Distinction for significant contributions to the field of contemporary American music.

Read a full biography alongside recordings and archival photographs via the artist’s website here

Above: Klee Alee (scored for multiple voices) was commissioned by RIAS (Radio in the American Sector) in 1979 and was released on her Reluctant Gypsy LP, Wizard Records. The piece takes inspiration from the composer’s experiences while viewing a Paul Klee painting.

Listen below to an interview with Joan La Barbara via the CKUT archives, produced November 1990 by Kathy Kennedy.

‘Drumming’ 1971 with Clayton, Barbara & Sherman

Town Hall premiere of Steve Reich’s “Drumming” 1971, NYC.

photo_drumming

Left to right, Jay Clayton (L), Joan La Barbara(C), Judith Sherman (R)

An Antidote to Indifference – Field Recording Special Edited by Cheryl Tipp

This field recording special of Caught by the River‘s fanzine ‘An Antidote to Indifference’ is guest edited by Cheryl Tipp, Curator of Natural Sounds at the British Library’s Sound Archive. The issue features, amongst others, some fantastic Women working within the field, including Felicity Ford, Elin Øyen Vister, Daniela Cascella, La Cosa Preziosa and Amy Liptrot. caught by the river

Cheryl writes: “Earlier in the year I was invited by Caught by the River to guest edit a special field recording edition of their fanzine, An Antidote to Indifference. The plan was to cover as many aspects of field recording as possible and give a broad overview of the current goings-on in this fascinating community. After spending a few months gathering mostly unique works from a variety of field recordists, sound artists and writers all engaged in their own ways with this diverse genre, I’d like to think that this has been achieved. Wildlife recording trips, urban soundscapes, sound maps, installations and personal reflections on recording experiences and the importance of listening are some of the topics covered. These pieces sit alongside a range of reviews, interviews, blog posts and other snippets of news.” Purchase a copy here here here ….& while you’re at it, check out the British Library’s fascinating Sound and Vision blog or more from Cheryl Tipp via twitter @CherylTipp.

Alice Shields

Alice ShieldsAlice Shields is an American Composer known for her cross-cultural operas and vocal electronic music. She has recieved a DMA degree in Music Composition and served as Associate Director of both the Columbia-Princeton Electronic Music Center and the Columbia University Computer Music Center; as well as lecturing on the Psychology of Music in numerous institutions across America.

Study for Voice and Tape was composed in 1968, using my prerecorded singing voice synchronized with electronic sounds on tape. The sound sources for the tape part include phrases created on an analog Buchla synthesizer, my own singing voice, and a shaken bell-tree. Pitch and timbral modifications occur through Klangumwandler and elaborate feedback, resulting in spiraling patterns that rise and fall in pitch and speed.” AShields

Alice is still producing work to date including her new chamber opera, ‘Zhaojun – A Woman of Peace’ (2013), in which her cross-cultural explorations step into the position of women in ancient China. Further information, recordings and contact can be found via www.aliceshields.com

Beatriz Ferreyra

Beatriz-Ferreyra

Beatriz Ferreyra is an Argentine composer. She worked with the Groupe de Recherches Musicales under the direction of Pierre Schaeffer (1963-70) where she collaborated on the realisation of the Solfège de L’objet Sonore albums. While there she completed research and ran the interdisciplinary seminars. In 1975, Ferreyra joined the Composers College of the IMEB (Institut international de musique électroacoustique de Bourges) and later created the experimental concerts series ‘Les rendez-vous de la Musique concrète’ at the Centre d’études et de Recherche Pierre Schaeffer. Ferreyra has performed at many international festivals, electroacoustic conferences and music seminars. As an independent composer, she has received commissions for performance at festivals and concerts, as well as public celebrations and events, films and ballets. Beatriz Ferreyra has also worked in the area of music therapy and served on numerous juries for international competitions adjudicating experimental musics.

‘Demeures Aquatiques’ (Waterish Dwelling): electroacoustic music commissioned by G.R.M. (Groupe de Recherches Musicales) in 1967.  First Performance: Avignon’s  Festival, August 1968, France.

Laurie Spiegel plays Alles Synth

“This 1977 tape is one of the earliest examples of purely digital realtime audio synthesis. It manages to achieve an analog synth sounding quality, but is entirely digital synthesis and signal processing. The interactive software I wrote and am playing in this video recycles my keyboard input into an accompaniment to my continued playing, which is why I called it a ‘concerto generator’. I use part of one of the keyboards for control data entry, and the small switches upper right to access pre-entered numerical patterns. The sliders are mainly pre-Yamaha FM synthesis parameter controls, for the number and amplitude and frequency of the FM pair modulators and carriers…” Laurie Speigel 

Christina Kubisch – Mono Fluido

christina-kubisch-soundmuseum Christina Kubisch is a German composer and sound-installation artist. She is a Professor of Audio-Visual Arts at the academy of Fine Arts, Saarbrücken and has had international solo exhibitions since the seventies as well as numerous releases with  various labels.

Below – ‘Ocigam Trazom’ from Mono Fluido (Important Records 2011), Constructed using field recordings, tape, flute and custom EMS synthesizer.

An Individual Note of Music, Sound and Electronics by Daphne Oram

PDF of Daphne Oram’s out of print ‘An Individual Note of Music, Sound and Electronics’, Galliard, Norfolk (1972) < Click link or image below for direct download.

Daphne Oram

Else Marie Pade

Else Marie Pade

“In Denmark, I often felt a bit ridiculed as a female composer. Even my own husband was bothered by my creating music. One might say that I was doubly isolated in Danish composer circles, partly as a composer of electronic music, partly as a woman.” – Else Marie Pade

Else Marie Pade was born in Denmark in 1924. During the early 50s she became the first Danish composer of electronic music and Musique concrète.

While Denmark was not interested by Else’s work, Stockhausen and Boulez required her tapes to use during lessons and seminars held throughout Europe. These included “Syv Circler” (Seven Circles) 1958  ↓

De-gendering the Electronic Soundscape

An inspiring theses by Jennifer M. Brown of Southern Cross University

De-gendering the Electronic Soundscape: Women, Power and Technology in Contemporary Music.

andrei smirnov

Graphic Scores by Women Composers – Heresies 1980

Graphic scores by women composers.
From Heresies magzine #10, “Women and Music”, New York, 1980.

  • Kathleen St. John, Centipede
  • La Donna Smith, PARTBE
  • Kay Gardner, Atlantis Rising
  • Daria Semegen, Jeux des Quatres
  • Heidi Von Gunden, Whistle Music: A Sonic Exorcism
  • Beth Anderson, The People Rumble Louder

Download full PDF of magazine here

Heresies, a Feminist Publication on Art and Politics.

Laurie Spiegel

Laurie Spiegel

Laurie Spiegel is an American composer. She has worked at Bell Laboratories, in computer graphics, and is known primarily for her electronic-music compositions and her algorithmic composition software Music Mouse…

Ivana Stefanović – The Epistle of Birds 1976

Ivana Stefanović is a Serbian composer born 1948 in Belgrade. She trained as a violinist, and since the late 1960s, worked as music editor at Belgrade’s national radio and television. Her compositions include orchestral and vocal music, as well as radio art and stage music.

Ivana Stefanović – ‘The Epistle of Birds’ – a tape collage of bird songs published on 7″ in 1976 by Russian state label Melodyia

Geneviève Calame – Labyrinthes Fluides

“During the 1970s, classically trained Swiss composer Geneviève Calame (1946-1993) worked at Geneva’s Studio de Musique Contemporaine, where she composed various electronic music compositions likeL’Oiseau Du Matin (1972) or Geometry I, II, III (1975-1976). She was the co-founder of the Artistic Research Team, or A.R.T., in 1971, working on intermedia projects including video and new technologies. Created in the A.R.T. studio in 1976, Labyrinthes Fluides, is based on the EMS Spectron video sythesizer. allowing sound waves to generate pictures and movement.” Continuo

Maryanne Amacher – Music for Sound Joined Rooms 1980

Maryanne Amacher (1938-2009): Living sound, for “Sound-joined Rooms” series (1980).

“…meanwhile, the entire house was full of sound, circulating throughout the rooms, out the doors and windows, down the hill, past sedate Victorian mansions…cont

Pozzi Escot – The Poetics of Simple Mathematics in Music

Pozzi Escot

In 1999, American music composer and researcher Pozzi Escot published The Poetics of Simple Mathematics in Music, a study of the geometrical grounding and mathematical structure of various music traditions from the Middle Ages, Romantic era, Native American Indians or contemporary European avantgarde. Born in Lima, Peru, in 1933, Pozzi Escot teaches music theory and composition at New England Conservatory. She is the editor of Sonus – Journal of Investigations into Global Musical Possibilities. In 1976, she wrote Sonic Design: The Nature of Sound and Music.

Hildegard Westerkamp

Hildegard Westerkamp is a composer, radio artist and sound ecologist. She presents soundscape workshops, lectures internationally, performs and writes She is a founding member of the World Forum on Acoustic Ecology (WFAE) and a co-founder of Vancouver Co-op Radio

Listen via her website HERE

Maryanne! Maryanne!

a note from John Cage to Maryanne Amacher …

maryanne amacher

Suzanne Ciani, Trailblazing Synth Musician

Suzanne Ciani

Radio piece with Suzanne Ciani on NPR, including clips of her music. She talks about gender politics in the history of music composition, the joy of composing and more… LISTEN HERE

Daphne Oram Documentary – Wee Have Also Sound-Houses

A Portrait of Eliane Radigue

Pauline Oliveros – Valentine

pauline oliveros valentinePauline Oliveros’s Valentine in performance 1968

Meredith Monk – Songs of Ascension 2008

Selected Discography of Women’s Electro-acoustic Music

Selected Discography of Women’s Electro-acoustic Music compiled by Elizabeth Hinkle Turner. Click on image below to view –

womtech

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