Pink Noises: Women on Electronic Music and Sound

Duke University Press
3
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Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement.

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)

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About the author

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.

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Additional Information

Publisher
Duke University Press
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Published on
Mar 2, 2010
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Pages
336
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ISBN
9780822394150
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Language
English
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Genres
Music / Genres & Styles / Electronic
Social Science / Women's Studies
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Content Protection
This content is DRM protected.
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Available on Android devices
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Eligible for Family Library

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How Spanish-language radio has influenced American and Latino discourse on key current affairs issues such as citizenship and immigration.

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


The
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.

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