Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.
Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)
Tara Rodgers (Analog Tara) is an independent writer, composer, and musician, and the founder of Pinknoises.com, a website devoted to women DJs, electronic musicians, and sound artists. Her electronic compositions have been released on several recordings and exhibited at venues including the Eyebeam Museum in New York City and the Museum of Contemporary Canadian Art in Toronto. She has received the New Genre Composition Prize from the International Alliance of Women in Music and a 2006 Frog Peak Experimental Music Award. Rodgers has an MFA in electronic music from Mills College. She is a Ph.D. candidate in communication studies at McGill University.
Sounding Out combines key elements of feminist theories of lesbian sexuality with Oliveros’s major compositions, performances, critical essays, and interviews. It also includes previously unpublished correspondence between Oliveros and Edith Guttierez, Jill Johnston, Annea Lockwood, Kate Millett, and Jane Rule.
In addition to explaining the techniques and philosophies of sonic art, the book examines over forty composers and their works, introducing the history and context of notable pieces, and includes chapters on how to present compositions professionally, in performance and online. The book is supported by an online software toolkit which enables readers to start creating their own compositions. Encouraging a ‘hands on’ approach to working with sound, Sonic Art is the perfect introduction for anyone interested in electroacoustic music and crafting art from sounds.
New to this edition:
• A companion website, featuring key examples of electronic music, both historical and contemporary.
• Listening Guides providing a moment-by-moment annotated exploration of key works of electronic music.
• A new chapter—Contemporary Practices in Composing Electronic Music.
• Updated presentation of classic electronic music in the United Kingdom, Italy, Latin America, and Asia, covering the history of electronic music globally.
• An expanded discussion of early experiments with jazz and electronic music, and the roots of electronic rock.
• Additional accounts of the vastly under-reported contributions of women composers in the field.
• More photos, scores, and illustrations throughout.
The companion website features a number of student and instructor resources, such as additional Listening Guides, links to streaming audio examples and online video resources, PowerPoint slides, and interactive quizzes.
Winner, Book of the Year presented by the American Association of Hispanics in Higher Education
Honorable Mention for the 2015 Latino Studies Best Book presented by the Latin American Studies Association
last two decades have produced continued Latino population growth, and marked
shifts in both communications and immigration policy. Since the 1990s, Spanish-
language radio has dethroned English-language radio stations in major cities
across the United States, taking over the number one spot in Los Angeles,
Houston, Miami, and New York City. Investigating the cultural and political
history of U.S. Spanish-language broadcasts throughout the twentieth century, Sounds
of Belonging reveals how these changes have helped Spanish-language radio
secure its dominance in the major U.S. radio markets.
Bringing together theories on the immigration experience with
sound and radio studies, Dolores Inés Casillas documents
how Latinos form listening relationships with Spanish-language radio
programming. Using a vast array of sources, from print culture and industry
journals to sound archives of radio programming, she reflects on institutional
growth, the evolution of programming genres, and reception by the radio
industry and listeners to map the trajectory of Spanish-language radio, from
its grassroots origins to the current corporate-sponsored business it has
become. Casillas focuses on Latinos’ use of Spanish-language radio to help
navigate their immigrant experiences with U.S. institutions, for example in
broadcasting discussions about immigration policies while providing anonymity
for a legally vulnerable listenership. Sounds of Belonging proposes that
debates of citizenship are not always formal personal appeals but a collective
experience heard loudly through broadcast radio.