This article is part of PhD research dealing with gender issues in electroacoustic music, focusing on the voice. The first part of the article begins with a discussion of the musical material under research. Thereafter follows an elaborate overview of the number of male and female composers, vocalists and recorded voices in several series of CDs of electroacoustic and computer music. The gendered roles of the live, pre-recorded and synthesised voices are discussed and the musical couple of the male composer and the female vocalist emerges. The second part touches upon several issues raised by the results of part one: the roles of the performer and the composer, (dis)embodiment, femininity and technology. This is a preview into some of the remaining research. In section 2, other music than the CD series of section 1 is discussed as well. The gender patterns are interpreted in a broader context. The role of the female vocalist is many sided. Cyborg voices relate to old patterns as well as new possibilities.
This essay explores the possibilities and limitations of an écriture féminine musicale in electroacoustic music. Theories by Cox, Dame, and Citron about "women's music" are discussed alongside research on women electroacoustic composers by McCartney and Hinkle-Turner, and analyses of works by Rudow, Isadora, and LaBerge. The operation of gendered musical categories is analysed in the appropriation of Cathy Berberian's "voice" by Berio. Strategies for destabilizing historically gendered categories in music are discussed, including feminine/feminist content, composer-performers, interdisciplinarity, and collaboration. The interdisciplinary character of many women's work may hamper its documentation and thus its survival. The author's research at NEAR/Donemus focuses on this problem.Cet essai explore les possibilités et limites dune écriture féminine musicale dans la musique électroacoustique. Les théories de Cox, Dame et Citron sur la « musique des femmes » sont discutés en parallèle avec les travaux de McCartney et Hinkle-Turner sur les compositrices électroacoustiques et les analyses d’œuvres de Rudow, Isadora et LaBerge. Rétablissement de rapports sociaux de genres pour les catégories musicales est analysé par l’exemple de l’opération d’appropriation de la « voix » de Cathy Berberian par Berio. Des stratégies de déstabilisation de catégories musicales sexuées sont ici étudiées, par exemple le contenu féminin/féministe, les compositrices/interprètes, l’interdisciplinarité et la collaboration. Le caractère interdisciplinaire de plusieurs oeuvres de femmes peut entraver sa documentation et, de ce fait, sa pérennité. La recherche de l’auteure, réalisée à NEAR/Donemus, porte spécialement sur ce problème
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.