Books and Articles

Spiegel, Laurie (1981-2) "In Response (a personal statement about gender and composing by 19 women composers)." Perspectives of New Music, 20: 1-2.

Oliveros, Pauline (1984) Software for People: Collected Writings 1963-1980. Sharon, Vermont: Smith Publications.

Pearson, Tina (1986) "Interview with Ann Southam." Association of Canadian Women Newsletter, p. 3-8.

Rosen, Judith (1987) "Composers Speaking for Themselves: An Electronic Music Panel Discussion." The Musical Woman: An International Perspective, vol II (Judith Lang Zaimont and Catherine Overhauser, eds.). Westport, Connecticut: Greenwood Publishing Group, p. 280-312.

Hacker, Sally (1990) "Doing it the Hard Way": Investigations of Gender and Technology (Smith, D. and Turner, S.M., eds.). Boston: Unwin Hayman.

Preuschat, Sibylle (1991) "Women, aesthetics, theory, practice." Musicworks Magazine, Issue 49, p. 60-64.

McCartney, Andra (1994) "Creating worlds for my music to exist: How women composers of electroacoustic music make place for their voices." Master's thesis, York University, Canada.

Helmuth, M., White, F., Norman, K., Roberts, M., Selter, L. and Kimura, M. (1994) "Gender and Computer Music." Journal of Electroacoustic Music, 8: 8-13.
London: Sonic Arts Network.

Gates, Eugene (1994) "Where are all the women composers?" Canadian Music Educator, 35(5): 17-19.

McCartney, Andra (1995) "Prelude to Ea gender issues." Contact!, Canadian Electroacoustic Community, 8: 68-74.

McCartney, Andra (1995) "The Ambiguous Relation (1/2)." Contact!, Canadian Electroacoustic Community, 9: 43-57.

McCartney, Andra (1995) "Inventing Images: Constructing and Contesting Gender in Thinking about Electroacoustic Music." Leonardo Music Journal, 5: 57-66. MIT Press.

Simoni, Mary (1995) "A Survey of Gender Issues Related to Computer Music and Strategies for Change." In Proceedings of the 1995 ICMC (Banff Centre for the Arts, Canada). San Francisco: ICMA.

McCartney, Andra (1995) "Whose Playground, Which Games and What Rules?: Women Composers in the Digital Playground." In Proceedings of the 1995 ICMC (Banff Centre for the Arts, Canada). San Francisco: ICMA.

McCartney, Andra (1996). "The Ambiguous Relation (2/2)." Contact!, Canadian Electroacoustic Community, 9: 2.

Eliot-Kahn, Karen (1997) "Computer Music Compositional Style Variation Between Genders and the Role of Education." In Proceedings of the 1997 ICMC (Aristotle University, Thessaloniki, Greece). San Francisco: ICMA.

McCartney, Andra (2000) "Soundscape Composition and the Subversion of Electroacoustic Norms." eContact!, Canadian Electroacoustic Community, 3(4).

Smith, Linda Catlin (2001) "Composing identity: What is a woman composer?" Musicworks Magazine, Issue 80, p. 26-32.

Unsigned (2001) "Commentary: Where are the women composition students?" Musicworks Magazine, Issue 80, p. 10-11.

Malloy, Judy (ed.) (2003) Women, Art and Technology. Cambridge, MA: MIT Press.

Oliveros, Pauline (2003) Acoustic and Virtual Space as a Dynamic Parameter of Music in Women in Music Technology (Judy Malloy, ed.). Cambridge, MA: MIT Press.

Metzelaar, Helen (2004) "Women and 'Kraakgeluiden': The participation of women improvisers in the Dutch electronic scene." Organised Sound, 9(1): 199-206.

Pendle, K. and Boyd, M. (2005) Women in Music: A Research and Information Guide. London: Routledge.

Hinkle-Turner, Elizabeth (2006) Women Composers and Music Technology in the United States: Crossing the Line. Farnham, UK: Ashgate Publishing.

Simoni, M. and Younker B. A. (2008) "Project Lovelace: Teenage Girls and Technology-Based Composition." In Proceedings of the 2008 ICMC (SARC, Belfast, Northern Ireland). San Francisco: ICMA.

Burns, Kristine H. (2008) "How to Make Your Wife Listen: The Portrayal of Women in Music Technology Publications." In Proceedings of the 2008 ICMC (SARC, Belfast, Northern Ireland). San Francisco: ICMA.

Harris, Yolande (2009) "David Zicarelli - On Women and MaxMSP." Blogpost.

Simoni, Mary (2009) "Toward the Gender Ideal." The Oxford Handbook of Computer Music, (Roger T. Dean, ed.). Oxford, UK: Oxford University Press.

Rodgers, Tara (2010) Pink Noises: Women on Electronic Music and Sound. Durham, North Carolina: Duke University Press.

Oliveros, Pauline (2010) Sounding the Margins: Collected Writings 1992-2009. Kingston, NY: Deep Listening Publications.

Simoni, Mary (2011) "Review of Pink Noises: Women on Electronic Music and Sound." Project Muse, Computer Music Journal.


Dedicated Journal Issues

Organised Sound, Vol. 8 no. 1 (2003): Gender in music technology

Bosma, Hannah. 2003. "Editorial".
Bosma, Hannah. 2003. "Bodies of evidence, singing cyborgs and other gender issues in electrovocal music." p. 1-3.
Essl, Georg. 2003. "On gender in new music interface technology." p. 19-30.
Hinkle-Turner, Elizabeth. 2003. "Women and music technology: pioneers, precedents and issues in the United States." p. 31-47.
Hutton, Jo. 2003. "Daphne Oram: innovator, writer and composer." p. 49-56.
Simoni, Mary. 2003. "Project Lovelace: unprecedented opportunities for music education." p. 57-60.
Weber-Lucks, Theda (TU Berlin). 2003. "Electroacoustic voices in vocal performance art - a gender issue?" p. 61-69.
Sivuoja-Gunaratnam, Anne. 2003. "Desire and distance in Kaija Saariaho's Lonh". p. 71-84.
Cox, Cindy. 2003. "Wounds like flowers opening: a discussion of Hysteria for trombone and four-channel tape." p. 85-87.
McCartney, Andra. 2003. "In and out of the sound studio." p. 89-96.
Thaemlitz, Terre. 2003. "GLOBULE of NON-STANDARD: an attempted clarification of globular identity politics in Japanese electronic 'sightseeing music.'" p. 97-107.
Riikonen, Taina. 2003. "Shaken or stirred - virtual reverberation spaces and transformative gender identities in Kaija Saariaho's NoaNoa (1992) for flute and electronics." p. 109-115.
Truax, Barry. 2003. "Homoeroticism and electroacoustic music: absence and personal voice." p. 117-124.


eContact! 1.1 (1998): Women in Electroacoustics

Bertrand, Ginette (1998) "Journal de bord d'une expédition aux antipodes."

Bosma, Hannah (1998) "Gender and Electroacoustics."

McCartney, Andra (1998) "Where Water Meets."

Trudel, Pascale (1998) "An Electroacoustic Studio of One's Own."


eContact! 3.3 (2000): Women in Electroacoustics 2

Male, Sophia. 2000. "A Pedestrian's Response to Corporate Abuse."

Whistlecroft, Lisa. 2000. "Women and Music Technology in Higher Education in the UK."

Barrett, Natasha. 2000. "Musical structure, shifting perspectives and composition."


eContact! 8.2 (2005): Women in Electroacoustics 3

Hinkle-Turner, Elizabeth (2005) "Hear Me Now: the implication and significance of the female composer's voice as sound source in her electroacoustic music."

Simoni, Mary (2005) "Stop, Look, and Listen."

Helmuth, M. and Hinkle-Turner, E. (2005) "Panel Discussion Report: Gender and Computer Music: Tracing Change."

Piché, Claire (2005) "Au-delà du sexe et de la technologie: les tendances du genre."

Hinkle-Turner, Elizabeth (2005) "Feminist Theory (and electroacoustic music): Some classic sources for beginning and advanced inquirer in the field."

Madsen, Pamela (2005) "The International Women's Electroacoustic Listening Room (WEALR) Project."


Other Resources

WAVE_LIST (a list serve for gender and music technology issues initiated by Elizabeth Hinkle-Turner)

Selected Discography of Women's Electroacoustic Music (current through Spring 2001, compiled by E. Hinkle-Turner)

Women, Art and Technology: Leonardo Papers (a catalogue of articles focusing on women artists and their works, grouped according to subject)


Books and Articles with a more feminist angle:

Koskoff, Ellen (1989) Women and Music: A Cross-Cultural Perspective. Urbana, IL: University of Illinois Press.

Haraway, Donna (1990) "Cyborg Manifesto." Simians, Cyborgs and Women: The Reinvention of Nature. London: Routledge.

McClary, Susan (1991) Feminine Endings: Music, Gender and Sexuality. Minneapolis, MN: University of Minnesota Press.

McCartney, Andra (1991)"The Science and Technology Careers Workshop: Integrating Feminist Approaches in Residential Science Education." Resources for Feminist Research, 20: 50-51.

Penley, C. and Ross, A. (1991) "Cyborgs at Large: Interview with Donna Haraway." In Technoculture (C. Penley and A. Ross, eds.) Minneapolis, MN: University of Minnesota, p. 1-20.

Wajcman, Judy (1991) Feminism Confronts Technology. University Park, PA: Pennsylvannia State University Press.

Haraway, Donna (1992) "The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others." In Cultural Studies (L. Grossberg, C. Nelson and P. Treichler, eds.) London: Routledge, p. 295-337.

Caputo, Virginia (1995) "Silent canons: Places for music by women." With a Song in Her Heart: A Celebration of Canadian women composers (Janice Drakich, Edward Kovarik and Ramona Lumpkin, eds.) Windsor: Humanities Research Group.

Barkin, E. and Hamessley, L. (eds.) (1997) Audible Traces: Gender, Identity and Music. Zurich: Carciofoli Press.

Bosma, Hannah (1998) "The Death of the Singer: Authorship and Female Voices in Electronic Music." eContact! 1.3, Canadian Electroacoustic Community.

Dickinson, Kay (2001) "'Believe?' Vocoders, Digitalised Female Identity and Camp." In Popular Music, 20(3): 333-347. Cambridge: Cambridge University Press.

Zeffiro, Andrea (2008) "Reflecting on the Past, Speculating on the Future: Feminist Interventions in Locative Media." .dpi [online journal].

Mockus, Martha (2009) Sounding Out: Pauline Oliveros and Lesbian Musicality. London: T & F Books.

Waterman, Ellen (2010) "Review of Sounding Out: Pauline Oliveros and Lesbian Musicality." Women and Music: A Journal of Gender and Culture. Lincoln, NE: University of Nebraska Press.